God's Property: Islam, Charity, and the Modern State (Volume 3) (Islamic Humanities)

A free open access ebook is available upon publication. Learn more at [www.luminosoa.org](http://www.luminosoa.org/). Up to the twentieth century, Islamic charitable endowments provided the material foundation of the Muslim world. In Lebanon, with the fall of the Ottoman Empire and the imposition of French colonial rule, many of these endowments reverted to private property circulating in the marketplace. In contemporary Beirut, however, charitable endowments have resurfaced as mosques, Islamic centers, and nonprofit organizations. A historical anthropology in dialogue with Islamic law, __God's Property__ demonstrates how these endowments have been drawn into secular logics—no longer the property of God but of the Muslim community—and shaped by the modern state and modern understandings of charity and property. Although these transformations have produced new kinds of loyalties and new ways of being in society, Moumtaz’s ethnography reveals the furtive persistence of endowment practices that perpetuate older ways of thinking of one’s self and one’s responsibilities toward family and state. "Studios are, at once, material environments and symbolic forms, sites of artistic creation and physical labor, and nodes in networks of resource circulation. They are architectural places that generate virtual spaces-worlds built to build worlds. On the outside, they have become icons of corporate identity, while on the inside, they have remained invisible in order to be seen. As such, they have actively faded into the background of critical discourse and into the margins of film and media history. Recovering their hidden role in the history of visual creation, In the Studio demonstrates that when we foreground these worlds, we gain new insights into moving-image culture and the material, ecological, social, political, and economic dynamics that quietly mark the worlds on our screens. Spanning the twentieth century and moving globally, from Japan to Brazil, Mexico to Moscow, and Hollywood to Dubai, this unique collection tells new stories about studio icons--Pinewood, Cinecittà, Churubusco, and CBS--as well as the experimental workplaces of filmmakers and artists from Aleksandr Medvedkin to Charles and Ray Eames and Hollis Frampton"-- Provided by publisher A free open access ebook is available upon publication. Learn more at(http://www.luminosoa.org) www.luminosoa.org . Up to the twentieth century, Islamic charitable endowments provided the material foundation of the Muslim world. In Lebanon, with the fall of the Ottoman Empire and the imposition of French colonial rule, many of these endowments reverted to private property circulating in the marketplace. In contemporary Beirut, however, charitable endowments have resurfaced as mosques, Islamic centers, and nonprofit organizations. A historical anthropology in dialogue with Islamic law, God's Property demonstrates how these endowments have been drawn into secular logicsno longer the property of God but of the Muslim communityand shaped by the modern state and modern understandings of charity and property. Although these transformations have produced new kinds of loyalties and new ways of being in society, Moumtazs ethnography reveals the furtive persistence of endowment practices that perpetuate older ways of thinking of ones self and ones responsibilities toward family and state. "Up to the twentieth century, Islamic charitable endowments provided the material foundation of the Muslim world. In Lebanon, with the fall of the Ottoman Empire and the imposition of French colonial rule, many of these endowments reverted to private property circulating in the marketplace. In contemporary Beirut, however, charitable endowments have resurged as mosques, Islamic centers, and non-profit organizations. A historical anthropology in dialogue with Islamic law, God's Property demonstrates how these endowments have been drawn into secular logics-no longer the property of God but of the Muslim community-and shaped by the modern state and modern understandings of charity and property. Although these transformations produced new kinds of loyalties and new ways of being in society, Moumtaz's ethnography reveals the furtive persistence of endowment practices that perpetuate older ways of thinking of one's self and one's responsibilities toward family and state"-- Provided by publisher Studios are, at once, material environments and symbolic forms, sites of artistic creation and physical labor, and nodes in networks of resource circulation. They are architectural places that generate virtual spaces—worlds built to build worlds. Yet, despite being icons of corporate identity, studios have faded into the background of critical discourse and into the margins of film and media history. In response, In the Studio demonstrates that when we foreground these worlds, we gain new insights into moving-image culture and the dynamics that quietly mark the worlds on our screens. Spanning the twentieth century and moving globally, this unique collection tells new stories about studio icons—Pinewood, Cinecittà, Churubusco, and CBS—as well as about the experimental workplaces of filmmakers and artists from Aleksandr Medvedkin to Charles and Ray Eames and Hollis Frampton. Waqf, a non-definition -- State, law, and the "Muslim community" -- The intent of charity -- Charity and the family -- The "Waqf's benefit" and public benefit -- Conclusion -- Appendix A. Main Ottoman Mutūn and their main commentaries and glosses -- Appendix B. Umari mosque expenditures and appointments.