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Painting's Schools and Their Aesthetic Impact on Modern Iraqi Art During the Period (1900-1980)
PAINTING’S SCHOOLS AND THEIR AESTHETIC IMPACT ON MODERN IRAQI ART DURING THE PERIOD (1900-1980) PJAEE, 17 (3) (2020) PAINTING’S SCHOOLS AND THEIR AESTHETIC IMPACT ON MODERN IRAQI ART DURING THE PERIOD (1900-1980) Hawraa Ali Abd Muhammad1, Dr. Ali Hadi Mubarak2, Abdul Ameer Razzaq Mugheer3, Dr. Talib Sultan Hamzah4 1General Directorate of Education in Babil , Ministry of Education, Iraq 2College of Fine Arts - University of Babylon, Iraq 3The Open Educational College, Babylon Academic Center, Ministry of Education, Iraq 4College of Fine Arts - University of Babylon, Iraq Corresponding Authors: [email protected], 2 [email protected], [email protected] . [email protected] Hawraa Ali Abd Muhammad, Ali Hadi Mubarak, Abdul Ameer Razzaq Mugheer, Talib Sultan Hamzah. Painting’s Schools And Their Aesthetic Impact On Modern Iraqi Art During The Period (1900-1980)-- Palarch’s Journal Of Archaeology Of Egypt/Egyptology 17(3), 2234-2255. ISSN 1567-214x Keywords: schools of photography, beauty, Iraqi art THE ABSTRACT The process of interconnection among schools of contemporary painting and the Iraqi artist remains embodied by aesthetic concepts which produced by the past and enshrined in aesthetic sense, clearly, we see this in the Iraqi artist who lived during the time period (1900-1980), as this artist continued to see his hopes of going into the past with his spiritualties. Adding to it another meaning that is not at all inconsistent with the ethnic, religious or social affiliation that embodied by the different schools of photography, -
Descargar Descargar
Opcion, Año 35, Nº Especial 19 (2019):2899-2921 ISSN 1012-1587/ISSNe: 2477-9385 The Aesthetic Religious Symbol of The First Abbasid Era : Bashar Ibn Barad – Ibn AL Rumi ,AS Models Phd .Dr .Najlaa Abdul,Hussein oleiwi Mohammed Farhan Hussein Department of Geography College of Education for Human Sciences University of Tikrit , Iraq Abstract The symbol is a technical tool that receives the attention of scholars to its literary and heritage status and its signifcance, which carries in its machines the aesthetic value that expresses its symbol. The symbol has roots since the frst date. The philosophers of the Greeks and Arabs had a pause with them in their manuscripts and scientifc, because of its codes on it by people, as Car- ries many meanings and indications that make the recipient in a state of alert and emotion with these symbols to be through the images and values that can guide them to what the poet and writer A, be a mask hiding behind the author. Najlaa Abdul,Hussein oleiwi et.al. 2900 Opcion, Año 35, Nº Especial 19 (2019): 2899-2921 El símbolo religioso estético de la primera era abasí: Bashar Ibn Barad - Ibn AL Rumi, AS Modelos Resumen El símbolo es una herramienta técnica que recibe la atención de los estu- diosos sobre su estado literario y patrimonial y su importancia, que lleva en sus máquinas el valor estético que expresa su símbolo. El símbolo tiene raíces desde la primera fecha. Los flósofos de los griegos y los árabes tuvieron una pausa con ellos en sus manuscritos y científcos, debido a sus códigos en él por la gente, ya que lleva muchos signifcados e indicaciones que hacen que el receptor esté en estado de alerta y emoción con estos símbolos. -
Fantasy in Modern Egyptian Drama
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 19, Issue 2, Ver. IV (Feb. 2014), PP 74-81 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Fantasy in Modern Egyptian Drama Mohamed Kamel Abdel-Daem Lecturer in English, Shaqra University Abstract: This paper is an attempt to spotlight the Arabic dramatic works in modern Egypt ( produced during the second half of the twentieth century and a little after), that are based on fantasy aspects. These plays are usually mingled with elements of science fiction, mirabilia, fairytales, travel journeys, animal stories, utopian dreams, dystopian nightmares. A few Egyptian playwrights have experimented in both science and dark fantasy mixed with folkloric and mythic components. This study highlights these fantasy plays, featuring: Tawfiq al- Hakim’s Ahl el-Kahf ( The People of the Cave,1933), Shhrazad (Scheherazade,1934), Al-Mukhrij ( The Film Director), Bayt al-Naml ( The House of Ants ), Nahr al-Junun ( The River of Madness,1935), Rehla ela al-Ghad ( Voyage to Tomorrow), Not a Thing out of Place (1966), Awdat el-Shabab ( The Return of Consciousness,1974), Sha’er ala el-Qamar ( A Poet on the Moon), Taqreer Qamary ( A Lunar Report), El- Sultan El-Ha’er ( The Sultan’s Dilemma,), Izis(Isis,1955), Al-Ta’am li-kul fam ( Food for Every Mouth,1963); Saad Makkawi’s al-Maiet wal-Haii ( The Living Dead,1973), Lutfi Al-Khuli’s al-Aranib (The Rabbits,1964), No’man Ashur’s Lu’bat al-Zamen (Time Game,1980); Farouk Khorshid’s Habazlem Bazaza ( The Wines of Babylon,1967); Ali Salim’s Il-Nas illi fill-Sama’l-Tamina ( The People in the Eighth Heaven, 1963), Yusuf Idris’s al-Jins al-Thalith (The Third Sex,1971), and other marvelous plays. -
SL 2 Łam 11 (2).Indd
