DOCSLIB.ORG

University of Alberta Qasim's Short Stories: .4N Esample of Arnbic

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Alberta Qasim's Short Stories: .4N Esample of Arnbic University of Alberta Qasim's Short Stories: .4n Esample of Arnbic SupernaturaUGhost/Horror Story Sabah H Alsowaifan O -4 thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requiremrnts for the degree of Doctor of philosophy Comparative Literature Department of Comparative Literature, Religion, and Filmli\fedia Studies Edmonton, Alberta Spnng 200 1 National Library Bibliothèque nationale 191 ,,a& du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 WeUington Street 395, rue Wellington Onawa ON K1A ON4 Ottawa ON KlA ON4 CaMda Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Libwof Canada to Bibliothèque nationale du Canada de reproduce, ban, distniute or sell reproduire, prêter, distribuer ou copies of this thesis in micloform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/fi.lm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Dedica tion To my father and mother. To my supervisor, Dr. Milan V. Dimic. To Mr. Faisal Yousef Al Marzoq. To the Commercial Bank of Kuwait. To Kuwait University. Abstract This dissertation focuses on an Arabic wnter of short stories, Qasirn Khadir Qasim. The Kuwaiti Qasim writes supematural, ghost and horror stories in the Arabic language. His stories are entertaining, because the reader enjoys the creative elements of the supernatural, especially the horrifying suspense. Qasim's stones are a part of the supernaturaVghost/horror genre. In general, Qasim uses techniques sirnilar to Gothic writers (such as setting the stories in the past and in mystenous places). In particular, the influence of Edgar Allen Poe, Howard Phillips Lovecraft, William Shakespeare, and otlter Western wnters can be seen in Qasirn's work (especially in terrns of evoking horror, making use of folkbric motifs, and using grotesque images). Moreover, Qasim uses internationally recognized folkloric motifs within his work, such as the motif of personified winds, a painting corning to life, and people retuming from the dead to reveal murder or to demand a proper burial. In essence, because of this, his work is accessible and entenai ning for many readers. However, beneath this entertaining surface, there are deeper cultural explorations and critiques. To prove this, the dissertation conducts a close anaIysis of three stories: "The City of Winds," "The Painting of Wishes," and "The Deserted Hut." Qasim explores in his fiction not only fear of the unknown in a supeniatural sense (such as the magical forces of winds, evil spirits, and ghosts), but Qasinl also explores serious cultural issues (such as the abuse of nature by man, the belief in superstition, and the exploitation of women). Essentially, Quasi uses supernatural entertainment in three ways: for escapist pleasure, :O protect his cultural cnticism, and to educate the reader without directly offending hirn or her. The dissertation discusses and reviews the background, iduences on, motifs, and thernes of the genre and its writers. Then, it conducts a close interpretation of Qasim's supematural stories as a disguised means for social commentary. It also considers the contextual, religious, cuttural elements in Qasim's stories. Hence, first it illustrates how Qasim entertains readers by placing him in the supernatural tradition and by relating him to writers such as Poe and Lovecraft. Second, it explains how Qasim uses the supernatural to make serious cultural cornmentary about nature, superstition, and women. Moreover, it shows that Qasim's stories contain popuiar folkloric motifs, but which he uses in an ori~inalway. The thesis, I hope, proves my contention that Qasim uses the supernatural genre for escapist entertainment, for senous cultural comrnentary, and to educate readers wi thout offending them. My thanks to my supervisors, Dr. Milan V. Dimic and Dr. Earle Waugh. Thanks to the chair of rny committee, Dr. Francis Landy, and the members of my committee, Dr. Willi Braun, Dr. William Anselmi, and the external fi-om McGill University, Dr. Issa J. BotttIata. Thanks also to Dr. Jerry Varsava, Dr. E.D. BIodgett, and rny speciaI graduate colleagues, Dalbir S. Sehrnby and Srdja Pavlovic. And special thanks to the Comparative Literature, Religion, FilmMedia Studies Department administrative assistants, Janet Ould, Lois Burton, and Jeanette Rousseau. Siiicsre tliaiiks to the academic advisor, Walid Almufti of the Kuwait University Office at the Kuwaiti Embassy in Washington, D.C. Table of Content I Introduction ...........................................................................................L De tinitions of SupematuraVGhost/Horror story ................................................. -3 The Structure of the Supernatural Story.. ........................................................i O SupematuraVGhost/Horror in World Litenture ................................................. 14 Arabic and Islamic Tradition. ...................................................................... 19 The Ai-nbim Nights (as an Entertainment) and the Supematural Shakespeare and the Ghost in Knnzlet ............................................................ 