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Satellite Television and Public Sphere in Egypt: Is There a Link? Dr
Satellite Television and Public Sphere in Egypt: Is there a Link? Dr. Basyouni Ibrahim Hamada Professor of Communication, Cairo University Acting Dean, Faculty of Mass Communication, MSA University www.crcegypt.com Introduction Among the most salient developments in present societies are fundamental and rapid changes of mass media. Public discussions and academic literature are speculating on the societal consequences of these changes. There is a concern that media changes contribute to a deterioration of the political process in general and to a fragmentation of the public sphere and an increase of political cynicism in particular (Schulz, in Splichal, 2001). Research on this area has mixed conclusions on how communication technologies affect the public sphere. More importantly is that political and communication sciences literature on democratization offer little guidance on the hypothesized relationship between electronic communications and public sphere and the level of democracy within a nation. This is of course not surprising; given the novelty of the Internet, e-mail, direct satellite broadcasting and even the widespread availability of fax machines. (Hill & Hughes). On the other hand, we should not read the ongoing broadcast transformation as a linear process leading to a truly independent and critical political role for television in contemporary Arab societies. The emergencies of commercial television and the restructuring of government-operated systems are in no way conducive to political pluralism and diversity in Arab societies dominated by authoritarian political systems (Aysh, 2002). I argue that most of questions about the impact of satellite television on the public sphere in the Arab world have not been answered yet and what has been written on the subject reflects individual understanding of the hypothesized links between developments of satellite television and that of public sphere. -
RELATIONSHIP THERAPY RELATIONSHIP THERAPY Making Arab Police Reform Work
CHAILLOT PAPER / PAPER CHAILLOT 160 RELATIONSHIP THERAPY RELATIONSHIP THERAPY RELATIONSHIP Making Arab police reform work | MAKING ARAB POLICE REFORM WORK REFORM POLICE ARAB MAKING By Florence Gaub and Alex Walsh CHAILLOT PAPER / 160 November 2020 RELATIONSHIP THERAPY Making Arab police reform work By Florence Gaub and Alex Walsh CHAILLOT PAPER / 160 November 2020 European Union Institute for Security Studies (EUISS) 100, avenue de Suffren 75015 Paris http://www.iss.europa.eu Director: Gustav Lindstrom © EU Institute for Security Studies, 2020. Reproduction is authorised, provided the source is acknowledged, save where otherwise stated. The views expressed in this publication are solely those of the author(s) and do not necessarily reflect the views of the European Union. print ISBN 978-92-9198-970-6 online ISBN 978-92-9198-969-0 CATALOGUE NUMBER QN-AA-20-004-EN-C CATALOGUE NUMBER QN-AA-20-004-EN-N ISSN 1017-7566 ISSN 1683-4917 DOI 10.2815/645771 DOI 10.2815/791794 Published by the EU Institute for Security Studies and printed in Belgium by Bietlot. Luxembourg: Publications Office of the European Union, 2020. Cover image credit: Hussein Malla/AP/SIPA The authors Florence Gaub is the Deputy Director of the EUISS. She specialises in strategic foresight, as well as security and conflict in the Middle East and North Africa. Alex Walsh has worked on police reform and stabilisation programming in Lebanon, Jordan, Tunisia and Syria. He currently works with the International Security Sector Advisory Team (ISSAF) in Geneva. Acknowledgements This publication was informed by two events co-organised with the Konrad-Adenauer- Stiftung, the first in Tunis in December 2018, and the second in Amman in March 2019 The EUISS Chaillot Paper series The Chaillot Paper series, launched in 1991, takes its name from the Chaillot hill in the Trocadéro area of Paris, where the Institute’s first premises were located in the building oc- cupied by the Western European Union (WEU). -
The Rise of Syria's Urban Poor