Studia Litteraria Universitatis Iagellonicae Cracoviensis 11 (2016), z. 2, s. 65–72 doi: 10.4467/20843933ST.16.008.5317 www.ejournals.eu/Studia-Litteraria SEBASTIAN GADOMSKI Uniwersytet Jagielloński w Krakowie e-mail: [email protected] Shakespeare’s Dramaturgy in the History of Arab Theatre Abstract The studies and monographs published over the years leave no doubt as to the great signifi cance of Shakespeare’s works for Arabic drama and theatre. The Lebanese writer Michail Nuayma went so far as to say “Shakespeare remains a Ka’ba to which we make pilgrimages, and a Qib- la to which we turn in prayer.” No doubt the words of one of the leading writers of Syrian- -American school cause huge surprise and even consternation. At the same time they encourage us to refl ect on the ways of reading and interpreting Shakespearean drama in the Arab world. This article aims to show the reception of William Shakespeare’s plays in Arab theatre starting from fi rst attempts of staging his works until their contemporary interpretations and attempts to formulate a response to the question of what has made Shakespeare remain continu- ously one of the closest Western playwrights to the Arab culture for more than a century. Keywords: Shakespeare, drama, Arab theatre. According to a joke that has been passed on across the Middle East by word of mouth for many years, Shakespeare was actually an Arabic writer named Sheikh Zubair. Pushing this joke further in its epoch-spanning progress, let us imagine that Hamlet is The Prince of Kuwait, who arrives in his home country from his studies in the United States to attend his father’s funeral. -
A Study of Tawfiq Al-Hakim's Equilibrium Doctrine And
A Study of Tawfiq al-Hakim’s Equilibrium Doctrine and Philosophical Narratives Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy by Shereen Hamed Shaw. July, 2015 Department of Philosophy University of Liverpool 7 Abercromby Square Liverpool, L69 7WY © 2015. All rights reserved. 1 For my Mother Hala ‘Abduh Dergham 2 TABLE OF CONTENTS Abstract Acknowledgement Note on Translation Preface........................................................................................................................................ 9 Translation of Tawfiq al-Hakim’s Equilibrium ...................................................................... 14 Introduction: Background and Influences ......................................................................... 53 I. Arab Existentialism ............................................................................................... 54 II. Jean Paul Sartre and Simone de Beauvoir in Egypt .............................................. 64 III. Tawfiq al-Hakim and Others ................................................................................. 75 Chapter One: The Equilibrium Doctrine ............................................................................. 89 I. Introduction ........................................................................................................... 90 II. The Doctrine ......................................................................................................... 94 III. Conclusion -
The Novel, Politics and Islam
sabry hafez THE NOVEL, POLITICS AND ISLAM Haydar Haydar’s Banquet for Seaweed n April 28th of this year an impassioned appeal appeared in Cairo, blazoned across the pages of the newspaper al- OSha‘b. Entitled ‘Who Pledges to Die with Me?’, it was a ferocious attack on a novel published in Egypt some months earlier, Walimah li-A‘shab al-Bahr (Banquet for Seaweed), calling it a blasphemous work by an apostate who merited assassination. Uproar ensued. Mosques thundered at the discovery of this infamy. The novel was withdrawn. Judges and police interrogated intellectuals and offi cials in the Ministry of Culture. Students demonstrated, and armoured cars rolled into the streets. Debate raged in the National Assembly, and the activities of a political party were suspended. Two different government committees were set up to investigate the affair. A torrent of articles and declarations, for and against the book at issue, poured off the presses. In Yemen, in Saudi Arabia and Kuwait analogous campaigns were trig- gered. Though the Arab world has seen not a few cultural or political clashes over literary works, the scale and intensity of the hubbub in Egypt this year is unprecedented. Yet what is the text that has provoked it? A novel that is now nearly twenty years old, and has run through at least six editions, by a Syrian writer whose fi ction has never so much as touched on the country where he is now reviled. Perhaps the most astonishing, and ominous, feature of the whole episode is the disjuncture between the controversy and its object. -
Islam and Democracy: an Empirical Examiniation of Muslims' Political Culture