38 Supernaturd in the Nineteenth and the Twentieth century ................................... -46 Qasim's Works .......................................................................................49 Lovecraft. Poe. Qasim and the Supematunl.................................................. -33 Method of Approach ................................................................................. 70 II Analysis of "The City of Winds": A Supernaturd Story .............................................................................. 80 III Analysis of "The Painting of Wishes": A Story of Evil Spirit ............................................................................ 106 IV Xnalysis of "The Desertcd Hut": The Retum of the Dead .......................................................................... 135 Translation of "The City of Winds" ................................................................. 17s Translation of "The Painting of Wishes" ........................................................... 203 Translation of "The Deserted Hut" .................................................................. 230 Endrio tes ............................................................................................... -256 Bibliograpliy ......................................................................................... -265 Qasim's Short Stories: An Example of Arabic SupernaturaUGhost/Horror Story -"Do you believe in ghosts?" The question stmck me painfuIly. It reinforced my fear that Dmvish had been possessed by spirits. 1 looked at hirn and found him staring wonderingly again at that hut, -"Yes, 1 belicve in the existence of ghosts and everything said about them." My answer came as a key to a secret box, which Danvish had carried in his mind a11 these past months. Darwish started to relax, and 1 saw some indication of contentment in his face. He took a deep breath as if he had finally found sornebody who shared, and sympathized with, his affliction. -Qasim K. ~asirn' Introduction This dissertation focuses on an Arabic wnter of short stories, Qasim K. Qasim. The Kuwaiti Qasirn wntes supematural, shost and horror stories in the Arabic language. His stories are entertainins, because the reader enjoys the creative elements of the supernatural, especially the hoirifying suspense. Qasirn's stones are a part of the s~ipe~n;~t~ii-rillgtiosr/ho~~-or-genre. In generaI, Qasim uses techniques similar to Gothie wri ters (such as setting the stories in the pst and in mystetious places). In particular, the influence of Edgar Allen Poe, Howard Phillips Lovecraft, and other Western writers can be seen in Qasirn's work (especially in terrns of evoking horror, rnakins use of folkloiic motifs, and ~isin_ogrotesque images). Moreover, Qasim uses inteinntionaIly recognized 1oIklor-i~motifs within his work, such as ihe motif of personified winds, a painting coming to life, and people retüming from the dead to reveal murder or to demand a proper burial. In essence, because of this, his work is accessible and ente~tainingfor many readers. However, beneath this entertaining su~~ace.there are deeper cultural explorations and critiques. To prove this, 1will I conduct a close analysis of three stoties: "The City of Winds," 'The Painting of Wishes," and 'The Deserted Hut." Qasim explores in his fiction not only fear of the unknown in a supernatural sense (such as the rnagical forces of winds, evil spirits, and ghosts), but Qasim ais0 explores senous cultural issues (such as the abuse of nature by man, the beIief in superstition, and the expIoitation of women). Essentially, Qasim uses supematural entertainment in three ways: for escapist pleasure, to protect his culturat cnticism, and to educate the reader without directly offending him or her. In the dissertation, 1 will discuss and review the background, influences on, motifs, and themes of the genre
Load more

Recommended publications
  • Kazuhiko YAMAGUCHI
    Journal of Educational Research, Shinshu University, No. 4 (1998) 123 A Portrait of the Author of Vathek Kazuhiko YAMAGUCHI William Beckford (1760-1844) has generally been reputed to be one of the most notable of the whole company of Eng}ish eccentrics. In a conventional age and born to the vast wealth that observes conventionality his extravagance lay in his unconventional creed and frequently eccentric behaviour. No doubt he was often misconstrued. People spread gossip concerning misspent opportunities, great possession squandered, the lack of a sense of responsibility, and an entirely wasted life spent upon follies and hobbies. But he was indifferent to public opinion. Until the end of his long and singular career he persistently refused to conform to the pattern of his class, remaining staunchly uncom- promising towards the conventional norms of Georgian society. As a consequence one serious charge after another was brought against hirn, probably on no stronger founda- tion than the undoubted fact of his deviation from the usual type of the English gentle- mall. Yet this surely is not all he was. There is more to be said for Beckford even while, in part, admitting the justice of the calumnies that have been heaped upon his unpredict- able personality. He was much more than an eccentric millionaire: rather a man of many accornplishments and exceptional culture. To begin with he possessed the attributes of the universal man. He was trilingual: as fluent in French and Italian as in his native English, besides speaking Spanish, German, Portuguese, Persian and Arabic. He could judge events and their causes as a true cosmopolitan.
