Khedive Ismàýïl and the Foundation of the Cairo

CEU eTD Collection Second Reader: Professor Supervisor: ART AND EMPIRE: KHED EMPIRE: ART AND FOUNDATION OF THE CA THEOF FOUNDATION

Professor In partial Nadia AlNadia Istvan Rev fulfilment - Bagdadi Central European University

Adam Mestyan History Department Budapest, Hungary

of the requirements forof the thedegreeof Master of Arts Submitted to Submitted B 2007

IVE IVE

IRO OPERA HOUSE OPERA IRO

ISM

ÀÝ

Ï L AND THE THE L AND

CEU eTD Collection such instructions a form must page in lodged on made be may part, or full thi of text the in Copyright

the Central European Library. European Central the may bemade thewr without not

part of any such copies made. made. copies such any of part s thesis rests with the Author. the with rests thesis s ly in accordance with the instructions given by the Author and Author the by given instructions the with accordance in ly STATEMENT OF COPYRIG Details may b may Details ii

itten permissionitten ofthe Author. Further copies made in accordance with with accordance in made copies Further e obtained from the librarian. the from obtained e

Copies by any process, either in either process, any by Copies HT

This This CEU eTD Collection Mediterranean culture negotiation the serving as shown of expression visual ima public the defines it work: the of Th results set”. theoretical “imperial the of context the in understood is Opera Cairo the of event foundation The Studies. Colonial and Studies Opera between principles of concepts the introduces thesis the of Aïda gination This study This

(1871) in the context of the opening ceremonies of the Suez Canal (1869). ofthe Canal opening theSuez ceremonies inthe context (1871)

of the Egyptian ruler, Egyptian the of ih h Biih n Fec clna empires colonial French and British the with describes the foundation of the Cairo Opera House (1869) and the creation the and (1869) House Opera Cairo the of foundation the describes

goal of goal .

political Khedive political aesthetics political

independence ABSTRACT Ism iii

ÁÝÐ l (1863 l

from the Ottomans and as mean as and Ottomans the from

and - 79) aesthetical politics aesthetical .

His

s ocp i oe f the of one is concept is n nineteenth a in cultural foundations are foundations cultural the

as bridging as

D - imperial oing so, oing century s in the the in s CEU eTD Collection was given which had no Arabic origin, I followed the published practice (for instance, instance, (for Şinasi). practice published the followed I origin, Arabic no had which given was fo I him/herself, Abdülaziz) of institutions and Sultans Ottoman the of Arabi I followed the standard of the American Library of Congress of Library American the of standard the followed I c

script

. As I do not claim the knowledge of Ottoman Turkish, I transcribed the names names the transcribed I Turkish, Ottoman of knowledge the claim not do I As . . IfArabic an. llowed the personal authority ( authority personal the llowed or Turkish or NOTE ON TRANSCRIPTIO name wasname according iv

Aouni instead of instead Aouni published published to the Arabic script ( script Arabic the in Latinin character N

ÝØ

in the Romanisation of Romanisation the in n Ð). Ý Abd al Abd

If a Turkish name name Turkish a If s by the person person bythe s - Ý Az Ð z instead z CEU eTD Collection no h sce bxs f pr Suis Fnly I m hnfl o y ilred Anna girlfriend, my to thankful Selmeczi, am I Finally, Studies. Opera of boxes secret the into me initiating for Prokopovych Markian Dr. and Siefert Marsha Professor to gratitude my Schola Open als Org the with along Karman Gabor and Laczo Ferenc suggestio formal Kirch Andrea Consultant, Writing Academic my to indebted am I myProfessor firstcriticised and person Ormos ofresearch. alsoideasframework is who the wi possible Cairo in stay indebted most am I person The conversations. helpful his for Rev Istvan Professor to indebted also am I criticism. to grateful extremely am I o helpful in offering me the possibility of discussing my ideas during the debates of the of debates the during ideas my discussing of possibility the me offering in helpful o for all her support andall herfor love. support rly Meetings at CEU and in the GRACEH conference. I have to also express also to have I conference. GRACEH the in and CEU at Meetings rly s u fr e peiu ciiim ocrig h cnet f y thesis. my of content the concerning criticism precious her for but ns h h hl o the of help the th

y supe my ACKNOWLEDGEMENTS vsr Poesr ai Al Nadia Professor rvisor,

v ugra Atcé f utr, Laszlo Culture, of Attaché Hungarian

is Professor is an ising Board of the GRACEH were GRACEH the of Board ising

Istva - Bagdadi for her help and and help her for Bagdadi n Ormos who made my my made who Ormos n k and sharp sharp and nopf, not only for her her for only not nopf, insights and insights

Vida.

CEU eTD Collection Bibliography Conclusion Chapter 5 Chapter 4 Chapter 3 Table I. Chapter 2 Chapter Introduction 4.1. The Suez Canal Art of 3.2 Cairo and Institutions theNew 3.1 From Arts2.3 Egyptandthe B Western 2.2 Theatre,1861 Until Sultans Arts, andthe Lands2.1 Western Egypt)Before (Istanbul inOttoman and Theatre 1805 Aesthetics1.3 Political inEgypt 19 1.2 Culture, Power, Archaeology, politics Family 1.1 History, Colonialism, National Identity 5.3 Nationalism and 5.2 RepertoireAudience and 5.1 TheandIts Building Arch 4.2. The Ceremonies: Imperial Set the th 5.3.2 The Afterlife of 5.3.1 The Project of 5.1.2 The Inauguration of theHouse 5.1.1 Construction 2.3.2 UnderSaÝÐd ÝAbbÁs and(1849 2.3.1 Under M

century Egypt

S 1

andultans, pashas,theatres,(1805 operas Political AestheticsPolitical an Aesthetical Politics InEgyp Aesthetical Politics The A IsmÁÝÐlHis Political and Arts intheOttoman Empire and Politics and (1805 inEgypt

...... WÁlÐ

......

Suez Canal andIts the Inauguration: ImperialSuez Canal Set

to Khedive uÎammad ÝAlÐuÎammad andIbrÁhÐm(1805

......

...... Aïda

...... Aïda Aïda

......

...... itect(s) d Colonial Theory d Colonial ......

...... TABLE OF CONTENTS etween 1805 esthetics t: theCairot: OperaHouse And

......

- ......

...... 1863) ......

......

- ...... 1863 ......

- ...... 1879) ...... – ...... - ......

1848) Methods and

......

...... Topics intheHistory of ...... Aïd ...... - 1861) ...... a ......

......

99 95 90 84 83 78 76 74 74 74 65 62 62 56 50 50 49 44 38 38 34 29 29 22 14

9 8 2

CEU eTD Collection 3 2 1 view, my In it constructedthus (British) and and theme is House Opera Cairo of genesis the to connected the of foundation the Musicology in or Studies Opera networks international state the following of representation political the for place a as and meetings social for place a as imperial set this of nature the describe To independency. time same (16 Canal Suez the of ceremonies Studies (Post)Colonial Opera between and principle Studies bridging a as aesthetics political of concept the use I studies. aesthetics 1863 (r. IsmÁÝÐl Khedive

Edward W Edward Likein RuthBereson, Aïda An 1869 in House Opera Cairo the of foundation the on focuses study This Verdi’s Aida, Verdi’s

Opera control

. s at o te utrl colonisation cultural the of parts as .

Ruth Ruth –

Said, Said, in the person of Edward Said Edward of person the in . It

today this argument is worth reframing worth is argument this today These theoretical b will considerations cnet hc ws o dfnd eoe lhuh iey use widely although before defined not was which concept a The operatic state: cult state: operatic The was the aesthetic expression of an idea of empire, civilization and political and civilization empire, of idea an of expression aesthetic the was

H Culture and Imperialism and Culture

eeo’ distinctions. Bereson’s (1 ouse

882) was ed. ed.

Hans is understood understood is . ‚an imperial‚an – According in him, to

it creates an audience an creates it - 1879) Busch Aïda

( ural policy and the opera house the and policy ural 2 Minneapolis: University of Minnesota Press, 1978 Press, Minnesota of University Minneapolis: n itns o nepe i i te rmwr of framework the in it interpret to intends and

This is the point where Colonial Studies Studies Colonial where point the is This

article de luxe de article .

here (

New York: Vintage Books, 1993 Books, Vintage York: New 23 h hsoia fae s h cnet f h opening the of context the is frame historical The INTRODUCTION 1

November A , in three meanings: as a place of artistic pleasures, artistic of place a as meanings: three in

a great critic interpreted the Cairo Opera House House Opera Cairo the interpreted critic great a n Opera 2 Aïd

visual , a public, an education and a discourse a and education an public, a , n Egypt in

an image of ‚an Orientalized Egypt‛ ‚an Egypt‛ an of Orientalized image purchased by credit for a tiny clientele‛. tiny afor credit purchasedby e described indetail inchapter 1.

1869) H – xrsinIitouetecnet of concept the introduce I expression

ou certainly, the Cairo Opera House a House Opera Cairo the certainly, e is se hc utmtl la t Western to lead ultimately which

which

( London: R

also ), 121, 129. ),121, was

a outledge, 2002 outledge, ete f ainl and national of centre a

visual

). touches upon the the upon touches

i historical in d

frame

ordered by by ordered ), ), 14.

political

usually

at the at was .

nd nd In 3

CEU eTD Collection Exoticism and Dramatic Discourse in Aida.” in Discourse Dramatic and Exoticism 6 291 5 4 M of circles was substance ethical an studies. music of terms in investigated ‚m in these of absence the or melodies beginning of 1917. from essay I article academic earliest 1869 in celebrations on thebasis ofthe case study Cairo Opera ofthe House. Otto the of onlyimitations not were which institutions and ideas of transfer the of aspect an is Egypt art when occasion results ofa uniquecomplex and very historical situation. Aïda

One of the best articles which also gives a comprehensive literature: Fabrizio literature: comprehensive givesa also which articles best Oneofthe a Ghislanzoni “Verdi, Gossett, Philip Istel Edgar lil smoi systems‛ semiotic ultiple - 334. man etr sye u w but style Western A A argue I Thus, were parts of Westernisation but their genesis and later usages can be re be can usages later and genesis their but Westernisation of parts were ery su i Musicology in issue early n

ytros omn surmise common mysterious s , internal political fights and early representations of nationalism. I will prove this prove will I nationalism. of representations early and fights political internal , ,

“A Genetic Study oft Study “AGenetic usicology. The borderlines of this closed community were crossed by Edward Edward by crossed were community closed this of borderlines The usicology. the 1970 4

as institution (Opera) arriv (Opera) institution as The study of the libretto and in general, in and libretto the of study The

ht meil ersnain te pnn o te uz aa) s the is Canal) Suez the of opening (the representation imperial that and thus as thus and s, after thes, after ofitsone celebrations

thus aos sd o ohr ol sc a independence as such goals other for used eapons fou

he AidaLibretto, he h rlto bten et and text between relation the

d hc msael gvs hs nomto i Egr Istel’s Edgar is information this gives mistakenly which nd raised already before the 1980s but this but 1980s the before already raised nd Aida: The Uses of Convention, of Uses Aida:nd The sociated with the foundation of the Cairo Opera House Opera Cairo the of foundation the with sociated

a te retl r retlsn caatr f certain of character orientalising or oriental the was Cambridge Opera Journal Opera Cambridge Aïda was 6

The question how to judge this opera according to according opera this judge to how question The Atog te pr a a ic o at contains art of piece a as opera the Although . ” that The 3 es to a Muslim country Muslim a to es

Musical Quarterly Musical Aïda

- a composed was hundred year creation (1871 hundred creation year

3, no. 1 (1991): 49 1 no. (1991): 3, ” of ui ad h afcin were affections the and music Critical Inquiry Critical Aïda

3, no. 1 (1917): 34 (1917): 1 no. 3,

Della ,

. Political aesthetics in in aesthetics Political . was re was

Seta,

for the Suez Canal Canal Suez the for was kept was

“O c “O 1, no. 2 (1974): (1974): 2 no. 1, - - 62. vitaliz - interpreted as interpreted

ieli azzuri: ieli azzuri: - 52.

inside the inside from the the from

ed in the in ed - 1971). . The . 5

CEU eTD Collection 9 163 2003), Press, California of Angeles: University Los and Palumbo,(Berkeley Patrizia in Ungaretti,” 8 7 debate and House Opera Cairo the of then, a scholarly discourse. art of work national a process, Westernisation a audience, an generated thus House e and agendas these all in well serves opera this Indeed, discrepancies. cultural and historical political, discover to means and example an empire state and nation a modern t imperialism Khedive’s distinction Re’s Therefore this. Europeans of lots and art of work piec creation the of circumstances the if question the concerns argumentation main The innocence. or sinfulness of judgements the insinuates art on essay an published he 1989 in first when Said

William Weaver, WilliamWeaver, Lucia 111 Said,

followed by a scholarly debatefollowed bya scholarly e. I will show in chapter in show will I e. N colonial that said be can It Aïda

Re, . E . o Egyptian o Cairo Opera House, ÑÁliÎ ÝAbdÙn, ÑÁliÎ House, Opera Cairo -

ven in his memoirs his in ven

132. “Alexandria Revisited Revisited “Alexandria and A Place in the Sun Sun the in Place A

t , the genesis of genesis the , he Cairo Opera House House Opera Cairo he Verdi Verdi 8

scholars –

t s o atmtcly qae wt Erpa ipraim I imperialism. European with equated automatically not is it –

A documentary study documentary A hat the idea of this work embodies. work this of idea the hat Aïda

participated in the debate generated by Said by generated debate the in participated

– –

(published in 2000) in (published

5 from the 1960s the from Colonialism and the Egyptian Works of Enrico Pea and Giuseppe Giuseppe and Pea ofEnrico Works the ColonialismEgyptian and

frica in Italian Colonial from Culture in frica Italian

Aïda discourse appropriated the piece, digested and formulated as as formulated and digested piece, the appropriated discourse that the intention of the Khedive was to produce a produce to was Khedive the of intention the that –

(see chapter 1)

is the one which formsis theone which theh –

ca among them chiefly Marie chiefly them among became n be easily easily be n

([London:] Thames and Hudson, 1977), 225 1977), Hudson, and Thames ([London:]

published articles published 4

but it seems that he was not interested in the in interested not was he that seems it but

object of .

, he holds that the Cairo Opera Hou Opera Cairo the that holds he , 7 fforts. Aïda Aïda

labelled s

of an ethical discourse which always always which discourse ethical an of

as a colonial and imperialist piece of of piece imperialist and colonial a as a b udrto a frozen as understood be can The foundation of the Cairo Opera Cairo the of foundation The 9

as ‚colonial‛ but but ‚colonial‛ as

and books and This idea This Post eritage of tte - Unification to the Present, the to Unification –

helped him to realize to him helped – . on the history of the of history the on

The former director director former The Egypt as a glorious a as Egypt Aïda - 196. 196. .

–

in Egypt.

using using national

i the is t ( se and and se Aïda in Lucia

ed. the ) ,

CEU eTD Collection al 10 Entertainment Istanbul], first the when it. of part a certainly was process later part, most the theissue contribution to aes the on focused which published work no was there knowledge, best my To 1956. in crisis Suez the on focusing third a As debt. public Egyptian ce Also,European papers. the and journals U been identity. the when (1869 years these exactly that indicates also It Cairo. in archives the T Europeans. and and as theEgyptian musicians 1990s, the until least Aïda

- sually Ñ ShurÙq, 2000 ShurÙq, ā liÎ ÝAbd liÎ Another aspect of aspect Another inauguration the is, that background, historical The Aïda study My are gre are el wt i nmru studies numerous in with dealt ,

these are mentioned as those as mentioned are these

Cairo ÁÐ al WÁdÐ but ū n, n, at contributions to the culture the to contributions at ),139. he small quantity of Arabic sources is just partly due to my limit my to due partly just is sources Arabic of quantity small he KhamsÙn ÝÁmÁn min al min ÝÁmÁn KhamsÙn

literary) re literary) oe hn af percent half than more aims f Thoughts, of Arab pr Huews not was House Opera

- NÐl to embrace the European and Egyptian perceptions of the Opera House Opera the of perceptions Egyptian and European the embrace to Aïda cultural

the Te V [The .

birth and the idea of a national opera house was recognised by the elite elite the by recognised was house opera national a of idea the and historical landscape is the so the is landscape historical htc etrs f h ceremonies the of features thetic

important instances ofculturaimportant instances one 16, Cairo]) 1869, founded oiia ppr ( papers political . le o Nl, one 16, Cairo], 1866, founded Nile, of alley

The

- aspect m ū sÐqÁ wa sÐqÁ N

ahÃa

s at o te artv o Keie sÁÐ’ rule IsmÁÝÐl’s Khedive of narrative the of parts as events which which events , the Suez Canal is often treated in historical studies historical in treated often is Canal Suez the , f h piay do primary the of yet My period could serve as an early phase of phase early an as serve could period My - ofthe economichistory of formremonies the part

- handled as part of the Egyptian the of part as handled of cannot be equalled with Westernisati with equalled be cannot ÙbirÁ 5

Egypt. Al

[Fifty Years of Music and Opera] ( Opera] and Music of [Fifty Years - JawÁÞib gave 10

- ee ulse, rnltos were translations published, were called Thus, it is justified to hold that hold to justified is it Thus, ceremonies of the Suez Canal Suez the of ceremonies uet I sd were used I cuments IsmÁÝÐl

l symbols [The N ahÃa

n 1869 in

the title the A nswers, founded 1860, 1860, founded nswers, , the Arab cultural ( cultural Arab the , N .

za al uzhat - 81 ae h ones the are 1871)

‚Magnificent‛ in ‚Magnificent‛ hs this thus

elite’s Al ed access to to access ed -

- AfqÁr QÁhira: DÁr DÁr QÁhira: on yet this yet on rte by written

cultural cultural N s my is

ahÃa , [

The has , for for

at .

