DOCSLIB.ORG

Šubēk Lubēk Di Dīnā Muḥammad: Come Il Graphic Novel Racconta L’Egitto Post- 2011

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Šubēk Lubēk Di Dīnā Muḥammad: Come Il Graphic Novel Racconta L’Egitto Post- 2011 Corso di Laurea Magistrale in Lingue, culture e società dell’Asia e dell’Africa mediterranea Tesi di Laurea Šubēk Lubēk di Dīnā Muḥammad: come il graphic novel racconta l’Egitto post- 2011 Relatore Ch. Prof. Patrizia Zanelli Laureanda Bianca Bernardi Matricola 989233 Anno Accademico 2018 / 2019 2 INDICE 4 .......................................................................................................................................... ﻣﻘﺪﻣﺔ Introduzione .............................................................................................................................. 7 1. Il fumetto e il graphic novel ............................................................................................... 10 1.1 Definizioni ...................................................................................................................... 12 1.1.1 Il medium ................................................................................................................. 12 1.1.2 Il formato e il genere ................................................................................................ 15 1.1.3 Il fumetto e la graphic narrative .............................................................................. 16 1.1.4 Il graphic novel ........................................................................................................ 20 1.2 Il linguaggio del fumetto ................................................................................................ 23 1.2.1 Il testo e l’immagine ................................................................................................ 23 1.2.1.2 Il rapporto tra testo scritto e immagine ............................................................. 27 1.2.2 Generic promptings e paratesti ................................................................................ 28 1.2.3 La vignetta e la pagina ............................................................................................. 29 1.2.4 La sequenza .............................................................................................................. 31 1.2.5 L’ordine degli eventi ................................................................................................ 32 1.2.6 Il narratore ................................................................................................................ 33 1.2.7 La focalizzazione e la prospettiva ............................................................................ 34 2. Il fumetto e il graphic novel in Egitto ........................................................................... 37 2.1 Breve storia del fumetto ................................................................................................. 37 2.1.1 Le origini .................................................................................................................. 37 2.1.2 Il XIX secolo: nascita del fumetto moderno .............................................................. 38 2.1.3 I principali focolai di sviluppo del fumetto nel mondo ............................................ 38 2.1.4 Storia del fumetto nel mondo arabo ......................................................................... 41 2.1.4.1 Le influenze: arte e caricatura ........................................................................... 41 2.1.4.2 Fumetti per bambini .......................................................................................... 45 2.1.4.3 Fumetti per adulti .............................................................................................. 50 2.1.4.4 Il 2011: Comix e Rivoluzione ........................................................................... 53 2.2 Il fumetto in Egitto oggi ................................................................................................. 57 2.2.1 Riviste e antologie .................................................................................................... 58 2.2.1.1 TūkTūk .............................................................................................................. 58 3 2.2.1.2 Kawkab al-Rasamīn .......................................................................................... 61 2.2.2 Progetti online .......................................................................................................... 61 2.2.3 Graphic novel ........................................................................................................... 63 2.2.4 Principali temi trattati .............................................................................................. 66 2.2.5 L’apparato: editoria, accademia, eventi ................................................................... 68 2.2.6 La lingua .................................................................................................................. 71 3. Šubēk Lubēk e l’Egitto post-2011 ...................................................................................... 73 3.1 L’Egitto post-2011 nella produzione culturale coeva ..................................................... 73 3.1.1 La satira .................................................................................................................... 78 3.1.2 Fantasy e distopia ..................................................................................................... 79 3.2 Šubēk Lubēk ................................................................................................................... 80 3.2.1 L’autrice ................................................................................................................... 