THE RISE OF SYRIA’S POOR The Rise of Syria’s Urban Poor: Why the War for Syria’s Future Will Be Fought Over the Country’s New Urban Villages BY DAVID KILCULLEN AND NATE ROSENBLATT The divisions between town and country or between the main cities and the country towns are very old social and cultural divisions and, historically, their interests have tended to be intrinsi- cally at variance. For long the peasants lived at the mercy of the cities. –Hanna Batatu Syria’s Peasantry, the Descendants of its Lesser Rural Notables, and Their Politics yria’s urban poor fight the Assad regime for the soul of Syria’s cities. Syrian government troops have abandoned large swaths of countryside to a fractured opposition, focusing Sresources on key loyalist leverage points: keeping connected the big four cities Aleppo, Damascus, Homs, and Hama, and maintaining a path to the coast. This intensely urban conflict is a byproduct of over ten years of rural village migrations into the outskirts of Syria’s ancient Men march during the funeral of Mohamed Ammar, who was killed by the Syrian Army in Al Qusayr, February 28, 2012 cities. Fueled by economic necessity and a persistent drought, these villagers created vast, insulated neighborhoods of urban poor. Three things characterize these communities: they are predomi- nantly controlled by the opposition, they have been among the hardest hit during the conflict, and their guns and recent political activism mean they will be a key power broker in the post- conflict order. Syria’s ancient cities long reigned over the surrounding villages. -
Report Iraq: Travel Documents and Other Identity Documents
l Report Iraq: Travel documents and other identity documents Report Iraq: Travel documents and other identity documents LANDINFO –16DECEMBER 2015 1 About Landinfo’s reports The Norwegian Country of Origin Information Centre, Landinfo, is an independent body within the Norwegian Immigration Authorities. Landinfo provides country of origin information to the Norwegian Directorate of Immigration (Utlendingsdirektoratet – UDI), the Immigration Appeals Board (Utlendingsnemnda – UNE) and the Norwegian Ministry of Justice and Public Security. Reports produced by Landinfo are based on information from carefully selected sources. The information is researched and evaluated in accordance with common methodology for processing COI and Landinfo’s internal guidelines on source and information analysis. To ensure balanced reports, efforts are made to obtain information from a wide range of sources. Many of our reports draw on findings and interviews conducted on fact-finding missions. All sources used are referenced. Sources hesitant to provide information to be cited in a public report have retained anonymity. The reports do not provide exhaustive overviews of topics or themes, but cover aspects relevant for the processing of asylum and residency cases. Country of origin information presented in Landinfo’s reports does not contain policy recommendations nor does it reflect official Norwegian views. © Landinfo 2016 The material in this report is covered by copyright law. Any reproduction or publication of this report or any extract thereof other than as permitted by current Norwegian copyright law requires the explicit written consent of Landinfo. For information on all of the reports published by Landinfo, please contact: Landinfo Country of Origin Information Centre Storgata 33A P.O. -
Summarized by © Lakhasly.Com Television in Egypt Is Mainly
Television in Egypt is mainly received through free satellite, while analog terrestrial represents 41% of total viewers. Egyptians spend a significant amount of time watching television, with 40% of people watching up to 4 hours of television per day.[1] Since Egypt launched its first broadcasts in 1960, state- run channels have held a monopoly on terrestrial broadcast.[2] The Ministry of Information strictly regulated private satellite channels as well.