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Recovering Nonviolent History Civil Resistance in Liberation Struggles edited by Maciej J. Bartkowski boulder london 7 Egypt: Nonviolent Resistance in the Rise of a Nation-State, 1805 –1922 Amr Abdalla and Yasmine Arafa In this chapter, we identify and examine important episodes of Egyptians’ nonviolent resistance against foreign domination in the nine - teenth century, including the 1805 revolution, the 1881 Orabi movement, nonviolent organizing against the British occupation after 1882, and the 1919 revolution that led to Egypt’s formal independence in 1922. Often, the focus on the role of political elites, elite-driven events, bru - tal internal political strife, aggressive foreign interventions, armed resis - tance, and violence overshadows seemingly less visible but no less impor - tant people-driven nonviolent actions. Sometimes, the stories of mass nonviolent resistance are ignored altogether, even in well-respected aca - demic publications. For example, The Cambridge History of Egypt offers only a few lines on the events of 1805, overlooking entirely the civilian-led nonviolent mobilization. 1 In this chapter, we aim to create greater aware - ness about the history of nonviolent actions in Egypt’s struggle against for - eign domination and offer insights into their role and effectiveness and their contribution to strengthening a national fabric—the process that eventually led to the emergence of a truly nationwide and nonviolent movement ex - emplified by the 1919 revolution. We also make some references to the 2011 revolution in order to emphasize similar nonviolent patterns that seem to have been present in both the 1919 revolution and the events that led to Egyptian president Hosni Mubarak’s departure under the pressure of a pop - ular nonviolent uprising. -
In Ancient Egypt
THE ROLE OF THE CHANTRESS ($MW IN ANCIENT EGYPT SUZANNE LYNN ONSTINE A thesis submined in confonnity with the requirements for the degm of Ph.D. Graduate Department of Near and Middle Eastern Civiliations University of Toronto %) Copyright by Suzanne Lynn Onstine (200 1) . ~bsPdhorbasgmadr~ exclusive liceacc aiiowhg the ' Nationai hiof hada to reproduce, loan, distnia sdl copies of this thesis in miaof#m, pspa or elccmnic f-. L'atm criucrve la propri&C du droit d'autear qui protcge cette thtse. Ni la thèse Y des extraits substrrntiets deceMne&iveatetreimprimCs ouraitnmcrtrepoduitssanssoai aut&ntiom The Role of the Chmaes (fm~in Ancient Emt A doctorai dissertacion by Suzanne Lynn On*, submitted to the Department of Near and Middle Eastern Civilizations, University of Toronto, 200 1. The specitic nanire of the tiUe Wytor "cimûes", which occurrPd fcom the Middle Kingdom onwatd is imsiigated thrwgh the use of a dalabase cataloging 861 woinen whheld the title. Sorting the &ta based on a variety of delails has yielded pattern regatding their cbnological and demographical distribution. The changes in rhe social status and numbers of wbmen wbo bore the Weindicale that the Egyptians perceivecl the role and ams of the titk âiffefcntiy thugh tirne. Infomiation an the tities of ihe chantressw' family memkrs bas ailowed the author to make iderences cawming llse social status of the mmen who heu the title "chanms". MiMid Kingdom tifle-holders wverc of modest backgrounds and were quite rare. Eighteenth DMasty women were of the highest ranking families. The number of wamen who held the titk was also comparatively smaii, Nimeenth Dynasty women came [rom more modesi backgrounds and were more nwnennis. -
Mechanical Engineering in Ancient Egypt, Part 45: Birds Statues (Falcon and Vulture)
