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Kemalism in Turkey is often presented as an exemplary case of paternalistic and authoritarian modernisation from above, and lauded or condemned for that very reason. Represented in these terms, certain analytic and political binaries are also activated: state versus society; world-view versus life-world; universality versus particularity; inauthenticity versus indigeneity; homogeneity versus heterogeneity/resistance. By contrast, in this paper I seek to sidestep these organising categories to focus on Kemalism and Islamism as rival forms of the same social imaginary signification, and not as shorthand for these polarities. Using a number of representative texts, I argue that the extravagance of Islamist resistance in Turkey post-1980 brings to light the fantastical power of Kemalism itself, exposed as a project of the triumph of the will. This being the case, what has been written in anthropology about acts of 'self-institution'? The work of Nigel Rapport and Cornelius Castoriadis emphasises, in different ways, the arbitrariness and gratuity of social creation out of nothing or self-institution. Pierre Bourdieu's work, on the other hand, is radically contrary to Rapport's in its structuralist elaboration of agency as guided action. My analysis of processes of change within both the Islamist and Republican social movements in Turkey from the early 1990s to the present seeks a temporary rapprochement, at least in this case, between Rapport's methodological individualism and Bourdieu's methodological holism. [ABSTRACT FROM AUTHOR]

There is no authorisation in the Qur'an for the interdiction on music. That interdiction, when it is voiced, is the product of a conviction among some Muslims, supported by hadith Oust as it is opposed with hadith) that Islam does not countenance music. In a country such as Pakistan, with a strong tradition of devotional music which (taken with the poetry, with which it is always associated) has become entwined with the identity politics of the provinces or sub-'nations' which make up the vaster nation, a comprehensive ban on music would be impossible to enforce, though there are 'ulama and sectarian parties who desire it. This paper focuses on an instance where music is even harder to extricate from an accompanying text: the recitation of the Qur'an. In the eyes of Muslims, Qur'anic recitation is not music. This denial raises further questions about the nature of music and, in particular, its involvement with the 'extramusical'. Adorno's observations on the relation of music to language, and the anthropologist Friedson's complaint that ethnographers focus on text, at the expense of music, are examined in the light of the circumstance that the world over, music is associated with texts of one kind or another. Even when, as in the case of the 'curing' ritual described by Friedson, words are unimportant, or missing, music is seldom a phenomenological whole. Music 'leans', or is 'leant on': it lends its unrivalled 'eloquence' to many a cause, from commodity marketing to the structured working out of ritual, or, among lovers, to the remembered quality of experience. All these potentialities of music are relevant to the question of its interdiction and to the Muslim denial that the recitation of the Qur'an is music. [ABSTRACT FROM AUTHOR]