CEU eTD Collection ( be will culture 11 of institutions national of foundation the Cairo, of transformation visual IsmÁÝÐ independence. 1869 in that concludes chapter The by paralleled are efforts as policy foreign IsmÁÝÐl’s interpret skil diplomatic his and education Western his highlight private as opera and theatre Western with dealt 1860s the before rulers Egyptian and became means traditional or Western with of rule Egyptia and I Table see (also reverits (Said, Mitchell, Reid, nation so Doing century. nineteenth the in culture Mediterranean a of concept (colonial) common supposed construction 1871 onwards. and produced, London, New York: Oxfor York: London,New

EI², s. v.s. EI², hs mg wl b aaye i catr wt te ocp of concept the with 4 chapter in analysed be will image This will I rule. IsmÁÝÐl’s of circumstances historical the describe will I 3, chapter In between comparison historical small A i historiographical with deal will I 1 chapter In al history. Then history. al Khedive IsmÁÝÐl. This chapter also shows how the public representation of the state state the of representation public the how shows also chapter This IsmÁÝÐl. Khedive entertainment. se, aesthetical and theirse, special politics relation , “nah

I will introduce problems introduce will I n rulers to Western theatre and opera in the period between 1805 between period the in opera and theatre Western to rulers n of of Ã

a 11 ” (N. (N. ” h first the political aesthetics as a branch of scholarship which can be applied with a a with applied be can which scholarship of branch a as aesthetics political

–

p. 49 p. Tomiche).

Pollard). Finally I will will I Finally Pollard). , I will analyse four previous approaches to approaches previous four analyse will I , d University Press, 1962 Press, University d

the continuous negotiation with the French and the British empires. British the and French the with negotiation continuous the

) hsoia serial ‚historical . This comparison focuses on the relation of the Ottoman Sultans Ottoman the of relation the on focuses comparison This .

Cf. also Albert Hourani, Cf. also

of periodization, periodization, of fot o idpnec fo te toas T Ottomans. the from independence of efforts - oes wr witn y aÐ al SalÐm by written were novels‛ ),67 gradually gradually

deal with deal Istanbul and Egypt will be made be will Egypt and Istanbul 6

- ws ny be o rae an create to able only was l 102. Arab thought in the liberal age, age, 1798 liberal inthe thought Arab

ssues concerning the possibility of the of possibility the concerning ssues important. It concludes that Ott that concludes It important. political aesthetics and also introduce political and aesthetics of to Opera S s hwvr ti catr is to aims chapter this however, ls, Egyptian national identity and identity national Egyptian tudies.

Egyptian cultural history cultural Egyptian the the

meil set imperial - 1863, until until 1863, - utn from BustÁnÐ

in chapter 2 chapter in

- a 1939

image means of means

The . oman hese

the of of of

CEU eTD Collection the appropriate the conditions of nineteenth the of half second the of feature general a as s so expa European the as aesthetics political along reframed detailed analyses ofpre with principle general a as aesthetics political understand Aïda and House Opera Cairo the behind man the that concludes chapter The colonialism. over con as described aesthetics political of reverse time first the of circumstances years three first The audience. its and architect its imagination imperial this that concludesconstructed hadand it a thus a live image chapter The Canal. Suez the of ceremonies IsmÁÝÐl by form created independence‛ the of parts as described trong that its aftermath only becameaftermathonly its that trong n h Conclusion, the In 5 Chapter is Khedive IsmÁÝÐl imperial his imagination. and that

a historical analysis tries to reframe it in a theory of aesthetical politics aesthetical of theory a in it reframe to tries analysis historical a will describe the circumstances the describe will eune of sequences creation of creation - British (preBritish

wl smaie h aoe mentioned above the summarise will I

thus filling a research gap research a filling thus

t e meil e tu cnrbtn t te non discourse ongoing the to contributing thus set imperial he usage andusage thescopeofthistheory require further work. Aïda - to of ation 1882) Egypt canachieved. could be 1882) Studies beColonial Egypt n hs e wl b dsrbd through described be will men his and

will be will

visible today. visible n operatic character.

gpin modernistation Egyptian

interpreted of the Cairo Opera House, the biography the House, Opera Cairo the of

(1869 Political aesthetics Political . The afterlife and myth of myth and afterlife The . - nsion generated a reply which was which reply a generated nsion century Mediterranean culture but culture Mediterranean century

w - 1872) hich

hc a which ,

o y knowledge, my to il e oue on focused be will s

rcue n ty to try and tructure oe estv and sensitive more . The ‚image of of ‚image The . could be used also used be could

h opening the Aïda s the is the :

as a as will

of CEU eTD Collection 15 2005). Press, California of University 14 13 12 to colonists”. the of culture the to converted or assimilated and subdued be must population indigenous Said, ongo an to contributing thus conquest between aggressive European to connected context, inthe Ottoman Empire throughoutthe 19 detects which view of point a of demand a also is aesthetics political of concept the Therefore, history. fou The colonised. powe a of terms simplistic the in described be cannot which situation historical complex and peculiar a of result a as (1869) House Opera Cairo the of foundation the of understanding the from arises application This pol aesthetical reverse, its and aesthetics political

The Columbia En Columbia The Frederick xx. Said, 166. Re, ok theuniquemixed form of Following Lucia Re’s argument, Re’s Lucia Following chapter this In h Clmi Encyclopaedia Columbia The

13 ooil (Western) colonial Cooper, Cooper, 15

lo nevu o eosdradrfaehs hoyo utrl colonisation cultural of theory his reframe and reconsider to endeavour also I

My the My

a history of the reception of European forms of art in Egypt and, in a wider a in and, Egypt in art of forms European of reception the of history a c yclopaedia Colonialism in Question Colonialismin ndation event can be regarded as a crossroad a as regarded be can event ndation POLITICAL AESTHETICS , sis will challenge this view arguing that cultural colonization in Egypt in colonization cultural that arguing view this challenge will sis

itoue hoeia cnieain cnenn te plcto of application the concerning considerations theoretical introduce I

, sixth , e n dsuso o ooil Studies Colonial on discussion ing

aesthetical politics.

works of art and and art of works r dition (2001 dition - relation between the European coloniser and the Egyptian the and coloniser European the between relation extension

tts ht ‚ that states – Westernisation is understood here understood is Westernisation

Theory, Knowledge, History Knowledge, Theory, CHAPTER 1 CHAPTER - 2005), s. 2005), . 12 8

Edward Said Edward AND COLONIAL THEORY th

before colonization can be effected, the the effected, be can colonization before

itic v. century. European “ i te oan f ooil S Colonial of domain the in s colonialism

, in contrast, claimed a relation a claimed contrast, in ,

(Berkely and Los Angeles: Los and (Berkely meils ad territorial and imperialism .”

. of political history and art and history political of

o isac, following instance, For as not necessarily not as

tudies.

CEU eTD Collection York: Schocken Books, 1969), 253 1969), Books, Schocken York: 135 1972), Books, 17 81 1978), Press, University Hopkins John The (Baltimore: 16 the as gives it and Europe with encounter the of history the to refers history ‚modern‛ when mean Egypt ‚modern‛ of history the uponwhat depends periodization The times. structureof colonial ofthe about the history past of connections and relations perceptions presentcreating perceptions, to thus genealogies ofmeanings. establishes also narrative This past. knowledge the of in constellation certain possible a made which conditions the of archaeology an as artefact literary narrativea of establishment the means important therefore past own its nineteenth century. umbrella will I Third, Said historical establishing in identity national

Cf. Hayden

The hi The comprises Periodization Egyptian an of construction the and periodization of questions consider will I First, Michel Foucault, Foucault, Michel and of and

White, “The historical text as literary artefact,” in in artefact,” textliterary as historical “The White, - concept for concept stories of modern Egypt as told by historians consequently embody certain ideas certain embody consequently historians by told as Egypt modern of stories

previous researchers who dealt with the cultural history of 19 of history cultural the with dealt who researchers previous define . - 16 140 and Walter Benjamin, Benjamin, Walter and 140

This narrative can narrative This The Archeology K of Archeology The

pol

art history, political, social historyand social political, history, art

it is always teleological. Picking up events which are announced as as announced are which events up Picking teleological. always is it itical aesthetics as a tool in Colonial S Colonial in tool a as aesthetics itical

1.1

- a certain idea about history with which the present constitutes present the which with history about idea certain a

264.

History, Colonialism,History, s

. I can distinguish between two ‚long‛ standards. O standards. ‚long‛ two between distinguish can I .

nowledge and the D and nowledge also “ Thesis on the Philosophy of History,” in: in: ofHistory,” Philosophy the on Thesis

serve as an explanation for today’s challenges an challenges today’s for explanation an as serve narratives. Second, I will present the methods of methods the present will I Second, narratives. 9

- , a narrative which often takes the form of a of form the takes narrativeoften awhich , 100. Tropics of Discourse. Essays in cultural criticism. cultural in Essays Discourse. of Tropics

National iscourse on Language on iscourse theories oftheories

I tudies which can serve as an as serve can which tudies dentity

representation in the in representation (New York: Pantheon (New Pantheon York: 17 Illuminations th

century Egypt. century

(New ne is ne d

CEU eTD Collection Household G Household rule”. ofpersonal system highlycentralized 22 new 21 Al ([Cairo]: ofEgypt] awakening the in MiÒral nahÃat 20 3. 2002), Books, Vintage 19 Identity Modern a 18 theaperiod EuropeanOttoman EmpireThisis negotiations. of and continuous from powers. instance, for the relatively a was there Egypt, House in1869. foundatio the for explanations full and acceptable provides frameworks ÝUrÁbÐ the when 1879 ideology: nationalist indigenous of point starting the as given is year another years, recent In period. modern the in point a and country nation the of independence the to leads which process a as history Egyptian of Braudel in applying it but be prob could history new a ‚culture‛, Mediterranean of concept the on history a n Building century. the before Europe from separated been had Egypt that supposes assumption Napoleo event ‚modern‛ first

“Between1805 Like A is typethis for A paradigm Braudel, Fernand seen again.” seen and be has sea to “[T]he Richmond‟s C.B. J. is historiography oftypethis for A paradigm resignation of resignation study of study pooe ee ht nte psto i p is position another that here propose I seco The ÑalÁÎ MuntaÒir, MuntaÒir, ÑalÁÎ - state. ably written about cultural about encounters ably written overnment toBureaucracy Modern overnment history] 20 -

w Robert Hunter. Robert nd is what I call ‚national‛ standard and this tries to reframe to tries this and standard ‚national‛ call I what is nd

aÔanÐ This standard usually gives the rule of MuÎammad ÝAlÐ (1805) as the start the as (1805) ÝAlÐ MuÎammad of rule the gives usually standard This -

1879, Egypt passed through a complete cycle from cycle throughcomplete a Egypt passed 1879, (New York: Columbia University Press, 1977). 1977). Press, University Columbia (NewYork:

( Khedive Khedive ya (1805 ya MadÐnat NaÒr, al NaÒr, MadÐnat Min Ý Min

UrÁbÐ ilÁ ÝAbd al ÝAbd ilÁ UrÁbÐ

to - nwar 1892) IsmÁÝÐl (1805 IsmÁÝÐl

the nineteenth century. 22 short nineteenth century nineteenth short

Ý This period is ch is period This Abd al Abd

’ cnus o te onr (17 country the of conquest n’s [The awakening of Egypt: The genesis of the national idea and ideology ideology and idea the national of genesis The Egypt: of awakening [The - - QÁhira: DÁr al DÁr QÁhira: HayÞa Robert F Robert - Malik‟s Malik‟s -

NÁÒir:qirÁÞa al

- ( - Mi London: Unive 1 879 Ò . r

NaÎdat MiÒr: Takawwun al MiÒr:Takawwun NaÎdat 10 Hunter, Hunter, Ð . This would be built onthemethod. Thiswouldbebuilt ofFernand - yah al yah ShurÙ ). sil t tk, namely take, to ossible

aracterised by semi by aracterised This is also a standard a also is This

jadÐd - 19 q, 2003). q, ÝÀ Egypt under the Khedives 1805 the under Egypt Memory and the Mediterranean the and Memory

mma rsity of Pittsburgh Press, 1984), 3. 1984), Press, Pittsburgh of rsity a li a – -

revolution broke out. broke revolution from the rule of Mu of rule the from Egyp -

l the creation to the disintegration ofa the disintegration to creation the l -

- tÁÞrÐkh tÁÞrÐkh il - t 1789 Kit Á b [From ÝUrÁbÐ to ÝAbd al toÝAbd ÝUrÁbÐ [From , 1983 , - 9 1952 1952 - 8 Fikr waFikr - independence ). 18 , )

n of the Cairo Opera Cairo the of n . – time

that

Her Ad ee an Here, - l the the - , - Îammad ÝAlÐ Îammad AydiyÙlÙjiya fÐ AydiyÙlÙjiya

21 frame used by used frame - n h cs of case the in 1879 1879

periodization periodization (New York: Towards vance Nor of these of Nor

ineteenth ineteenth – from the from

- implicit From From NÁÒir: ing

to to a ,

CEU eTD Collection Napoleon to World to War I Napoleon 27 26 25 24 23 designates theperiod between 1805and 1879. the capi of promotion the with wit and rule direct a without is which encounter m ‚colonial‛in of meaning 1956 (or 1922 and 1882 between period the is This occupation. military with British the by Egypt of state goods.” definition simplest from (direct what it precedes 1879 and 1805 between period this recognize to useful be still would own their is Egypt sovereigns.the of hands the arein army the and state the of structure administrative the but models and advisors foreign numerous freely less or later), three and are theOttomans, negotiatingempires: the theFrench. with British country, the of rulers The

Donald Malcom Reid, Reid, Malcom Donald TimothyMitchell, Ibid. Loomba, Ania am I indebted exchange of ideas such as such ideas of exchange How more decide rulers the when time a is Egypt, in century nineteenth short a period, This

not acceptable not

In my usage the first meaning of the word ‚colonial‛ defines a a defines ‚colonial‛ word the of meaning first the usage my In calendars does to Professor Nadia Al Nadia Professor to Colonialism/Postcolonialism

ht s od fo good is what this periodization of Egypt relate to the periodization of colonialism? of periodization the to relate Egypt of periodization this – Colonising Egypt Colonising

hn h Biih ros l troops British the when , of colonialism of

Whose pharao Whose therefore

( Cairo: The American University of Cairo Press, 2002 Press, ofCairo AmericanUniversity The Cairo: –

themselves foreign to the ruled people (a paradox I will deal with deal will I paradox (a people ruled the to foreign themselves because, for instance for because, talism, y study, this word is usedthe forword is this study, y French French

, nationalism

the very idea of a ‚nineteenth century‛ loses its meaning its loses century‛ ‚nineteenth a of idea very the -

ter onr. hs decision These country. their r Bagdadi for this question. this for Bagdadi ( s? Archeology, Museums, and Egyptian National Identity from from Identity National Egyptian and Museums, s? Archeology, Cambridge University Press, 1988 Press, CambridgeUniversity 25 is

with a new, exhibition new, a with rule) and what comes after (direct British rule). andrule) comes what (direct after British “

the conquest and cont and conquest the (London and New York: Routledge, 1998), 2. 1998), Routledge, New York: (Londonand But even if this idea of a short nineteenthcenturyshort a of idea this if even But 27

led by the state or the ruler itself. In Egypt, this Egypt, In itself. ruler the or state the by led 11 f Egypt eft

, the Egyptian Musli Egyptian the , ot iiay occupation military hout

). oee, n ti i te second the is this and However, - type of representation of type

designation of a type of culturalof type of adesignation rol of other people other of rol ), ), 1 - - 33. making ),

ms and Copts are using are Copts and ms 288.

as something distinct something as

rcse involve processes direct .

t s associated is It ‟s

26 rule of the of rule

lands and lands

and withand

The –

in it CEU eTD Collection and New York: Verso, 1991) 5 1991) Verso, York: New and 29 World Eco the 28 ideas of history European these are thesame woul that assumption The regard. any in all at same the not to are people these and 1500, CE in 1500 people BCE in people a to ‚Egyptian‛ word the apply we although that clear is it community. imagined on studies From time? nationalism, same the at identity national about asks one context, Egyptian same the for ask questions two Egyptian national identity. the IsmÁÝÐl, Khedive means political as used indeed were art of institutions and art of works speaking one weaker second, 1805 of how recognizing c stu My Other. the through Self the of construction concept olonialism. olonialism.

Benedict Anderson, Anderson, Benedict Landes, S. David oee, t s lo ot noting worth also is it However, does What worth is It - 1879 – this is true is this

t ecie a eea hmn iuto, h ecutr ih h Ohr n the and Other the with encounter the situation, human general a describes it nomy 1800 nomy it is it

h agesv itreto o intervention aggressive The was

‚ Bankers and Pashas and Bankers

mention know Egyptian complex and indeed unique the historical situation of Egypt in the period period the in Egypt of situation historical the unique indeed and complex .

