An Introduction to Architecture of Nasir Al-Mulk Mosque
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Harem Fantasies and Music Videos: Contemporary Orientalist Representation
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2007 Harem Fantasies and Music Videos: Contemporary Orientalist Representation Maya Ayana Johnson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, and the Music Commons Recommended Citation Johnson, Maya Ayana, "Harem Fantasies and Music Videos: Contemporary Orientalist Representation" (2007). Dissertations, Theses, and Masters Projects. Paper 1539626527. https://dx.doi.org/doi:10.21220/s2-nf9f-6h02 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Harem Fantasies and Music Videos: Contemporary Orientalist Representation Maya Ayana Johnson Richmond, Virginia Master of Arts, Georgetown University, 2004 Bachelor of Arts, George Mason University, 2002 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts American Studies Program The College of William and Mary August 2007 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Maya Ayana Johnson Approved by the Committee, February 2007 y - W ^ ' _■■■■■■ Committee Chair Associate ssor/Grey Gundaker, American Studies William and Mary Associate Professor/Arthur Krrtght, American Studies Cpllege of William and Mary Associate Professor K im b erly Phillips, American Studies College of William and Mary ABSTRACT In recent years, a number of young female pop singers have incorporated into their music video performances dance, costuming, and musical motifs that suggest references to dance, costume, and musical forms from the Orient. -
In the Name of Krishna: the Cultural Landscape of a North Indian Pilgrimage Town
In the Name of Krishna: The Cultural Landscape of a North Indian Pilgrimage Town A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Sugata Ray IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Frederick M. Asher, Advisor April 2012 © Sugata Ray 2012 Acknowledgements They say writing a dissertation is a lonely and arduous task. But, I am fortunate to have found friends, colleagues, and mentors who have inspired me to make this laborious task far from arduous. It was Frederick M. Asher, my advisor, who inspired me to turn to places where art historians do not usually venture. The temple city of Khajuraho is not just the exquisite 11th-century temples at the site. Rather, the 11th-century temples are part of a larger visuality that extends to contemporary civic monuments in the city center, Rick suggested in the first class that I took with him. I learnt to move across time and space. To understand modern Vrindavan, one would have to look at its Mughal past; to understand temple architecture, one would have to look for rebellions in the colonial archive. Catherine B. Asher gave me the gift of the Mughal world – a world that I only barely knew before I met her. Today, I speak of the Islamicate world of colonial Vrindavan. Cathy walked me through Mughal mosques, tombs, and gardens on many cold wintry days in Minneapolis and on a hot summer day in Sasaram, Bihar. The Islamicate Krishna in my dissertation thus came into being. -
Basic Technical Rules the Nubian Vault (Nv)
PRODUCTION CENTRE INTERNATIONAL PROGRAMME BASIC TECHNICAL RULES v3 BASIC TECHNICAL RULES THE NUBIAN VAULT (NV) TECHNICAL CONCEPT THE NUBIAN VAULT ASSOCIATION (AVN) ADVICE TO MSA CLIENTS Version 3.0 SEASON 2013-2014 COUNTRY INTERNATIONAL Association « la Voûte Nubienne » - 7 rue Jean Jaurès – 34190 Ganges - France February 2015 www.lavoutenubienne.org / [email protected] / +33 (0)4 67 81 21 05 1/14 PRODUCTION CENTRE INTERNATIONAL PROGRAMME BASIC TECHNICAL RULES v3 CONTENTS CONTENTS.............................................................................................................2 1.AN ANCIENT TECHNIQUE, SIMPLIFIED, STANDARDISED & ADAPTED.........................3 2.MAIN FEATURES OF THE NV TECHNIQUE........................................................................4 3.THE MAIN STAGES OF NV CONSTRUCTION.....................................................................5 3.1.EXTRACTION, FABRICATION & TRANSPORT OF MATERIAL....................................5 3.2.CHOOSING THE SITE....................................................................................................5 3.3.MAIN STRUCTURAL WORKS........................................................................................6 3.3.1.Foundations........................................................................................................................................ 6 3.3.2.Load-bearing walls.............................................................................................................................. 7 3.3.3.Arches in load-bearing -
1 Introducing the Chief Harem Eunuch