International Journal of Emerging Engineering Research and Technology Volume 5, Issue 3, March 2017, PP 39-48 ISSN 2349-4395 (Print) & ISSN 2349-4409 (Online) http://dx.doi.org/10.22259/ijeert.0503004 Mechanical Engineering in Ancient Egypt, Part 45: Birds Statues (Falcon and Vulture) Galal Ali Hassaan (Emeritus Professor), Department of Mechanical Design & Production, Faculty of Engineering, Cairo University, Giza, Egypt ABSTRACT The evolution of mechanical engineering in ancient Egypt is investigated in this research paper through studying the production of statues and figurines of falcons and vultures. Examples from historical eras between Predynastic and Late Periods are presented, analysed and aspects of quality and innovation are outlined in each one. Material, dynasty, main dimension (if known) and present location are also outlined to complete the information about each statue or figurine. Keywords: Mechanical engineering, ancient Egypt, falcon statues, vulture statues INTRODUCTION This is the 45th paper in a scientific research aiming at presenting a deep insight into the history of mechanical engineering during the ancient Egyptian civilization. The paper handles the production of falcon and vulture statues and figurines during the Predynastic and Dynastic Periods of the ancient Egypt history. This work depicts the insight of ancient Egyptians to birds lived among them and how they authorized its existence through statuettes and figurines. Smith (1960) in his book about ancient Egypt as represented in the Museum of Fine Arts at Boston presented a number of bird figurines including ducks from the Middle Kingdom, gold ibis from the New Kingdom and a wooden spoon in the shape of a duck and lady from the New Kingdom [1]. -
When Art Is the Weapon: Culture and Resistance Confronting Violence in the Post-Uprisings Arab World
Religions 2015, 6, 1277–1313; doi:10.3390/rel6041277 OPEN ACCESS religions ISSN 2077-1444 www.mdpi.com/journal/religions Article When Art Is the Weapon: Culture and Resistance Confronting Violence in the Post-Uprisings Arab World Mark LeVine 1,2 1 Department of History, University of California, Irvine, Krieger Hall 220, Irvine, CA 92697-3275, USA; E-Mail: [email protected] 2 Center for Middle Eastern Studies, Lund University, Finngatan 16, 223 62 Lund, Sweden Academic Editor: John L. Esposito Received: 6 August 2015 / Accepted: 23 September 2015 / Published: 5 November 2015 Abstract: This articles explores the explosion of artistic production in the Arab world during the so-called Arab Spring. Focusing on music, poetry, theatre, and graffiti and related visual arts, I explore how these “do-it-yourself” scenes represent, at least potentially, a “return of the aura” to the production of culture at the edge of social and political transformation. At the same time, the struggle to retain a revolutionary grounding in the wake of successful counter-revolutionary moves highlights the essentially “religious” grounding of “committed” art at the intersection of intense creativity and conflict across the Arab world. Keywords: Arab Spring; revolutionary art; Tahrir Square What to do when military thugs have thrown your mother out of the second story window of your home? If you’re Nigerian Afrobeat pioneer Fela Kuta, Africa’s greatest political artist, you march her coffin to the Presidential compound and write a song, “Coffin for Head of State,” about the murder. Just to make sure everyone gets the point, you use the photo of the crowd at the gates of the Presidential compound with the coffin as the album cover [1]. -
House of Eternity: Tomb of Nefertari
- - - OUSE OF ETERNITY The Tomb of Nefertari John K. McDonald The Getty Conservation Institute and the J. Paul Getty Museum Los Angeles Cover/title page: Detail a/Queen Nefertari 0/'1 the north wall of Chamber G. All photographs are by Guillermo Aldana unless credited otherwise. The Getty Conservation Institute works internationally to further the appreciation and preservation of the world's cultural heritage for the enrichment and use of present and future generations. This is the first volume in the Conservation and Cultural Heritage series, which aims to provide in a popular format information about selected culturally significant sites throughout the world. © 1996 The J. Paul Getty Trust All rights reserved Printed in Singapore Library of Congress Cataloging-in-Publication Data McDonald. John K. House of eternity: the tomb of Nefertari I John K. McDonald. p. cm. ISBN 0-89236-415-7 1. Nefertari. Queen. consort of Rameses II. King of Egypt-Tomb. 2. Mural painting and decoration. Egyptian. 