MELA Notes

Front Matter, Issue Number 96, 2023-2024

Table of Contents, Number 96, 2023-2024

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Editor's note on MELA Notes 96 (2023-2024)

Turkish political theater of the 1960s-1970s was a genre that galvanized both its intellectual proponents and drew the ire of state authorities. Deeply marked by the work of Bertolt Brecht produced some half a century earlier, the stage became an important setting where the broader violence between far-left groups, far-right groups, and the government was recast in literary form. During his doctoral research on the influence of German Marxism on Turkish political theater, former U.S. Peace Corps volunteer Albert Nekimken collected plays, works of theatrical criticism, periodicals, short stories, novels, and rare recordings of performances, among other materials. The Albert Nekimken Turkish Theater Collection, primarily composed of Nekimken’s research materials, began to grow as playwrights, intellectuals, and others contributed interviews or gifted materials to the young scholar in the mid-to-late 1970s. These works were acquired by Nekimken at a time of rampant political censorship and  ntellectual persecution–exemplified by the fact that many of the publications and performances in the collection were banned or subject to great censorship by the Turkish government. Among the works in the collection are those by well-known writers such as Orhan Asena, Engin Cezzar, Güngör Dilmen, Muhsin Ertuğrul, Nâzım Hikmet, Orhan Kemal, Aziz Nesin, and Haldun Taner. This newly described and processed collection held in the Booth Family Center for Special Collections at Georgetown University offers new directions to students and scholars of political theater, the history of Modern Turkey, Turkish-German literary exchanges, and intellectual histories of the Cold War. The collection also gives educators hoping to bring primary sources into the classroom new pedagogical tools to explore histories of censorship, erasure, and contentious politics.

The University of Edinburgh holds a substantial collection of manuscripts in Persian, Arabic, Turkish, and South Asian languages, formerly known as the “Oriental Manuscript Collection”. This article reports recent steps taken to make this collection, which consists largely of manuscripts collected by Scottish East India Company officials between the late 18th and mid 19th centuries C.E, relevant to the present day global audience, and to widen access to it. This includes its renaming as "Manuscripts of the Islamicate World and South Asia", and the creation of a digitally searchable catalogue on the ArchivesSpace platform, largely through the use of “legacy data” from a 1925 printed catalogue, yet with a focus on making provenance information readily available. We discuss the challenges involved in renaming, and indeed reinterpreting, a historical collection whilst adhering to the principles of archival and library science. We share the methodology used to create our digitally searchable catalogue, a relatively simple model that may well prove useful for those curating similar collections.

The ruins of Persepolis, the ceremonial capital of the Achaemenid Empire (559–330 BCE), are celebrated as a cultural heritage site and national monument in Iran. In 1971, these ruins became the setting for the Celebration of the 2,500th Anniversary of the Founding of the Persian Empire, orchestrated by Mohammad Reza Pahlavi. The Pahlavi regime aimed to fabricate a monarchical lineage that positioned the Pahlavi dynasty as the pinnacle of an uninterrupted historical continuum beginning with the Achaemenids and Cyrus the Great. The ceremonies featured a grandiose military parade with soldiers in historical costumes symbolically reenacting the
processions of foreign emissaries depicted on Persepolis' walls, emphasizing the glory and grandeur of Iran's imperial past and its uninterrupted history. Conversely, a decade earlier, Iranian filmmaker and poet Fereydoun Rahnema's short documentary captured Persepolis in a starkly different light, presenting it as enigmatic ruins devoid of grandeur, prompting reflections on their lost original meaning. Utilizing Walter Benjamin's concepts of natural history, melancholia, and allegory, this article explores the allegorical implications of Rahnema's film. It argues that the documentary signifies the disintegration of the sublime image of Iran’s imperial origin, marking a shift where the imperial past becomes too eclipsed a signifier to serve as a cornerstone of national identity.

Merhavy: National Symbols in Modern Iran: Identity, Ethnicity, and Collective Memory (Sarp Kurgan)

Fahmy: In Quest of Justice: Islamic Law and Forensic Medicine in Modern Egypt (Samin Rashidbeigi)

Shaikh & Seedat: The Women’s Khutbah Book, Contemporary Sermons on Spirituality and Justice From Around the World (Soodeh Mansouri)

Marr: Egypt at the Crossroads: Domestic Stability and Regional Role (Kira Weiss)

Brookes: On the Sultan’s Service: Halid Ziya Uşaklıgil’s Memoir of the Ottoman’s Palace, 1909-1912 (Duygu Coşkuntuna)

El-Ghobashy: Bread and Freedom: Egypt’s Revolutionary Situtation (Sarp Kurgan)

Mahdavi: The Myth of Middle East exceptionalism: Unfinished Social Movements (Shahrzad Khosrowpour)

Ahsan-Tirmizi: Pious Peripheries: Runaway women in post-Taliban Afghanistan (Shahrzad Khosrowpour)

MELA Business Meeting

November 30, 2022

University of Denver

MELA Business Meeting

November 1st, 2023

McGill University