Understanding Turbans
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Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
The Hat Magazine Archive Issues 1 - 10
The Hat Magazine Archive Issues 1 - 10 Issue No Date Main Articles Workroom Process ------------------------------------------------------------------------------------------------------------------------ Issue 1 Apr-Jun 1999 Luton - Ascot Shoot - Sean Barratt Feathers - Dawn Bassam -Trade Shows - Fashion Museums & Dillon Wallwork ------------------------------------------------------------------------------------------------------------------------ Issue 2 Jul-Sep 1999 Paris – Marie O’Regan – Royal Ascot Working with crinn with - Student Shows – Geoff Roberts Frederick Fox ------------------------------------------------------------------------------------------------------------------------ Issue 3 Oct-Nov 1999 Hat Designer of the Year ’99 - Block Making with Men in Hats, shoot – Trade Fairs Serafina Grafton-Beaves ------------------------------------------------------------------------------------------------------------------------ Issue 4 Jan-Mar 2000 Mitzi Lorenz – Philip Treacy couture Working with sinamay (1) show Paris – Florence – Bridal shoot with Marie O’Regan Street page – Trades Shows ------------------------------------------------------------------------------------------------------------------------ Issue 5 Apr-Jun 2000 Coco Chanel – Trade Fairs Working with sinamay (2) Dagmara Childs – Knits Shoot with Marie O’Regan Street page - Trade Shows ------------------------------------------------------------------------------------------------------------------------ Issue 6 Jul-Sep 2000 Luton shoot – Royal Ascot Working with -
Spring Summer 2020 Vienna
SPRING SUMMER 2020 VIENNA What exactly is „Viennese Style“? The typical Was ist denn jetzt eigentlich dieser Wiener Stil? Viennese je-ne-sais-quoi, which has gained a Dieses typisch Wienerische, das längst eine world-wide reputation? In our Spring/Summer 2020 Weltkarriere hingelegt hat? Um nichts Geringeres collection we did our utmost to try and unearth this. als das herauszufinden, ging es in der Kollektion Did we find a succinct answer? Unfortunately not! Frühling/Sommer 2020. Haben wir eine schlüssige Vienna is many things, maybe even too many. Antwort darauf gefunden? Leider nein! But above all it is a “melange” – a blend of Wien ist Vieles, vielleicht sogar zu Vieles. Vor allem different influences and style directions, which, aber ist es eine „Melange“ unterschiedlichster when mixed together just so, result in something Einflüsse und Stilrichtungen, die in einem ganz typically Viennese. This is a fine balance between bestimmten Mischverhältnis eben Wienerisch simplicity and opulence, patina and gloss, art ergeben. Das spielt sich zwischen Schlichtheit und nouveau and social housing, superficiality and Opulenz ab, Patina und Hochglanz, Jugendstil skilful understatement. And generally between east und Gemeinde bau, Oberfläche und Understatement. and west, north and south – and we are right at Und überhaupt zwischen Westen und Osten, Norden the epicentre. Exuberant, completely over the top und Süden – und wir mittendrin. Überbordend and then again there is total clarity. Decorations, und dann wieder ganz klar. Ornamente, Rüschen, frills, fraying or their entire absence – this is the Fransen und deren Abwesenheit – das ist die Mühlbauer Spring/Summer 2020 collection. Mühlbauer- Kollektion Frühling/Sommer 2020. -
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. -
Bentuk Dan Makna Sorban Di Indonesia
1 Bentuk dan Makna Sorban di Indonesia Hafshoh Arrobbaniyah Program Studi Arab, Fakultas Ilmu Pengetahuan Budaya, Universitas Indonesia, Depok, Jawa Barat, 16424, Indonesia Email : [email protected] Abstrak Artikel jurnal ini membahas mengenai “Bentuk dan Makna Sorban di Indonesia”. Latar belakang dari penulisan ini adalah banyaknya ragam bentuk sorban yang tersebar di seluruh dunia memiliki makna yang berbeda-beda bagi setiap agama, wilayah, kelompok masyarakat serta individu pemakainya. Tujuan dari penulisan ini adalah mengetahui bentuk sorban di Indonesia serta ragam makna di balik pemakaian sorban tersebut. Metode penulisan yang digunakan adalah studi kepustakaan (library search) dengan mencari sumber-sumber referensi yang berkaitan dengan sorban beserta perkembangannya di dunia dan Indonesia, serta metode wawancara dengan narasumber untuk menunjang sumber referensi. Jurnal ini menggunakan metode penelitian deskriptif analitis. Jurnal ini menggunakan teori akulturasi yang dikemukakan oleh Young Yun Kim untuk menganalisis bentuk sorban di Indonesia, serta konsep mengenai komodifikasi agama yang dikemukakan oleh Pattana Kitiarsa dalam menganalisis makna sorban di Indonesia. Hasil dari analisis penulisan ini yaitu bentuk sorban di Indonesia merupakan hasil akulturasi dengan bentuk sorban di Yaman dan India. Selain sebagai simbol agama, sorban juga dapat bermakna sebagai komoditas. Abstract Form and Meaning of Turban This journal article discusses about the "Form and Meaning Turbans in Indonesia". The background of this journal is the spreading forms of turban to all over the world which it has different meanings for each religion, region, community groups and individual wearers. The purpose of this paper is to determine the form of a turban in Indonesia and the meaning behind wearing the turban. The method which is used in this journal is the study of literature (library search) to find the sources of reference which relating to the turban and its development in the world and in Indonesia, and interviews with informants to support the references. -