3. Tombs-Egypt. 4. Valley of the Queens (Egypt) I. Title. DT73· v34M35 1996 932-dc20 96-24123 C1P Contents Foreword 5 Introduction Dynasties of Ancient Egypt II Nefertari: Radiant Queen A Letter from Nefertari The Queen's Titles and Epithets 19 The Valley of the Queens Ernesto Schiaparelli 25 Conveyance to Eternal Life: The Royal Tombs of Egypt Tomb Paints and Materials 33 The Tomb Builders' Village 37 After Nefertari's Burial 41 Resurrection and Recurrent Risks 47 The King of the Dead and His Divine Family Divine Guidance 55 Among the Immortals: A Walk through the "House of Eternity" The Texts in the Tomb III Conclusion 116 Acknowledgments II HOUSE OF ETER ITY an honored and < > beloved queen, still in the prime of earthly existence, set off upon a voyage to the netherworld, in quest of eternal life. -
SHARJAH FILM PLATFORM SCREENING SCHEDULE 19–26 January 2019
SHARJAH FILM PLATFORM SCREENING SCHEDULE 19–26 January 2019 Programme 1 Friday, 18 January - 9:00 pm Mirage City Cinema Saturday, 26 January - 3:00 pm Sharjah Institute of Theatrical Arts Sharjah Film Platform annually awards Short Film Production Grants in support of film production in the UAE and internationally. Selected through an open call, this year’s grant winners are Abdulrahman Al Madani and Mohammed Al Hammadi, whose films Laymoon and Maryam, respectively, will be premiered at the festival. Al Madani and Al Hammadi will discuss their films after the screenings on opening night. Laymoon (2019) Director: Abdulrahman Al Madani United Arab Emirates Narrative | 16 min Arabic with English subtitles A neglected housewife’s constant attempts to regain her short-tempered husband’s interest in their marriage prove futile. Influenced by her best friend, she realises her efforts need to stretch beyond a wholesome meal. Abdulrahman Al Madani started making films in 2012, focusing particularly on social issues. His first documentary short, The Gamboo3a Revolution (2012), won awards from the Gulf Film Festival and the Abu Dhabi Film Festival, and he also directed the two short films Guilt (2013) and Nagafa (2014). He received a bachelor's degree in applied media studies from the Higher Colleges of Technology, Dubai (2014) and completed a one-year filmmaking diploma programme at the New York Film Academy Abu Dhabi (2015). His thesis film, Beshkara, received its world premiere at the Dubai International Film Festival the same year. Al Madani was born in 1992 in Dubai, where he currently lives and works. Maryam (2019) Director: Mohammed Al Hammadi United Arab Emirates Narrative | 22 min Arabic with English subtitles An ambitious young Emirati’s dream to pursue an acting career in New York is challenged by the sudden of her father and the opposition of her mother, who wants her to marry. -
Les Modèles Culturels Des Juifs D'égypte De La Fin De La Domination
Les modèles culturels des Juifs d’Égypte de la fin de la domination ottomane (1882) jusqu’à la révolution des Officiers libres (1952) David Maslowski To cite this version: David Maslowski. Les modèles culturels des Juifs d’Égypte de la fin de la domination ottomane (1882) jusqu’à la révolution des Officiers libres (1952). Histoire. 2013. dumas-00875326 HAL Id: dumas-00875326 https://dumas.ccsd.cnrs.fr/dumas-00875326 Submitted on 21 Oct 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Master 2 Histoire des sociétés occidentales contemporaines (XIX-XXIe siècles) Histoire des mondes juifs contemporains Directrice de mémoire : Madame le professeur Patricia Hidiroglou Les modèles culturels des Juifs d’Egypte de la fin de la domination ottomane (1882) jusqu’à la révolution des Officiers libres (1952) David MASLOWSKI Année universitaire 2012-2013 [email protected] Remerciements Je tiens à remercier toutes celles et ceux sans lesquels ce mémoire n’aurait pu être réalisé. En premier lieu, je remercie Madame Patricia Hidiroglou, qui en me permettant de travailler sous sa direction, m’a fait bénéficier de ses conseils avisés. Au long de ces années de recherche, mes remerciements vont au personnel des différentes institutions où je me suis rendu. -
