2015
DOI: 10.5615/neareastarch.78.3.0170
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ISIS, Heritage, and the Spectacles of Destruction in the Global Media

Abstract: Truth is image, but there is no image of truth.

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Cited by 95 publications
(53 citation statements)
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“…Damage to heritage monuments, both deliberate and inadvertent, has been a frequent aspect of armed conflict throughout history [1]. However, recent examples of cultural destruction, such as the demolition of archaeological sites by the Islamic State armed group using explosives [2] and the breaching of the old city walls of Raqqa by coalition airstrikes [3], have brought the issue to prominence in public discourse. Constant improvement in firearms technology means that infantry small arms now also present a significant threat to built heritage.…”
Section: Introductionmentioning
confidence: 99%
“…Damage to heritage monuments, both deliberate and inadvertent, has been a frequent aspect of armed conflict throughout history [1]. However, recent examples of cultural destruction, such as the demolition of archaeological sites by the Islamic State armed group using explosives [2] and the breaching of the old city walls of Raqqa by coalition airstrikes [3], have brought the issue to prominence in public discourse. Constant improvement in firearms technology means that infantry small arms now also present a significant threat to built heritage.…”
Section: Introductionmentioning
confidence: 99%
“…This claimed antagonistic relationship with the media establishment is an important component to much mediated populism. And as the online communicative tactics of ISIS show (Harmanşah, 2015), ease of access to Twitter is in keeping with the enactment of even a grotesque mutation of outsider politics. Returning to the example of Trump, the range of his populist vitriol extends to this "mainstream media", which his rhetoric holds accountable for the production of "fake news".…”
Section: The Populism Of Twittermentioning
confidence: 99%
“…Recently, much research has explored the extent to which the imperatives of the communications industry exercise a "mediatising" influence on political actors and institutions, where "media logics" become a negotiated component of the grammar of everyday political activity (Esser and Strömbäck, 2014;Higgins, 2018). Beyond even the democratic institutions of the West, this compulsion towards media spectacle extends to the purposivelymediated atrocities of terror groups such as ISIS (Harmanşah, 2015).…”
Section: Introductionmentioning
confidence: 99%
“…4 Yet, both IS and mainstream Western media have directed their attention to the intentional acts of destruction of pre-Islamic antiquities. I call these 'spectacles' because mediation and re-mediation, or the 'production of the show' (Harmanşah 2015), are key to how these acts are produced and circulated, their images propelled by social media and global outrage, and to how they produce effects too. These acts were committed in order for their images to be virally circulated, as shown by the various IS men caught photographing and filming their fellow militants at work with sledgehammers in the famous video of the destruction of statues at the Mosul Museum.…”
Section: Archaeologies Of Political Violence and Ismentioning
confidence: 99%
“…Instead, I offer here a different reading that highlights the long-standing link between archaeology and (empire and) state building in the Levant. I argue that we cannot understand IS 'spectacles' of destruction (Harmanşah 2015) without unravelling Near Eastern archaeology's deep entanglement with both the history of Western colonial and neocolonial interventions in Iraq and Syria and the political projects of the local variants of Arab nationalism that in several ways (including the cult and use of archaeology) reproduced the colonial legacy (see Massad 2001). I argue that in spite of the apparent break represented by IS acts, there is a continuity running through the history of Iraq (and Syria, although to a slightly lesser extent) in the political mobilization of antiquities, which have been used for the symbolic display and the enactment of state power long before this past year.…”
mentioning
confidence: 99%