80 3.2.2 Šubēk Lubēk: la trilogia ............................................................................................ 84 3.2.3 Šubēk Lubēk: al-Ǧuz’ al-Awal ................................................................................. 85 3.2.3.1 Sinossi ............................................................................................................... 85 3.2.3.2 Il tempo ............................................................................................................. 86 3.2.3.3.L’intreccio ......................................................................................................... 87 3.2.3.4 I personaggi ....................................................................................................... 93 3.2.3.4.1 I protagonisti ............................................................................................... 93 3.2.3.4.2 Gli antagonisti............................................................................................. 96 3.2.3.4.3 I personaggi secondari ................................................................................ 99 3.2.3.5 Il narratore ....................................................................................................... 100 3.2.3.6 Lo stile ............................................................................................................. 105 3.2.3.7 Il testo e l’immagine ........................................................................................ 107 3.2.3.8 Generic promptings e paratesti ....................................................................... 110 Conclusioni ............................................................................................................................ 113 Bibliografia ........................................................................................................................... 116 Sitografia ............................................................................................................................... 120 4 ﻣﻘﺪﻣﺔ هذه رسالﺔ الماجيستير تهﺪف إلى تحليل الروايﺔ المصورة "شبيك لبيك" للمؤلفﺔ المصريﺔ دينا ﷴ يحيى. "شبيك لبيك" الجزء اﻷول ﻣن ثﻼثيﺔ تﻘع أحﺪاثها في عالم خيالي حيث يستطيع الناس أن يبيعوا ويشتروا أﻣنيات ﻣعبئﺔ في زجاجات أو علب. ولكن تلك اﻷﻣنيات ﻣتفاوتﺔ في جودتها فمنها أﻣنيات ﻣن الﺪرجﺔ اﻷولى وسعرها غال ﻷنها تحﻘق ﻣعظم أﻣنيات المتمني، وأﻣنيات ﻣن الﺪرجﺔ الثانيﺔ وأﻣنيات ﻣن الﺪرجﺔ الثالثﺔ وهي اﻷرخص واﻷخطر ﻷنها تغﺪر بالمتمني. ﻛل جزء ﻣن الثﻼثيﺔ يتناول قصﺔ أﻣنيﺔ ﻣن اﻷﻣنيات الثﻼث التي تباع في ﻛشك في الﻘاهرة. "شبيك لبيك" هو الجزء اﻷول ويروي حكايﺔ عزيزة وهي أرﻣلﺔ ﻣن الطبﻘﺔ العاﻣلﺔ التي تﻘرر شراء أﻣنيﺔ ﻣن الﺪرجﺔ اﻷولى لتحﻘيق حلم زوجها عبﺪه المتوفي وقﺪ ﻛان يحلم باﻣتﻼك سيارة ﻣرسيﺪس. فبعﺪ أن عملت لوقت طويل وفرت النﻘود التي تحتاجها لتﺪفع اﻷﻣنيﺔ، تنجح عزيزة في شراء اﻷﻣنيﺔ، ولكن يتم الﻘبض عليها واتهاﻣها ظلما ً بسرقﺔ اﻷﻣنيﺔ. وفي الحﻘيﻘﺔ ﻛانت الحكوﻣﺔ تريﺪ اﻻستيﻼء على أﻣنيتها وتحاول إقناعها بالتخلي عنها. تﻘع أحﺪاث "شبيك لبيك" في عالم سريالي ولكن خلفه تظهر صورة الحياة اليوﻣيﺔ بعﺪ فشل ثورة ٢٠١١ وبعﺪ استيﻼء نظام عبﺪ الفتاح السيسي العسكري عام ٢٠١٣ على الحكم في ﻣصر. تؤﻛﺪ الكاتبﺔ هذا التفسير في الغﻼف الخلفي للكتاب: «تخيل عالم زي عالمنا، في بلﺪ زي بلﺪنا، انما الفرق الوحيﺪ انك ﻣمكن تبيع و تشتري أﻣنيات. هﺪه هي قصﺔ "شبيك لبيك".» هذا العمل نموذج ﻣن عﺪد اﻷعمال الﻘصصيﺔ المنشورة في ﻣصر بعﺪ ٢٠١١ تستخﺪم السخريﺔ أو الخيال ﻹيصال نﻘﺪ ﻣجتمعي. ﻛما تعرض بعض اﻷبحاث عن اﻷدب الشعبي المصري، ﻛثير ﻣنها رويات ديستوبيا التي تبتﺪع ﻣجتمعات ﻣستﻘبلﺔ ظالمﺔ لتتكلم عن ظلم الحاضر، ﻣثل "عطارد" لمحمﺪ ربيع 5 (٢٠١٤) او "الطابور" لبسمﺔ عبﺪ العزيز (٢٠١٣) أو الروايﺔ المصورة "أيالو" لمصطفى يوسف (٢٠١٦). باﻹضافﺔ الى ذلك، تُستخﺪَم السخريﺔ في أعمال اﻷدب الساخر ﻣثل "رحلتي ﻣن الشك للشك برضوه" لمصطفى شهيب (٢٠١٥) أو "وقائع ﻣسروق بن ﻣسروق" لمحمﺪ ﻣنير(٢٠١٦) لتتناول ﻣشاﻛل المواطنين العاديين في التعاﻣل ﻣع السلطﺔ والمؤسسات العاﻣﺔ. ﻣع ذلك "شبيك لبيك" ليست فﻘط روايﺔ، بل هي روايﺔ ﻣصورة وﻻ بﺪّ أن نأخذ هذه الناحيﺔ بعين اﻻعتبار في تحليل بنايتها السرديﺔ
Load more

Recommended publications
  • Waiting for Spring: Arab Resistance and Change
    International Journal of Communication 8 (2014), 983–1007 1932–8036/20140005 Waiting for Spring: Arab Resistance and Change Editorial Introduction ILHEM ALLAGUI1 American University of Sharjah United Arab Emirates This essay aims to shed light on the cultural and mediated communication practices that have altered the heretofore dominance of political institutions while describing the mechanisms and expressions of resistance shaping the post-2011 Arab public sphere. Whether they are accomplished artists, experienced activists, or simply individuals who happen to have access to reach out to the world, activists have exerted disruption and contributed to the political and sociocultural transformations in the region through a variety of cultural and creative soft methods along with more mainstream actions such as street occupations, protests, and sit-ins. Digital communications have been used at different moments in activism events and have been tied to their progress. This article and the collection of papers in this special section use case studies to narrate genres of activism and discuss the roles that digital communications have played in the Arab spring mobilizations. The topical Arab revolutions have gone through stumbling phases marked by violence, killing, protests, arrests, coups, and more, thus demonstrating multidimensional instability. Skeptics are doubtful about the outcome of the uprisings and are concerned that the revolts may result in more losses than gains. Although this might be true now in some places, one cannot deny the powerful social construct of the term “Arab Spring.” As a construct, the Arab Spring is instigated by multiple actors operating either collectively or independently, whose actions have varying intensities and impacts.