Who's Who in Ancient Egypt
Who’s Who IN ANCIENT EGYPT Available from Routledge worldwide: Who’s Who in Ancient Egypt Michael Rice Who’s Who in the Ancient Near East Gwendolyn Leick Who’s Who in Classical Mythology Michael Grant and John Hazel Who’s Who in World Politics Alan Palmer Who’s Who in Dickens Donald Hawes Who’s Who in Jewish History Joan Comay, new edition revised by Lavinia Cohn-Sherbok Who’s Who in Military History John Keegan and Andrew Wheatcroft Who’s Who in Nazi Germany Robert S.Wistrich Who’s Who in the New Testament Ronald Brownrigg Who’s Who in Non-Classical Mythology Egerton Sykes, new edition revised by Alan Kendall Who’s Who in the Old Testament Joan Comay Who’s Who in Russia since 1900 Martin McCauley Who’s Who in Shakespeare Peter Quennell and Hamish Johnson Who’s Who in World War Two Edited by John Keegan Who’s Who IN ANCIENT EGYPT Michael Rice 0 London and New York First published 1999 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2004. © 1999 Michael Rice The right of Michael Rice to be identified as the Author of this Work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988 All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
My Voice Is My Weapon: Music, Nationalism, and the Poetics Of
MY VOICE IS MY WEAPON MY VOICE IS MY WEAPON Music, Nationalism, and the Poetics of Palestinian Resistance David A. McDonald Duke University Press ✹ Durham and London ✹ 2013 © 2013 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ♾ Cover by Heather Hensley. Interior by Courtney Leigh Baker Typeset in Minion Pro by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data McDonald, David A., 1976– My voice is my weapon : music, nationalism, and the poetics of Palestinian resistance / David A. McDonald. pages cm Includes bibliographical references and index. isbn 978-0-8223-5468-0 (cloth : alk. paper) isbn 978-0-8223-5479-6 (pbk. : alk. paper) 1. Palestinian Arabs—Music—History and criticism. 2. Music—Political aspects—Israel. 3. Music—Political aspects—Gaza Strip. 4. Music—Political aspects—West Bank. i. Title. ml3754.5.m33 2013 780.89′9274—dc23 2013012813 For Seamus Patrick McDonald Illustrations viii Note on Transliterations xi Note on Accessing Performance Videos xiii Acknowledgments xvii introduction ✹ 1 chapter 1. Nationalism, Belonging, and the Performativity of Resistance ✹ 17 chapter 2. Poets, Singers, and Songs ✹ 34 Voices in the Resistance Movement (1917–1967) chapter 3. Al- Naksa and the Emergence of Political Song (1967–1987) ✹ 78 chapter 4. The First Intifada and the Generation of Stones (1987–2000) ✹ 116 chapter 5. Revivals and New Arrivals ✹ 144 The al- Aqsa Intifada (2000–2010) CONTENTS chapter 6. “My Songs Can Reach the Whole Nation” ✹ 163 Baladna and Protest Song in Jordan chapter 7. Imprisonment and Exile ✹ 199 Negotiating Power and Resistance in Palestinian Protest Song chapter 8. -
The Bulletin of the Australian Centre for Egyptology Volume 1, 1990
THE BULLETIN OF THE AUSTRALIAN CENTRE FOR EGYPTOLOGY AU rights reserved ISSN: 1035-7254 Published by: The Australian Centre for Egyptology Macquarie University, North Ryde, N.S.W. 2109, Australia Printed by: Adept Printing Pty. Ltd. 13 Clements Avenue, Bankstown, N.S.W. 2200, Australia CONTENTS Foreword 5 Akhenaten and the Amarna Period Juliette Bentley 7 Queen Hetepheres I Gae Callender 25 An Early Treaty of Friendship Between Egypt and Hatti Dorrie Davis 31 Memphis 1989 - The Ptah Temple Complex Lisa Giddy 39 Excavations at Ismant El-Kharab in the Dakhleh Oasis Colin A. Hope 43 Saqqara Excavations Shed New Light on Old Kingdom History Naguib Kanawati 55 The Cult of Min in the Third Millenium B.C. Ann McFarlane 69 Nagc EI Mashayikh - The Ramesside Tombs Boyo Ockinga 77 The Place of Magic in the Practice of Medicine in Ancient Egypt Jim Walker 85 News From Egypt 97 3 QUEEN HETEPHERES I Gae Callender Macquarie University Queen Hetepheres I lived during Dynasty IV, from the time of Sneferu to Khufu. What little we know about her comes from her tomb: G 7000x at Giza. This tomb lies close to the pyramid of her son, Khufu, in the eastern sector of the Giza cemetery (see Figure. 1). The queen's tomb, which is really only a burial chamber at the foot of a 27 metre deep shaft, close to the pyramid of Khufu, was discovered by the Harvard-Boston team, led by Dr. George Reisner, in 1925. The tomb had not been plundered by robbers, and its preservation was certainly due to the fact that the entrance to the burial shaft had been concealed in the pavement in front of Khufu's mortuary temple. -
