Amazement: The Suspended Moment of the Gaze

Shalem, Avinoam

doi:10.1163/22118993-00321p02

Cited by 4 publications

(2 citation statements)

References 1 publication

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“…Their physical appearance can reveal to the reader/observer that while some of them remain in a state of fear, others already managed to turn this sensation into wonder. This is shown with the use of the Islamic‐iconographic motif of biting one's finger, which is common within both Ottoman and Persian miniatures as a signifier of wonder (Shalem, ). Such a demonstration enabled intended readers to grasp an entire emotional episode that they themselves were advised to undergo with respect to terrifying creatures that are considered among the wonders of creation.…”

Section: Early Modern Ottomans In Wonderlandmentioning

confidence: 99%

Wonder in early modern Ottoman society: A case study in the history of emotions

Ben‐Ami

2019

History Compass

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The questions what an emotion is and how it is generated can be answered in multiple ways. Usually, the answer depends on the disciplinary perspective. As was recently noted by several dominant historians who deal with the history of emotions, although the biological and psychological elements of a certain feeling should not be ignored, within historical research, a focus on social and cultural aspects of emotion generation seems to be more convincing. In this article, I address this issue in the context of Ottoman studies from the perspective of Barbara H. Rosenwein's notion of “emotional communities.” I consider early modern Ottoman elite society of Istanbul to be such a community and demonstrate how several powerful individuals from this large social group relied on a medieval Islamic theory about cosmographic “wonder” and encouraged its members to embrace this emotion into their social and cultural milieus.

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Section: Early Modern Ottomans In Wonderlandmentioning

confidence: 99%

Wonder in early modern Ottoman society: A case study in the history of emotions

Ben‐Ami

2019

History Compass

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“…This is not how most people experience or appreciate the resulting architecture, which is more commonly seen as brutal and cold. In the Book of Optics , by the renowned scholar Ibn al-Haytham ( c. 965– c. 1040 ad : also known as Alhazen), a distinction is made between glancing (perception as an instantaneous recognition of familiar forms) and contemplating (inspection of complex visual elements by the inner faculty of judgement) as two different modes of perception (Necipoğlu 2015, 34; Shalem 2015, 3). This type of glancing fits with familiarity and daily routines, which is likely to have represented the more common interaction with the Northwest Complex (Hamilakis 2017, 102).…”

Section: The Portico and The Gazementioning

confidence: 99%

Architectural Assemblages: The Northwest Complex at Zincirli

Kertai

2018

CAJ

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The Northwest Complex is one of several known Syro-Anatolian elite residences on the citadel of Zincirli. Syro-Anatolian elite residences such as the Northwest Complex are generally described with the anachronistic term Hilani. The related discourse has focussed on the architectural features that can define the Hilani type. More recently, discussions have focused anew on how these complexes functioned. This paper uses assemblage theory to move the discourse away from its focus on what architecture is to what it can do. It situates the Northwest Complex in an assemblage of Syro-Anatolian elite residences that partake in a shared culture of hospitality. It argues that the distinctive feature of these residences is their externalization of hospitality through the creation of elaborate in-between spaces in the form of external porticos.

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Gazing in the Eyes of the Martyrs: Four Theories of South Asian Shiʿi Visuality

Ruffle

2021

J. Mater. Cult. Muslim World

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This essay presents an extended theoretical reflection on how South Asian Shiʿa visually engage with image-objects, notably the metal standard (ʿalam), and replica of Imam Husayn’s Karbala shrine-tomb (taʿziya). I present four theoretical lenses to theorize South Asian Shiʿi visual interactions: 1. Image acts; 2. Objects as assemblages imbued with thing power; 3. Images as focal objects of reciprocal gazing, and 4. The intersensorial nature of image-objects.

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Amazement: The Suspended Moment of the Gaze

Cited by 4 publications

References 1 publication

Wonder in early modern Ottoman society: A case study in the history of emotions

Wonder in early modern Ottoman society: A case study in the history of emotions

Architectural Assemblages: The Northwest Complex at Zincirli

Gazing in the Eyes of the Martyrs: Four Theories of South Asian Shiʿi Visuality

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