    [Show full text]
  • Spirits of the Age: Ghost Stories and the Victorian Psyche
    SPIRITS OF THE AGE: GHOST STORIES AND THE VICTORIAN PSYCHE Jen Cadwallader A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2009 Approved by: Laurie Langbauer Jeanne Moskal Thomas Reinert Beverly Taylor James Thompson © 2009 Jen Cadwallader ALL RIGHTS RESERVED ii ABSTRACT JEN CADWALLADER: Spirits of the Age: Ghost Stories and the Victorian Psyche (Under the direction of Beverly Taylor) “Spirits of the Age: Ghost Stories and the Victorian Psyche” situates the ghost as a central figure in an on-going debate between nascent psychology and theology over the province of the psyche. Early in the nineteenth century, physiologists such as Samuel Hibbert, John Ferriar and William Newnham posited theories that sought to trace spiritual experiences to physical causes, a move that participated in the more general “attack on faith” lamented by intellectuals of the Victorian period. By mid-century, various of these theories – from ghosts as a form of “sunspot” to ghost- seeing as a result of strong drink – had disseminated widely across popular culture, and, I argue, had become a key feature of the period’s ghost fiction. Fictional ghosts provided an access point for questions regarding the origins and nature of experience: Ebenezer Scrooge, for example, must decide if he is being visited by his former business partner or a particularly nasty stomach disorder. The answer to this question, here and in ghost fiction across the period, points toward the shifting dynamic between spiritual and scientific epistemologies.
    [Show full text]
  • The Branded Muslim Woman a Qualitative Study Into the Symbolic Boundaries Negotiated Around the Portrayal of Muslim Women in Brand Cultures
    Media and Communications Media@LSE Working Paper Series Editors: Bart Cammaerts, Nick Anstead and Richard Stupart The Branded Muslim Woman A Qualitative Study into the Symbolic Boundaries Negotiated around the Portrayal of Muslim Women in Brand Cultures Nuha Fayaz Published by Media@LSE, London School of Economics and Political Science ("LSE"), Houghton Street, London WC2A 2AE. The LSE is a School of the University of London. It is a Charity and is incorporated in England as a company limited by guarantee under the Companies Act (Reg number 70527). Copyright, NuHA FAYAZ © 2020. The author has asserted their moral rights. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission in writing of the publisher nor be issued to the public or circulated in any form of binding or cover other than that in which it is published. In the interests of providing a free flow of debate, views expressed in this paper are not necessarily those of the compilers or the LSE. 1 ABSTRACT Traditionally, Muslim women in media have been framed as oppressed by the burdens of the hijab and their religion. However, Muslim women have been countering this narrative through the emergence of alternative Muslim media content circulating within the Islamic cultural industry. The growing consumer segment of Muslim women have resulted in mainstream brands targeting this demographic. Likewise, female Muslim bloggers are gradually entering the influencer market of social media. There is an emerging visibility of Muslim women within these brand cultures: through the branding of Muslim women in advertisements and the self-branding of Muslim women on social media.
