Who could approach and speak with the Sumerian Queen? What rules governed a banquet with the Persian king? What was the most elegant way to drink wine? Where were the women in the Assyrian court? With hundreds of people crammed into a palace, was hygiene important? How were court guests treated? What games were played at court? Is the stereotypical image of the “Oriental” court characterized by lust, backstairs intrigue, flatteries, and secrets sustainable in the light of new evidence and theoretical approaches? The court at the same time is considered as a large amorphous body in a physical location or an institution, or a group of people, or even to particular events. This seminar style course considers Middle Eastern courts from the Sumerians through the Assyrian and Persian empires articulating shared and diverse features. Textual, visual, material and archaeological sources are considered through sociological and anthropological theories and core concepts such as groups, individuals, ultrasociality, proxemics, sociopetal, sociofrugal and purity to name a few. Comparisons with later courts in the Middle East are welcome.

Visual expression was first developed in Mesopotamia in the same environment as the invention of writing. This lecture class will introduce the arts of the major periods of Mesopotamian History ending with the "cinematic" effects achieved by the Assyrian artists on the walls of the royal palaces. The strong connection between verbal and visual expression will be traced over the three millennia course of Mesopotamian civilization from the earliest periods through the imperial art of the Assyrians and Babylonians of the first millennium BCE. The class and the assignments will regularly engage with objects in the collections and on display in the galleries of the Penn Museum.

The Arabian Nights (more accurately known as The Thousand and One Nights) is a collection of stories that circulated in the medieval Islamic world and would later become a canonical classic of world literature thanks to various stages of addition, translation, and creative retelling. It is a heady agglomeration of tales written with a distinctive frame story and form about characters and deeds that have been considered in turn memorable, hilarious, disgusting, arousing, thrilling, repugnant, and inspirational by various audiences since its beginning—and possibly even before it ever existed.
In this course, we will read almost the entirety of the 14th century collection of tales that constitute the earliest existing version of The Thousand and One Nights and analyze it both in relation to the medieval genres and historical contexts that shaped it and through contemporary theoretical frameworks. The Thousand and One Nights is a fluid and changing collection, so it is not our goal to focus on some clearly-defined “original”. We will instead discuss this collections’ origins, famous later additions such as the stories of Aladdin and Sindbad, and the role that its reception and translation in Europe played in making it a key text of world literature. We will also study some of its many later adaptations in film, poetry, and narrative. By analyzing key components of the text such as the frame story, fantasy, romance, and representations of race and gender, and by considering the aesthetics and politics of literary engagement with The Thousand and One Nights in modern contexts, we will come to appreciate the stories’ many travels across time and genres and develop our own ideas on what The Thousand and One Nights can teach us about the enduring power of storytelling. This course is taught in English, including all readings.

Exploration of intellectual, social, and cultural developments in Jewish civilization from the rise of Islam in the seventh century to the assault on established conceptions of faith and religious authority in 17th century Europe, that is, from the age of Mohammed to that of Spinoza. Particular attention will be paid to the interaction of Jewish culture with those of Christianity and Islam.

In the sixteenth century, the political landscape of the Middle East, Central Asia, and India changed with the expansion and consolidation of new Islamic empires. Gunpowder had transformed the modes of warfare. Diplomacy followed new rules and forms of legitimation. The widespread use of Persian, Arabic and Turkish languages across the region allowed for an interconnected world of scholars, merchants, and diplomats. And each imperial court, those of the Ottomans, the Safavids, and the Mughals, found innovative and original forms of expression in art and literature. The expansion of these Islamic empires, each of them military giants and behemoths of bureaucracy, marked a new phase in world history. The course is divided in four sections. The first section introduces the student to major debates about the so-called gunpowder empires of the Islamic world as well as to comparative approaches to study them. The second section focuses on the transformations of modes of warfare and military organization. The third section considers the cultural history and artistic production of the imperial courts of the Ottomans, the Mughals, and the Safavids. The fourth and final section investigates the social histories of these empires, their subjects, and the configuration of a world both connected and divided by commerce, expansion, and diplomacy.

This course is an introduction to Islam as a religion as it exists in societies of the past as well as the present. It explores the many ways in which Muslims have interpreted and put into practice the prophetic message of Muhammad through historical and social analyses of varying theological, philosophical, legal, political, mystical and literary writings, as well as through visual art and music. The aim of the course is to develop a framework for explaining the sources and symbols through which specific experiences and understandings have been signified as Islamic, both by Muslims and by other peoples with whom they have come into contact, with particular emphasis given to issues of gender, religious violence and changes in beliefs and behaviors which have special relevance for contemporary society.

This course will explore the origins, the history and, most importantly, the literary and cinematic art of the struggle that has endured for a century over the region that some call the Holy Land, some call Eretz Israel and others call Palestine. We will also consider religious motivations and interpretations that have inspired many involved in this conflict as well as the political consequences of world wars that contributed so greatly to the reconfiguration of the Middle East after the fall of the Ottoman Empire, and after the revelations of the Holocaust in Western Europe. While we will rely on a textbook for historical grounding. the most significant material we will use to learn this history will be films, novels, and short stories. Can the arts lead us to a different understanding of the lives lived through what seems like unending crisis?

This course introduces some of the major genres and themes of Persian poetry from ancient to modern Iran. Epic and romance, love and mysticism, wine and drunkenness, wisdom and madness, body and mind, sin and temptation are some of the key themes that will be explored through a close reading of poems in this course. The course suits students of all disciplines, as it requires no prior knowledge of or familiarity with the Persian language or the canon of Persian literature. All teaching materials are available in English translation. Students are expected to attend seminars and take part in discussions.

Covers principal aspects of ancient Egyptian culture (environment, urbanism, religion, technology, etc.) with special focus on archaeological data; includes study of University Museum artifacts.

Directed research or candidacy exam and proposal preparation.