The Real Face of Arabic Symbols
Rochester Institute of Technology RIT Scholar Works Theses 5-17-2017 The Real Face of Arabic Symbols Leena Yahya Sonbuol [email protected] Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Sonbuol, Leena Yahya, "The Real Face of Arabic Symbols" (2017). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. R.I.T The Real Face of Arabic Symbols By Leena Yahya Sonbuol A Thesis Submitted to the Faculty of The College of Imaging Arts and Sciences School of Art In Candidacy for the Degree of MASTER OF FINE ARTS In Fine Arts Studio Rochester Institute of Technology Rochester, NY Date: May 17, 2017 I Thesis Approval Thesis Title: The Real Face of Arabic Symbols Thesis Author: Leena Yahya Sonbuol Chief Advisor: Eileen Feeney Bushnell (Signature) Date: Associate Advisor: Clifford Wun (Signature) Date: Associate Advisor: Denton Crawford (Signature) Date: Chair, School of Art: Glen Hintz (Signature) Date: II ACKNOWLEDGMENTS I would first like to thank my thesis advisor Eileen Bushnell, and my committee members, Clifford Wun, and Denton Crawford, for the guidance they provide to me while I was working on my thesis. Their doors were always open whenever I ran into a trouble spot or had a question not only regarding my artwork, but also about my life in the USA as an international student. They consistently allowed this paper to be my work but steered me in the right direction whenever they thought I needed it. -
"THE CROWNS of THIS Community" ... SOME NOTES on the TURBAN in the MUSLIM TRADITION
"THE CROWNS OF THIS COMMUNITy" ... SOME NOTES oN THE TURBAN IN THE MUSLIM TRADITION M.J. Kister The Hebrew University of Jerusalem I The tradition recorded in Nabia Abbot's Studies in Arabic Papyri III was only conjecturally read by the author: balaghana anna rasula llahi salla llahu `alayhi wa-sallama qala: tijanu hadhihi l-ummati l-`amalu [] yaquluha fi l-`idayni wa-yauma I-jum`ati. Professor Abbot described the papyrus as a document written in the late second century of the hijra; she assumed that the author- of the· papyrus was Qutayba b. Sa`ld al-Balkhi (d. 240/854).2 This partly deciphered statement, attributed to the Prophet and transmitted in various versions in the compendia of hadith, is often cou- pled with two or three additional statements ascribed to the Prophet. The first phrase of the combined statement, often quoted separately, and provided with explanations and comments, was transmitted in a concise form: al-`ama'imu tijanu I-`arabi, "The turbans are the crowns of the Arabs."3 This seems to be with all probability the correct reading of 1 Qur'anic Commentary and Tradition, The University of Chicago, Oriental In- stitute Publications, vol. 76, 11, 1967, Document 3, verso, 11.15-16. 2 Ibid., pp. 143-145. 3See e.g., Ibn Hajar al-`AsqalanI, Fada'ilu l-qur'ani l-karim, al-Sayyid al-Jamili, ed. (Beirut, 1986), p. 144: wa-huwa ka-qawihim: al-'ama'imu tfjanu l-'arabi li-kauniha taqllmu maqama l·tfjani; and see `Abd ai-Malik b. Mul]ammad al- Tha`aIibI, Thimaru l-quillb /f l-mudaJ wa-l-manfllb, MUl}ammadAbu I-Fa4I IbrahIm, ed. -
Universi^ Micn^Lms
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
SOUNDSCAPES: the Arab World Vocabulary
SOUNDSCAPES: The Arab World Vocabulary ADHAN The Islamic call to prayer. MAFRAJ A window‐lined room at the AL‐ANDALUS Around 1000 CE, the area now top of a house. called Spain and part of North MAGHREB The North African dessert. Africa. MAQAM Scales and notes that define AL‐QAHIRAH The Arabic name for Cairo, Arabic music tonality. Egypt. MINARET Part of a MOSQUE, a tower ARDHA A traditional Arabic dance, used for communication. common in Saudi Arabia. MIZHWIZ A double‐pipe double‐reed AS‐SANTOOR A multi‐stringed instrument wind instrument. played with wooden sticks. MIZMAR A single‐pipe double‐reed wind BEDOUIN Nomadic people of the Arabian instrument. and North African desert. MOSQUE An Islamic place of worship. BENDIR A round, flat, wooden‐framed NAY An end‐blown wind instrument. drum. OSTINATO Italian musical term for a BERBER Indigenous people of the North repeating pattern. African desert OUD/AL‐‘UD A pear‐shaped string CHA’ABI/SHA’ABI A style of dance and music instrument, similar to a lute. popular in some poorer Arab QANUN A large, flat multi‐stringed communities. instrument. DABKE A traditional line dance, RABABEH A single‐stringed bowed fiddle. popular in Lebanon. REBEC The European version of the DALOONAH Improvised music often used REBABEH, precursor to the with DABKE. violin. DERVISH Devout SUFI Muslims, similar to RIQ/TAR A round, flat, wooden‐framed Christian monks. drum with jingling plates DJELLABA A tunic, often worn by BERBER around the rim, similar to a men. tambourine. DJEMBE A West African drum, similar to SAWT A bluesy style of Arabic music, a DUMBEK. -