    [Show full text]
  • NON- Fiction: FICTION Easy Reader (JJ-ER)
    NON- Fiction: Atlas of monsters and ghosts Magrin, Federica Children's book of mythical beasts & magical monsters. Creepy costumes : DIY zombies, ghouls, and more Meinking, Mary Eye-popping jack-o'-lanterns : DIY glares, stares, and more Meinking, Mary Laugh-out-loud Halloween jokes : lift-the-flap Elliott, Rob LEGO Halloween ideas Wood, Selina Make frightful props : DIY eyeballs, organs, and more Meinking, Mary Marisol McDonald and the monster Brown, Monica Monster jokes Spooky haunted houses Maurer, Tracy Spooky haunted house : DIY cobwebs, coffins, and more Meinking, Mary What is the story of Frankenstein? Keenan, Sheila FICTION BOARD Books: Boo, boo, I love you! Magsamen, Sandra Clifford's first Halloween Bridwell, Norman Halloween dogs. Halloween is here! Mitter, Matt Halloween Kitty Yoon, Salina. Here comes Halloween! Church, Caroline Jack and Jill : a Halloween nursery rhyme Yoon, Salina Little Blue Truck's Halloween Schertle, Alice The pout-pout fish Halloween faces Diesen, Deborah Too many monsters! : a Halloween counting book Neubecker, Robert Llama llama trick or treat Dewdney, Anna Spooky Pookie Boynton, Sandra Fly, ghost, fly! Schwartz, Betty Ann Peppa's giant pumpkin Lizzio, Samantha Easy Reader (JJ-ER) A fairy-tale fall Jordan, Apple Arthur's Halloween costume : story and pictures Hoban, Lillian Click, clack, boo! : a tricky treat Cronin, Doreen Dragon's Halloween (Series: Dragon Tales) Pilkey, Dav Happy haunting, Amelia Bedelia Parish, Herman Monster games Lagonegro, Melissa Mercy Watson :Princess in disguise DiCamillo, Kate Sharmat, Marjorie Nate the Great and the Halloween hunt Weinman Scared silly Howe, James Scooby-Doo! and the cupcake caper Sander, Sonia The haunted Halloween party Herman, Gail Turtle and Snake's spooky Halloween Spohn, Kate Picture books (JJ) 5-minute Halloween stories.
    [Show full text]
  • The Ghostmodern: Revisionist Haunting in Turn-Of-The-Century American Literature (1887-1910)
    THE GHOSTMODERN: REVISIONIST HAUNTING IN TURN-OF-THE-CENTURY AMERICAN LITERATURE (1887-1910) by MATH TRAFTON B.A., University of Colorado, 2003 B.S., University of Colorado, 2003 M.A., University of Colorado, 2005 M.A., University of Colorado, 2008 A dissertation submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Comparative Literature 2013 This dissertation titled: The Ghostmodern: Revisionist Haunting in Turn-of-the-Century American Literature (1887-1910) written by Math Trafton has been approved for the Department of Comparative Literature Dr. Karen Jacobs, committee chair Dr. Mark Leiderman Dr. Eric White Dr. Sue Zemka Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii Trafton, Math (Ph.D., Comparative Literature) The Ghostmodern: Revisionist Haunting in Turn-of-the-Century American Literature (1887- 1910) Dissertation directed by Associate Professor Karen Jacobs This project attempts to identify and explain numerous significant transformations in the genre of the literary ghost story in the period roughly contemporary with the earliest emergence of literary Modernism. Through a detailed examination of the literary encounters with invisibility in pivotal American ghost stories from the end of the twentieth century, the project considers the rich literary trope of ghostly haunting according to its capacity to provoke an engagement with marginalized, liminal spaces. In traditional ghost stories, however, as ghosts are ultimately overcome and order is restored, normative structures resume, and such engagements are trivialized.
    [Show full text]
  • Routledge Handbook of Indian Cinemas the Indian New Wave
    This article was downloaded by: 10.3.98.104 On: 28 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Routledge Handbook of Indian Cinemas K. Moti Gokulsing, Wimal Dissanayake, Rohit K. Dasgupta The Indian New Wave Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 Ira Bhaskar Published online on: 09 Apr 2013 How to cite :- Ira Bhaskar. 09 Apr 2013, The Indian New Wave from: Routledge Handbook of Indian Cinemas Routledge Accessed on: 28 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 THE INDIAN NEW WAVE Ira Bhaskar At a rare screening of Mani Kaul’s Ashad ka ek Din (1971), as the limpid, luminescent images of K.K. Mahajan’s camera unfolded and flowed past on the screen, and the grave tones of Mallika’s monologue communicated not only her deep pain and the emptiness of her life, but a weighing down of the self,1 a sense of the excitement that in the 1970s had been associated with a new cinematic practice communicated itself very strongly to some in the auditorium.
