Students of Middle East Studies in this country will, for generations to come, continue to sing the praises of the dean of American Arabists and Islamicists, who passed away last Christmas Eve. For there is hardly a scholar of the Middle East in this country whose academic career or intellectual development has not been directly or indirectly influenced by him, his students, or his many publications. There is hardly a center of Middle East studies in this country that has not followed the tradition for these studies which he established at Princeton University. In a real sense he was the father of these studies in America. Small wonder that his students and colleagues—following the medieval Islamic tradition in designating the head of an intellectual school—lovingly called him “al-Shaykh.”

In Recent Years and on several occasions Eugen Wirth (1977; 1983a; 1983b), probably the leading German geographer on the Near and Middle East, has given critical evaluations and assessments of German geography related to the Near and Middle East. One of his findings, published in a volume by the German Research Council (Deutsche Forschungsgemeinschaft), on the state of art of research in the Federal Republic of Germany reads as follows: “Thus one may possibly say that the geographical Middle East research of the Federal Republic of Germany in terms of number and breadth, as well as in terms of contents and depth of its publications, may be considered internationally leading” (Wirth 1983a; translated by E. E.).

The international community is witnessing the resurgence of an old, yet new entity in its midst—the Persian Gulf. Since this decade began, the October War, the Oil embargo, the energy crisis, the massive American arms sales in the region, the concomitant presence of substantial numbers of American personnel and the expanding roles of Iran and Saudi Arabia have all forced this area to the center of international politics and economics. The new perceptions which have been created by these developments have focused on the modern Persian Gulf as a major source of oil, a subsystem of competing local nationalisms, an area of superpower rivalry, an insatiable market for consumer products, a pivotal factor in regional and international conflicts and of course a fascinating case study for social science researchers. The recent outpouring of studies, reports and background summaries testifies to the many facets of the region which are of interest to policy makers, businessmen and academicians.

The SSRC’S Joint Near and Middle East Committee has organized a series of workshops on the state in its Middle Eastern context. The format consists of discussions of papers written by members of the committee, as well as of articles and chapters of books presented as background material by a small number of invited guests. A report on the first workshop, held at Buyukada, Istanbul, in September 1989 appeared in the MESA Bulletin 24 (1990), pages 179 to 183. A third workshop was held at St. Antony’s College, Oxford in December 1990.

The last fifteen years have witnessed rapid growth in the number of students studying Arabic and of programs concerned with the teaching of the language. This is directly attributable to the awakened interest in the United States in the Middle East in general, and the Arab world in particular, as a result of the entry of the U.S. in World War II and its emergence as a global power with strategic, economical, and political interests in the area. This is not to say that the teaching of Arabic is a new phenomenon in the U.S. As an indespensible tool of Orientalistic scholarship, Arabic was taught for many years in a few institutions which offered programs in Oriental and Semitic Studies.

Like most other fields, the study of Islamic art is both the beneficiary and the victim of its own past. Like many fields, it is affected in various more or less successful ways by developments and needs in related areas of learning. Like all fields, it is tied to the quality and idiosyncrasies of the men who practice it. Inasmuch as bibliographical surveys according to traditional lines of techniques and periods are available (Pearson, Index Islamicus with supplements, London, 1958, 1962, 1968; especially K.A.C. Creswell, A Bibliography of the Architecture, Arts and Crafts of Islam, Cairo, 1961) and current works are listed with a fair degree of completeness in the yearly Abstracta Islamica published by the Revue des Etudes Islamiques, my concern in this paper will be to review the state of the field, the ways in which one can find out about it, and the work being done according to three major categories: traditional techniques and documentation; new problems and solutions; light and dark areas of research.

This article sheds light on the factors that pave the way from voter abstention to voter turnout based on extensive research of tweets on national and local elections in Turkey. We find that the negative campaign strategy of the incumbent and the fact that the campaigning process has taken place on a very uneven playing field have triggered a set of emotions, primarily moral outrage and anger among the electorate, which have the power to change voting patterns in a significant way. The effect of negative campaigning on expressive voting was further enhanced by the pulling effect of the candidates and their public supporters and endorsements. We found that other, competing explanations of political outcomes are secondary to the mechanisms above.