Imagined Communities: Reflections on the O the on Reflections Communities: Imagined Said’

, - Egyptian ruler, behind the scenes. the behind ruler, Egyptian

while in financial matters this is justified is this matters financial in while 1914 29 odto t te first the to condition n

d supposeaessen falsed

If one considers the history of the of history the considers one If s argumentation united argumentation s

that national identity identity national that ing -

7. ‛

(London and New York: Methuen, 1987), 122 1987), Methuen, York: New (London and has also a history a also has

mean? What does What mean?

ht n h second the in that

answer

(London: Heinemann, 1958) (London: Heinemann, ? Could it be that if one asks about asks one if that be it Could ?

ht h cnet f gp ad gpin n the in Egyptian and Egypt of concept the that srn oe I o o blee ht culturally that believe not do I one. strong , 12 . This is a concept of ancient Egypt or/and a or/and Egypt ancient of concept a is This . and ‚nation‛ are ‚nation‛ and

the f tialism.

‚

the two senses of colonialism and made the made and colonialism of senses two the colonization es co sense

yi coey once o this to connected closely is dy British

rigin and Spread Nationalism of Spread and rigin This also brings out brings also This

and Roger Owen,Roger and lonial seems to be a very broad broad very a be to seems lonial geographical area of Egypt, then Egypt, of area geographical

‛

n 1882 in mean?

construction . 28 - 152.

My study will show that show will study My

Could it be that these that be it Could , yet, ,

ant rvn us prevent cannot The Middle East in in East Middle The colonization in colonization

in Egypt in : the question of question the ‚nation‛ is ‚nation‛

(

London type of type ,

it was it

an an

CEU eTD Collection C 32 Holmi 31 1997 Press, University Harvard Massachusetts: 30 was sultan non of composed mainly who Arabs or Frenchmen Italians, Greeks, Cairo OperaHouse and focuses work – consid essence) meani the when difficult Nasser of revolution 1952 of are. stillEgyptian the of construction the and means history Egyptian Discovering connected intimately were identity national and Archaeology identity. mirror a had and century nineteenth the in others Egypt. Hellenistic

ambridge University Press, 1997), 85, 242 85, 1997), Press, University ambridge Khaled Fahmy, Fahmy, Khaled today ofarchaeology the importance Cf.,For Reid. Assmann, Cf. Jan eades f hi rlgo, hi lnug o ethnicity or language their religion, their of regardless any , Between 1805 and 1879 only those were the representatives of Egypt of representatives the were those only 1879 and 1805 Between pharao of dynasty last the from people indigenous by ruled not was Egypt

in turn in 18, no. 8 (2006): 1075 8 no. (2006): 18, er the official representatives of the Egyptian stat Egyptian the of representatives official the er national building. identity

history also by the early birds of birds early the by also , in principle, in , ,

was not Egypt not was on on A ng of Egyptian started to be to started Egyptian of ng . ll the Pasha’ ll the

Moses t seems It – 30

h iagrto crmne o te uz aa, h foundati the Canal, Suez the of ceremonies inauguration the This is the idea what was popularized by the savants of Na of savants the by popularized was what idea the is This ,

the Egyptian. The Memory of Egyp of The Memory Egyptian. the

Aïda

- dismisse was 1879 in IsmÁÝÐl Even ruler. Egyptian the of lord the 1087 (inHungarian). 1087 -

rbc ethnicities. Arabic s men: Mehmed Ali, his army his Ali, Mehmed smen: ht h pro bten 85 n 17 i peiey h period the precisely is 1879 and 1805 between period the that tdys ie pplto i a eay f magnificent a of legacy a is population mixed today’s : -

born at the beginning and his ruling elite until the 1840’s were were 1840’s the until elite ruling his and beginning the at born –

are ‚Egyptian‛ in this sense.arethis ‚Egyptian‛ in

N - 252. Cf. also Hunter, 80 Cf. Hunter, also 252. ahÃa – )

who had legitimacy blessed by the ruler. The ruler, ruler, The ruler. the by blessed legitimacy had who ,

the Arabic cultural Arabic the filledby

for 13 32

Egyptian identity see my see identity Egyptian oevr drn ti pro, h Ottoman the period, this during Moreover, -

effect on building the Egyptian national Egyptian the building on effect and the making of modern Egypt modern of the making and t

the concept of the nation (history, land,nation(history, the concept of the in WesternMonotheism in e as Egyptians and anything and Egyptians as e - 99. –

s ‚Egypt is

awakening “ Nefertiti ian‛. The events my my events The ian‛. self

( Cambridge, Cambridge, . In this period this In . , just , - – paradigm,

being (

Cambridge: like in case in like h poleon and poleon s until the until s on

they do they Turks, ” of the the of

and ,

31 d I

CEU eTD Collection (1805 34 P IsmÁÝÐl al Ýahd 33 part as them show to then and imagination, interpretative or creative the of products great as created new topicsinEgypti politics family and museums, technology, and education art, of works are Egypt modern roles. various played factors transforme strategies and struggles These Egypt. of image Egyptian an creating and Egypt of image the dig against Europeans, the technologies against traditions and Arabic and influences Muslim Ottomans, European unit: independent an as position negotiating French). (and Arabic to Turkish from re Sultan. the telegraphof a by

Lisa Pollard, LisaPollard, by was persuaded Sultan The - Arabisation of Egypt, for instance, that the language of administration slowly changed slowly administration of language the that instance, for Egypt, of Arabisation ht hi ‚ehd cno b dtce fo te ojc‛ Snln ot hms like themes out Singling ‚object‛. the from detached be cannot ‚method‛ their that Said’s method is ‚to focus as much as possible on individual works, to read them first them read to works, individual on possible as much as focus ‚to is method Said’s various general, in Westernisation in and sphere, public the of transformation the In - 1.2 192 - khi asha from the year of 1863 to the year 1879] ( 1879] the year to of1863 year the from asha

3) dÐv IsmÁÝÐl bÁshÁ min sanat 1863 ilÁ sanat 1879. ilÁ sanat 1863 sanat min bÁshÁ IsmÁÝÐl dÐv Culture, P Culture,

d thepublicsphereinto and space (

Berkeley: University of California Press, 2005), 22. 2005), Press, California of Berkeley: University situation. They used every means to strengthen their position and their country’s country’s their and position their strengthen to means every used They situation. Nurturing the nation the Nurturing are to be analysed analysed be to are ower, Archaeology, F

the French and the British to t Britishto the and French the 33 an historiography Four methods Four

: the the : As a parallel process t processparallel a As briefly family politics of modernizing, colonizing and liberating Egypt Egypt liberating and colonizing modernizing, of familypolitics of 19 34

th The dynasty of MuÎammad ÝA MuÎammad of dynasty The amily politics The common characteristic features of these works works these of characteristic features common The

century Egypt or, rather, approaches to the cultural history of history cultural the to approaches rather, or,

14 a new spherea the new political. of Al

and in the study ofWesternisation inthe study and

- QÁhira: Maktaba MadbÙlÐ, MadbÙlÐ, Maktaba QÁhira:

II . ake this step. IlyÁs step. this ake

[The history of Egypt i ofEgypt history [The o the Europeanthe o

–

Methods i andTopics

A influence one canone influence l - AyyÙbÐ, 1996), 514. 1996), n the epoch of Khedive Khedive the of n epoch esting the European European the esting , lÐ was lÐ

the authors in fact in authors the

TaÞrikh

n theH in a constant a in

MiÒr fÐ MiÒr istory istory find a CEU eTD Collection 39 38 37 Socialists 36 35 authorship attributedtothe andwhose is whattoit genesis, colourhow tojudgethis isgiven justified on is based observation this that believe I piece. the to related was later which meaning general Egyptology is and notesthat‚Egyptology and notEgypt.‛ in Egyptology and 1867) of Universelle Exposition the in parts Egyptian the of designer m non a of notion imperial an with conveniently dovetailed artist the of notion imperial ‚an method Verdi’s in that the of experience domi overseas historical the and culture of history the to equally belongs that work of creation the Orientalism division the maintains precisely he gesture this with non and white between difference ontological an periphery, and centre the between division imperial certain a keep and other the of image an formulate to used strategies the and literature Western with engaged primarily is It side. relationship the of

Ibid. 116 Ibid., 114. Said, Al SadikJalal xxii. Said, inimal or non or inimal n h hear the In c the in true particularly is It

of the Middle East Middle the of the the -

117. to analysis of its creation and afterlife in chapter 5. Therefore it is very sensitiv very is it Therefore 5. chapter in afterlife and creation its of analysis - Ý nation.‛ Azm, “Orientalism and Orientalism in Reverse,” Reverse,” in Orientalism Azm,and “Orientalism Culture andCulture Imperialism Aïda - o Si’ agmn, the argument, Said’s of t existent.‛ between culture and empire.‛ and culture between

indicates an imperialist work of art. of work imperialist an indicates 37

- 8 (1980): 5 8(1980):

Analysing the circumstances of the creation, the author also states also author the creation, the of circumstances the Analysing European world whose claims on a European composer were either either composerwere Europeana on claims whose Europeanworld 38

Said analyses the role of August Mariette (chief archaeologist, (chief Mariette August of role the analyses Said

- 26. ase of his analysis of analysis his of ase

. 36

genesis 15 - white, between colonizer and colonized. Yet, colonized. and colonizer between white,

Said’s work says nothing of the ‚other‛ the of nothing says work Said’s

of of –

Khamsin: A Jornal of Revolutionary Revolutionary of Jornal A Khamsin: to apply Sadik Al Sadik apply to Aïda Aïda Aïda

tns s mdl o every for model a as stands as a colonial opera colonial a as ‚ is a hybrid, radically impure radically hybrid, a is 39

- Azm’s critique of critique Azm’s

For Said, For e

CEU eTD Collection 47 46 45 44 9. 2004), Macmillan, 43 105 42 41 40 E of of symbol political a music Verdi’s in seenhave to likely is Ismail ‚Khedive desirabilitythat underlines the to points and perspective Ismail’s anti is piece the of plot the that argues also She Alexandria. to particularly, century, nineteenth the in Egypt to Italy of relationship Aïda in Egypt‛ ‚Orientalized an is there that claim ‚orie an and Egypt‛ ‚Europeanized a constructed propaganda.‛ nationalistic of piece significant a as serve to Ismail by intended ‚was it that notes time same the at but Egypt‛ in presence European Egypt‛. that suggested Said that claimed even who Evans, Martin by notably, most many, by entertained was empire and culture between Re Lucia are ones recent Robinson. Paul is argumentation Said’s of critic strongest and first The piece.

Re, 164. Re, Ibid. Ibid. Robinson,134. Empire and Culture Aida?” is „Eastern‟ Howexotic: the Locke, “Beyond RaphP. Re, Opera?” Orientalist Aidaan “Is Robinson, Paul – 139. Lucia Re looks at Said’s argument in the context of the Italian colonial Italian the of context the in argument Said’s at looks Re Lucia that accepts Robinson Paul 163 is anItalian opera, andforemost.‛ ‚first

165

–

The French Experience, 1830 Experience, French The

n Rlh Locke Ralph and

Aïda

“ was to form part of the c the of part form to was Cambridge Opera Journal Opera Cambridge Aïda - colonial, moreover, that it embraces ‚Khedive ‚Khedive embraces it that moreover, colonial, 46 16 - 1940

42 s rcetn te rnh iw f ancient of view French the ‚recreating is Aïda .

ntalized Ethiopia‛ ntalized , ed. h ie ta tee s i is there that idea The . Cambrid 45 Martin Evans ( MartinEvans

oisns ia cnlso i that is conclusion final Robinson’s 44

ge OperaJournal ge codn t Rbno, Verdi Robinson, to According hoi jiig Egypt.‛ joining thiopia

5, no. 2 2 133 5, no. (1993): ultural superstructure of the of superstructure ultural New –

thus he refutes Said’s refutes he thus York: Palgrave Palgrave York:

de a relation a ndeed 17, no. 2 (2005): 2 no. (2005): 17, culture and the the and culture 40 - 140.

The most The

Re CEU eTD Collection 52 51 50 49 48 i between relation The regard. this in texts with than images with associated more probably Power texts. of as images of characteristic as probably is Narration texts. t nineteenth also refer tooppressivegenerally more European militarism without Egypt opera’s the of interpretation ‘colonialist’ a accept can in that stereo the these being art, of work this in stereotypes of use special the is argument main Locke’s victims/rebels Ethiopian the or imperialists Egyptian ‚t that emphasises betweenthe imperialist arguingSaid’sthesecolonial equation against two. andof the contradictory […] tothe and colonialism 1890s, the to ‚Prior 1890s. nationalist became which Egypt to relation Italians’ the considering speak to anachronistic is it that argues She Europe.‛ to […] Egypt enslave to means a than rather independence national of spirit the he notions of representations of notions he

I Locke,107. 166. Ibid., 165. Ibid., Ibid. bid., 135. bid., o m pr, ads ai isgt f h rlto bten meil dooy and ideology imperial between relation the of insight basic Said’s part, my For Locke Ralph

types of empire. The result of his interpretations is a synthesis of the former opinions opinions former the of synthesis a is interpretations his of result The empire. of types Aïda -

century art is essential and forms a starting point starting a forms and essential is art century

‚ the metaphors of empire and conquest can resonate in many ways many in resonatecan conquest and empire of metaphors the e aiu Others various he nesad te staged the understands

spirit ofRisorgimento.‛ spirit

–

because I believe that the world is not only composed of composed only not is world the that believe I because –

epe h ae tes o s wehr hy e the be they whether us, to Others are who people Aïda imper

17 bu a iprait atr i Vris work, Verdi’s in pattern imperialist an about

s a as ialism were widely perceived as perceived widely were ialism

The author goes further with adistinctionThe goes author further iul object visual –

un u t b U atr all‛. after Us be to out turn .‛ . 52 I will historicize and involve involve and historicize will I

- D . imperialist only in the in only imperialist

denyin ig o h author the so oing g that it might it that g

at once. One One once. at

glaringly glaringly mperial mperial 50

51 48

CEU eTD Collection though it wereanexhibition. it though 55 54 53 ke also he instance, For view. of points without or with Egypt, numerous from criticized be can in book Mitchell’s that believe I presence. order military European political new a framing and spreading in colonizers re the army, argument tothe similar core is argumentation. ofSaid’s fo object an as Egypt images. created of lineage a became reality of exhibition the that World the of analyses the on Based century nineteenth the of of forms new space, of conception new a personhood,means and o a new world social the in inscribes that power political of spread the to […] refers ‚colonising usage, his In colonise‛. to power ‚the study and Paris power between relation the but art, knowledge of works and power between relation the Punishment and Discipline Western a to discourse but important only not was which relation a is culture imperial and ideology

“ Ibid., 1 Mitchell, World exhibition here refers not to an exhibition of the world but to the world conceived and grasped as grasped and world theconceived but to world the of an exhibition not to refers here exhibition World At the same time same the At Foucault This uses Said If : The Capital of Nineteenth C Nineteenth of Capital The : ix.

Hs te tertcl ore ae h wrs o works the are sources theoretical other His . - 33. -

to anEgyptian ulig f ar, h m the Cairo, of building

ocut in Foucault - - character was doubled outside the actual exhibitions and the experience the and exhibitions actual the outside doubled was character re is project colonial the of view based , ehbt n observation and exhibit r

” the new technologies and strategies (like the modernization of the of modernization the (like strategies and technologies new the

Ibid., 13. Ibid., – and

discourse as well. hs s ht icel al ‚h Wrd s Exhibition‛ as World ‚the calls Mitchell what is this

The order of things, things, of order The f manufacturing the experiencef manufacturing the real.‛ of Power and Knowledge and Power

entury Exhibitions and the Expositions Universelles, he states he Universelles, Expositions the and Exhibitions eps a certain ontological and metaphysical difference metaphysical and ontological certain a eps tos of ethods ) and Theodor W. Adorno. W. Theodor and ) 18

– This was how the Europeans experienced Europeans the how was This

dcto, t. al served all etc.) education, n fo a ieay on o ve, this view, of point literary a from and hn ioh Mthl ue Foucault’s uses Mitchell Timothy then

: for Mitchell, the main point is not is point main the Mitchell, for : - framed in a Benjaminian concept Benjaminian a in framed Wle Bnai (foremost, Benjamin Walter f 53

His main aim is to is aim main His 54

the aims of of aims the - view.