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 6-2004 Islam and Democracy: An Empirical Examiniation of Muslims' Political Culture Moataz Bellah Mohamed Abdel Fattah Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Near and Middle Eastern Studies Commons, and the Political Science Commons Recommended Citation Fattah, Moataz Bellah Mohamed Abdel, "Islam and Democracy: An Empirical Examiniation of Muslims' Political Culture" (2004). Dissertations. 1098. https://scholarworks.wmich.edu/dissertations/1098 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. ISLAM AND DEMOCRACY: AN EMPIRICAL EXAMINIATION OF MUSLIMS' POLITICAL CULTURE by Moataz Bellah Mohamed Abdel Fattah A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of Political Science Western Michigan University Kalamazoo, Michigan June 2004 ISLAM AND DEMOCRACY: AN EMPIRICAL EXAMINATION OF MUSLIMS' POLITICAL CULTURE Moataz Bellah Mohamed Abdel Fattah, Ph.D. Western Michigan University, 2004 This dissertation focuses on the following empirical puzzle: Do the attitudes of ordinary educated Muslims stand as an obstacle toward the adoption of democracy? This research question calls for empirical/behavioral methodological tools that bring into focus contemporary Muslims' attitudes rather than ancient jurists' contributions. In other words, the dissertation shifts attention from ancient Islamic texts to contemporary Muslims' mindsets through written and web-based surveys in 32 Muslim societies. -
Curriculum Vitae Prof. Dr. Mohamed Osman Elkhosht
Curriculum Vitae Prof. Dr. Mohamed Osman Elkhosht Vice President of Cairo University For Education and Students Affairs Professor of Philosophy of Religion and Contemporary Philosophy Faculty of Arts - Cairo University Contents Introduction: Profile & General View First: Books & Research Papers on his works Second: Qualification Third: Training Courses Fourth: Employment History Fifth: Writings: (A) Refereed Scientific Papers: - Refereed Scientific Papers in Arabic - Refereed Scientific Papers in foreign languages (B) Books (C) Writings translated to other languages (D) Studies published in Arabic magazines (E) Translation (F) Authenticated books (G) In Printing Sixth: Supervision of Master and PhD theses Seventh: Refereed conferences and Local and International Symposia and Workshops Eighth: Organizing conferences Ninth: Membership of scientific associations, major publication bodies and committees Tenth: Contribution to the management and development of the educational process and university activities Eleventh: Syllabi taught by him Twelfth: Some cultural and media activities locally and regionally Thirteenth: Scientific prizes, certificates of appreciation and medals from international universities and institutions 1 Profile & General View - Elkhosht has written 41 books: 24 authenticated books on Islamic heritage and 27 published refereed scientific papers. Some of his works have been widely translated into other languages (German, English and Indonesian). His first book came out in 1982. - He was chosen Person of the Year 2014 in the Egyptian Embassy in the KSA. - Elkhosht has received 7 scientific prizes in human and social sciences and international publication, tens of certificates of appreciation and medals from international, regional and national universities and institutions and the Ideal Professor prize in 2010. - Some Arab and Egyptian university professors and foreign editors have written 4 books and tens of papers about his thought and scientific contributions in both Arabic and English. -
Audiovisual Translation in the Arab World (V 0.4): Mapping the Field
Arab Media & Society (Issue 19, Fall 2014) Audiovisual Translation in the Arab World (v 0.4): Mapping the Field Muhammad Y Gamal Ph.D. Abstract Translation remains one of the most complex issues in modern Arab culture, thought and development. Despite the collective efforts of individuals, organisations and government policies the results continue to be modest and stop short of the desired target. In addition to the well- known issues that contribute to the translation crisis in the Arab world, digital technology has changed the rules of the game almost entirely. Translation, in the traditional sense is no longer accessed through paper and books but via screens and online. This is the world of audiovisual translation. This paper continues a study that began in 2007 that examines the status quo of audiovisual translation in the Arab world. Specifically, this work analyzes the challenges of localizing audiovisual translation, and unpacks some of the limitations in both policy and pedagogy that the field is currently facing. Introduction Digital technology has changed the way information is created and accessed. Traditional print translation is no longer viable in a world that is increasingly reliant upon smart technology. Today, translation is created and consumed via screen. Traditionally, the academic area of translation studies has been concerned with the social phenomenon of cross-cultural communication with its epistemological issues, contexts, process, product and pedagogy. Digital technology, which relies on screens as the interface point, has pushed audiovisual translation to the fore. Audiovisual translation (AVT) in the Arab world remains outside the scope of translation departments at a time when there is an obvious need to espouse the concept, localize the discipline and invest in the training of specialists in Arabic audiovisual translation studies. -
