The politics of space and culture in Dubai in the first decade of the twenty-first century.

The two-volume Companion to Islamic Art and Architecture bridges the gap between monograph and survey text by providing a new level of access and interpretation to Islamic art. The more than 50 newly commissioned essays revisit canonical topics, and include original approaches and scholarship on neglected aspects of the field. This two-volume Companion showcases more than 50 specially commissioned essays and an introduction that survey Islamic art and architecture in all its traditional grandeur Essays are organized according to a new chronological-geographical paradigm that remaps the unprecedented expansion of the field and reflects the nuances of major artistic and political developments during the 1400-year span The Companion represents recent developments in the field, and encourages future horizons by commissioning innovative essays that provide fresh perspectives on canonical subjects, such as early Islamic art, sacred spaces, palaces, urbanism, ornament, arts of the book, and the portable arts while introducing others that have been previously neglected, including unexplored geographies and periods, transregional connectivities, talismans and magic, consumption and networks of portability, museums and collecting, and contemporary art worlds; the essays entail strong comparative and historiographic dimensions The volumes are accompanied by a map, and each subsection is preceded by a brief outline of the main cultural and historical developments during the period in question The volumes include periods and regions typically excluded from survey books including modern and contemporary art-architecture; China, Indonesia, Sub-Saharan Africa, Sicily, the New World (Americas)

Indian communities have existed in the Gulf emirate of Dubai for more than a century. Since the 1970s, workers from South Asia have flooded into the emirate, enabling Dubai's huge construction boom. They now compose its largest noncitizen population. Though many migrant families are middle-class and second-, third-, or even fourth-generation residents, Indians cannot become legal citizens of the United Arab Emirates. Instead, they are all classified as temporary guest workers. In Impossible Citizens, Neha Vora draws on her ethnographic research in Dubai's Indian-dominated downtown to explore how Indians live suspended in a state of permanent temporariness. While their legal status defines them as perpetual outsiders, Indians are integral to the Emirati nation-state and its economy. At the same time, Indians—even those who have established thriving diasporic neighborhoods in the emirate—disavow any interest in formally belonging to Dubai and instead consider India their home. Vora shows how these multiple and conflicting logics of citizenship and belonging contribute to new understandings of contemporary citizenship, migration, and national identity, ones that differ from liberal democratic models and that highlight how Indians, rather than Emiratis, are the quintessential—yet impossible—citizens of Dubai.

Corporate success differs by company, sector and industry. Thirteen case studies document the corporate growth of companies from different industries in the United Arab Emirates. Examining key indicators of success of each company, capturing the strategic drivers behind them and assessing their best practices.

Award-winning journalist Jim Krane charts the history of Dubai from its earliest days, considers the influence of the family who has ruled it since the nineteenth century, and looks at the effect of the global economic downturn on a place that many tout as a blueprint for a more stable Middle East The city of Dubai, one of the seven United Arab Emirates, is everything the Arab world isn't: a freewheeling capitalist oasis where the market rules and history is swept aside. Until the credit crunch knocked it flat, Dubai was the fastest-growing city in the world, with a roaring economy that outpaced China's while luring more tourists than all of India. It's one of the world's safest places, a stone's throw from its most dangerous. In City of Gold, Jim Krane, who reported for the AP from Dubai, brings us a boots-on-the-ground look at this fascinating place by walking its streets, talking to its business titans, its prostitutes, and the hard-bitten men who built its fanciful skyline. He delves into the city's history, paints an intimate portrait of the ruling Maktoum family, and ponders where the city is headed. Dubai literally came out of nowhere. It was a poor and dusty village in the 1960s. Now it's been transformed into the quintessential metropolis of the future through the vision of clever sheikhs, Western capitalists, and a river of investor money that poured in from around the globe. What has emerged is a tolerant and cosmopolitan city awash in architectural landmarks, luxury resorts, and Disnified kitsch. It's at once home to America's most prestigious companies and universities and a magnet for the Middle East's intelligentsia. Dubai's dream of capitalism has also created a deeply stratified city that is one of the world's worst polluters. Wild growth has clogged its streets and left its citizens a tiny minority in a sea of foreigners. Jim Krane considers all of this and casts a critical eye on the toll that the global economic downturn has taken. While many think Dubai's glory days have passed, insiders like Jim Krane who got to know the city and its creators firsthand realize there's much more to come in the City of Gold, a place that, in just a few years, has made itself known to nearly every person on earth.

A New York Times Notable Book Nominated for the Man Booker Prize In this extraordinary, both comic and philosophically profound novel, the acclaimed author of Netherland uncovers the hidden contours of a glittering Middle Eastern city—and the quiet dilemmas of modernity. When our unnamed hero, a self-sabotaging and oddly existential lawyer, finds his life in New York falling apart, he seizes an opportunity to flee to Dubai, taking a mysterious job for a fabulously wealthy Lebanese family. As he struggles with his position as the “family officer” of the capricious Batros brothers, he also struggles with the “doghouse,” a condition of culpability in which he feels trapped, even as he composes endless electronic correspondence—both sent and unsent—in an attempt to find a way out. An unforgettable fable for our globalized times, The Dog is told with Joseph O’Neill’s hallmark eloquence, empathy, and stylistic mastery.