Marcus Pasha Simaika (1864-1944) was born to a prominent Coptic family on the eve of the inauguration of the Suez Canal and the British occupation of Egypt. From a young age, he developed a passion for Coptic heritage and devoted his life to shedding light on centuries of Christian Egyptian history that had been neglected by ignorance or otherwise belittled and despised. He was not a professional archaeologist, an excavator, or a specialist scholar of Coptic language and literature. Rather, his achievement lies in his role as a visionary administrator who used his status to pursue relentlessly his dream of founding a Coptic Museum and preserving endangered monuments. During his lengthy career, first as a civil servant, then as a legislator and member of the Coptic community council, he maneuvered endlessly between the patriarch and the church hierarchy, the Coptic community council, the British authorities, and the government to bring them together in his fight to save Coptic heritage.This fascinating biography draws upon Simaika's unpublished memoirs as well as on other documents and photographs from the Simaika family archive to deepen our understanding of several important themes of modern Egyptian history: the development of Coptic archaeology and heritage studies, Egyptian-British interactions during the colonial and semi-colonial eras, shifting balances in the interaction of clergymen and the lay Coptic community, and the ever-sensitive evolution of relations between Copts and their Muslim countrymen.

A comprehensive history of Egyptian archeology, from the origins of the field during the Napoleonic era to World War I.

How are issues related to identity representation negotiated in Middle Eastern and North African museums? Can museums provide a suitable canvas for minorities to express their voice? Can narratives change and stereotypes be broken and, if so, what kind of identities are being deployed? Against the backdrop of the revolutionary upheavals that have shaken the region in recent years, the contributors to this volume interrogate a range of case studies from across the region - examining how museums engage inclusion, diversity and the politics of minority identities. They bring to the fore the region's diversity and sketches a 'museology of disaster' in which minoritised political subjects regain visibility.

The history of the struggles for control over Egypt's antiquities, and their repercussions, during a period of intense national ferment The sensational discovery in 1922 of Tutankhamun’s tomb, close on the heels of Britain’s declaration of Egyptian independence, accelerated the growth in Egypt of both Egyptology as a formal discipline and of ‘pharaonism'—popular interest in ancient Egypt—as an inspiration in the struggle for full independence. Emphasizing the three decades from 1922 until Nasser’s revolution in 1952, this compelling follow-up to Whose Pharaohs? looks at the ways in which Egypt developed its own archaeologies—Islamic, Coptic, and Greco-Roman, as well as the more dominant ancient Egyptian. Each of these four archaeologies had given birth to, and grown up around, a major antiquities museum in Egypt. Later, Cairo, Alexandria, and Ain Shams universities joined in shaping these fields. Contesting Antiquity in Egypt brings all four disciplines, as well as the closely related history of tourism, together in a single engaging framework. Throughout this semi-colonial era, the British fought a prolonged rearguard action to retain control of the country while the French continued to dominate the Antiquities Service, as they had since 1858. Traditional accounts highlight the role of European and American archaeologists in discovering and interpreting Egypt’s long past. Donald Reid redresses the balance by also paying close attention to the lives and careers of often-neglected Egyptian specialists. He draws attention not only to the contests between westerners and Egyptians over the control of antiquities, but also to passionate debates among Egyptians themselves over pharaonism in relation to Islam and Arabism during a critical period of nascent nationalism. Drawing on rich archival and published sources, extensive interviews, and material objects ranging from statues and murals to photographs and postage stamps, this comprehensive study by one of the leading scholars in the field will make fascinating reading for scholars and students of Middle East history, archaeology, politics, and museum and heritage studies, as well as for the interested lay reader.

This richly illustrated book presents a history of Egyptian late antique–early Byzantine (Coptic) art in its international stylistic, social and intellectual context.

Focused on three Egyptian revolutions—in 1919, 1952, and 2011—this edited book argues that each of these revolutions is a milestone which represents a meaningful turning point in modern Egyptian history. Revolutions are typically characterized by a fundamental change in political and social infrastructures as well as in the establishment of new values and norms. However, it should be noted that this may not be entirely applicable when examining the context of the three Egyptian revolutions: the 1919 revolution failed to liberate Egypt from British colonial hegemony; the 1952 revolution failed to rework the country’s social and economic systems and unify the Arab world; and the "Arab Spring" revolution of 2011 culminated in a chaotic economic and social catastrophe, thus failing to solve the young generation’s crisis. Nevertheless, by revisiting and re-defining these revolutions through diverse theoretical frameworks, the book proposes that each of them played a significant role in shaping Egypt’s political, social, and cultural identity. This book is specifically of interest for students, historians, and social scientists with a keen interest in Egyptian history and the Middle East, offering fresh perspectives and insights into these transformative moments in Egypt’s history.

The commodification of Islamic antiques intensified in the late Ottoman Empire, an age of domestic reform and increased European interference following the Tanzimat (reorganisation) of 1839. Mercedes Volait examines the social life of typical objects moving from Cairo and Damascus to Paris, London, and beyond, uncovers the range of agencies and subjectivities involved in the trade of architectural salvage and historic handicraft, and traces impacts on private interiors, through creative reuse and Revival design, in Egypt, Europe and America. By devoting attention to both local and global engagements with Middle Eastern tangible heritage, the present volume invites to look anew at Orientalism in art and interior design, the canon of Islamic architecture and the translocation of historic works of art.