CEU eTD Collection 58 57 56 Orientalis and art be imperialist might full a narratives as alternative Orientalism between or developed‛ supplementary to which tries within author the ‚spaces time, formulate same the At Orientalism. and imperialism between relation Said a uses He separated. not were Egyptology and Egyptomania Islamic and ofarchaeologyhistory the mains museums into and museums. Egyptian the of histories the and Egyptology of history the into‛ Egyptians modern ‚write to is author the of goal main The analysed. cons the and past the of understanding archaeological the Here, Museum. Egyptian the of history institutional the in i EgyptianMuseums national and The istheaesthetical, form representations. meaning ofthis that is, also produced, is meaning where century nineteenth of understanding Mitchell’s apply of study the maintain Westerncon a is itself ‚planning‛ and house village Kabylian a is dwelling of structure ‚Arabic‛ real the that state to tries he when architecture, of level the at even colonised, and coloniser between

Ibid., 11. Ibid., 9. Reid, 48 Ibid., He deals with four historical disciplines (Egyptology, Greco (Egyptology, disciplines historical four with deals He are Representations study, present the For

62.

cept. r ad rhelg) s form as archaeology) and art 56

the intimate relation between images, exhibition and political power. I I power. political and exhibition images, between relation intimate the

partly Colonising Egypt Colonising

also the objects of objects the also serving political and economic and political serving dentity from Napoleon to the World War I World War dentity fromNapoleon tothe 19 ing

offers a rich source o source rich a offers

one tream of history Egypt.‛ Reid’s

- Europe (especia Europe itr o Eyt Ri sos how shows Reid Egypt. of history

57 the relation between archaeology, between relation the Whose Pharaohs? Whose tr ed lo at t isr ‚the insert to wants also Reid cin f ainl dniy are identity national of uction

- goals (but not exclusively). not (but goals Roman studies, Coptology studies, Roman

f information and information f - lly France) as a place a as France) lly ae isgt n the on insight based

58 which is a study which is

– a a non a as m

Archeology, I also -

CEU eTD Collection 62 61 60 59 which after moment defining a as serve not did thus 1882 of occupation ‚the that concludes ‘Ottoman’.‛ than rather ‘Egyptian’ as and class elite new, a of member a as oneself ‘modernity’.‛ vis ‚Egypt n possible ‚facing‛ this made that situation very the But women. and family of concepts British and French the with especially models, European ÝA MuÎammad ruler, the book, the of topic the because 1919 Revolution.‛ ni the of middle the from transformation political discussing for templates as domicile modernized reformed, the and children, their couple, nation Egyptian f the in used strategies as women of images and women of role 1805 Egypt liberating her in Pollard is fully the French justified expedition art. imperialist ot a fore a ot

Ibid., 10. Ibid., 15. Ibid., Pollard, 14. Ibid., olr sae ta bfr 18 te family the 1882 before that states Pollard time The gender a in used are institutions and Representations 5. 5.

ign, colonizer, ‚strong‛ colonizer, ign,

- à - 61 - i ohr ain i a irrh o dvlpet t h ae o wih sat which of apex the at development of hierarchy a in nations other vis

frame used in this book is the one I called ‚national‛ and this is precisely so precisely is this and ‚national‛ called I one the is book this in used frame 59 Nurturing the Nation Nation the Nurturing

state. Her book ‚addresses the ascendance of the image of themonogamous of image the of ‚addressesascendance the Herbook state. For periodization, he uses the “long nin “long the uses he periodization, For 60

Ð n hs e sae Te rdtoa patcs ee ae wt the with faced were practices traditional The state. new his and lÐ - 1923

. As the title suggests, she suggests, title the As

interest but a ‚home a but interest family strategies, were first th first were strategies, family –

being The Family Politics of Modernizing, colonizing, and colonizing, Modernizing, of Politics Family The the basi 20

- icus ws ‚en o dis of ‚means a was discourse eenh etr truh h Egyptian the through century neteenth s ofthe Egyptology - made‛ intention with an aim to place to aim an with intention made‛ deals –

eteenth century” framework which framework century” eteenth and this my supposition too supposition my this and

with the concept of family, the family, of concept the with - estv framew sensitive ormation of an image of an of image an of ormation ematized by the Egyptian the by ematized - project r b Lisa by ork .

tinguishing 62 –

was She

CEU eTD Collection 64 63 Egyptian the of transformation the of seeds first the detect to try of role huge a u I time European century nineteenth the of half second the of attr will I but argued Said as just politics of service the in art of institution Western a of circumstances the describe will these strategies. an as possible bourgeoisie Egyptian an of existence the made which politics a out point to observations gender a on based not alike.‛ women and men remaking Egypti the served only that not womanhood overlooked historians feminist the that argues also using politics Arabian or Reid’s nation indeed s messages.‛ and discourse colonial a to subjected were Egyptians unwitting

Ibid., 5. Ibid., 11. Ibid., Summing up, my method will be a combination of the above mentioned approaches. I approaches. mentioned above the of combination a be will method my up, Summing the states, author the as However, . Whose pharaohs a militarily controlled power with a colonial discourse on helping and ‚nurt and helping on discourse colonial a with power controlled militarily a Pollard’s se

s d all the Egyptian sources that were available for me for available were that sources Egyptian the all d ’ 63

ecpin o rpeettos h sm wy s icel i, u a te same the at but did, Mitchell as way same the representations of perceptions

This insight is aswell.This insight one points ofmybasic starting

Egyptology in the serv the in Egyptology audience

book - based on a thorough archival work which makes it a it makes which work archival thorough a on based sensitive view none the less I will use Pollard’s data and theoretical and data Pollard’s use will I less the none view sensitive . One of her assets is the usage of the feminist discourse o feminist assets ofthe One theusage is ofher .

f ok o art of works of the works of Leila Ahmed, Beth Baron and Baron Beth Ahmed, Leila of works the ibute the foundation event to a general a to event foundation the ibute

a new concept of women but a part of ‚a larger project project larger ‚a of part a but women of concept new a 64

Although ice of the of ice salsmn drn the during establishment –

in the Mediterranean the in ‚family and 21 ,

in the following the in

nationalist idea and just as Pollard did, I will will I did, Pollard as just and idea nationalist - pol tc‛ a a enormou an had itics‛ . Following Reid, I also claim also I Reid, Following . ,

my theoreti my

elite . I als I .

British occupation was was occupation British representational

into an audience of an of audience an into imply swayed by its its by swayed imply

o pay attention to the to attention pay o Margot Badran. She Badran. Margot an debates about about debates an cal framework is framework cal Kontrapunkt n Egyptian n Egyptian rl in role s uring‛ a uring‛

feature

of CEU eTD Collection What for ofconcept reasonscantheapplication given this be here? me aesthetics political does What questions: two answering justification somehow Egypt century nineteenth with connection aesthetics formulate a Egyptian mixturesymbols. ofFrench hisownchoosing and Ottoman an and British a French, (a representations a with Mediterranean the in century nineteenth the characterize rather pol classnew intentio foreign a and indigenous an of instances Of feature. century Of power. c of formations certain as strategies artistic of understanding the use Gender/Family are combined studies underumbrella the of opera. itical purposes. itical I study this In have Thus, - . It can be striking because striking be can It .

consciousness and the discourses of domestic behaviour as serving nationalist andnationalist serving behaviouras domestic ofdiscourses the and consciousness an Mitchell, I utilize of the ‚World as Exhibition‛ as ‚World the of utilize I Mitchell, chose bcr nto. n h floig wl gv a ml caiiain n as a also and clarification small a give will I following the In notion. obscure uiooy Clna Suis Msu Suis post Studies, Museum Studies, Colonial Musicology, ,

n I combine the a the combine I In general, I accept the relation between culture and empire, but I would would I but empire, and culture between relation the accept I general, In

Reid, I use the creation of museums and institutions of knowledge as knowledge of institutions and museums of creation the use I Reid, o te upss f gnrl rmwr te ocp of concept the framework general a of purposes the for 1.3 b

Political A Political ove presented approaches presented ove ,

to my best knowledge best my to

so far so 22 esthetics inEgypt

. Political aesthetics is a bit too general and and general too bit a is aesthetics Political .

n. Of n. - sai) rm which from Islamic)

Pollard I borrow the formation of a of formation the borrow I Pollard - political aesthetics political concept as a general a as concept , . Of .

one used this concept in concept this used one Said and Foucault I will I Foucault and Said repository

net o political of oncepts - an in this context? this in an tutrls and structuralism

IsmÁÝÐl tried to to tried IsmÁÝÐl .

nineteenth of imperial of political - CEU eTD Collection 68 125. 1986), 67 66 65 also is It regimes. autocratic of power. phenomenon.‛ attendant aes the of concept own Schmitt’s typical a is and thinking economical ‚promoted aestheticsw Romantic he him, For itself. aesthetics of critique a serve political legitimizing thestrategies ofthe power. and memory historical of lineage a create state the of representations official aesthetics: costumes evokes fashion way the insight representations. that out pointed he when aesthetics political on thinkers earliest the of one Probably, known. not conceptis this of genealogy full The beauty. and senses representations, art, with associated usually state and power commonwealth, with associated is

Victoria Kahn, “Hamlet or Hecuba: Carl S Carl Hecuba: “Hamletor Kahn, Victoria Schmitt, Carl 261. Benjamin, Marx, Karl

stated that stated T understoodCarl political Schmitt aesthetics dif word strange a is aesthetics Political e term he : ‚ [T]

The Eighte The he French Revolution viewed itself as Rome incarnate. It evoked ancient Rome Rome ancient evoked It incarnate. Rome as itself viewed Revolution French he Political Romanticism Political its its

65 ‚ oiia aesthetics political core is an observation that ‚the state is a work of art.‛ of work a is state ‚the that observation an is core

nte frfte i Wle Bnai a h to u Marx’s up took he as Benjamin Walter is forefather Another enth Brumaire of Louis Bonaparte Louis Brumaire of enth as only an intermediary phase in the process of depoliticization which depoliticization of process the in phase intermediary an only as

the often French Revol French

(Cambridge, Massachusetts and London, England: T London,England: and Massachusetts (Cambridge, thetic is politicized because he because politicized is thetic

used in Holocaust in used f h past. the of ‛ 1.3.1 chmitt‟s Decision, chmitt‟s

political romanticism political s iey sd n l dsore wih el with deal which discourses all in used widely is

- Political Political juncture: it combines the field of politics of field the combines it juncture: ution and Napoleon utilised Napoleon and ution 23 ‛

(London: Lawrence and Wishart, 1984), 11. 1984), Wishart, and (London: Lawrence

a hs bevto i te oe f political of core the is observation This ferently esthetics ” – - studies and refer and studies

Representations

and the field of aesthetics of field the and ,

and eyes inhis concept this was

served as a leading concept and concept leading a as served

also understood it as a form a as it understood also no. 83 (2003): 67(2003): 83 no. s

to the representation the to 67 the Roman imperial Roman the

He suggested that suggested He he MIT hePress, MIT 68

–

- was Marx Marx was However, 96

which is which – . 68. .

which

CEU eTD Collection 71 1876 Empire, 70 H London, England: and 69 perceptions power of idea this as well. of representation the thus and history about idea certain a carries always It formal. and officialalways is It public. in political the of representation a to refers it First, meanings. political aesthetics centuryempires. nineteenth the peculiarto is of part neo re were such as traditions century nineteenth the of characteristic are ceremony the of Empire German its and Empire Roman the in visualized something always goals. political serving means a as Holocaust the of

Marx, ibid and Benjamin, ibid. Benjamin, and ibid Marx, SelimDeringil, Maier, S. Charles - Muslim symbolism and the re the and symbolism Muslim eod i dfns bac o shlrhp a elxv suy f h rpeetto of representation the of study reflexive a scholarship, of branch a defines it Second, importa An rnlto imperii translatio Ottoman as

t a rpeetd n n kn of kind any in represented was it - 1909 through which thes through which

The Well The ,

on eeyhr i te world. the in everywhere found (London: I. B. Tauris, 1998), 16 1998), B. Tauris, (London: I. aesthetics. political

t itnto ms b made be must distinction nt Among Empires Among Napoleon I and I Napoleon

par excellence to do with the idea of empire. The concept and idea of empire was was empire of idea and concept The empire. of idea the with do to

arvard University Press, 2006), 36 2006), University Press, arvard - Protected Domain Domain Protected

) - . discovered 69

a practice: a

t s Erpa cnet yt crmna at a art ceremonial yet, concept, European a is It

– e representations were understood seen,

American Ascendency and Its Predecessors Its and Ascendency American . Napoleon III Napoleon -

invention of the caliphate in the Hamidian era were also were era Hamidian the in caliphate the of invention 70

in the French, British and Ottoman empires alike empires Ottoman and British French, the in The The – the representations of power of representations the –

visual Ideology and the legitimation of Power in the Ottoman Ottoman the Power of in legitimation and the Ideology

was also in the service of of service the in also was usage - 44. 24 Imperial representation Imperial

, model

Pltcl eteis s sd h used is aesthetics Political .

until the USA the until

- of imperial representation imperial of ulc pee n also and sphere public 39.

s h re The

were taken by taken were argue I power becomes the representation the becomes power - neto o tradition of invention

today ht oiia aest political that political goals: imperial goals: political

(Cambridge, Massachusetts Massachusetts (Cambridge, , therefore (

as a v a as for instance, for ,

itself which result in result which itself and appropriated.and

h suy f the of study the

as a ‚costume‛a as isual expression isual

d h at of art the nd is the field of of field the is r i tw in ere hetics has has hetics the the – Holy : the :

so 71 o

CEU eTD Collection 73 72 t showed, Deringil and Victorian styles, historicizing in embodied were visual representation ofthe stateconstructiofor inasearch the a for demand a created Ottomans the and British French, the between negotiation constant nati modern a of created. apparatus is the bureaucracy which in one the is period this Second, Sudan. the occupied fact, in and country ‚coloniser‛ a be to wanted even Egypt period, century independence desired) (imagined, its of representation a empires colonising the by played game a of Exhibition‛. of referspolitics whichover isalwayscondition in representation reality. given toa priority ‚World the as Mitchell by described was which century modus or challenge certain a embrace to suitable is It ideologies. political power dominant the or state the by aest of case aesthetics political of case the in

Hunter, Hunter, 13. Mitchell, Throughout the nineteenth century, t century, nineteenth the Throughout Can term the here introduce may I

80 eierna clue f hc pltcl eteis omd pr. During part. a formed aesthetics political which of culture Mediterranean these terms be applied in Egypt? I argue for the application because application the for argue I Egypt? in applied be terms these - 122. hetical politics, politics is in the power of an aesthetical demand. It is not done not is It demand. aesthetical an of power the in is politics politics, hetical

e toa state Ottoman he 1.3.1 73

h tasomto o Cio te e fml pltc ad the and politics family new the Cairo, of transformation The

Political Political

, the aesthetic the , - aesthetical politics aesthetical structure but by artists and art, even art, and artists by but structure a esthetics in (under Sultan Sultan (under he French and British imperial self imperial British and French he

between 1805 and 1879 and needed and 1879 and 1805 between 25

serves the goal and means of politics. In the the In politics. of means and goal the serves Egypt and Opera Studies empire Ý . Ab By this I understand a understand I this By .

Also, it is a part of part a is it Also, al d

buildings and objects. and buildings - n aidentity. distinct Í am Ð d) used used

in the nineteenth the in in the service of of service the in -

re the Egypt is a part part a is Egypt h traditional the 72 on state, i.e. i.e. state, on presentation sub

and created and nineteenth A

esthetical - As Selim As concept: concept:

this this s -

CEU eTD Collection Change 76 Society Bourgeois 75 74 sphere‛ ‚public Alexandriaintheir created community Italian GreekTheandnumber. state. that, believe I state the to lead am I However, House. Opera Cairo the for state.‛ the [...] to intact an for search ‚the that noted the of problems the to attention the bourgeoisie bourgeoisie. and secularization Sphere Public the of Transformation sphere‛ ‚public term The made. of an Egyptian political aesthetics political answerthesefor own a sphere public the of concept new symbolism events, created set visual Westernised new a occasions

Fatma Müge Göçek, Göçek, Fatma Müge JürgenHabermas, Deringil, At the same time, the Egyptian elite were also composed of foreigners, in increasing in foreigners, of composed also were elite Egyptian the time, same the At elite, new a and politics new of creation the With

(New York and Oxford: Oxford University Press, 1996), 3 1996), Press, University Oxford Oxford: (Newand York prayers, symboli a ibid. as self as –

was created, a new public sphere public new a created, was

which was also the represthe alsowas which

in these years (1869 years these in ( Polity public 76 - The Structural Transformation of the Public Sphere Public the of Transformation Structural The representation

m hc ws moid in embodied was which sm In my study, Egyptianstudy, my In Rise of the Bourgeoisie, Demise of Empireof Demise Bourgeoisie, the of Rise

Press, 1992), 1 Press,1992), buildings

aesthetical challenges. This answer will be describedtermsbe in answer will This aestheticalchallenges. (uniforms, s 75 : circumcisions, Friday prayers and military parades wi parades military and prayers Friday circumcisions, :

life to came

(like courts) (like - whichfailed later t s ‚bourg a is It 26. - agent of change in the non the in change of agent 1871), this audience is a manifestation of the will of the of will the of manifestation a is audience this 1871), nd public politics was created. Khedive Ism Khedive created. was politics public nd

universaliz entation of the ideas of ideas the of entation .

bourgeoisie ak ad medal and ranks t s soitd ih w important two with associated is It 26

, museums and so forth. Through and by this by and Through forth. so and museums ,

from Jürgen Habermas’ book, Habermas’ Jürgen from was also offered. also was

eois category‛. Therefore as as Therefore category‛. eois ation pu blic ceremonies: exhibitions, exhibitions, ceremonies: blic .

is understood is a new kind of public sphere had to be to spherehad public of kind new a f h cnet f the of concept the of – -

19. 3, 3, 9. 19. Ottoman Westernizatio Ottoman

s). just as Göçek indicated Göçek as just

–

74 - An Inquiry into a Category of of Category into a Inquiry An empire and modernisation andempire Western contexts leads many leads contexts Western

l Mdtraen empires Mediterranean All Fatma Müge Göçek called Göçek Müge Fatma

as an Egyptian audienceEgyptian an as n and Social Social and n The Structural The bourgeois the ÁÝÐ

memorial Egyptian l had his had l patterns

because along

thin thin and –

a : CEU eTD Collection 80 79 78 33 1990), Press, California 77 concept ofthe internati an and national a time same the at is House Opera socializing. for place a as opera and representation civic and political the for place a as opera art, of work stands House Egyptian political aesthetics. exhibition the uses and imagination imperial an embodies it set‛: ‚imperial call I what is ceremonies presuppositions and images Egyptians the forand Ottomans, the for powers, European for images produce to were aims political The here. used are politics aesthetical and aesthetics political of concepts the why is This aim. political a but interest environment ofthe ruler. the in mostly were beneficiaries) (and participants active the and above from came project capital ‚modern‛ a became started were projects canalling and Hygienic IsmÁÝÐl. grandson, his by accelerated was which celebrations) courtly and army homes, roads, palaces, (new ÝAlÐ MuÎammad home the with

I Bereson, 8 Mitchell, Kuhnke, Laverne bid., 178. bid., n ls cneto wt the with connection close In pub bourgeois Egyptian an of creation The 14. -

hrce o n of character - 10.

in the centre of my study my of centre the in

‚ 79 operatic state - countries. In Cairo, a serious transformation project was initiated by by initiated was project transformation serious a Cairo, In countries. Lives at Risk Risk Lives at

pr Studies Opera - 48. 48.

ntet cnuy France. century ineteenth

–

‛: the state as representing itselfinthe‛: Operarepresenting theHouse state as Te rain f h vsa features visual the of creation The . Public Health in Nineteenth Century Egypt Century Nineteenth in Health Public

ln wt nw rcie o medicine of practices new with along ,

therefore exhibition . At the same time, these three angles also had their own their had also threeanglestime,these same the At . .