Cambridge University Press 978-1-107-10829-5 — The Chief Eunuch of the Ottoman Harem Jane Hathaway Excerpt More Information 1 Introducing the Chief Harem Eunuch Let’s start with the cover illustration. It shows the most powerful Chief Harem Eunuch in Ottoman history, el-Hajj Beshir Agha, leading three sons of Sultan Ahmed III through the Third Court of Topkapı Palace. The year is 1720. The princes are about to be circumcised in the Circumcision Room in the palace’s Fourth Court. Each of them is held on either side by a vizier, or government minister. Beshir Agha is right at the front of the painting, flush with the picture frame. Even the grand vizier, supposedly the most powerful figure in the Ottoman Empire at the time, walks behind him, holding the right arm of the oldest prince. What is the message of this painting? El-Hajj Beshir Agha is the most powerful person in the palace, more powerful than the grand vizier or any of the princes. He holds the princes’ fates and, by implication, the fate of the empire in his hands. But he also guards the barrier separating the princes and the viziers from the viewer. In this sense, he is both a central figure and a marginal figure, both the master of the princes and viziers and their servant. He is also the only dark-skinned figure in the painting, yet he is leading all the pale-skinned figures. Does this image seem contradictory? It should. The Chief Eunuch of the Ottoman Empire’s imperial harem embodied all these contradictions. -
READY VAULT Instructions #1050224 Product #222933 Revision A
READY VAULT Instructions #1050224 Product #222933 Revision A 1 IMPORTANT SAFETY INFORMATION • This vault is designed to increase safety of unloaded firearm(s). Completely unload the firearm(s) before using this device. • Treat every firearm as if it were loaded. • Always keep the muzzle pointed in a safe direction when handling any firearm. • Read the owner’s manual and instructions supplied with your firearm before attempting to operate the firearm and use this vault. • Always store unloaded and locked firearms in a safe place inaccessible to children and other unauthorized persons. Store ammunition in a separate locked or secure location. • Do not store the combination to the vault in the same place as your vault. • This vault is only part of an effective firearm safety and storage solution, and should not be a substitute for safe firearm handling or secure storage. • This vault is designed to be a convenient locking mechanism, but tools, determination, and time can overcome any vault. • Always engage the safety and never touch the trigger when placing or removing the firearm from the vault. • Always fasten the vault to a secure object. See mounting instructions. IMPORTANT • This vault features a programmable lock mechanism. Upon removing this product from the packaging for the first time, be sure to program the lock to a unique combination (See programming lock instructions for more details). • You should document your programmed combination and store this documented combination in a secure location, so that the combination can be retrieved if forgotten. Combination should be stored in a secure location, inaccessible to children and unauthorized individuals. -
The Vault with Curvilinear Ribs in the “Hall of Arms”
In: Proceedings of the First Conference of the Construction History Society, ed. by James W P Campbell et al., 459-468. Queens’ College, Cambridge 2014 (authors’ manuscript) The Vault with Curvilinear Ribs in the “Hall of Arms” in the Albrechtsburg Meissen: Studies on the Concept, Design and Construction of a Complex Late Gothic Rib Vault David Wendland, María Aranda Alonso, Alexander Kobe During the 14th and 15th centuries, the challenge of creating vaulted ceilings lead to ever more complex solutions in late Gothic architecture. These ambitious, astonishing and sometimes daring constructions rank amongst the finest masterpieces of architecture – extremely demanding from the structural point of view and particularly challenging in their geometric design. Their builders managed to overcome the difficulties of planning the complicated meshes of ribs soaring along spatial curves, providing instructions for the production of their single components and their assembly on the building site, and achieving a curved vault surface which corresponds to the equilibrium condition of shell structures. The discussion on how the design and planning of these structures was performed and how their construction process was organized, has been so far largely based on sources (some of them dating from long after late Gothic architecture was practised), and in particular on their interpretation as established in the 19th century. However, this current state of research can be shown to be in contrast with the evidence of many of the actual built objects. At this point, it appears necessary to formulate hypotheses on the design directly from the built artefact, and on this basis attempt a re-interpretation of the known drawings and treatises.1 For this approach it is also necessary to deal with the methodological challenges of using the building as source. -
Women and Power: Female Patrons of Architecture in 16Th and 17Th Century Istanbul1