Tawfiq Al-Hakim and His Contemporary Dramatists
71 CHAPTER – III TAWFIQ AL-HAKIM AND HIS CONTEMPORARY DRAMATISTS 3.1. Introduction Tawfiq al-Hakim (1898 – 1987) is considered to be the founder of Modern Arabic drama, and such a claim has been made by H.R.A. Gibb who significantly regarded him to be so; on the other hand Luwis ‘Awaḍ described him as the true founder of Egyptian drama in every serious sense; and Ghali Shukri called him ‘the first pioneer of the dramatic art in Arabic. It is indicated earlier that Modern Arabic drama was borrowed from the West independently by Marun al-Naqqash in the Lebanon in 1847 and by Ya’qub Sannu in Egypt in 1870. In fact, both of them were inspired by the example of Italian opera and influenced by French comedy. Although some indigenous types of dramas found in the period of medieval Islam, were of the representation of traditional approaches. In this connection, we may mention Abu Zayd al-Hilali and Baybars, which are closer to drama in some ways, and in this connection the drama activities relating to the massacre of al-Husain, the son of the fourth caliph Hazrat ‘Ali (R. A.), and his family in the annual cycle of passion plays (ta‘ziya) for commemorating them, may be compared to that of the earlier model of Arabic drama. Of course, some scholars are of the opinion that the ta‘ziya should more properly be viewed as an extension of religious ritual than a drama. In fact, such type of folk drama 72 was performed by Shi‘ite Muslims generally in Persian; but some have been done in Turkish and Arabic.75 Moreover, if we consider the earlier works of Arabic drama, it appears that the shadow theatre (khiyal al-ẓill) seemed to have a continuous tradition of dramatic entertainment in the Arab lands, as early as the tenth century. -
Print Biography
Mohamed Ali Eltaher - Biography www.eltaher.org Why This Website? While history influences the lives of individuals, individuals also influence history. If it used to be said during the lifetime of this man that “The sun never sets on two things: The British Empire, and the newspaper published by Mohamed Ali Eltaher”; there is a good reason to stop and note. This website tells the story of Mohamed Ali Eltaher (also known by his traditional Arab nickname, Aboul-Hassan). It is also the story of his wife. It provides the sources and references needed for those who are interested to learn more about him, and, more importantly, to learn about the history of the Near East and North Africa between 1912 and 1974, and the political and historical issues of the countries spanning from Morocco to Iraq, and Eltaher at the entrance to "Dar Ashoura" from Syria to Indonesia. Those who know Egypt through the writings of in Cairo - 1954 Lawrence Durrell and Konstantin Kavafi and other famous Western writers, will be able to have a glimpse of that side of Egypt these talented writers did not write about. The website offers first-hand original material, written in the context, spirit and style of its time. Some material is either unpublished or out of print. It was compiled by individuals who have known or lived many of the stories told, or issues discussed, and by others who have known of, or met many of the persons appearing in the photographs featured in the website. The site would appeal to an interested reader, student, historian, academic, journalist, homme de lettres, or diplomat, without forgetting those seeking action-packed adventures. -
Chapter-3 Life and Works of Ali Ahmad Bakathir
61 Chapter-3 Life and Works of Ali Ahmad Bakathir 62 3.1 Bakathir’s Life and Literary Development Ali Ahmad Bakathir was born in 1910, December 21 in Surabaya, Indonesia. He was the first child of Arab parents who had come to Indonesia from Hadramawt for trade. When he was eight years old, his parents sent him back to Hadramawt as it was customary for Hadramawtian emigrants to send their children back to the homeland in order to absorb more Islamic education and Arabic language. When Bakathir was eighteen years old he married a girl two years his junior. While he was on journey to the Hijaz, his wife died giving birth to their first child. In 1932, deeply affected by the death of his young wife, Bakathir decided to emigrate. He moved first to Aden (now capital of south Yemen) and then to Hijaz (now in Saudi Arabia). In 1934, he immigrated to Egypt. Bakathir felt that all his ties with home were cut when he received the news about the death of his daughter drowned in the house pool. In 1938, Bakathir graduated from the English department at Cairo University and became a student in the Educational Institute. In 1940, he was appointed as an English language and literature teacher. In 1945, Bakathir was married to an Egyptian widow, adopting her daughter; but he never had a child by her. In 1945 he became an Egyptian citizen.110 Bakathir spent fourteen years as a teacher at Al-Mansura and Cairo. In this period he established his fame as a successful novelist and playwright, and many of his plays were performed on the main stages in Egypt.