This article sheds light on the factors that pave the way from voter abstention to voter turnout based on extensive research of tweets on national and local elections in Turkey. We find that the negative campaign strategy of the incumbent and the fact that the campaigning process has taken place on a very uneven playing field have triggered a set of emotions, primarily moral outrage and anger among the electorate, which have the power to change voting patterns in a significant way. The effect of negative campaigning on expressive voting was further enhanced by the pulling effect of the candidates and their public supporters and endorsements. We found that other, competing explanations of political outcomes are secondary to the mechanisms above.

For ten years, the Committee for Undergraduate Middle East Studies (CUMES) has organized the Undergraduate Research Workshop and Poster Session, creating a space where undergraduate students can present their work, receive feedback, and learn more about career paths related to Middle East studies. In 2016, I was fortunate enough to participate in the session, an experience that not only marked my entry into MESA but also showed me what generative scholarly engagement can look like. From the care that faculty participants took in their comments to the engagement during the poster presentations, my experience with the workshop has guided my own approach to providing student feedback, and it is an honor to have the space to reflect on this past experience and engage with the work of current undergraduates at the 2023 workshop.

The grand vizier Köprülü Mehmed Pasha (d. 1661) stands out as one of the most celebrated figures of Ottoman history, but despite his prominence, the basic contours of his earlier life remain largely unknown, and most of what is known derives from narrative accounts produced long after his death. This study utilizes archival sources to reconstruct Köprülü's career prior to his 1656 promotion to the grand vizierate. It reveals a major gap in the narrative sources: in 1653, when Köprülü is supposed to have been politically inactive, he was actually serving as a provincial governor in the sensitive region of Karaman in south-central Anatolia. At that time, a rebel faction was active in the area, and evidence indicates that Köprülü aligned with them. Elements of this faction, under Abaza Hasan's leadership, would later go on to rebel against Köprülü himself in 1658. Köprülü's ties to this rebel faction stand in sharp contrast to his later historical image as a paragon of order and central authority. An understanding of this period thus permits a reevaluation not only of Köprülü's political character, but also of how his supporters worked to construct his image in the aftermath of Abaza Hasan's rebellion.

The Workshop for Armenian/Turkish Scholarship (WATS) convened its first meeting at the University of Chicago in March 2000. Since then, the historical literature on not only the Armenian Genocide, but also Ottoman Armenians more generally, has grown ever more sophisticated. This essay takes stock of the growing visibility of Armenians in Ottoman historiography over the last two decades, and other developments. In particular, it asks why historical scholarship on Armenians has yet to have a transformative effect on the frameworks used to study the Ottoman Empire's history? The essay first identifies a series of obstacles that have prevented Armenian and Ottoman studies scholarship from developing a shared set of questions. It then offers suggestions for more carefully addressing the underlying problematics of empire that can bridge this divide without inadvertently reproducing national or regional paradigms that have long left an imprint on Ottoman historiography.

The following interview with Layale Chaker, conducted on 14 September 2023, delves into her unique journey as a Palestinian-Lebanese composer, highlighting the pivotal role of music in shaping her sense of “home” following the Lebanese Civil War. Drawing from her diverse musical upbringing, spanning community choirs to formal conservatory education, Chaker elucidates the disparity between institutional training and the lived musical experiences of the Arab world, informing her quest for authenticity in composition.

Chaker recounts her involvement with the West-Eastern Divan Orchestra, founded by Daniel Barenboim and Edward Said, juxtaposed with her decision to pursue an individual artistic trajectory. Central to the conversation is her composition “En Présence de l'Absence – Homáge à Edward Saïd,” revealing a deeply personal connection to Said's legacy and a nuanced exploration of his ethos through music.

The interview culminates with insights into Chaker's forthcoming opera, “Ruinous Gods,” co-crafted with playwright Lisa Schlesinger. Addressing the profound trauma of refugee children afflicted with uppgivenhetssyndrom (resignation syndrome), the opera promises a poignant musical narrative probing themes of parenthood, displacement, and societal obligation. Set for premiere at the 2024 Spoleto Festival USA, Chaker's work continues to blend artistry with advocacy, offering a resonant reflection on human resilience and responsibility.