Women and Power: Female Patrons of Architecture in 16th and 17th Century Istanbul1 Firuzan Melike Sümertas ̧ Anadolu University, Eskisehir, ̧ TÜRKlYE ̇ The aim of this paper is to discuss and illustrate the visibility of Ottoman imperial women in relation to their spatial presence and contribution to the architecture and cityscape of sixteenth and seventeenth century Istanbul. The central premise of the study is that the Ottoman imperial women assumed and exercised power and influence by various means but became publicly visible and acknowledged more through architectural patronage. The focus is on Istanbul and a group of buildings and complexes built under the sponsorship of court women who resided in the Harem section of Topkapı Palace. The case studies built in Istanbul in the sixteenth and seventeenth centuries are examined in terms of their location in the city, the layout of the complexes, the placement and plan of the individual buildings, their orientation, mass characteristics and structural properties. It is discussed whether female patronage had any recognizable consequences on the Ottoman Classical Architecture, and whether female patrons had any impact on the building process, selection of the site and architecture. These complexes, in addition, are discussed as physical manifestation and representation of imperial female power. Accordingly it is argued that, they functioned not only as urban regeneration projects but also as a means to enhance and make imperial female identity visible in a monumental scale to large masses in different parts of the capital. Introduction Historical study, since the last quarter of the 20th The study first summarizes outlines the role of women century has concentrated on recognizing, defining, in the Ottoman society. -
Transformer Vault Placement and Space Requirements
Transformer Vault Placement and Space Requirements Consolidated Edison Company of New York, Inc. 4 Irving Place New York NY 10003 www.conEd.com Transformer Vault Placement and Space Requirements Whether you’re constructing a new building Con Edison supplies service to buildings at our or adding electric load to an existing one, standard voltage of 120/208. In addition, 265/460- Con Edison strongly encourages you to con- Volt or high-tension service is available, but may involve an incremental cost to the customer. tact us early in the design process to discuss your transformer vault requirements. This When transformer vaults are required to serve the step will help you to avoid unnecessary and building’s load, it is essential that you consider the vault requirements before you proceed with the costly design changes or delays that may design of your building. This will mitigate costly result if these requirements are not incorpo- design changes for you and/or delays to your rated into your final building design. project. Typical transformer vault space require- All Con Edison transformer vaults require natural ments depend on the number of transformers ventilation and must have sidewalk gratings, as required to supply electricity to your build- noted in the enclosed drawings, which identify the ing. In addition, there may be an incremen- space requirements for sidewalk transformer vault installations. The gratings provide ventilation for tal customer cost to supply service at your the transformer as well as a means of entry for Con requested point of entry. Your final service Edison personnel to maintain, remove, or install design will be developed after Con Edison equipment. -
Tales of a Medieval Cairene Harem: Domestic Life in Al-Biqa≠‘|'S Autobiographical Chronicle
LI GUO UNIVERSITY OF NOTRE DAME Tales of a Medieval Cairene Harem: Domestic Life in al-Biqa≠‘|'s Autobiographical Chronicle Among the findings of recent scholarship on medieval Arabic autobiography1 is a reaffirmation, or redefinition, of the long-held notion that the realm of "private" life was "never the central focus of pre-modern Arabic autobiographical texts."2 To address this paradoxical contradiction between the business of "self- representation" and the obvious lack of "private" material in such texts, four sets of recurring features have been identified to help in uncovering the "modes" the medieval Arabic authors used to construct their individual identities: portrayals of childhood failures, portrayals of emotion through the description of action, dream narratives as reflections of moments of authorial anxiety, and poetry as a discourse of emotion.3 Other related areas, such as domestic life, gender, and sexuality, are largely left out. The "autobiographical anxiety," after all, has perhaps more to do with the authors' motivations to pen elaborate portrayals, in various literary conventions, of themselves as guardians of religious learning and respected community members (and in some cases, to settle scores with their enemies and rivals) than self-indulgence and exhibitionist "individuating." In this regard, a good example is perhaps the universally acclaimed autobiographical travelogue, the Rih˝lah of Ibn Bat¸t¸u≠t¸ah (d. 770/1368), who married and divorced over a period of thirty years of globetrotting more than twenty women and fathered, and eventually abandoned, some seventy children. However, little, if any, information is provided © Middle East Documentation Center. The University of Chicago. -
Data Vault Data Modeling Specification V 2.0.2 Focused on the Data Model Components
