Through their interactions with French archaeologists from around 1930, Afghan historians formulated a new official historical identity for Afghanistan based on its pre-Islamic past. This article provides the first analysis of this process by tracing the emergence of the new historiography through the career of its chief promoter, Ahmad ʿAli Kuhzad, as curator of the National Museum (founded 1931) and director of the Afghan Historical Society (founded 1942). Through placing Kuhzad in these official institutional settings and reading his major works, the article shows how traditional Persianate historiography was challenged by an imported and amended version of world civilizational history. In the decades after independence in 1919, this new historical vision allowed the young Afghan nation-state to stake its civilizational claims on an international stage. In these previously unexcavated historiographical strata lie the roots of the Taliban's iconoclasm, which are revealed as a dialogical response to the state cultural institutions that remade Afghanistan as Aryana.

This article investigates the production of textiles in Thrace during the first millennium BC. It presents a functional analysis of textile-production tools from three towns in Thrace: Koprivlen, Adzhiiska Vodenitsa near Vetren, and Seuthopolis, and from Kastanas in Macedonia. The analysis shows that over the course of the Iron Age, textile production became more diversified and intensive. This process unfolded parallel to the emergence of opulent elite burials and urban communities. By examining a wider range of archaeological, iconographic, and textual data, the article contributes to our understanding of how the demand for textiles, and their consumption in different socially meaningful ways, connects to changes in production.

Current debates on the ontology of objects and matter have reinvigorated archaeological theoretical discourse and opened a multitude of perspectives on understanding the past, perspectives which have only just begun to be explored in scholarship on Late Iron Age Scandinavia. This article is a critical discussion of the sporadic tradition of covering longhouses and halls with burial mounds in the Iron and Viking ages. After having stood as social markers in the landscape for decades or even centuries, some dwellings were transformed into mortuary monuments — material and mnemonic spaces of the dead. Yet, was it the house or a deceased individual that was being interred and memorialized? Through an exploration of buildings that have been overlain by burial mounds, and by drawing on theoretical debates about social biographies and the material turn, this article illuminates mortuary citations between houses and bodies in Late Iron Age Scandinavia. Ultimately, I question the assumed anthropocentricity of the practice of burying houses. Rather, I suggest that the house was interwoven with the essence of the household and that the transformation of the building was a mortuary citation not necessarily of an individual, but of the entire, entangled social meshwork of the house.

Connecting the stories of human rights violations perpetrated by the Syrian regime against the children of Darʿa in March 2011 to decades of writings about political detention in Syria, this article argues that particular works of Syrian prison literature (adab al-sujūn) articulate a poetics of recognition that both reaffirms and challenges the foundational dependency on political recognition in human rights theory. By focusing on narrative scenes of recognition and misrecognition, I contend that these texts, much like the stories of the children of Darʿa, depict different forms of acute human vulnerability. In doing so, they offer a mode of sentimental education that evokes readers’ empathy and awareness of human suffering. Yet such texts also demonstrate, in allegorical form, how the foundational reliance on political recognition in human rights regimes can limit their efficacy.

Adult comics are a new medium in the Arab world. This article is the first in-depth study of their emergence and role within Arab societies. Focused on Egypt, it shows how adult comics have boldly addressed political and social questions. Seeing them as part of a broader cultural efflorescence in Egypt, I argue that, against patriarchal authoritarianism, adult comics have expressed an alternative ideology of tolerance, civic rights and duties, individualism, creativity, and criticism of power. Specifically, they present a damning critique of Egypt's authoritarian order, as well as of the marginalization of women and broader gender dynamics in Egyptian society. Through frank humor, a playful style, and explicit graphics, they give voice to the concerns of young Egyptians. Connecting comics to other art forms such as music, graffiti, and political cartoons, I situate them within a critical cultural movement that came to the fore with the Egyptian uprising of 2011.

The study of the Bom Santo Cave (central Portugal), a Neolithic cemetery, indicates a complex social, palaeoeconomic, and population scenario. With isotope, aDNA, and provenance analyses of raw materials coupled with stylistic variability of material culture items and palaeogeographical data, light is shed on the territory and social organization of a population dated to 3800–3400 cal BC, i.e. the Middle Neolithic. Results indicate an itinerant farming, segmentary society, where exogamic practices were the norm. Its lifeway may be that of the earliest megalithic builders of the region, but further research is needed to correctly evaluate the degree of this community's participation in such a phenomenon.

This article examines the political economy of Cairo's emerging Arabic private printing industry during the third quarter of the 19th century. I use the constituent texts of the industry to demonstrate that it developed upon the speculative model of commissioning, whereby individuals paid printers to produce particular works of their choosing. Commissioning indicates that Egyptian private printing grew from local traditions for producing handwritten texts. Nevertheless, print commissioning differed from manuscript commissioning by requiring individuals to assume great financial risk. I explore the nature and implications of this divergence through a treatise published in 1871 by Musa Kastali, a particularly prolific printer who helped to professionalize Cairene printing. Musa's treatise details his legal battle with a famous Azhari commissioner, and is unique for describing a printer's business practices. It demonstrates the importance of situating printings within their socioeconomic contexts in addition to their intellectual ones, a task which cannot be done without an appreciation for the functioning of the printing industry at a local level.