Titlebook: An Armenian Mediterranean; Words and Worlds in Kathryn Babayan,Michael Pifer Book 2018 The Editor(s) (if applicable) and The Author(s) 201

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書目名稱An Armenian Mediterranean網(wǎng)絡(luò)公開度




書目名稱An Armenian Mediterranean網(wǎng)絡(luò)公開度學(xué)科排名




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EXUDE

外貌

From “Autonomous” to “Interactive” Histories: World History’s Challenge to Armenian Studiesare not meant to be definitive statements but rather?invitations to further debate and explore the advantages of imagining Armenian history not as autonomous history but as an open arena shaped by mobility and an unfolding of interactive histories.

ANIM

2731-5592 obal history, Mediterranean studies, Armenian studies, and mThis book rethinks the Armenian people as significant actors in the context of Mediterranean and global history. Spanning a millennium of cross-cultural interaction and exchange across the Mediterranean world, essays move between connected

你正派

錫箔紙

Kepler und die Lehre von der Weltharmonie,uages and literatures outside their purview. Taking a contemporary Armenian play, Aghasi Ayvazyan’s . (.), as a case in point, this chapter examines the ways in which an absurdist theatrical work produced for a small audience can undermine assertions made by critical discourses on world literature.

光明正大

,über Symmetrien in der Ornamentik,logical fault lines tend to lead scholars to adopt assumptions and display biases which are already evident in the manner the republic is treated even in scholarly literature. The purpose of the chapter is to make scholars aware of such pitfalls and biases when writing in the future the history of the Third Republic.

modish

Between Anatolia and the Balkans: Tracing Armenians in a Post-Ottoman Orderonsidering the predicament of the Muslim populations of the Balkan and the Kurds in Anatolia. Such “intertwined histories and overlapping territories,” to use Edward Said’s words, contribute to the decolonization and denationalization of area studies.

樂器演奏者

Contemporary Armenian Drama and World Literatureuages and literatures outside their purview. Taking a contemporary Armenian play, Aghasi Ayvazyan’s . (.), as a case in point, this chapter examines the ways in which an absurdist theatrical work produced for a small audience can undermine assertions made by critical discourses on world literature.

生銹

How to Write the History of the Third Republic or How Not to Write Itlogical fault lines tend to lead scholars to adopt assumptions and display biases which are already evident in the manner the republic is treated even in scholarly literature. The purpose of the chapter is to make scholars aware of such pitfalls and biases when writing in the future the history of the Third Republic.