    [Show full text]
  • Manufacturing Muslim Image Through Bollywood Cinema
    Muslim South Asia Conference 28 Oct, 2013 Shiraz Sheikh Green on Silver: Manufacturing Muslim Image through Bollywood Cinema ABSTRACT: During the last decade, a series of Bollywood movies were produced which caricatured the Muslim image in a certain way. The biased portrayal grew in time when numbers of Muslim youths were framed and fabricated with false terror charges. The accumulated angst against the partisan communal profiling of Muslims outburst was protest against the movie Vishwaroopam. This has regenerated media debate about the artistic freedom and the freedom of expression. In this context, the paper focuses to analyse the portrayal of Muslims in Bollywood Cinema since 9/11. It seeks to examine the pattern of portrayal that negatively reinforces the bias against the community and also how with positive portrayal a balance is sought. For this purpose two clusters of movies are selected. One set of films produces loaded narrative that reinforces notion that ‘evil community’ is required to be contained whereas the second set producing a counter narrative. On theoretical plane the paper seeks to theorsie the prevailing phenomenon by applying two general theories. The first theory is of profitability – that is to exploit a burning issue which is easily sellable. Second, an assumption that there is politics entrenched with ideology that helped manufacture Muslim image as an enemy within to contain the bellicose threat of spread of Islam. Finally the paper tries to analyse the debates generating within the educated Muslim youths. Key Words: Bollywood Cinema, Muslim Image, Hindutava, Hindu Nationalism, Muslim Youth, Freedom of Expression, Social Media. Introduction In February of 2013 movie Vishwaroopam was in news due to protest against it by Tamilnadu Muslim Munnetra Kazhagam and Tamil Nadu Thowheed Jamath.
    [Show full text]
  • How Post 9/11 Pakistani English Literature Speaks to the World
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 11-17-2017 2:00 PM Terrorism, Islamization, and Human Rights: How Post 9/11 Pakistani English Literature Speaks to the World Shazia Sadaf The University of Western Ontario Supervisor Nandi Bhatia The University of Western Ontario Joint Supervisor Julia Emberley The University of Western Ontario Graduate Program in English A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Shazia Sadaf 2017 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Literature in English, Anglophone outside British Isles and North America Commons Recommended Citation Sadaf, Shazia, "Terrorism, Islamization, and Human Rights: How Post 9/11 Pakistani English Literature Speaks to the World" (2017). Electronic Thesis and Dissertation Repository. 5055. https://ir.lib.uwo.ca/etd/5055 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Terrorism, Islamization, and Human Rights: How Post 9/11 Pakistani English Literature Speaks to the World Abstract The start of the twenty-first century has witnessed a simultaneous rise of three areas of scholarly interest: 9/11 literature, human rights discourse, and War on Terror studies. The resulting intersections between literature and human rights, foregrounded by an overarching narrative of terror, have led to a new area of interdisciplinary enquiry broadly classed under human rights literature, at the point of the convergence of which lies the idea of human empathy.
    [Show full text]
  • Looking at Popular Muslim Films Through the Lens of Genre
    Rupkatha Journal on Interdisciplinary Studies in Humanities, Vol. IX, No. 1, 2017 0975-2935 DOI: https://dx.doi.org/10.21659/rupkatha.v9n1.17 Full Text: http://rupkatha.com/V9/n1/v9n117.pdf Is Islamicate a Genre? Looking at Popular Muslim Films through the Lens of Genre Asmita Das Department of Film Studies, Jadavpur University, Kolkata. ORCID: 0000-0002-7307-5818. Email: [email protected] Received February 25, 2017; Revised April 9, 2017; Accepted April 10, 2017; Published May 7, 2017. Abstract This essay engages with genre as a theory and how it can be used as a framework to determine whether Islamicate or the Muslim films can be called a genre by themselves, simply by their engagement with and representation of the Muslim culture or practice. This has been done drawing upon the influence of Hollywood in genre theory and arguments surrounding the feasibility / possibility of categorizing Hindi cinema in similar terms. The essay engages with films representing Muslim culture, and how they feed into the audience’s desires to be offered a window into another world (whether it is the past or the inner world behind the purdah). It will conclude by trying to ascertain whether the Islamicate films fall outside the categories of melodrama (which is the most prominent and an umbrella genre that is represented in Indian cinema) and forms a genre by itself or does the Islamicate form a sub-category within melodrama. Keywords: genre, Muslim socials, socials, Islamicate films, Hindi cinema, melodrama. 1. Introduction The close association between genre and popular culture (in this case cinema) ensured generic categories (structured by mass demands) to develop within cinema for its influence as a popular art.