Pál Szepessy (1636–1685), a Calvinist noble, dedicated his life to the goal of turning Habsburg Hungary into an Ottoman vassal state. He spent much time in the Ottoman world, met with Grand Vizier Ahmed Köprülü (r. 1661–76) on at least four occasions, and regularly visited other Ottoman dignitaries. Szepessy outlined the traumatic effects of Habsburg military occupation and Counter-Reformation on Hungarian society. He was driven by the conviction that God had chosen the Ottomans as his avengers to liberate Hungary from the yoke of the Austrian Antichrist. Szepessy won Köprülü's support for armed uprisings and a guerilla war against the Habsburgs. He also influenced the grand vizier's decision to end the Polish-Ottoman war (1672–76) and turn the Ottoman army against the Habsburg Empire. When Köprülü died in November 1676, the blueprints for Habsburg Hungary's defection to the Ottoman Empire were already in place. They were reactivated by Kara Mustafa in 1682–83. Szepessy's initiatives (and similar efforts by other Hungarians) have been ignored by scholarship; their traces remain dispersed in the Austrian and Hungarian archives. My research draws on Szepessy's appeals to Köprülü; his correspondence with fellow Protestant nobles, family, and Transylvanian supporters; reports of Habsburg spies; dispatches of Habsburg residents at the Porte; and deliberations of the Habsburg War Council. Taken together these sources open a window on the life of an important trans-imperial subject whose life throws into question the clash of civilizations narrative that still dominates much of Habsburg and Central European historical studies.

Köprülü Fazıl Ahmed Pasha's tenure as grand vizier from 1661 to 1676 stands as a seminal period in Ottoman history, and Fazıl Ahmed Pasha was a pivotal figure. This article draws upon the largely-overlooked dispatches written by Giovanni Battista Casanova, the imperial resident at the Sublime Porte. Through an analysis of Casanova's observations, this study offers fresh perspectives on the grand vizirate and of Fazıl Ahmed Pasha's enduring legacy within the Ottoman Empire. Following a brief introduction on Fazıl Ahmed Pasha's rise to power, the article's analysis unfolds across four dimensions: first, interactions between grand vizier Fazıl Ahmed and Sultan Mehmed IV; second, the closest associates of the grand vizier; third, Casanova's communication with the grand vizier; and fourth, Casanova's extensive negotiations for the release of prisoners of war.

At the core of this analysis is the argument that the communications between Casanova and Köprülü Fazıl Ahmed Pasha reveal not only the complexities of Ottoman affairs but also the strategic foundation of Ottoman military campaigns and diplomacy during this period. Through an examination of Casanova's dispatches, this article elucidates how the resident's interactions with the Ottoman court offer insights into the Ottoman Empire's strategies vis-à-vis European powers, as well as its reforms. By revisiting Fazıl Ahmed Pasha's legacy through the eyes of a contemporaneous observer, this study contributes a nuanced perspective to the understanding of Ottoman history and governance during the seventeenth century.

The following interview took place via Zoom with Moroccan film director, producer, and writer Nabil Ayouch on Tuesday, March 22, 2022 at 11:00 AM EST. Lightly edited for ease of comprehension.

This article highlights, through a poetic approach, the onomastics of the character in a genre called tullist in the Amazigh language. The article works through the first ten collections of texts designated by the terms Tullizt / Tullist that mark the beginnings of this genre (1998–2008). An in-depth analysis then reveals the different naming processes that Kabyle writers use in assigning names to their characters. The article concludes by offering a brief sociological discussion on the semantics of the assigned names.

Traditional oral poetry in Takbaylit, Tachelhit, Central Moroccan Tamazight, and Tarafit dialects has been the subject of numerous studies ranging from ethnographic to linguistic. Rather than duplicate what is already widely available, the following brings together comments on a number of representative poems from across the Maghreb to give the reader an idea of the variety of types, styles, and themes of Tamazight poetic tradition. The selections, which are translated into English here for the first time, range from the moving devotional poem in Tachelhit “Like the Beads of a Rosary” to the beautiful love poem in Takbaylit “To Whom Should I Complain.” Among the poets whose works are included are Mririda n'Ait Attik (Tachelhit), Al Hadj Ammar ou al Hadj (Takbaylit), and Taougrat Oult Aissa (Central Moroccan Tamazigt).

A very significant sub-version that derives from Tirruyssa (ⵜⵉⵔⴻⵢⵙⴰ) is called Tanddamt (ⵜⴰⵏⴹⴰⵎⵜ), which refers to musical jousting between two seemingly opponent Rways and/or Raysat. Each singer attempts to address convincing and satirical chants to the opponent singer. Tanddamt is rich of social topoi such as race and gender. This chapter aims to deconstruct the discursive contexts that gave rise to the derivative form of tanddamt, and provide an in-depth analysis of the assorted images of eloquence and satire in the discourse of this melodious genre of contest. A close reading of the conversational poetics of tanddamt shall provide us with profound insight into individual as well as social worries and memories as expressed in the art of Tirruyssa. While the black-versus-white tanddamt triggers an historical debate of racial discourse, blackness, negritude, and slavery, the male-versus-female tanddamt revisits an everlasting discourse of gender discontentment. These binaries are an inherent subject in Amazigh music and constitute a source of acoustic pleasure for the audience. I argue that Tanddamt, as a refined art of lyrical opponency provides a considerable space for ‘subaltern’ expression in the public sphere, which sets it as a propitious canonical genre, amply instrumental in the enrichment of world literature.