Historians confront numerous difficulties while doing research on Central Asia, particularly concerning the contemporary period. Historical developments in the relations between Iran and Central Asia, especially following the rise of the Soviet Union, have led to the creation of high walls separating Iran from those countries, and have made research and information exchange impossible. Historical sources for this period are scarce and inaccessible, and researchers cannot easily access the little that exists in the form of manuscripts kept in the archives of Iranian libraries. Moreover, the writers of the Qajar period have dealt with only a very small sample of the events that took place in that part of the world, and then mostly with those occurring along the Iranian borders. Thus, they reveal little about developments inside Transoxiana.

Dr. Don Peretz, a leading scholar on the Arab-Israel conflict and Palestinian refugees at SUNY-Binghamton, died on April 29 in Mitchellville, Maryland. He was 94.

This essay considers the contribution of Anneka Lenssen, Sarah Rogers, and Nada Shabout's Modern Art in the Arab World: Primary Documents to global art history. In particular, the essay addresses the archival turn, the challenges of language and translations in the publication of primary sources, and the continued need to challenge Eurocentric views of and approaches to global modernism. This includes considering how Modern Art and the Arab World's contributions aim to upend Western preconceptions about modern art from the “Arab world,” and demonstrating how such publications can serve as sources for critical evaluations and reconsiderations of the history of global modernism in general.

West African Islamic cultural heritage is recurrently overlooked or marginalized in scholarly, museological, and popular imaginaries, despite contemporary burgeoning Western attentiveness to Islam. Historically, Orientalists and/or Islamicists exclude West Africa, and anthropologists study West African Islam due to its alleged lack of written Arabic and Ajami texts (Loimeier 2013; Saul 2006), despite textual and material evidence to the contrary. Existing literature on the material expressions of West African Islam, largely edited volumes and museum catalogues, direct attention to Islamic West Africa, rather than Islam in West Africa, in other words, predominantly West African Muslim societies, and not those for whom Muslims comprise a minority (Adahl 1995; Insoll 2003; Roberts and Nooter Roberts 2003; for exceptions cf. Bravmann 1974, 1983, 2000). Analytically, the “Islamization of Africa” and “Africanization of Islam,” standard nomenclature customarily employed to describe the simultaneous processes at play in West African Islam (Loimier 2013), note the reciprocal relationship between Islam and pre-existing West African religious traditions shaped by local contexts, circumstances, subjectivities, and exigencies (Fisher 1973; Trimingham 1980). Accordingly, West African Islam's material manifestations labeled “inauthentic,” “syncretic,” “vernacular,” and “popular” are considered, inter alia, antithetical to “classical” Islam. Notwithstanding, so-called classical Islam represents the embodiment of a locally synthesized form that, over time and with repetition, has come to be conceptualized as “classical.” Yet, Islam has incorporated and translated an assortment of pre-existing ideals to adjust in ways viewed as neither regression, apostasy, plurality nor heterodoxy. And, West Africa proves no exception. Indubitably, West African Islamic cultural heritage is the heritage of the “‘Othered’ religion par excellence” (Preston-Blier 1993:148).

Leaders of Arab art institutions are negotiating new grounds for the arts with new money, new audiences, and—in the case of the Gulf countries—also new locations. They are playing a key role in devising alternate strategies to reach audiences and create civic dialogue through the arts, while negotiating economic, political, and artistic concerns that are helping to shape future cultural policies in the region. This paper explores the institutionalization of Arab art practices in Jordan, Lebanon, Palestine, and the United Arab Emirates, and the relationship of these arts organizations to their audiences. The reasons for selecting these four countries is that compared to other Arab countries, they have a large number of individual art initiatives, as well as new and diverse types of institutions. Each country has a specific context in which the art organizations were established and function. However, the focus of this paper is the relationship of the art institutions to their audiences and the strategies they use to encourage discourse on art and its content in the public sphere. The paper is based on discussions with twenty-one art professionals who represent almost all leading art institutions in the Jordan, Lebanon, Palestine and United Arab Emirates (UAE).