I use Ruth Bereson’s distinction betwee distinction Bereson’s Ruth use I provides , 27 - character,

i s lic 78

hr ws o a economic an not was phere a hs il ev a a aaim for paradigm a as serve will This additional n h fudto o te ar Opera Cairo the of foundation the nl place. onal

(Berkeley: University of of (Berkeley: University hoeia bss The basis. theoretical

. 77 f the of

hs modernizing This It generates the the generates It uz Canal Suez n opera as a a as opera n . 80

and Cairo Cairo and

r class or CEU eTD Collection 81 political will otherness of ideas and identities constructing are which power of theo times. colonial of reading alternative an create to order in combined be will culture Mediterranean a in century nineteenth short a of concepts 5) chapter Westernisation and as acultural of staging first and one Egyptian aesthetics political of embodiment political the in second, and O historical

ttoman and Egyptian rulers as these entertainments became entertainments these as rulers Egyptian and ttoman I am indebted to Professor Istvan Rev for this question. this for Rev Istvan Professor to am I indebted retical framework for my study my for framework retical of case the In event foundation The otxs frt i te rcs o te private the of process the in first, contexts: . The general context is the representations representations the is context general The . .

–

meets meets the foundation of the Cairo Opera House, the Suez Canal and the creation the and Canal Suez the House, Opera Cairo the of foundation the topos the Opera House and House Opera the Aïda

did with Egyptin did with nationalism and representation representation and nationalism

somehow connected. It is also demanding what demanding also is It connected. somehow

n te rain of creation the and

- utrl otx o te uz aa c Canal Suez the of context cultural (chapter 3 (chapter :

p oliti

European imagination. Aïda cal aesthecal 28 - , 4

political aesthetics meets aesthetical politics, aesthetical meets aesthetics political

). In ).

Aïda tics is the discourse over representationoverdiscourse the is tics European imagination imagination European n h floig ti i wa frs a forms what is this following, the In

catr 5) (chapter meets sg o te etr at b the by arts Western the of usage n maig o a empire. an of meanings and n meil imagination imperial an

81 gradually public (chapter 2) 2) (chapter public gradually

a b aaye i two in analysed be can

and expressions of a a of expressions and eremonies Aïda –

and also in the in also and

as an opera opera an as as the the as

(see The s CEU eTD Collection Amnas Gek, es ad oeges ad hs alt a prl promd ! and (!) performed partly was ballet this and foreigners, and Jews) Greeks, (Armenians, in Pera, in Itali the by organized ballet of kind a about is performance theatrical Ottoman and Egyptian also the f within arouses state process, this with Along entertainment. of means public a becomes gradually it as shown be will usage private this Second, one. “diplomatic” or theatre style with dealing I focusingEmpireo Ottoman second will introduce will n o te alet cons hn n toa, ulm ujc ws rsn i a in present was subject Muslim Ottoman, an when accounts earliest the of One Aftersetti ARTS ANDARTS POLITICS IN chapter

2.1 that part of Istanbul which was mainly inhabited by the religious minorities minorities religious the by inhabited mainly was which Istanbul of part that

and opera and the ng up the theoretical framework of political aesthetics in the first chapter,t first the aestheticsin political offramework theoretical the ngup

Western Theatre in Ottoman Lands(Istanbul andWestern Egypt) Theatre inOttoman B a comp a il deal will ot o te eain ewe pltc (utn ad ahs ad Western and pashas) and (sultans politics between relation the of roots

arative study between study arative (see Table I Table (see

ih h phenomena the with n Egypt n

THE OTTOMAN EMPIRE A THE EMPIRE OTTOMAN

from –

p. 49 p.

the beginning of the nineteenth century nineteenththe beginningof the CHAPTER 2 CHAPTER ) . 29 First, this relation ca relation this First, the “centre”, Istanbul, “centre”, the

f European of

ramework of political aesthetics.ramework ofpolitical

h pbi rpeetto o the of representation public the - tl tete n o and theatre style ND IN EGYPT (1805 n be detected as a private private a as detected be n and an community in 1524 1524 in community an “periphery”, efore 1805

ea i pera until 18 until

- Egypt 1861) the n 63 his - , .

CEU eTD Collection numbers) Bur coordinator: Yap 86 85 84 83 Studies) 82 S is era modern II‟sMehmedBellini painted by portrait in1480. Western first the when (1703 period” “Tulip the to back traces has arts Western in interest This Sultans. the to interesting theatre made Europeans the of development technical and economic the and Royal.” Palais Mehmet Yirmisekiz a ‚saw 1721, Paris, to ambassador In events. theatrical in attended also London occasions diplomatic as century. eighteenth the in t both of audience parts were performances the among been had Sultans Ottoman off leading and notables the that evidence is there communities, religious the of members the of some and Europeans the by enjoyed and maintained were these although dancersfromperformed theTurkish Palace dances “the 1730, in when interaction, cultural early an happened here and 1680, and 1670 between theatre a established Nointel, Turks. byviewed

See thec See 49. Ibid., 50. Ibid., Ibid. 1839 Ottoman Theatre “The NerminMenemencioglu, ı

Kredi Cultural Center Kaz Center Cultural Kredi The first Sultan who had a fascination reportedly for Western music and music Western for reportedly fascination a had who Sultan first The and Pera in flourishing been had theatres “diplomatic” it, call may I and, amateur The

10, no. 1. (1983): 48 1. (1983): no. 10,

atalogue of the exhibition “Ressam, Sultan ve Portesi ve Portesi Sultan “Ressam, exhibition ofthe atalogue

ç 85 ak Madran. Istanbul: Yap akMadran. Á

lim III (1789 III lim The reports of the ambassadors, the presence of the “diplom the of presence the ambassadors, the of reports The 82

Pera was also the place where the ambassa the placewhere the alsowas Pera - Te toa absaos n ai, ina S. Peter St. Vienna, Paris, in ambassadors Ottoman The . - 58. 49. 58. tl pbi bidns ae en built been have buildings public style ı mTa performance of Quinault‟s Quinault‟s of performance

1807), who was a player of player a was who 1807), ¢ kent Art Gallery between 7 December 1999 1999 December 7 Artbetween Gallery kent Re he “popular” and “high” culture, but predominantly used used predominantly but culture, “high” and “popular” he ı Þ

s ül is Kredi Cultural Activities, Art and Publishing, 1999. (without page 1999. ArtPublishing, and Activities, Cultural Kredi - Kütt 30 Á - 1923

b 86

a a us” n “ gop f fourty of group “a and guest” a was

.” , ” 83 Bulletin (British Society Bulletin

–

The Artist, the Sultan and His Portrait” in HisPortrait” Artist,Sultanand the The Thésée nay dor of Louis XIV, Marquis deMarquisXIV, Louis of dor

and wrote poems apart from apart poems wrote and , with music by Lulli at the at Lulli by music with , o, a erir bc to back earlier, far or, , –

7 January 2000. Project Project 7 January2000.

for Middle Eastern Eastern Middle for

theatre in the the in theatre atic” theatre atic” icers of the the of icers †elebi, the the †elebi, sburg and and sburg 84

- These 1757) - five five CEU eTD Collection WizÁrat ath WizÁrat 89 88 87 Empire. MiknÁsÐ was among not the rich elite. Mikn Arabic although and empire thetraditions mimetic of part a not was Morocco Yet, capital. Ottoman the event This Mikn Mu Moroccan, presumably a by given was theatre on traveller Arabic an of account first The century. nineteenth the before provinces Arabic the beginningsOttoman ofthe theatre Western of diplomats Ottoman of knowledge diplomats. training Languages, Sch the in taught who embassy Ottoman the of stuff the of some possibly by written 1797. bei

In v.s. EI², Menemencioglu, ng a modernizer. For his own pleasure, a foreign opera company gave a performance in in performance a gave company opera foreign a pleasure, own his For modernizer. a ng NaÛariyyÁt al NaÛariyyÁt But Egypt, in contrast her ever her contrast in Egypt, But reached ever have theatres Western of accounts Ottoman these if evidence no is There Ás ÁsÐ 87 cannot bedescribed th building that in amazement with saw We entertaining. and playing were [others] levels the found of one be in p can And building. candles this of of level abundant lowest the an in are and Musicians levels four with building huge A resented us with a situation [ situation a with us resented

Ð In Vienna, Paris and Poznan, Turkish manuscripts of plays were found, dated found, were plays of manuscripts Turkish Poznan, and Paris Vienna, In It is It – “ma – -

ThaqÁfa, 199 ThaqÁfa, ‚from Meknès‛)whotheatre describesfollows: aSpanish as

happened in 1780 when theatre was already well known among the notables in in notables the among known well already was theatre when 1780 in happened ee o fmla wt sc mmtc ersnain. n peual Al presumably And representations. mimetic such with familiar not were sra worth mentioning worth Î‛ - maÒraÎ 49.

[theatre]

were strong in the East, people in the West, in Morocco Morocco in West, the in people East, the in strong were 4

), [Theories of T of [Theories

13.

(3. in Turkey in (3.

like different kinds of images, buildings and animals. buildings differentlike ofimages, kinds -

Turkish theatre can be datedTurkish earlier theatrecan as be it

88 that the French the that

The existence of these manuscripts is an indicator of the of indicator an is manuscripts these of existence The heatre], - going fight for independence, was a part of the Ottoman the of part a was independence, for goingfight mawdiÝ -

Metı

ed. n And n ] in accordance with the situation in which they which in situation the with accordance in ] MuÎammad KÁmil Al KÁmil MuÎammad 31 ).

“expedit

- practices and also it indicates that the the that indicates it also and practices Îammad b. ÝUth b. Îammad ion” in 1798 in - KhaÔ

Ðb ( Ðb was thought. - 1802 Dimashq: ManshÙrÁt ManshÙrÁt Dimashq:

mÁn al mÁn was the first one first the was –

or at least al least at or - 89 MiknÁsÐ

ings which ings

ool of ool 1809 in it. it. in (al - - - , CEU eTD Collection Shulz Jahrhundert,” 19. im Reiseschriftsteller Arabischer Theaterbegriff 93 ( 92 ( literature] 91 1996), 90 writes about the French(28. Dec. 1800): theatre French andFrench consciously aestheticsapplied ofthe was Europe. Revolution outside This country ofthis soldiers andbychange [Egypt] arousing thecustoms second, affections.” to Fran Comédie ill the Kléber, politics aesthetical of means conscious as it used (from 1791to1799). “Théâ called was Française Comédie the Revolution, the of years of name the with Muslim to turned who t and Republic the of “Theatre the as named sake own French‟s Western established which Artlys,2007).

Quoted in: Najm, 27, footnote 3. Also in Reinhard Schulze, “Schauspiel oder Nachahmung? Zum Nachahmung? oder “Schauspiel Schulze, AlsoReinhard in3. footnote 27, in: Najm, Quoted Razgonnikoff, Jacqueline and BarryDaniels Mu P hilip e mistakenly attributes these words to Klebert. to words these mistakenlyattributes e acti French the observed EgyptiansThe Napole that seems It Îammad YÙsuf Îammad

at ugss that suggests fact Frenchmen assemble once every 10 night [Schulze notes, that according to the new the to time according that notes, [Schulze night 10 every once assemble Frenchmen their in what At 28.

C. Sadgrove, C.Sadgrove,

Azbak BayrÙt - counting, this meant meant this counting,

çaise, take care of them, because they are sent, first, in order to entertain our entertain to order in first, sent, are they because them, of care take çaise, - h: DÁrAl h: fated predecessor of Menou, Napoleon wrote: “I send you a troupe of the the of troupe a you send “I wrote: Napoleon Menou, of predecessor fated Ð ya

Najm, , at the p the at , The Egyptian Theatre in the in Theatre Egyptian The tongue is called La Comé La called is tongue – 92

- e, aie vstd t s well. as it visited natives yet,

ThaqÁfa, c.18. 1967), ThaqÁfa, Al

cultural - on was aware of the political implications of art and theatre and art of implications political the of aware was on masraÎÐ oint known as BÁb al BÁb as known oint - tl tete n rbc ad, lhuh xlsvl fr the for exclusively although lands, Arabic in theatre style

once a week] for some four hours to see plays performed by performed plays see to hours four some for week] a once

y a fÐ a ooiain a a rcs iiitd consciously initiated process a was colonisation - l - adab al adab Patriotes en scène : Théâtre : scène en Patriotes Ý

Abdallah Abdallah Nineteenth (1799 Century Nineteenth

vities and the famous Al famous the and vities - 32 ÝarabÐ al die [ die he Arts” by General Menou. General by Arts” he

- HawÁÞ, the construction was completed of completed was construction the HawÁÞ, al I oe f i ltes et o General to sent letters his of one In . - – - kamarÐ ÎadÐth

90 followed a pattern from home: in the in home: from pattern a followed Welt Islams des

t s eotd ht hs har was theatre this that reported is It

[The drama [The

in the text]. It is a place where where place a is It text]. the in

de la République (1790 la République de - 1882)

34, no 1 (1994): 67 (1994): 1 no 34,

- in the new Arabic newinArabic the

r d l Republique la de tre Jabart ( Berkshire: Ithaca Press, Press, Ithaca Berkshire: 91 Ð

in his chronicle his in

The general The - 1799)

- 84, 69. 69. 84, y the by

and and

93 – ”

CEU eTD Collection indigenous dramatic tradition”, 7 tradition”, dramatic indigenous 97 Schulze. analyzedby was „real‟ is that it knowledge 96 95 German: M and Philip Thomas 94 mimicry, ( Turkey and Egypt ( enough is It on h territories Muslim all extent, only reached or Egypt reach not are toentertain theform its it but using themselves and ticket. a have to has a is thatit thenote from apart strangeinit, anything notfind and does JabartÐ the ‚introduce Muslims.‛ to the among deaths and want births of statistics French and registration the that occupation) the during council Egyptian (the the to announcement the importance: much with event another and KÁshif ÝUmar found woman slain a about story a between sandwiched is account This taÝziya

Mu the and representation form and ofart as a it istheatre that knowledge differencethe between The Al ÝAbd al ÝAbd

these forms of art in his book his in art of forms these - It is becauseis It h JabartÐ, ibid. JabartÐ, ammad Mustaf ammad an ticket admission andsuitable garb. have to has one enter, To entertainment. and pleasure for French, in troupe, French a , theatre was not a real innovation. He immediately uses the word ‚plays‛ ( ‚plays‛ word the uses immediately He innovation. real a not was theatre , o cmeoaig h dah f uan te o o Ýl) te puppet the ÝAlÐ), of son (the Íusayn of death the commemorating on ) Schulze, Schulze, - RaÎmÁn al RaÎmÁn

n as, eta representations textual also, and

mentio

69. – -

oshe Perlmann oshe a JabartÐ’s History of Egypt Egypt of History JabartÐ’s

although the Ottomans’ experiences with the Europeanthe with experiences Ottomans’ the although Badawi, Badawi, Qaraq½z 96 n ing

This

ht h eitne f h SÐÐ ulm’ rlgos aso play‛ passion ‚religious Muslims’ ShÐÝÐ the of existence the that Early Arabic Drama Arabic Early - fact suggests that suggests fact 30.

ad strong mimetic traditions. M. M. M. traditions. mimetic strong ad

( ¬aragöz Stuttgart: Franz Steiner Verlag, 1994 Verlag, Steiner Franz Stuttgart: Early Arabic Drama Arabic Early the Turkish notables residing there residing notables Turkish the ) and the shadow the and ) –

ÝAjÁÞib al ÝAjÁÞib 94

(Ca pbi per) wr prs f h indigenous the of parts were poetry), (public 33

mbridge: Cambridge University Press, 1988), “The 1988), Press, University mbridge: Cambridge was not was - ÀthÁrfÐ’l , so I do I so , social implications

a novelty that it is ‚art‛ and people and ‚art‛ is it that novelty a - - play ( play TarÁjim wa’l TarÁjim

), not want to dwell on these on dwell to want not

224. khayÁl al khayÁl

In Arabic: Al InArabic: Badawi wrote an wrote Badawi 95 - regular AkhbÁr –

Egypt and to some to and Egypt

seems that for al for that seems - Ûill were style theatremay style in the garden of garden the in ,

) suggests that suggests ) event and one andevent one ol. III ol. - alien KhaÔÐ - har in theatre - IV malÁÝÐb b, 15. b, . DÐwÁn

, ed. , essay

. In In 97 - )

CEU eTD Collection 99 98 style new the for because W of reception the with do to nothing seems event this although (foreigner, popular a both of speak can one when thronea whowas of real admirer Western arts. SÁ demanded reforms Lo to sent ambassadors permanent first the with notwithstanding introduced, were styles and buildings public new but army, SÁ history. theatre popular ‚u Although sciences. and arts Western the from him alienate not did seemingly event this yet 1798, in menti above the happened reign his During music. playing pleasure own his forpalace his in also used toentertainrulers insophisticated forms. the were activities these and character, popular and folk strong a had which tradition dramatic

Ibid., Ibid., EI ², s. v.s. ², The rule of this Sultan, Ma Sultan, this of rule The was It s. v.s. “ “masra

lim III, in the name of his new order, order, new his of name the in III, lim European) entertainments. MaÎmÙ entertainments. European) already mentioned that Sultan SÁ Sultan that mentioned already SelimIII tl h pro o Westernisation, of period the ntil Î‛ ‛ 98

[theatre] [theatre]

” h cut f h Sla was Sultan the of court the

(Virginia Aksan). (Virginia lim’s life. But two years later an even more powerful Sultan came to came Sultan powerful more even an later years two But life. lim’s

( 3. In Turkey In 3. 2.2 - ros e a t fn a ad lyn aporae marching appropriate playing band a find to had he troops

Theatre, Arts,and

ÎmÙ

in the 1790s. He was a man of arts, composing poems and poems composing arts, of man awas He 1790s. the in

ndon, Paris, Vienna and Berlin. and Vienna Paris, ndon, – d II (1808 II d

Metın And) Metın /public lim III (1789 III lim 34 d II abolished the Janissary corps in 1826 and 1826 in corps Janissary the abolished II d

- . the SultansU NÐÛÁm

89 s h is perio first the is 1839) las pae f r of place a always

[Otttoman] n a elite an and

- i JadÐd i - 1807) received an opera company opera an received 1807) oned French occupation of Egypt of occupation French oned or tete ipy imitated simply theatre court ntil 1861 ntil , not only created a new a created only not , /private estern arts, it is significant, significant, is it arts, estern 99

fnmn i Ottoman in efinement The revolt The

sg of usage d in Ottoman lands Ottoman in d

against his against alafranca - style

CEU eTD Collection 106 105 104 103 102 Environment,” Changing intoa Tradition NewMusical 101 100 the is Westernisation palace own his theatre: fifth Western the for were compa travelling of purposes the for built were two visit, to theatres four had Armenian in t theatre: in role leading a had community Armeni The communities. local the for also but Europeans, the for theatres only not were vaudevilles and farces rest the and o library a had leadersOttoman reform. of a of establishment the they with accompanied and operas Italian newest the with also musicians. the of training‛ the supervise to invited Muzika troops. his music.