[2] The Egyptian Radio and Television Union, a government entity, owns all 17 terrestrial channels. Channel 1 and Channel 2 are the network’s main channels and broadcast across Egypt. The state-owned Nile TV is the main foreign language channel, aims at promoting Egypt's state point of view and promote tourism. There are 6 regional terrestrial channels, which used to all be broadcast to Greater Cairo, but as of 2007, only Greater Cairo channel (Channel 3) of the regional channels is broadcast to Greater Cairo. Most terrestrial channels were in fact satellite channels owned by ERTU, but simulcasted to Greater Cairo, since 2007. The state's 23 channels are reported to have, as of 2012, "a small and dwindling viewership".[1] There are also many private satellite stations. As of 2002, there used to be only two, Al-Mehwar and Dream, though the government has a financial stake in both channels.[1] Since the 2011 revolution, more channels have launched, including Capital Broadcast Center, Al Nahar and TEN, which have managed to attract significant viewership. Rotana launched Rotana Masriya, a channel broadcasting programs aimed at the Egyptian market.[1] Subscription television penetration is low, estimated to be 9% in 2011, which consists of OSN and Arab Radio and Television Network. -
Togo Mizrahi and the Making of Egyptian Cinema
8 Frames of Influence Anouar Sedki, the frustrated star of the filmI Sacrifice My Honor, vents his pent- up rage at the film’s director, Kayro Jacobi. “It’s always like that with you others,” Sedki barks. “We, the Egyptians . you duped us, you cheated us out of our salary, you made us wait long hours in dressing rooms and stifling studios, you insulted us with your arrogance. But everything comes to an end, and one day—” Jacobi interrupts, “What do you mean by ‘you others’? Explain.” “You others, khawagat.“ Jacobi responds, “Khawalat? No one has ever done that to me.”1 Sedki and Jacobi are characters in a novel by Paula Jacques, Kayro Jacobi, juste avant l’oublie (Kayro Jacobi, Just before Oblivion, 2010). The eponymous character, a Jewish Egyptian cinema director and producer, was inspired by the life and work of Togo Mizrahi.2 For her francophone readers, Jacques glosses the colloquial Arabic word play between actor and director as follows: “khawagat = foreigners; khawalat = inverts [sic], homosexuals.”3 In this scene, set in 1952, the fictional actor, Anouar Sedki, spouts Egyptian nationalist-inflected stereotypes at the Jewish director, calling him a duplicitous khawaga. Kayro Jacobi parries the actor’s use of the epithet “kha- wagat” with the queer “khawalat.” Jacobi’s retort mimics the way Togo Mizrahi disarmed exclusionary nationalist discourses with the pluralist, queer Levantine. The scene succinctly indexes both the historical context—the inimical environ- ment for Jews in Egypt in the mid–twentieth century—and Jacobi’s/Mizrahi’s queer Levantine cinematic idiom. The novel is framed by the voice of Norma Jacobi, who laments her husband’s drift into obscurity. -
Hassani-Ouassima-Tesis15.Pdf (4.423Mb)
UNIVERSIDAD PABLO DE OLAVIDE DEPARTAMENTO DE FILOLOGÍA Y TRADUCCIÓN TESIS DOCTORAL LA TRADUCCIÓN AUDIOVISUAL EN MARRUECOS: ESTUDIO DESCRIPTIVO Y ANÁLISIS TRADUCTOLÓGICO Sevilla, 2015 Presentada por: Ouassima Bakkali Hassani Dirigida por: Dr. Adrián Fuentes Luque Esta tesis fue realizada gracias a una beca de la Agencia Española de Cooperación Internacional (AECID). AGRADECIMIENTOS La realización de este trabajo de investigación me ha hecho pasar por momentos duros y difíciles, y ha supuesto ser un verdadero reto tanto personal como profesional. Por ello, es menester agradecer y reconocer la ayuda crucial brindada por aquellas personas y que de una manera u otra han contribuido para llevar a buen puerto la presente Tesis. Son muchas las que han estado a mi lado en momentos difíciles y en los que en más de una ocasión pensé tirar la toalla. Pude hacer frente a ellos y he podido seguir adelante y superar todos los obstáculos que se me pusieron en frente. En primer lugar, quiero agradecer al Dr. Adrián Fuentes Luque, quien ha creído y apostado por mí y en el tema de la investigación desde el primer momento, me ha ayudado a mantener el ánimo y ha seguido con lupa e interés todo el proceso de elaboración de la Tesis. 7DPELpQDO&HQWUR&LQHPDWRJUi¿FR0DUURTXtSRUHOPDWHULDOIDFLOLWDGR\ODVHQWUHYLVWDVFRQFHGLGDV en especial al que fuera su director, D. Nouredine Sail, y al Jefe del departamento de Cooperación y Promoción, D. Tariq Khalami. Asimismo, quiero dar un especial agradecimiento a todos los profesionales del sector audiovisual \GHODWUDGXFFLyQDXGLRYLVXDOHQ0DUUXHFRVDORVTXHKHWHQLGRODRFDVLyQ\HOJXVWRGHHQWUHYLVWDUHQ HVSHFLDOD'xD+LQG=NLNGLUHFWRUDGH3OXJ,Q'(O+RXVVLQH0DMGRXELGLUHFWRUGHOSHULyGLFRAlif Post y académico, Dña. Saloua Zouiten, secretaria general de la Fondation du Festival International du )LOPGH0DUUDNHFK',PDG0HQLDULHMHFXWLYRHQOD+DXWH$XWRULWpGH&RPPXQLFDWLRQ$XGLRYLVXHO D. -