Manipur Traditional Costumes
Manipur Traditional Costumes Manipur traditional costumes are very charisma and attractive and very simple and easier to wear them. The patterns and designs on the costumes are very unique and colorful. Manipur Traditional Costumes for Women: Innaphi and Phanek are the Manipuri traditional dress for women in Manipur. All Manipuri women wore these costumes. Phanek is worn like a sarong. The Manipuri dress is woven with the hand in horizontal line designs. The people also weave special Phanek, those called Mayek Naibi. The designs on Naibi are horizontal stripes and very attractive to look. This dress gives an extra appearance to the women and glows the beauty of the wearer. Meitai Females only stitch a cloth which called Kanap Phanek. The Kanap Phanek seems in the design of skirt and Meitai females stitched it with various designs. ‘Lai-Phi is another attractive cloth, which is in white color having a yellow border. ‘Chin-Phi’ is also another Manipuri traditional costume; the costumes made with embroidered Phanek. Manipur Traditional Costumes for Men: Manipur Men wear their traditional costume dhoti with a jacket. The white turban called Pagri wear commonly. The superior member of society wears cloth which called Khamen Chatpa. The Khamen Chatpa is generally worn on the ritual occasions. In ancient period the kings gifted Khamen Chatpa to the Genius, Poets and well-known people as the gifts and award. In ancient times the kings wear the special Ningthoupee dress and the warriors wear Zamphie during the wars. Manipuri Dress For Modern People: Manipur people strictly follow their tradition and culture. -
Black Sultan.Book
L.RON HUBBARD Black TheSultan CHAPTER ONE El Zidan HEIR medals were clinking, their rowels spun on the Tupward-curving pavement, their scarlet breeches put to shame the tropical brilliance of the Moroccan town. Encased in shining leather were their revolvers, gold lanyards attached. They had stopped now, looking at me. It was hard to sit there at a sidewalk table and idly spin a glass between thumb and forefinger—as hard as trying to keep an agonized finger on a hot stove. The taller of the two unfastened his holster flap and stabbed a knowing glance at his companion. They were Legion officers on leave, but they knew their duty to Morocco, to France. How easy it would have been for me to drag the .45 from against my ribs and give it to them. But something of the fatality of the situation was with me. Although I did not consciously realize it, I was at a crossroads of life and three factors were bearing down upon me, converging. To crush me between them, quite probably. Evidently, the taller of the two saw the threat in my eyes. He called out, “Americain! I, Captain Nicolle, order you to stand up and come here.” He needn’t have announced himself. I remembered him from a past visit to this place, just as he knew me—however vaguely. 3 ♦ L. RON HUBBARD ♦ It was useless to disobey. The eight-thousand-mile trek was over. Eddie Moran was through. France had caught up with me. As I started to rise, a hail came from across the street: “Hey! Hey! Hey! Eddie Moran! Wait for me!” Two men were coming down a twisty flight of stairs. -
Middle East Quick Fact Sheet
Middle East Quick Fact Sheet • The countries that make up the Middle East are: Bahrain, Iran, Iraq, Israel, Jordan, Kuwait, Lebanon, Oman, Qatar, Saudi Arabia, Syria, The Palestinian Territories, United Arab Emirates and Yemen. • Iran has the largest population in the region with approximately 70 million people. • Most popular languages spoken: Arabic, Kurdish, Persian, and Hebrew. • Many religions are practice in this region. The most popular are: Islam, Christianity, and Judaism. • When visiting holy sites in the region it is customary to wear a head covering. When visiting Muslim sites modest head covering s are appreciated like a turban, taqiyah (cap) or keffiyeh for males and a scarf for females. Males are required to remove their hats while females wear a keffiyehs or veil when visiting Orthodox Christian sites. For Jewish holy sites males are required to wear a yamulke or any other head wear. • The metric system is used in the Middle East. • Some of the most popular foods in the region are; hummus (a dip made from chickpeas), pita, shawarma (meat wrapped up in pita bread), falafel, baba ghanoush (an eggplant and tahini dip), tabouleh (a salad made with pasley, tomatoes, chick peas and olive oil). It is common to eat from a central platter. • A global warming impact study of the Arabian Gulf by the British University of Dubai predicts that temperatures will rise between 1.8 and 4 degrees Celsius. This will melt ice caps and submerge coastal areas which will force those living in such regions to flee inland. o Reference: http://www.ameinfo.com/148002.html • The United Arab Emirates has the highest carbon footprint on a per capita tonne basis even with its small population.