Mohammed Rouicha is an Amazigh musical legend. Rouicha came to prominence in his teenage years in the mid-sixties in Morocco and continued to evolve and rise internationally until his death in 2012. An artist and a musician, he was ahead of his time in that he believed that people and communities should connect with one another through music, regardless of ethnicity or language. Rouicha appreciated art in all its shapes and forms and was fascinated by Amazigh, Arab, and Hindi Music. He sang in both Tamazight (the language of the Indigenous Amazigh) and Arabic, winning him accolades among listeners in both languages. In this article, I draw on Rouicha's biography and artistic repertoire in Tamazight to analyze his lyrical and musical style. Rouicha's songs revolved around three primary themes: love, struggle, and resistance, and he painted his lyrics with the beauty and imagery of Tamazgha (Amazigh lands), giving a voice to Moroccans’ embodied experiences. His songs represent an imagined Morocco: a place where Amazigh identity is an integral part of the national identity. I argue that Rouicha represented the hope that an imagined linguistic and cross-cultural interconnectedness would unite all of Morocco within their differences.

This article is dedicated to the study of the question of generic contiguities within Berber (Kabyle) literature. It is devoted more particularly to the study of the boundaries between novels (ungal) and short stories (tullist). I show that the identities of literary genres do not depend only on a norm coming from elsewhere (from the West in particular) but that they are also shaped by the context from within which they evolve and by the function assigned to these genres.

Amazigh literature has undergone a veritable historic shift from oral to written form, following the constitutional and institutional recognition of this indigenous language in Morocco and Algeria. We intend to seize this historic moment by focusing on a titrological analysis which, in our view, would be able to highlight the pragmatic side of a stammering literature that would like to proclaim its rebirth and speak to the world. The titular discourse of these novels, still in an experimental phase, informs us about the semiospheres that nourish and irrigate this writing that defossilizes a buried memory, repressed and threatened by the inexorable desymbolization process that traditional cultures are undergoing. This body of work could never be reduced to a simple scription of a narrative folklore that provides it with its cultural semantics; it is driven by the desire to integrate the international literary heritage by dialoguing with it and drawing inspiration from it.

Until the nineteenth century, Kabyle literature was primarily oral, passed down through word of mouth and limited to various genres such as poetry, proverbs, riddles, tales, myths, and legends. The nineteenth century marked the beginning of the transition to writing in the Kabyle language through the transcription of oral literature. However, the true departure from orality occurred in the twentieth century with the emergence of an intellectual movement within the Kabyle community that started to write in Kabyle to develop it as a written language. These writers introduced new universal literary genres such as novels, short stories, and theater.

The transition to writing in a language long confined to orality was not without its challenges. Writers often drew upon the rich oral expressions of the Kabyle language to overcome the difficulties of expressing new ideas, which became a hallmark of the writing of that era. Mohia Abdellah (1950-2004), faced the particular challenge of promoting his language by translating and adapting universal theater texts. Nevertheless, his translations and adaptations found great success by leveraging the Kabyle language's rich lexicon, especially its proverbs, which contributed to elevating the status of the Kabyle language as a written medium. This article examines some of these Kabyle proverbs reinvested by the dramatist Mohia Abdellah in his play titled “Menttif akka wala seddaw uẓekka” (literally, “better this than being in the grave”), an adaptation of the Russian playwright Nicolai Erdman's work “The Suicide.” Through an intertextual approach, the article highlights the significance of proverbial expressions in Kabyle writing due to their exceptional ability to convey complex ideas from another world. To achieve this, the article initially defines the traditional functions of Kabyle proverbs and subsequently compares them with their counterparts in the source text to better appreciate Mohia's efforts in translating and adapting foreign texts.

This article analyzes the narration and representation of space in Amar Mezdad's novel Tettḍilli-d ur d-tkeččem. Concretely, we highlight the relation between the spatial dimension and the narrative fulfillment of the novel. The main objective is to accentuate the way in which the spatial dimension is inscribed in the narration and in moments of narrative suspension (commentaries, descriptions, secondary tales, dialogues) and to present a more global reflection on the organization and the meaning of the space as well as the writing style of Mezdad.