Faten Hamama and Hind Rustom: Stars from Different Heavens
24 al-raida Issue 122 - 123 | Summer / Fall 2008 Faten Hamama and Hind Rustom: Stars from Different Heavens Jean Said Makdissi One of the current topics in critical discussions on the Arab cinema is the gendered nature of nationalist and national themes. It has been repeatedly said that in the Egyptian cinema, Egypt itself is often represented by an idealized woman. Both Viola Shafik (1998) and Lina Khatib (2006) make much of this idea, and investigate it with reference to particular films. In this context the idealizing title sayidat al-shasha al-arabiyya, (i.e. the lady of the Arab screen) has been universally granted to Faten Hamama, the grande dame of the Egyptian cinema and one of the most prolific of its actresses, and thus she is the ideal embodiment on the screen not only of Egyptian and Arab womanhood, but also of Egypt’s view of itself and of the Arab world. To study the output of Faten Hamama is to have an idea of how Egyptians – and perhaps all Arabs – like to see themselves, and especially their women. But to arrive at a clearer idea of the self-definition of the Arab world and its fantasy of the feminine ideal I believe it would be helpful to contrast her work with that of Hind Rustom, who both in her physical appearance and the persona she represents on screen is almost directly antithetical to Faten. In preparation for this article I have seen more than two dozen films, and of course drawn on decades of experience with the Egyptian cinema. -
UC Santa Cruz UC Santa Cruz Previously Published Works
UC Santa Cruz UC Santa Cruz Previously Published Works Title “Of Marabouts, Acrobats, and Auteurs: Framing the Global Popular in Moumen Smihi’s World Cinema.” Permalink https://escholarship.org/uc/item/1r86d1c5 Author Limbrick, Peter Publication Date 2021 Peer reviewed eScholarship.org Powered by the California Digital Library University of California FINAL ACCEPTED MANUSCRIPT, FORTHCOMING IN CULTURAL CRITIQUE, 2021 “Of Marabouts, Acrobats, and Auteurs: Framing the Global Popular in Moumen Smihi’s World Cinema.” Peter Limbrick, Film and Digital Media, University of California, Santa Cruz One of the critical commonplaces in the study of Arab cinemas is the idea that we can distinguish between Egyptian cinema, a dominant popular and industrial cinema akin to Hollywood, and smaller national or regional cinemas (Palestinian, Tunisian, Algerian, Moroccan) which are typically discussed as auteur or art cinemas. While historically defensible, in that Egypt preceded these others in having its own studios and industry, such an assessment nonetheless tends to foreclose on the possibilities for those films inhabiting the “non-Egyptian” model ever be accorded the status of popular cinema. Moreover, where local distribution and exhibition for North African films has been historically partial or non-existent (due to commercial decisions that have historically favored Egyptian, Indian, and Euro-American productions), it has been difficult for many directors in countries like Morocco to avoid the charge that their films—which are often more visible in European festivals than at home—are made for other markets or audiences. Whether in sympathy with the idea of distinctive local or national cinemas and resistance to cultural hegemony, or in suspicion of the politics of international funding and coproduction, many critical treatments of non-Egyptian Arab films make of the popular an evaluative term that signifies local authenticity and a resistance towards European art cinema tendencies and that privileges commercial success over experimentation.