    [Show full text]
  • “Without Hope There Is No Life.” Class, Affect, and Meritocracy in Middle
    The London School of Economics and Political Science “Without hope there is no life.” Class, affect, and meritocracy in middle-class Cairo Harry Pettit A thesis submitted to the Department of Geography & Environment of the London School of Economics for the degree of Doctor of Philosophy, London, October 2017. Declaration I certify that the thesis I have presented for examination for the MPhil/PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 91, 935 words. 2 Abstract: This thesis examines the lives of a group of young middle-class Egyptian men who experience a mismatch between their aspirations and their chances of realising them. It analyses the historical emergence of an under-recognised ‘falling’ middle-class in contemporary Egypt, by comparing their relative fall with another middle-class population which has experienced a dramatic rise in wealth and status in the aftermath of neoliberal economic change. I contribute to literature examining the rise of the middle-classes across the Global South in recent years.
    [Show full text]
  • Download the English Version
    Planting the Seed... Now Towards a Strategy For Removing Roots of Sectarian Sedation in Egypt and Planting the seeds of Citizenship 20 years ago was the best time for planting the seed, second best time is now Introduction and Recommendations Prepared by Researcher Mahmoud Ibrahim Field Reports Qaliyoubiah: Lawyer Said Abdul Maseeh Fayoum: Lawyer Ayman Tawfiq Aswan: Lawyer Ahmad Nady Beni Suef: Journalist Mohammad Bosayla The report at hand had been reviewed and discussed during a workshop that was held in May, 7th 2013 in Kalimah Hall, Sakiet Sawy. Key note speakers and commentators were as follows: Political thinker, Dr. Moustafa Al Feqy: Moderator and main commentator Political writer, Mr. Kamal Zakher: Main commentator Author and member of the Islamic Group, Mr. Samir Ala`rky: Main commentator Mr. Mahmoud Ibrahim: Main researcher of the report Participants included a host of media professionals, politicians, legal professionals, right activists and representatives of student unions 2 Introduction May be it is not too late. Indeed, Egyptians had been taken by the strong Tahrir Square scene which cameras hastened to save when the priest used to pour ablution water for the Sheikh, and Christian brothers are protecting backs of their fellow Muslims during performing Salat in Tahrir Square. Everyone retained in their memories the scene of a celebrant holding complete mass in Tahrir Square every Sunday and how Egyptians were respectfully and solemnity engaged in this awesome spiritual scene. It seems that this was a spontaneous moment in Egypt's history which we imagined that it could be repeated. However, what happened exceeded out expectations.
    [Show full text]
  • El Nuevo Historicismo Aplicado Al Cómic Egipcio
    EL NUEVO HISTORICISMO APLICADO AL CÓMIC EGIPCIO Daniel Fernández García-Ruz José María Perceval Verde Curso 2018 – 2019 Grado de Humanidades ÍNDICE 1. Introducción – pp. 3 a 5. 2. Metodología – p. 5. 3. Egipto y sus faraones modernos – pp. 5 a 29. 3.1 Gamal Abdel Nasser, y las publicaciones panarabistas. – pp. 6 a 9. 3.2 Anwar al-Sadat, y la Infitah. – pp. 10 a 13. 3.3 Hosni Mubarak, y los dibujantes contemporáneos. – pp. 13 a 20. 3.4 Mohamed Morsi, y el experimento democrático. – pp. 21 a 23. 3.5 Abdelfattah al-Sisi, y el nuevo autoritarismo militar. – pp. 24 a 29. 4. Conclusión. – pp. 30 a 31. 5. Bibliografía. – pp. 32 a 33. 1. Introducción El estudiante de Humanidades ampara un horizonte prácticamente infinito de estudios a los que dedicarse. Comprometido con el saber humano, al humanista le concierne el saber interpretar, entender y digerir la información sin diferenciar por raza, género u orientación sexual. Puede prestar su atención a una diversidad temática que pocas ciencias pueden abarcar: los aborígenes australianos, la literatura coreana, el papel de los portugueses en Angola, el cine producido en Bollywood, la música country, la lengua kirguisa, la revolución de los Jemeres Rojos, la relación entre Humboldt y Goethe, el urbanismo de la ciudad de Vitoria, la sexualidad en la antigüedad clásica… Y un sinfín de más posibles temáticas que deben preocupar al humanista. Las dimensiones del abanico son tan grandes que nos da seguridad para embarcarnos en cualquier estudio independientemente de la lengua o la barrera cultural existente, pues el humanista tiene la misión de buscar la interdisciplinariedad de las cosas mediante la mirada crítica que haya ido adquiriendo a lo largo de su licenciatura.
    [Show full text]