    [Show full text]
  • Film Genres, the Muslim Social, and Discourses of Identity C. 1935–1945
    Article BioScope Film Genres, the Muslim Social, and 6(1) 27–43 © 2015 Screen South Asia Trust Discourses of Identity c. 1935–1945 SAGE Publications sagepub.in/home.nav DOI: 10.1177/0974927615586930 http://bioscope.sagepub.com Ravi S. Vasudevan1 Abstract This article explores the phenomenon of the Muslim social film and “Islamicate” cinema of pre-Partition India to suggest a significant background to cinema’s function in the emergence of new states. In particu- lar, it seeks to provide an account of how discussions of genre and generic difference framed issues of audience and identity in the studio period of Indian film, broadly between the mid-1930s and mid-1940s. Rather than focus too narrowly on identity discourses in the cinema, I try to move among amorphous and dispersed senses of audience, more calibrated understandings related to a trade discourse of who films would appeal to, and finally, an agenda of social representation and audience address that sought to develop in step with a secular nationalist imagining of the Muslim community and its transformation. Keywords Muslim social, Mehboob, K.A. Abbas, Islamicate, oriental, Lahore This article explores the phenomenon of the Muslim social film and “Islamicate” cinema of pre-Partition India to suggest a significant background to cinema’s function in the emergence of new states. In particu- lar, it seeks to provide an account of how discussions of genre and generic difference framed issues of audience and identity in the studio period of Indian film, broadly between the mid-1930s and mid-1940s. Rather than focus too narrowly on identity discourses in the cinema, I try to move among amorphous and dispersed senses of audience, more calibrated understandings related to a trade discourse of who films would appeal to, and finally, an agenda of social representation and audience address that sought to develop in step with a secular nationalist imagining of the Muslim community and its transformation.
    [Show full text]
  • The Muslim Emperor of China: Everyday Politics in Colonial Xinjiang, 1877-1933
    The Muslim Emperor of China: Everyday Politics in Colonial Xinjiang, 1877-1933 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Schluessel, Eric T. 2016. The Muslim Emperor of China: Everyday Politics in Colonial Xinjiang, 1877-1933. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493602 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Muslim Emperor of China: Everyday Politics in Colonial Xinjiang, 1877-1933 A dissertation presented by Eric Tanner Schluessel to The Committee on History and East Asian Languages in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History and East Asian Languages Harvard University Cambridge, Massachusetts April, 2016 © 2016 – Eric Schluessel All rights reserved. Dissertation Advisor: Mark C. Elliott Eric Tanner Schluessel The Muslim Emperor of China: Everyday Politics in Colonial Xinjiang, 1877-1933 Abstract This dissertation concerns the ways in which a Chinese civilizing project intervened powerfully in cultural and social change in the Muslim-majority region of Xinjiang from the 1870s through the 1930s. I demonstrate that the efforts of officials following an ideology of domination and transformation rooted in the Chinese Classics changed the ways that people associated with each other and defined themselves and how Muslims understood their place in history and in global space.
    [Show full text]
  • The Bell Witch an American Ghost Story The
    peterson The Bell Witch An american Ghost Story The An American Ghost Story By Megan Cooley Peterson Snap Books are published by Capstone Press 1710 Roe Crest Drive, North Mankato, Minnesota 56003 www.capstonepub.com Copyright © 2020 by Capstone Press, a Capstone imprint All rights reserved. No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission of the publisher. Library of Congress Cataloging-in-Publication Data is available on the Library of Congress website. ISBNs: 978-1-5435-7335-0 (hardcover) 978-1-5435-7477-7 (paperback) 978-1-5435-7344-2 (eBook PDF) Editorial Credits Eliza Leahy, editor; Brann Garvey, designer; Tracy Cummins, media researcher; Tori Abraham, production specialist Photo Credits Alamy: age fotostock, 8, Trinity Mirror/Mirrorpix, 15; Courtesy of Tennessee State Library and Archives: 6, 17, 24; Shutterstock: ADragan, 23, Africa Studio, 18, avtk, Design Element, Bob Orsillo, 11, Chantal de Bruijne, Design Element, Everett Historical, 21, Giraphics, Design Element, GoMixer, Design Element, Hitdelight, 9, InnaPoka, 7, Joe Therasakdhi, Cover, LiskaM, 13, Lusica, 19, MagicDogWorkshop, Design Element, NikhomTreeVector, Design Element, NinaMalyna (frame), 9 Top, 21, 24, Prokrida (frame), 9 Left, 9 Bottom, Stefan Rotter, 12; Wikimedia: Brian Stansberry, 5, 27, Www78, 29 Direct Quotations Pages 14–15: Ingram, M.V. An Authenticated History of the Famous Bell Witch. Clarksville, TN: W. P. Titus, printer, 1894, 53. Page 20: Ingram, M.V. An Authenticated History of the Famous Bell Witch. Clarksville, TN: W.
    [Show full text]