The subject of Vassos Argyrou's study is modernisation, as reflected in the changing nature of wedding celebrations in Cyprus over two generations from the 1930s to the present day. He argues that modernisation is not a secular, progressive process, that remodels the life of a society, ironing out local differences. Rather, it is a legitimising discourse. It is an idiom which Greek Cypriots employ to represent, and contest, relationships between social classes, old and young, men and women, city folk and villagers. At the same time, by involving modernisation, they are submitting to foreign standards, and accepting the symbolic domination of Europe.

Between the 1890s and 1920s, cities in the vast region stretching from the Mediterranean Sea to the Indian Ocean were experiencing political, social, economic, and cultural changes that had been set in motion at least since the early nineteenth century. As the age of pre-colonial empires gave way to colonial and national states, there was a sense that a particular liberalism of culture and economy had been irretrievably lost to a more intolerant age. Avoiding such dichotomies as East/West and modernity/tradition, this book provides a comparative analysis of contested versions of the concept of modernity. The book examines not only the "high" culture of scholars and the literati, but also popular music, the visual arts, and journalism. The contributors incorporate discussion of the way in which the business in both commodities and ideas was conducted in the increasingly cosmopolitan cities of the time.

The Islamic world's artistic traditions experienced profound transformation in the 19th century as rapidly developing technologies and globalizing markets ushered in drastic changes in technique, style, and content. Despite the importance and ingenuity of these developments, the 19th century remains a gap in the history of Islamic art. To fill this opening in art historical scholarship, Making Modernity in the Islamic Mediterranean charts transformations in image-making, architecture, and craft production in the Islamic world from Fez to Istanbul. Contributors focus on the shifting methods of production, reproduction, circulation, and exchange artists faced as they worked in fields such as photography, weaving, design, metalwork, ceramics, and even transportation. Covering a range of media and a wide geographical spread, Making Modernity in the Islamic Mediterranean reveals how 19th-century artists in the Middle East and North Africa reckoned with new tools, materials, and tastes from local perspectives.

Through an interdisciplinary analysis of literary, musical, and visual works, this book proposes a cultural and historical reconfiguration of the Mediterranean.

This volume brings together papers presented at the 7th Annual International Conference co-organised by Florence University of the Arts, Italy, and Stony Brook University (SUNY), USA. The contributors explored the many connections that define the Mediterranean Sea as a symbol of tradition and modernity, and examined it as a region capable of congregating, synergizing and transforming cultures. Their writings focus on the relationship between the cultural, social, and historical environment of Mare Nostrum to pinpoint the elements defining its identity. Hence, particular emphasis is placed on the role and relevance of the Mediterranean as the first beacon of multi-ethnicity which may be seen as a symbol of diversity and unity, as well as a model that holds clues to understanding the global merging of cultures. As such, it is a real shame to see that the general interest in this unique and fascinating area has arisen not thanks to such highly positive features, but because, as Pope Francis says, it has become an open-air cemetery where thousands of people keep drowning. The multifaceted approach to this topic has resulted in the book being divided into four sections, covering the following thematic areas: Literature, History, Culture, and Identity.