Data Vault Data Modeling Specification v2.0.2 Data Vault Data Modeling Specification v 2.0.2 Focused on the Data Model Components © Copyright Dan Linstedt, 2018 all rights reserved. Abstract New specifications for Data Vault 2.0 Methodology, Architecture, and Implementation are coming soon... For now, I've updated the modeling specification only to meet the needs of Data Vault 2.0. This document is a definitional document, and does not cover the implementation details or “how-to” best practices – for those, please refer to Data Vault Implementation Standards. Please note: ALL of these definitions are taught in our Certified Data Vault 2.0 Practitioner course. They are also defined in the book: Building a Scalable Data Warehouse with Data Vault 2.0 available on Amazon.com These standards are FREE to the general public, and these standards are up-to-date, and current. All standards published here should be considered the correct and current standards for Data Vault Data Modeling. NOTE: tooling vendors: if you *CLAIM* to support Data Vault 2.0, then you must support all standards as defined here. Otherwise, you are not allowed to claim support of Data Vault 2.0 in any way. In order to make the public statement “certified/Authorized to meet Data Vault 2.0 Standards” or “endorsed by Dan Linstedt” you must make prior arrangements directly with me. © Copyright Dan Linstedt 2018, all Rights Reserved Page 1 of 17 Data Vault Data Modeling Specification v2.0.2 Table of Contents Abstract .........................................................................................................................................1 1.0 Entity Type Definitions .............................................................................................................4 1.1 Hub Entity ...................................................................................................................................................... -
Before the Odalisque: Renaissance Representations of Elite Ottoman Women Heather Madar
Early Modern Women: An Interdisciplinary Journal 2011, vol. 6 Before the Odalisque: Renaissance Representations of Elite Ottoman Women Heather Madar he much-mythologized harem of the Ottoman sultans occupied a Tcentral place in European Orientalist thought for centuries.1 The harem, presented as an exotic world of forbidden sexuality inhabited by compliant yet sexually voracious women, appears in literature, art, and travel writing. While the most famous expressions of this harem fixa- tion date from later centuries,2 a focus on the harem as libidinous zone is demonstrably present in written sources from the sixteenth century. Yet an exploration of sixteenth-century European images turns up a surprising dearth of imagery in this vein. While Renaissance art lacks the languid odalisques or detailed views of the physical environment of the sultan’s harem familiar from later works, a series of largely overlooked representa- tions of elite Ottoman women do exist. Dating from the mid-sixteenth century, these images feature imagined portraits of sultanas — elite women such as Ottoman princesses, the sultan’s mother (valide sultan), or the sul- tan’s preferred concubine (haseki).3 Hurrem, the wife of sultan Süleyman, and his daughter Mihrimah appear most frequently in this genre. Yet strik- ing differences are immediately evident between their depiction and later, more familiar, views of the harem and harem women. The women shown in the Renaissance tradition were members of the sultan’s harem, yet they are not shown within a harem setting, nor do the images make reference to it. Although they are visually marked as Other, largely through the atten- tion given to their exotic dress, they are also presented as women who are of interest as individuals, possessing status and political significance. -
Women at the Mughal Court Perception & Reality
Women at the Mughal Court Perception & Reality What assumptions or questions do you have about the women depicted in the following nine paintings? What was life like in the zenana or women’s quarters? How much freedom did they have? With our new online catalogue we are drawing attention to this under-explored area. We look at the fascinating lives and achievements of these women, and how they have been represented, or misrepresented. Women at the Mughal Court Perception & Reality When we look at cat. 1, ‘A Princess is attended by her Women’, one can imagine how such an image could be misinterpreted. For centuries, the women of the Mughal court and the space of the zenana (the women’s quarters of a household) in particular have often been neglected by art historians and represented by European visitors and later writers and artists in Orientalist terms. This is the idea of the ‘exotic’ harem as a place of purely sensuous languor, where thousands of nubile young women are imprisoned and lead restricted lives as sex objects, full of jealousy and frustration. As we might expect, the truth is far more complex, rich, and surprising. Certainly, as the wonderful details of cat. 1 attest, the highest-ranking women of this society enjoyed an extremely sophisticated luxury and beauty culture. Our princess’ every need is being attended to: women on the left bring her fruit and a covered cup with a drink; one woman shampoos her feet to cool them while others hold a peacock, a morchhal, attend the incense burner, and sing and play on the tambura as musical accompaniment.