EI², EI², Davison, H. Roderic ibid. Menemencioglu, El Salwa Menemencioglu Menemencioglu, ibid. Menemencioglu, Ibid. MaÎmÙ s. v.s. “

100 - i Hümayun. i

Around the same time, MuÎammad ÝAlÐ in Egypt also looking for musicians for musicians for looking also Egypt in ÝAlÐ MuÎammad time, same the Around - 101 Shawan, Shawan, masra d II was also a man of theatre, he often visited the theatres the visited often he theatre, of man a also was II d ,

T which was which f he first ‚art‛ school in the Muslim world Muslim the in school ‚art‛ first he

Î , 50. , ‚ ‛ 500 plays, of which 40 were tragedies, 40 were dramas, 30 were comedies, comedies, were 30 dramas, were 40 tragedies, were 40 which of plays, 500

“Western Music and Its P Its Musicand “Western (3. in Turkey in (3.

Reform in the Ottoman Empire 1856 Ottoman the in Reform Giuseppe Donizetti, the brother of the famous composer, Gaetano, ‚was composer,Gaetano,‚was famous the ofbrother the Donizetti,Giuseppe

period of transition of period - style theatre, the the theatre, style

a translation of Moliè of translation a 103 .

106

Metın And). Metın

i rin rm h prpcie f h hsoy f cultural of history the of perspective the from reign His .‛ 104 ractitioners in Egypt (ca. 1825 Egypt (ca. in ractitioners

Théâtre Français Théâtre The theatres this time were still in Pera, but these but Pera, in still were time this theatres The : the Western taste gr taste Western the :

he earliest he ueu f translation of bureau 35 Asian Music Asian

re’

- 1876 gave the first palace band. This was was This band. palace first the gave s 102

Ottoman drama was drama Ottoman Le médecin malgré lui malgré médecin Le

Thus, the trained men were familiar were men trained the Thus, (New York:

17, no. no. 17, was founded in the same year, the year, same the in founded was

and the the and adually became popular. This popular. became adually 1. (1985): 143 1.(1985): - 1950): The Integration ofa The 1950):

Gordian Press, 1973), 28. 1973), Press, Gordian hc ltr rdcd the produced later which Théâtre Bosco Théâtre

– published in 1813 in published

- it is said that he he that said is it 153, . 105 nies and two and nies

143 Ma , and as a a as and , - 144. Î m Ù

an an II

CEU eTD Collection E9EA986 ht 110 109 http://newspot.byegm.gov.tr/arsiv/2000 108 107 ( “Ş is title The Fénelon.and Fontaine LaRacine, from yearworks same the in translated also who Efendi, Şinasi Ibrahim poet the is author The 1859. in Turkish in Turk a operas were performed palace his to next built theatre own his while theatres, Pera the frequently visiting that reported is it counterargument a As theatres. own again were masses the and Sultan) the (of elite the of entertainments the transition, of period a everywhereway, the of exhibition an empire whole the made portraits The below.) Egypt. including empire the of territory Western affairs) al Gülhane promotion was restricted not at thepalace the allto and tradit Western that signs clearly popularity The poet’s marriage poet’s The tp://goturkey.kulturturizm.gov.tr/BelgeGoster.aspx?17A16AE30572D313679A66406202CCB0C312D1DD2 -

Menemencioglu, ibid. Menemencioglu, AylaErsoy, 36. Davison, The Turkish Ministry of Culture Culture of TurkishThe Ministry Maj To this theatre owes the history of Turkish and Ottoman theatre its first play first its theatre Ottoman and Turkish of historythe owes theatre this To the In separated Ð 107 d I (1839 I d , Internet, accessed 24 May 2007. May 24 2007. Internet,accessed , - , the edict of 3 November 1839, the first order in the name of the new Sultan, Sultan, new the of name the in order first the 1839, November 3 of edict the , tl at. e isl suid anig n hd i iae sn t te whole the to sent images his had and painting studied himself He arts. style

ruh nt ny nw ea sse fr h epr, b empire, the for system legal new a only not brought Tan

“

The Ottoman Ottoman The ÛÐmÁ . The most visible visible most The . - the eyes of the of eyes the 1861) 1861) t

) and it is about a mistaken identity mistakenidentity a about is it and ) - period a new order is created, this time legally. The The legally. time this created, is order new a period . 109 (but in fact the work of Mu of work the fact in (but

Sultans and the art of painting, of the art and Sultans

Ve rdi‟s Ernani was staged in1846. rdi‟s was Ernani staged

–

Opera in Turkey in Opera Sultan /May/N22.htm –

or invi or

were symbolically present. This meant also that after that meantalso This were symbolicallypresent. 108

sible 36 ; Internet; accessed 14 January. 14 accessed ; Internet; , Tee ee eevd ih eertos see celebrations, with received were (These o ws rmtd y h Sultans the by promoted was ion available from available

– ”

available from available signs of this process were the Sultan‟s the were process this of signs ÒÔ af notables. Ý Á Abd al Abd –

Rash

a one a 110 Ð - d Pasha, minister of foreign of minister Pasha, d - Maj

act comedy with characterswith comedy act Sultan‟s face, and, in this in and, face, Sultan‟s Ð d I d t asd bo in boom a caused ut

kept the custom of custom the kept Áir Evlenmesi‛ Áir Hatt

written by written -

and ei of Şerif

where where Ý Abd Abd this this CEU eTD Collection 113 112 111 I turntoEgypt. the in situation chapter.the Aftershowingbriefly next the in extraordinary visit the of occasion the on France, country, European w state Ottoman “Ottoman Theatre”( director employedto teach actorandTurks order therightofTurkish. in An Armenian pronunciation (1861 enthroned artist the is in the city. reportedis Istanbul;it in way under role.small t possible be might it yet, canon, national the in first the it holding for reason the is this and quality better a of playis Şinasi‟s Tur in comedies five wrote Azerbaijani, Sultan the by commissioned shadow the from familiar

Ibid., 51. Ibid., Menemencioglu, ibid. Menemencioglu, EI², pr fo te ihs eli highest the from Apart s. v.s. “ Glü gp wo und o ulm rbit n l tete n oee i a the as it opened and theatre old an rebuilt Muslim, to turned who Agop, Güllü ,

112 113 masra ic “golden age of Ottoman theatres” when a new Sultan, Sultan, new a when theatres” Ottoman of age “golden ic

The Pera theatres spreadfrom toothe

Î as inaugurated in the same year same the in inaugurated as - ‛ 86. y o, h Amna cmais ee tog pplr n also and popular strong, were companies Armenian the now, By 1876). [theatre] [theatre] Osmanl

(3. In Turkey, Metın And) Metın Turkey, In (3. - plays. ¤

i is it , Tiyatrosu

it curne drn te 80, tetia bo was boom theatrical a 1850s, the during occurrences tist 111 a i te omto o a canon a of formation the in hat

Although this play is counted as the first Turkish play Turkish first the as counted is play this Although that by 1860 there were more tha more were there 1860 by that ot mentioning worth ) in1867. firstofficialtheatreThus, this the public of kish betwe kish 37

when the Sultan for the first time first the for Sultan the when Exposition Universelle Exposition r districts andevenr tocountry en 1850 and 185 and 1850 en

ht Ðz Ft Ýl Ahno, an Akhundov, ÝAlÐ FatÎ MÐrzÁ that

5. Matı 5. ainlt as pas a plays also nationality n 200 Armenian actors actors Armenian 200 n . I will mention thismention will I . Ý b a Abd n And states that that states And n

capital, nowcapital, l towns. This - Ý Az

visited a visited Ð was z

CEU eTD Collection 117 Environment.” Changing intoa Tradition NewMusical 116 ( Vernoit Stephen and Eclecticism Innovation, Century: Tradition, 19th the Art in Islamic 115 16. 1990), Press, CambridgeUniversity (Cambridge: 114 introduced. also was architecture MaÎmÙ as way same musici Italian with schools music and musicians military new had also he also and experts ainitiated new ‚visual culture‛. French) (mostly European of presence the implied education) public structure new MaÎmÙ imitating (probably, and styles images Western more and more used gradually he later but decades first his in arts Turk mostly were ‚OttomanToledano Ehud calledby iselite This movement. the ruled who formed was elite small a household and political smart Ottoman

El Behrens Doris EhudR Toledano, Behrens - MuÎammad ÝAlÐ had new gardens, palaces and numerous portraits numerous and palaces gardens, new had ÝAlÐ MuÎammad an army, Ottoman and British joined a of help the with Egypt left French the After Shawan, Salwa. Salwa. Shawan, - Albanian officer, MuÎammad ÝAlÐ became the became ÝAlÐ MuÎammad officer, Albanian Abouseif

- Leiden: Brill, 2006 Brill, Leiden: f aain ipoig h isiuin o pbi hat ad Western and health public of institutions the improving taxation, of Abouseif, , 120. , ish State and soci and State “Western Musi “Western iiay atc i 10. e salse hs oshl ad ih this with and household his established He 1805. in tactics military - 2.3. Ottomans.

2.3 I did. II d “The visualtransformati “The 1

Egypt A and the Western UnderÝAlÐ MuÎammad andIbrÁhÐm(1805 ety in nineteenth century Egypt, century nineteenth in ety

), ), 109 c and Its Practitioners in Egypt (ca. 1825 Egypt (ca. in Practitioners Its and c 115 114 116 117

d II). His modernization efforts (creating a new army, a army, new a (creating efforts modernization His II). d - MuÎammad ÝAlÐ himself was not very keen on Western on keen very not was himself ÝAlÐ MuÎammad 129 (with 129 images). n hs ie te pi bten eiiu ad secular and religious between split the time, this In

e a ogte person forgotten a Yet

on of Egypt during the reign ofMu reign during the Egypt of on 38 Asian Music Asian

rts rts

109. bet onr wtot sros counter serious a without country

Cambridge Middle East Library, vol. 22 22 vol. Library, East CambridgeMiddle

wÁlÐ wÁlÐ 17, no. 17, ween , eds. , - Egyptian‛, because its members its because Egyptian‛, (governor of the province) the of (governor had

1805

1. (1985): 143 1.(1985): Doris - 1950): The Integration ofa The 1950):

an -

Behrens 1863 - 1848) nros oe n the in role enormous . With the new army army new the With . Î

ammad ammad -

- 153. 143 153. ans, exactly the exactly ans, Abouseif and Abouseifand Ý Al - Ð 144. ,” in in ,” -

style

by -

CEU eTD Collection 123 122 121 120 119 4. 118 Nau “la and Astronomy Jean figures: unusual very Gabbari the in sculptures six designed reportedly he and arms of marriage Pasha‟s Séville) de Barbarier Alexandria. Amateur Italian. this to connected and he betheconstruction will charged of with the presence]. their from pays ‚le as artists the of thinks he that expressed ruler the Avoscani), by backed probably was (which troupe theatre a to sum Russia. and Greece to sent was he well, as agent secret of director a as dessin‛ de him et name ‚peinture to planned he that did Avoscani what delighted so was He Mu by charged immediately was and 1837 in Egypt (1816 Avoscani calledPietro is man century.This nineteenth state of history

(1949): 306 (1949): Sadgrove, 31 Sadgrove, 308. Tagher, Ulacacci, Niccola Avoscani, artiste “Pietro Tagher, Jacques Ibid., 310. Ibid., 309 Tagher, h frt aa ocrig Western a concerning data first The

121 - 314. 307. 314. - 310. -

34.

Avoscani was charged with helping to stage three operas three stage to helping with charged was Avoscani -

eertos n rpeettos f h sae n gp truhu the throughout Egypt in state the of representations and celebrations Pietro Avoscani Avoscani Pietro (before 1839) (before

120 for the occasion of one of the sons of the Viceroy, Kiamil (Kamil?) Kiamil Viceroy, the of sons the of one of occasion the for

tique”.

[painting and drawing] and [painting

Avoscani will lat will Avoscani - Bart, Columbus, Vasco da Gama, Nelson, and two allegories: the allegories: two and Nelson, Gama, da Vasco Columbus, Bart,

123 . – 122

cenni biografici cenni

He designed the celebrations of the return of Mu of return the of celebrations the designed He

peut profiter de leur presence leur de profiter peut - dé

e Italian was also charged with designing a royal coat royal a designing with charged also was Italian e corateur et h et corateur n Erpa gop aray lyd prs in operas played already groups European and er design the Zizinia theatre in Alexandria in theatre Zizinia the design er - tl oea n h cut f uamd AÐ is ÝAlÐ, MuÎammad of court the in opera style 39

(

Leghorn,1871 esre uamdÝl poal a a as probably ÝAlÐ MuÎammad served He . ome d‟affaires, ome

Cairo Îammad ÝA Îammad 119 Opera( House

On ), 18. ), -

1890), an Italian, who cameto who Italian, an 1890), ” the occasion of giving a large a giving of occasion the Cahiers d’histoire égyptienne d’histoire Cahiers

lÐ to decorate his palace. his decorate to lÐ - palace which represented which palace ‛

[the country can profit can country [the 1869, chapter1869, 5 (Gemma, Ernani, (Gemma, Îammad

(1862) ).

n. 118

CEU eTD Collection 129 385 1978), Publications, 128 127 126 125 124 art was akindof ‚mohabbazeen‛ (Turkish) Ottoman was elite puppet Turkish, in exclusively performed were and import Turkish of Cairo in lived Lane William Edward forms. these by entertained was Egypt of ruler The Egypt. in 1830s the ÝulamÁÞ MuÎammad by times three least at visited was this and 1837. in Alexandria in theatre 1843. in described Nerval de Gérard what one started underrule the of ÝAlÐ

Edward William Edward 39. Sadgrove, 81. Shulze, Najm Ibid. Ibid., Ibid.,

shadow music, The an 1829, in theatre his opened community French growing The rm Napoli. from circumcisions, at the houses of great […] Their public performances are scarcely scarcely and obtainapplause. are performances public and Their […] weddings thatand indecent actions jests vulgar chiefly is by it description; worthy of great to of prior houses festivals the at the circumcisions, at perform frequently These ‘Mohabbazeen’. farces ridiculus and low of players by amused often are Egyptians The

- , 20 , . 384. play was the ‚art of the elite‛ that time, if we accept that under MuÎammad ÝAlÐ the ÝAlÐ MuÎammad under that accept we if time, that elite‛ the of ‚art the was play 127 -

21 and Sadgrove, 3 Sadgrove, and 21

(muÎabbaÃÙn) Lane, commedia dell’arte commedia 124

under the rule of Mu of rule the under -

386. f hs s re te, h ofca state official the then, true, is this If Manners and Customs of the Modern Egyptians Modern the of Customs and Manners - MuÎammad ÝAlÐ.

puppet andfarces mimicry, play, 129 1 - 34.

126 ,

- ‚those who are making others cheerful‛ and obviously their obviously and cheerful‛ others making are who ‚those Egyptian.