Mbc Group Picks Eutelsat's Atlantic Bird™ 7 Satellite
PR/69/11 MBC GROUP PICKS EUTELSAT’S ATLANTIC BIRD™ 7 SATELLITE TO SUPPORT HDTV ROLL-OUT ACROSS THE MIDDLE EAST AND NORTH AFRICA Paris, 31 October 2011 Eutelsat Communications (Euronext Paris: ETL) and MBC Group announce the signature of a multiyear contract for capacity on Eutelsat’s new ATLANTIC BIRD™ 7 satellite at 7 degrees West. The lease of a full transponder will enable MBC to expand its platform of channels addressing viewers in the Middle East and North Africa, particularly new HD content which the Group is preparing to launch in January 2012. The announcement was made at Digital TV Middle East, the broadcast and broadband conference taking place in Dubai from November 1 to 2. The new contract cements a 20-year relationship between Eutelsat and MBC Group which began in 1991 with the launch of MBC1, the first pan-Arab free-to-air satellite station. Over the past 18 years, MBC has developed a network comprising ten TV channels, two radio stations and a production house to forge a leading media and broadcasting group in the Middle East, among other media platforms such as VOD (shahid.net), SMS and MMS services. The move into HDTV reflects the Group's commitment to delivering the latest technology and superior television content. Launched on September 24, ATLANTIC BIRD™ 7 brings first-class resources to 7 degrees West, an established video neighbourhood delivering Arab and international channels into almost 30 million satellite homes. The satellite’s significant Ku-band resources enable broadcasters to launch new Standard Digital and HD content. -
In 1984 William Beeman Published a Brief but Fascinating Essay on The
Egypt's Media Ecology in a Time of Revolution Mark Allen Peterson Miami University Abstract: In 1984 William Beeman published a brief but useful essay on the media ecology of Iran before, during and after the revolution. After briefly discussing the relationship between interpersonal gossip ("the grapevine"), and state television and radio, he discusses the dramatic changes in the news media as the revolution progressed, only to settle back into its original role as a voice for the regime—albeit a new regime. The Egyptian uprising had new elements absent in the Iranian revolution, most notably social media and satellite television. Social media does not replace either "the grapevine" of networks of face-to- face interaction nor the monodirectional power of television (which was, in fact, somewhat less unitary than 1970s Iran because of satellite programming). Rather, it offers a way to extend the "grapevine" networks to link otherwise geographically separated individuals into an entirely new public sphere, on the one hand, and to appropriate, supplement, comment on and reframe other media on the other. The revolutionary media ecology of Egypt—in particular the ways various media index, image and influence one another—suggests that (unlike Iran) whatever the ultimate political outcome of the uprisings, the mediascape of Egypt after the revolution will be significantly different than it was before January 25. At times newly introduced mass media have produced revolutionary effects in the societal management of time and energy as they forged new spaces for themselves. Thus media are cultural forces as well as cultural objects. In operation, they produce specific cultural effects that cannot be easily predicted (Beeman 1984: 147). -
Regulation, Trust, and Cronyism in Middle Eastern Societies: the Simple Economics of 'Wasta'
