What does it mean to be an intellectual in Egypt today? What is expected from an 'authentic scholar'? Hatsuki Aishima explores these questions byexamining educated, urban Egyptians and their perceptions of what it means to be 'cultured' and 'middle class' - something that, as a result of the neoliberal policies of Egyptian government, is widely thought to be a shrinking sector of society. Through an analysis of the media representations of 'Abd al-Halim Mahmud (1910-78), the French-trained Sufi scholar and the Grand Imam of al-Azhar under president Anwar al-Sadat, Aishima discusses the connection of Islam to these middle-class considerations and makes an original contribution to the debate on the commodification of religious teaching and knowledge. Public Culture and Islam in Modern Egypt is thereby aunique addition to the fields of anthropology, Middle East and media studies.

What does it mean to be an intellectual in Egypt today? What is expected from an 'authentic scholar'? Hatsuki Aishima explores these questions byexamining educated, urban Egyptians and their perceptions of what it means to be 'cultured' and 'middle class' - something that, as a result of the neoliberal policies of Egyptian government, is widely thought to be a shrinking sector of society. Through an analysis of the media representations of 'Abd al-Halim Mahmud (1910-78), the French-trained Sufi scholar and the Grand Imam of al-Azhar under president Anwar al-Sadat, Aishima discusses the connection of Islam to these middle-class considerations and makes an original contribution to the debate on the commodification of religious teaching and knowledge. Public Culture and Islam in Modern Egypt is thereby aunique addition to the fields of anthropology, Middle East and media studies.

Examines how popular media and culture provided ordinary Egyptians with a framework to construct and negotiate a modern national identity.

For 130 years, tensions have raged over the place of Islamic ideas and practices within modern Egypt. This history focuses on a pivotal yet understudied school, Dar al-Ulum, whose alumni became authoritative arbiters of how to be modern and authentic within a Muslim-majority community, including by founding the Muslim Brotherhood.

Popular culture serves as a fresh and revealing window on contemporary developments in the Muslim world because it is a site where many important and controversial issues are explored and debated. Aesthetic expression has become intertwined with politics and religion due to the uprisings of the “Arab Spring,” while, at the same time, Islamist authorities are showing increasingly accommodating and populist attitudes toward popular culture. Not simply a “westernizing” or “secularizing” force, as some have asserted, popular culture now plays a growing role in defining what it means to be Muslim. With well-structured chapters that explain key concepts clearly, Islam and Popular Culture addresses new trends and developments that merge popular arts and Islam. Its eighteen case studies by eminent scholars cover a wide range of topics, such as lifestyle, dress, revolutionary street theater, graffiti, popular music, poetry, television drama, visual culture, and dance throughout the Muslim world from Indonesia, Africa, and the Middle East to Europe. The first comprehensive overview of this important subject, Islam and Popular Culture offers essential new ways of understanding the diverse religious discourses and pious ethics expressed in popular art productions, the cultural politics of states and movements, and the global flows of popular culture in the Muslim world.

Review: "Christians versus Muslims in Modern Egypt is the first study of Christian identity politics in contemporary Egypt. S.S. Hasan begins by looking at how the Coptic generation of the 1940s and 1950s remembered, recovered, and imagined the ancient history of Christianity in Egypt in order to weld the Copts into a unified nation, resistant to the growing encroachments of Islam. She argues that this interpretation of history, in which Egyptian martyrs figure prominently, made possible the rebirth of the Coptic church and community - in much the same way as the preservation of Hebrew and the historical memory of Jewish tribulations served the purpose of national reconstruction of the state of Israel."--Jacket

Analyzing the modernist art movement that arose in Cairo and Alexandria from the late nineteenth century through the 1960s, Alex Dika Seggerman reveals how the visual arts were part of a multifaceted transnational modernism. While the work of diverse, major Egyptian artists during this era may have appeared to be secular, she argues, it reflected the subtle but essential inflection of Islam, as a faith, history, and lived experience, in the overarching development of Middle Eastern modernity. Challenging typical views of modernism in art history as solely Euro-American, and expanding the conventional periodization of Islamic art history, Seggerman theorizes a "constellational modernism" for the emerging field of global modernism. Rather than seeing modernism in a generalized, hyperconnected network, she finds that art and artists circulated in distinct constellations that encompassed finite local and transnational relations. Such constellations, which could engage visual systems both along and beyond the Nile, from Los Angeles to Delhi, were materialized in visual culture that ranged from oil paintings and sculpture to photography and prints. Based on extensive research in Egypt, Europe, and the United States, this richly illustrated book poses a compelling argument for the importance of Muslim networks to global modernism.