In Cairo, a Teatro del Cairo was operating in the 1840’s the in operating was Cairo del Teatro a Cairo, In

genre. Îammad ÝAlÐ. He notes that the puppet the that notes He ÝAlÐ. Îammad

n h folk the In 40 125

There existed a French and later an Italian an later and French a existed There - - har, t theatre, show were still vivid traditions in traditions vivid still were show

- AÐ n 84 oc wt al the all with once 1844, in ÝAlÐ eertos ae led been already have celebrations

(The Hague and London: East Hague (The and 128

e lyr ae called are players he hrfr, blee that believe I therefore, d possibly this was the was this possibly d , who are called called are who ,

- shows were shows they amuse they amuse - West West CEU eTD Collection of the School School the of 133 University London of Studies, Oriental of School 132 131 130 theatres inParis pr him. adored who Orientalists French the by society high the to initiated was and French studied sta al RÁfiÝ RifÁÝa was circumcision entert through through message moral a communicate least at or ruler the co data unique taxes.‛ collecting of office the committed was whom to [MuÎammad Básha lesson. moral a sign to aim al ‚ the bribes wife his but imprisoned, was he therefore pay not could but government, SaÝÐd). of circumcision the was it that suspect (I sons ÝAlÐ’s MuÎammad of one of circumcision the for celebrations the of part a as given performance a describes shortly he yet actors, these hates seemingly Lane -

inted in 1834 and also and 1834 in inted James Heyworth James 385. Ibid., 384 Ibid., James Heyworth James y. He was one of the four imams of a mission of Egyptian students to Paris where he he where Paris to students Egyptian of mission a of imams four the of one was He y. balad 132 nte mn h ws rbby rsn i te bv mnind eerto o the of celebration mentioned above the in present probably was who man Another ainment and ceremonial ascourtly with the Western art along

i bo o te rnh utm pesd uamd AÐ o uh ht t was it that much so ÝAlÐ MuÎammad pleased customs French the on book His Fürstenspiegel ‛ and finally, he releases the man. T man. the releases he finally, and ‛ -

385. of Oriental Studies, University of London Studies,of University Oriental of

ncerning an indigenous Arabic theatrical production which intends to intends which production theatrical Arabic indigenous an ncerning - - in Dunne, Dunne, Dunne,

t he following mannerhe following ÝAlÐ] ÝAlÐ]

“ “ was a common habit). MuÎammad ÝAlÐ used the traditional forms of forms traditional the used ÝAlÐ MuÎammad habit). common a was Rifa‟ah Badawi Rafi‟ al Rafi‟ Badawi Rifa‟ah Raf Badawi Rifa‟ah

translated to Turkish and published in 1839 in published and Turkish to translated with the view of opening his eyes to the conduct of those persons persons those of conduct the to eyes his opening of view the with

130 This was clear to Lane as well: ‚this farce was played before the before played was farce ‚this well: as Lane to clear was This

t a a was It - ÓahÔÁwÐ, who returned from Paris in 1831 after a five a after 1831 in Paris from returned who ÓahÔÁwÐ,

tr aot a about story

9, no. 4 (1939): 961 no. (1939): 4 9, (Part 3.chapter promenades 7.‚On ofParis‛) the i‟ al i‟ - - 41 Tahtawi: The Egyptian Revivalist Egyptian The Tahtawi: Revivalist, Egyptian The Tahtawi: he play before MuÎammad ÝAlÐ had ÝAlÐ MuÎammad before play he

10, no. 2 (1940): 399 (1940): 2 no. 10,

fellÁÎ fellÁÎ 131 - 967, 967,

To h oe wt mny o the to money with owed who 964. mimetic

- my best knowledge this is a is this knowledge best my 415, 401. 415,

- style performances. - 40.

r (ecig morals (teaching art

133

(continued) ” Bulletin of the the of Bulletin

He writes about writes He

a peculiar a , ” Bulletin Bulletin shaykh teach -

year year :

CEU eTD Collection 136 135 wa Paris] of Depiction Comprehensive a Goldin the of Refinement 134 [ gestures of dance and singing instrumental the happens Here dancers. and singers male most the are Paris. Operain the ÝAlÐ. MuÎammad for play al ma al flourishing Ottoman theatre is This ignorant.” A l - - Ibid - - RifÁÝa RÁfiÝAl Ibid.,141, m Ibid.,141, ÓahÔÁwÐ probably were in the same group watching the Egyptian farces playing a moral moral a playing farces Egyptian the watching group same the in were probably ÓahÔÁwÐ of education aesthetical the about Schiller of ideas The with. familiar so was ÓahÔÁwÐ n and about art as a moral paradigm have long traditions in European culture. Lane and and Lane culture. European in traditions long have paradigm moral a as art about and n l ÓahÔÁwÐ - Nashar, 2002 Nashar, The event Lane describes interestingly has the same ‚educational‛ character with what with character ‚educational‛ same the has interestingly describes Lane event The . of] this term is limited saveof] thistermmeaning islimited ifits tobe extended. is ofname the in theTurksamong became famous shadow called are who players the are Arabic] [in it to similar most The name. this got place its and T and refine the moralspeople. ofthe educate these that say even French The second. the blaming and first the praising it in ac bad and good of kind every that considering so, indeed is it and them, from learned be can lessons marvellous because called joke, of forms the in serious are plays place a in entertainment of sbaktÁkl places at gather them of Some , m he term he h frt sign first the ytranslation. al 135 - interpreted the theatres as “general schools in which study both the wise and the and wise the both study which in schools “general as theatres the interpreted ytranslation. as bi raqs He had . In these the imitation of every kind of things is played. It is true that these these that true is It played. is things of kind every of imitation the these In . - ÓahÔÁwÐ, ÓahÔÁwÐ, ), tiyÁtr

139. 139.

‚Thebiggest

- - prob ishÁrÁt players players

My translation. My

originally meant the same [observed things, spectacles], then the play the then spectacles], things, [observed same the meant originally ht n gpin hw knowledg shows Egyptian an that Ad

lems with translating with “theatre”lems word inArabic: - Al DÐwÁn an DÐwÁn - wih r lk te etrs of gestures the like are which ] culture inPera. - khayÁlÐ ÓahÔÁwÐ is also the first Arab writer who gives a desc a gives who Arabwriter first the also is ÓahÔÁwÐ

sbaktakl

- NafÐsfÐ ], but the shadow the but

134 in the city of Paris is called‚Opera‛isthere andParis […] of city in the ÐwÁn BÁrÐs ÐwÁn

aw takhlÐÒ al takhlÐÒ aw

( BayrÙt: Al BayrÙt: - kumdiya players are only a kind of it. Yet, it Yet, it. of kind a only are players o te hn i te 1820s the (in then the of e

- h dm sgig marvellous signing dumb the ibrÐz fÐ talkhÐÒ B ibrÐzfÐ talkhÐÒ

- [comedia]. But the[meaning But [comedia]. MuÞ 136 assasaal

- ÝArabÐya li ÝArabÐya á tiyÁtr riz

[c. [c. ts are shown are ts The The

ription of ription [… - l - DirÁsÁt DirÁsÁt and ] - 30s) CEU eTD Collection 140 139 fromlife” for the Theatre barred will be again, occurs offence the theif time, first and immediatlyejected will be [...] Theatre noisein a the r 138 137 Arabica dramaascivil expression 1853. in play third) the (and last his played he where place, the is this and house, his to consuls.‛ foreign and notables ‚Western t play, a wrote who way this in first the was He family. his of help the with house own his in al MÁrÙn businessman, courts the from away far circumstances, ‚civil‛ very among born was play Arabic first the Somehow, 1859. in before. t wanted ÝAbbÁs, IbrÁhÐm), of death early 1850. and 1849 in visited Flaubert ÝAlÐ MuÎammad of served Cairo Istanbul.A astheMuslim for for Pera o The motion. things.‛ egulate the social behaviour of the audience: „Any person, without exception, who takes the liberty of making ofliberty the takes who exception, without person, „Any ofthe audience: behaviour social egulate the he

Sadgrove, 41. The regulation is in Appendix 1, 169 1, Appendix is in regulation The 41. Sadgrove, Ibid. Badawi,43. 22. Toledano, al of theatre private the for order an of result a was play Turkish first The - , m BakhÐl 139 137 ytranslation. -

style‛ actor. He invited to the first staging an audience of the elite: ‚the local local ‚the elite: the of audience an staging first the to invited He actor. style‛

hs odru dsrpin id te sec o nraie bal narrative of essence the finds description wonderful This

first the as considered be can who him, also is it and Arabic, in Miser] [The ea n theatre and pera

. It was in 1847, after coming back from a trip to Italy, that a cultured a that Italy, to trip a from back coming after 1847, in was It . vn rt a euain o te tla tete n lxnr what Alexandra in theatre Italian the for regulation a wrote even - NaqqÁsh (d. 1855), in Beirut, Lebanon, wrote a play and performed performed and play a wrote Lebanon, Beirut, in 1855), (d. NaqqÁsh

, 171. 171. ,

140 -

life became vivid only in the 1840s in Alexandria which which Alexandria in 1840s the in only vivid became life

Later on, with an Ottoman decree, he buil he decree, Ottoman an with on, Later

138 later will serve forlaterruler. thecriticism will ofthe serve

However, the successor of MuÎammad ÝAlÐ (after the (after ÝAlÐ MuÎammad of successor the However, o imitate the court in Istanbul stronger then ever ever then stronger Istanbul in court the imitate o 43 - 171. It is very interesting how Artin Bey wants to ArtinBey ishow It 171. very interesting

rtin Pasha, the minister of foreignrtin Pasha,the minister Affairs e ad ‘operatic’ and let t a t ÝAbd al ÝAbd

theatre - MajÐ

close The d CEU eTD Collection a 145 144 143 142 141 SaÝÐdas presented an state the pilgrim of arriving and leaving Sultan of daughter a to married was ÝAbbÁs Sultan to gift a debts.‛ unpaid leaving Syria, to ‚went he later but perform, to 1849 in state the by sponsored was who public sponsored also entertainment.‛ government the time, to time from ‚that data have In we arrogance. such addition, with earlier described Lane what period this in preserved still were but the publicofthe representation state fruitful very not were years five ÝAbbÁs’ court, the to relation their artists, and art Western None father’s. his than rule of style different a had ÝAbbÁs still, although entirely, true not is this that shows Toledano rule (1854 rule SaÝÐd’s successor’s, his with along years‛ forgotten ‚the are these words: Toledano’s with Egypt, of historiography the l -

Ý Ibid., 55. Ibid., 3. footnote 298, Ibid., 233. Ibid., 25. Toledano, Reid, 58. 58. Reid, Az r

We know that the customs of the huge street huge the of customs the that know We ruled ÝAbbÁs Ð who demolished who z was enthroned in 1861, af 1861, in was enthroned z

Reid states Reid

143 142

Ad a ÝAbd ÝAbbÁs modelled his court after the Ottoman one. Ottoman the after court his modelled ÝAbbÁs

Egypt from 1849 until 1854, and these years are in a certain sense lost for lost sense certain a in are years these and 1854, until 1849 from Egypt Toledano gives account in a footnote of a certain Romanini, certain a of footnote a in account gives Toledano

that he gave this gift to giftthis to he gave that

the reforms of his grandfather his of reforms the l

- MajÐ 2.3. ter seven years of the death of yearsdeath ofseven the ter the

aesthetical force d. 2

145 less, the country was prospering in his per his in prospering was country the less, Under aaas ee h mi ocsos hn Abs n later and ÝAbbÁs when occasions main the were caravans

h ceremonies: The Sultan Sultan ÝAbbÁs and SaÝÐdÝAbbÁs and à laturc - 63). 44 Ý Ý Abd 141 Abd al Abd .

was a Abs s omny ed c a held commonly is ÝAbbÁs

a - - l festivals and some of the popular the of some and festivals Ý - Az

MajÐ

ÝAbbÁs. icmiin, ma circumcisions, and his rule was ‚the most Turkish‛. most ‚the was rule his and pproved. Ð z, but it is impossible, regarding, that that regarding, isbut itimpossible, z,

(1849 d), Muslim, religious religious Muslim, d),

- 1863)

144

He gave antiquitiesas gave He rae (h sn of son (the rriages iod. Concerning iod. ÝÐd

onservative an acrobat, an s, and the and s,

plays Ý Abd CEU eTD Collection 151 150 149 148 147 146 Western automatically all at not is change this However, the a as Avoscani hired style Ottoman ‚the‛ him for was which com Mediterranean Spanish and Italian Greek, of mixture of kind a the whole empire territory the and and alsoEuropean of rulers to a Sultan of portraits three of celebrations and ceremony receiving The Europe. contemporary then a became gradually Empire Ottoman ritual.‛ and ceremony on relied ÝAbbÁs rule, dynastic of trappings the use to need the and opposition] ‚ that explains Toledano by described lik public a already l -

Ersoy,ibid. Ibid. 52. Toledano, Flaubert, Gustave Tagher, 310. Tagher, 55. Toledano, MajÐ te reig f i mother his of greeting the e

state (palaces, ceremonies) is ceremonies) (palaces, state ÝAbbÁs was very keen on constructing new palaces (fol palaces new constructing on keen very was ÝAbbÁs Represe

ÝAbd al ÝAbd d who also constructed palaces). He had at least seven, in the in seven, least at had He palaces). constructed also who d - mentioned celebration of his return from Naples, I do not have any data concerning data any have not do I Naples, from return his of celebration mentioned representation of power of representation 147

tn te tt ws o a hleg fr uamd ÝAlÐ MuÎammad for challenge a not was state the nting

the poet Gustav Gustav poet the

- MajÐ hs a crany o ol te hrce o Ýba’ ue u te whole the but rule ÝAbbas’ of character the only not certainly was This Voyage en Égypt Voyage d lasted for three days three for lasted d

dé corateur

eas o te hleg o hs ue rm ihn SÝd a his was [SaÝÐd within from rule his of challenge the of because

luet h ws rsn i te eeoy incidentally. ceremony the in present was who Flaubert

(Paris: Grasset, 1992), 242 1992), Grasset, (Paris: - . It is ÝAbbÁs who first made huge state huge made first who ÝAbbÁs is It . of his palaces. his of in

a sign a - a arvn bc fo plrmg i 15 a i was it as 1850 in pilgrimage from back arriving law net of representations of net

– of a changi a of

148 and this was true for some extent. some for true was this and 45

–

151 at the same time these portraits were sent to sent were portraits these time same the at

His creation of public representations of representations public of creation His ng view of the mode of rule and state. state. and rule of mode the of view ng - 243. - sided or even Ottoman. It can be can It Ottoman. even or sided

lowing in this habit Sultan ÝAbd Sultan habit this in lowing very much the same wa same the much very mbassadors. o acietrl style, architectural mon RÙmÐ - founded occasions founded –

pr fo the from apart 150 style, that is, a is, that style, 149

ÝAbbÁs also ÝAbbÁs

y as the the as y 146

CEU eTD Collection (Cambridge: Cambridge University Press, 1992) Press, CambridgeUniversity (Cambridge: 153 152 in participated also and performances theatrical in attended sixties the in and fifties the so later the that repor It is Alexandria. of speak notto Cairo, foreign troupes to came of growing numbers Western of flourishing e representational th in role itself represent to number growing a in started first translation of belles French mission. educational al Paris in trained was and ÝAlÐ MuÎammad Western was who Egypt then intellectuals (1854 SaÝÐd of reign representation ofthi ‚mini a of idea the between meeting first reinforced. were Egypt of positions the as return of possibility the had ÝAlÐ MuÎammad o image The rulers. Fatimid the ainterpreted as -

Toledano, 92. Toledano, Pierre Cachia Pierre Óah If the rule of ÝAbbas can be consid be can ÝAbbas of rule the If Western and theatre years, these In ÔÁwÐ, who was exiled by ÝAbbÁs, returned to the country and started a huge huge a started and country the to returned ÝAbbÁs, by exiled was who ÔÁwÐ, s ersnain a Ýb al ÝAbd (as representation is

, “Translations and adaptations,” in adaptations,” and “Translations , return - called ‚father of Arabic theatre‛, YaÝqÙb SanÙÝ, during the second half of half second the during SanÙÝ, YaÝqÙb theatre‛, Arabic of ‚father called the period of ÝAbbÁs, not missing the fact, that SaÝÐd was the first ruler of ruler first the was SaÝÐd that fact, the missing not ÝAbbÁs, of period the xclusion s idea through ceremonies, happenedÝAbbÁs. underrule of the

- 152 3 ws n eea mr fvual fr rit ad Western and artists for favourable more general in was 63)

to an older Islamic older an to -

tl clua poutos n h sxis I ws ne hs ue that rule his under was It sixties. the in productions cultural style During this exile he translated Fénelon’s translated he exile this During

- ), the reign of SaÝÐd made every condition possible for the later later the for possible condition every made SaÝÐd of reign the ), dctd n soe lety rnh H ws h ls sn of son last the was He French. fluently spoke and educated

- lettres Arabic. into f an empire what was constructed in the first decade of of decade first the in constructed was what empire an f - ered as a period during which the court and the state the and court the which during period a as ered MajÐd , , 27. - - , in the Egyptian School Egyptian the in , style artistic life in Egypt gradually aroused. The The aroused. gradually Egypt in life artistic style Arabic tradition in Egypt, namely, the practices namely,of the Egypt, in tradition Arabic - Modern A Modern

mie ( tr o Tldn) n te official the and Toledano) of term (a empire‛ 46 s otat ad lo h plcs s lcs of places as palaces the also and portraits ’s

publicly 153 rabic Literarure rabic

and works of art started to play a play to started art of works and , ed. by M. M. Badawi by M. ed. M. , . It was under his rule that rule his under was It . Télémaque

which was the was which

- minded minded T ted he he CEU eTD Collection 157 156 155 154 realized, theLouvre. to thefindings gave he not was finally visit Napoleon’s prince although and dig, to order an Mariette Egyptologist 1855). in Maximilan Archduke the to antiquities Egyptian ancient of part huge a gave he when case the in (like two a was himself He art. of patrons first landowners Arabic of class a formulating in steps first the made SaÝÐd later decades. since the of friend a was who De Canal, Suez Ferdinand the of construction with the of contract Lesseps the signing and then), until Turkish on mostly was which declar decisions: important highly two and country the of infrastructure and communications the improving Egypt, of Bank National the of establishment the law, of code new a pounds), million 4 gr the elements: following negative local European groups‛. ope the in given productions Italian and ‚French

Richmond, Badawi,31. Ibid., 100. Ibid., 58. Reid, aae, orl clbain, n etranet caatrzd lo h rl o SaÝÐd. of rule the also charactarized entertainments and celebrations, courtly Palaces, results whose processes of lots initiated SaÝÐd th e 1830s. –

would be only visible later, during the rule of IsmÁÝÐl. These are composed of the of composed are These IsmÁÝÐl. of rule the during later, visible only be would

73 and 92. Cf.38 Hunter, 92. and 73

155 ing Arabic as the official language of Egypt (including the administration the (including Egypt of language official the as Arabic ing

These processes and events had an enormous role in what followed inthe enormousinwhat role an and had events These processes 156

When prince Napoleon was expe was Napoleon prince When 154

owth of the national debt (when SaÝÐd died it was much more the more much was it died SaÝÐd (when debt national the of owth

- 39.