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Barnett, Andy; Yandle, Bruce; Naufal, George S. Working Paper Regulation, trust, and cronyism in Middle Eastern societies: The simple economics of 'wasta' IZA Discussion Papers, No. 7201 Provided in Cooperation with: IZA – Institute of Labor Economics Suggested Citation: Barnett, Andy; Yandle, Bruce; Naufal, George S. (2013) : Regulation, trust, and cronyism in Middle Eastern societies: The simple economics of 'wasta', IZA Discussion Papers, No. 7201, Institute for the Study of Labor (IZA), Bonn This Version is available at: http://hdl.handle.net/10419/71609 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen -
Al Jazeera's Expansion: News Media Moments and Growth in Australia
Al Jazeera’s Expansion: News Media Moments and Growth in Australia PhD thesis by publication, 2017 Scott Bridges Institute of Governance and Policy Analysis University of Canberra ABSTRACT Al Jazeera was launched in 1996 by the government of Qatar as a small terrestrial news channel. In 2016 it is a global media company broadcasting news, sport and entertainment around the world in multiple languages. Devised as an outward- looking news organisation by the small nation’s then new emir, Al Jazeera was, and is, a key part of a larger soft diplomatic and brand-building project — through Al Jazeera, Qatar projects a liberal face to the world and exerts influence in regional and global affairs. Expansion is central to Al Jazeera’s mission as its soft diplomatic goals are only achieved through its audience being put to work on behalf of the state benefactor, much as a commercial broadcaster’s profit is achieved through its audience being put to work on behalf of advertisers. This thesis focuses on Al Jazeera English’s non-conventional expansion into the Australian market, helped along as it was by the channel’s turning point coverage of the 2011 Egyptian protests. This so-called “moment” attracted critical and popular acclaim for the network, especially in markets where there was still widespread suspicion about the Arab network, and it coincided with Al Jazeera’s signing of reciprocal broadcast agreements with the Australian public broadcasters. Through these deals, Al Jazeera has experienced the most success with building a broadcast audience in Australia. After unpacking Al Jazeera English’s Egyptian Revolution “moment”, and problematising the concept, this thesis seeks to formulate a theoretical framework for a news media turning point. -
Gendering the Nation in Mariam Naoum's Literary Adaptations)
American University in Cairo AUC Knowledge Fountain Theses and Dissertations 2-1-2018 From text to screenplay (gendering the nation in Mariam Naoum's literary adaptations) May Serhan Follow this and additional works at: https://fount.aucegypt.edu/etds Recommended Citation APA Citation Serhan, M. (2018).From text to screenplay (gendering the nation in Mariam Naoum's literary adaptations) [Master’s thesis, the American University in Cairo]. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/417 MLA Citation Serhan, May. From text to screenplay (gendering the nation in Mariam Naoum's literary adaptations). 2018. American University in Cairo, Master's thesis. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/417 This Thesis is brought to you for free and open access by AUC Knowledge Fountain. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of AUC Knowledge Fountain. For more information, please contact [email protected]. The American University in Cairo From Text to Screenplay Gendering the Nation in Mariam Naoum’s Literary Adaptations A Thesis Submitted to The Department of Arab and Islamic Civilizations In Partial Fulfillment of the Requirements For the Degree of Master of Arts By May Nizar Serhan Under the supervision of Dr. Samia Mehrez September 2017 i Acknowledgments To my dear friend and teacher, Dr. Samia Mehrez. Thank you for always pushing me beyond the limits I set for myself, for all the opportunities you have given me, and for your unwavering support; All the love, gratitude and respect. To my sister Nermin Serhan for setting me on this path, way back when I had a love for literature and did not really know what to do with it.