- faced patron of arts: he made lavish gifts of art of gifts lavish made he arts: of patron faced 157 47

n - air theatre at Az at theatre air –

being those judged either positive or positive either judged those being cted to come to Egypt, he gave the gave he Egypt, to come to cted bakiyya Gard bakiyya

who later became the the became later who then then young prince young e n s by two by s CEU eTD Collection 160 159 158 opera and theatre Western with deal will performance. magnificent a begin to ready is everything 1863, in power to came increasingly Western a 1860s the By arts. with dealing in Sultans Ottoman the with up catch half first the in that seems It IsmÁÝÐl. Khed of role the evaluating and years later the understanding in element important most narr provided This 1861. and 1805 between Egypt) (including state andofthecome will therealonlywith Westernrule breakthrough arts of IsmÁÝÐl. community. Greek the for seats 2000 with 1862 in Alexandria in Zizinia that Theatre rule, the his constructed under Avoscani was it Still, again. him hired never had SaÝÐd but celebration, huge manqua.‛ ne rien harem, du femmes aux reserves grillages loges illuminations, d’artifice, feux ‚operas, were again Here celebration. court did. forbearers his as Avoscani p ressure)

Ibid. Ibid. 311. Tagher, hs hpe dsrbd h sot itr o Wsen tl tete n toa lands Ottoman in theatre style Western of history short the described chapter This SaÝÐd - décorateur

- tl arts style 158 a ul nw aae, eud h Eyta Atqiis evc (lhuh under (although Service Antiquities Egyptian the refund palaces, new built

his and its Museum, and had huge celebrations with artistic events. SaÝÐd also hired also SaÝÐd events. artistic with celebrations huge had and Museum, its and 159

in tory of the rulers’ courtly theatres both in Istanbul and Cairo as Cairo and Istanbul in both theatres courtly rulers’ the of tory

It is not really clear why did he fall out of the favours of favours the of out fall he did why clear really not is It pub ad h nw ue hrd i fr raiig tre day three a organizing for him hired ruler new the and , 160 lic a established was

vsais ra tm, h pbi festi public the time, great Avoscani’s ceremonies

fr h scn tm sne h dy o MÎma ÝAlÐ) MuÎammad of days the since time second the (for Avoscani far now seems to become someone like an official official an like someone become to seems now far Avoscani

of in

of the nineteenth century the Egyptian rulers tried to to tried rulers Egyptian the century nineteenth the of ( the private regardless regardless gpin n te Ottoman) the and Egyptian 48

ceremonies the Ottoman model. In fact, against it. against fact, In model. Ottoman the tv o cultural of ative

f h rlr’ courts rulers’ the of iis n rpeettos of representations and vities tradition of apply of tradition state

the ruler after this after ruler the

We IsmÁÝÐl When . none also encounter

But IsmÁÝÐl But one of the the of one -

an and also also and d - n ight ight ing ive ive

1909) Ý Mur ÝA 1861) Ý Ma Mu S Abd al Abd al Ottoman Sultans Á bd al lim III lim (1789 Î ÒÔ Á m af d V(1876)

Ù Á - - - d IId (1808 Í Maj Ý Az IV( am Ð Ð z (1861 z d I(1839 d 1807 Ð d (1876 - 1807)

- -

1839) 1808) - 1876) - -

CEU eTD Collection

SULTANS, PASHAS, AND

Tawf Canal]Suez the opening[1869: of Ism Sa Ý Ibr Mu Abb

EgyptianViceroys ÝÐ Á Î ÁÝÐ d (1854 h ammad Á Ð Ð q (1879 m (1848 s (1849 l (1863 -

Ý 1863) - Al - - 1879) 1854) ) 1892)

(1805

the the - 1849)

TABL

THEATRES, OPERAS

1885: Istanbultheatre” in 1867: Universelle,Exposition Paris 1867: Sultan “theatrical1860s: inPera boom” Efendi) 1859: firstTurkish play Istanbul1846: Verdi‟s in Ernani operas performed 1840s: palace 1820s E I. Ottoman theatre

- Aïda opening“ ofthe - 30s: Ma 30s: theatre Ý

Abd al is stagedIstanbul in Ý Abd al

- Î Maj m -

opera Ù

d II‟sd own Ð d‟s own theatre,d‟s own - Ý

Az Ottoman (1805

(by Şinasi Ð z inthe z

- 1879)

of 1871 (December): premier The House Opera1869 (November): Cairo 1869 (February): Ci Comédie inCairo 1869 (January):deThéâtre la Universelle, Paris Ism1867: Cairo visiting1850s: French Lebanon (by 1847: the first Arabic playin for Mu c Egyptian theatre .1838: Threeareplayed operas Aïda –

theatres inAlexandria ammad ÁÝÐ l in theExposition l in MÁrÙn alMÁrÙn Ý Al -

opera Ð rcus in Cairo in rcus

- troupes NaqqÁsh)

CEU eTD Collection 161 title, official his of change the through AzÐ means. exhibition with empire of idea an of representation the as set‛ ‚imperial of concept the purposes. political for used w model aesthetical an created World the Mitchell, of concept the (with image an as world the exhibiting of independence goods. and means public 1895 state. Egyptian) (Ottoman, the of entertainments. arts Western

Mitchell, 10 Mitchell, fr rwn independence growing for z The first half of IsmÁÝÐl’s rule can be understood as a negotiation with Sultan Sultan with negotiation a as understood be can rule IsmÁÝÐl’s of half first The the to rulers Egyptian and Ottoman of relation the chapter, last the in seen have we As

reigned: 1863 reigned: This

idea will be used ideaby IsmÁÝÐl bean will tocreate image ofindependence. - 13. will be also narrated. also be will eoe h 1860s the before

At the same time, a time, same the At - 1879), will be shortly described conc described shortly be will 1879), ISMÀÝÏ

161 IsmÁÝil’s

hich numerous countries (European and (European countries numerous hich Following from this insight, in the first chapter I introduced I chapter first the in insight, this from Following L

AND HIS AE POLITICAL AND f gp ad his and Egypt of In 3.1

The nineteenth century European ideology and practice and ideology European century nineteenth The demand gradually aroused gradually demand could be be could this chapter, the reig the chapter, this conce

From wÁlÐ CHAPTER 3 CHAPTER t f gpin independence Egyptian of pt 50 – W

governor or representative of the Sultan Sultan the of representative or governor

ÁlÐ understood understood

to K own hedive

n of of n entrating on his relation to relation his on entrating person STH mainly in terms of private private of terms in mainly

Khedive Khedive

for the public representation public the for Ti cn e tra be can This . E TICS IsmÁÝÐl (lived: 1830 (lived: IsmÁÝÐl non

- s i personal his as European

- as - Exhibition) Exhibition) ced back back ced Ý A

arts bd a bd alike) alike) - – like

as to l - - CEU eTD Collection 167 RudéSociety, George The (Melbourne: Kalman Julie Civilization and History 166 165 so reale per Stato dello poligrafico Nell‟Istituto Georges Douin,3. 1923. Comp.,) and C.Molco Nouvelle”, Al 164 20. 1879), Co., and Tinsley 163 162 MubÁrak ÝAlÐ like elite, of members Íusayn and ÍalÐm sons, his militaire) École 1820s, the before Paris ninete the of capital Hewhen spentyearsfinally there two he school childh early his In government. of principles later his life. early and education IsmÁÝÐl’s regarding curious land.‛ of cultivation and acquisition the to devoted was and SaÝÐd of heir official D 31 gave ‚virtualforeign independence‛ concerning toEgypt khidÐ

- Ian Coller, Coller, Ian Al here considered reign, and I hislife of accounts less detailed numerousor more are There Jerrold, Blanchard v.s. “khid EI², Al AyyÙbÐ. 2. AyyÙbÐ. had - - ai i 14 ws ct t city a was 1846 in Paris the was IsmÁÝÐl w ecember 1830. Until 1858 when his brother AÎmad died in an accident he was not the not was he accident an in died AÎmad brother his when 1858 Until 1830. ecember Ayy Ayy

, Khedive in Cairo in an ÙbÐ, ibid and Mitchell, 71 Mitchell, and ibid ÙbÐ, 8 I, ÙbÐ eye “ Gaston Zananiri, GastonZananiri, Egypte - disease and was sent to Vienna Vienna to sent was and disease Ð - w” 9. 9. established by MuÎammad ÝAlÐ MuÎammad by established (on –

[khedive] Egypt under Ismail Pacha Pacha underEgypt Ismail - in Persian sur

the advice of Jomard, and under the directio the under and Jomard, of advice the – enth century enth second –

- Papersfrom

Seine: The Making of an Arabic Community in Paris 1800 Paris in Community Arabic Makingof an The Seine:

a contemporary said that until then ‚he lived a life a lived ‚he then until that said contemporary a 166

Le Khédive Ismail et L’Egypte (1830 L’Egypte et Ismail Khédive Le (P. uamd ÝAlÐ MuÎammad

, son of MuÎammad ÝAlÐ’s second son, IbrÁhÐm and was born o born was and IbrÁhÐm son, second ÝAlÐ’s MuÎammad of son

it meantit ‚lord,and prince,ruler‛. Thistitle thedonating J. Vatikiotis) J. studied

- 74. a became hat

the George Rudé Seminar, Vol 1, 1, Vol Seminar, Rudé George the

‛ .

There wa There

just like just he . cietà di geogra di cietà 167 . –

had to move toParis. had tomove

Some C Some

sÁÐ studi IsmÁÝÐl 51 2005 – also

s to heal heal to IsmÁÝÐl’s brother IsmÁÝÐl’s

with , already

hapters of Contemporary History Contemporary haptersof learning Turkish, Arabic and Persian. Then Then Persian. and Arabic Turkish, learning ), His established 206 fiad‟Egitto 164

toire du Règne du Khédive Ismail Khédivedu Règne du toire the words of Walter Benjamin Benjamin Walter of words the when he was fourteen, that is, in 1844. in is, that fourteen, was he when -

214. 206. 214. His Western education contributed tocontributed education Western His a history of an Arab community in community Arab an of history a o, he ood, d ee niern ad rs like arts and engineering here ed - affairs. 1894) eds. ,

1934 t

165

, 163 here (Alexandrie: „Typo (Alexandrie:

AÎmad

162 n of two Armenians) two of n Ian Coller, HelenDavies, Coller, Ian

a euae i a special a in educated was ) hs ecito i rather is description This .

- , gpin school Egyptian

1830 along with the later the with along

of a rich planter, rich a of ,”in

( three ofthreethem: 1 Londo -

Lithographie French French

(Rome n: Samuel n:

firmÁn

– where where and and :

‚the (an .

CEU eTD Collection 171 170 169 168 him around exhibition its and Canal Suez visual the works. Canal Suez and country the of modernization he Second, Cairo. of transformation the continued he First, SaÝÐd. uncle, Egyptian state were ho explain affairs. skill state diplomatic of his man and and education diplomat a but planter‛ ‚rich a all at not was he the of representative (the governor Whenaccomplished quickly. he what Sudan wa he on, now wa there and accident an in died brother IX.). (Pius Pope the to and III Napoleon to missions important with 1855 in diplomat a as used also was He Egypt. of Court Highest the of Head when Cairo to returned IsmÁÝÐl part took MuÎammad ÝAlÐ’s death, Egypt of Pasha the became IbrÁhÐm French. fine a acquired also and drawing,

Ibid. Al Jerrold, 21. Jerrold, Ibid. - IsmÁÝÐl had two heritages: one from his grandfather, MuÎammad ÝAlÐ and one from his from one and ÝAlÐ MuÎammad grandfather, his from one heritages: two had IsmÁÝÐl of favour in not was He Ayy , , 12. , , 13. ÙbÐ, ibid. ÙbÐ,

in the Crimean War (1853 War Crimean the in

–

s the first heir of SaÝÐd. He was sent in 1860 to 1860 in sent was He SaÝÐd. of heir first the s uoen, rein ad Arabs, and Armenians Europeans,

These two tasks were united in the grandiose opening ceremony of the of ceremony opening grandiose the in united were tasks two These t ransformed images. intoWestern

ÝAbbÁs

IsmÁÝÐl and the young prince went to exile to Istanbul where he whereIstanbul to exile to princewent young the and IsmÁÝÐl

- like setting like

SaÝÐd I (1849 I Ottoman Sultan) in Sultan) Ottoman

for six months in 1848 in months six for had to deal with the with deal to had (1854 - 56) - s rumour that rumour s 1854)

and established good relations with the Porte the with relations good established and ( - see see 63) 63) 168 52 SaÝÐd died in 1863, IsmÁÝÐl becameIsmÁÝÐl 1863, in died SaÝÐd

udr i rl te ersnain o the of representations the rule his under w

chapter 4) chapter ascen He had to go home in 1848 1848 in home go to had He came to power and power to came

Muslims, Jews and Christians alike. In In alike. Christians and Jews Muslims, ded thethrone.

Egypt. It is clear that before his reign his before that clear is It Egypt. IsmÁÝÐl . economic Doing so, he had he so, Doing . H e soon died and in 1849 in and died soon e had fight against fight had a hand in it. in hand a had -

political heritage of the of heritage political and was sent to Europe to sent wasand appointed him as the as him appointed

numerous men men numerous 170 a revolt in the in revolt a

–

the

His French French His In 1858 his 1858 In i father, his 171 wÁlÐ

, after , From , the . 169

CEU eTD Collection ofAfrica 176 organ trade 175 174 c always not are [thedates reforms cultural and educational his list of chronological the 50 of occasion 173 172 commanders British the to letters secret his in as reasons economic for also was Coast East the of ‚conquest‛ out. carried simultaneously were aims aesthetic the and political The by empire modern a for environment territories. new a and Nile White the slaveontradein the end an put to early1869 in tried IsmÁÝÐl Arabic) in history Egyptian to lot a contributed who Egypt in archaeologist chief the Mariette, August and Egyptology by dream had IsmÁÝÐl However, precious Canal Suez the with Also, empire. their of part administrative life. fiel the all in reforms numerous initiated administrative strong a system came tolife and ripped has sewed ÝAlÐ MuÎammad once what years, these

Samuel Baker, Baker, Samuel 93 Reid, see reforms, cultural the For E. A. Stanton, “Secret Letters from th Letters “Secret A. E. Stanton, build ancient Egypt into Egyptian history along with Al with along history Egyptian into Egypt ancient build Hunter, Hunter, Egypt was a local power at this time time this at power local a was Egypt , ” Journal of the Royal African Society African Royal the of Journal - ized by Ismail Khedive of Egypt of Khedive by Ismail ized pre 80 136. - 122. 122. y for international politics, caught between the British and the French. French. the and British the between caught politics, international for y

th I 175 s

anniversary of his death] death] of his anniversary m Also a

173 i n the In l – ï

176 a

cf. the socialand structures family the : a narrative of the expedition to Central Africa for the suppression of the slave slave the of suppression the for Central to Africa expedition the of narrative a :

Pollard, Pollard,

e emphasised he e years se IsmÁÝil s of an empire an of s n dig o eiee a ol dem f pwru past. powerful a of dream noble a delivered so doing and

106. –

e Khedive Ismail in Connection with an Occupation of the East Coast Coast ofthe East withan Occupation Connection inIsmail Khedive e bi

te hdv ws nae i cetn a aesthetical an creating in engaged was Khedive the , -

munÁsibat munÁsibat (Macmillan: [s.n.], 1886), 1. 1886), (Macmillan: [s.n.], ( Al the visual the

34, no. 136 (1935): 269 136 no. (1935): 34, - QÁhira h scrt i tee ein ‚ht rdr and traders ‚that regions these in security the – s f utrl itleta, oiia, oil and social political, intellectual, cultural, of ds

– semi 53

murÙr khamsÐn ÝÁmman ÝalÁ wafÁt ÝalÁ ÝÁmman khamsÐn murÙr in his dream his in : MaÔbaÝa DÁr al : DÁr MaÔbaÝa

- and architectural and independent from the Ottomans but still a still but Ottomans the from independent works - customs werealso changing.

n te otn boom cotton the and

he might have been also backed also been have might he - -

- 282. ÓahÔÁwÐ (who wrote an ancie an wrote (who ÓahÔÁwÐ Kutub al Kutub

281. transformation of transformation -

MiÒrÐ orrect]: In 1875 In ya,1945 ihi

483

[IsmÁÝÐl , , it became a a became it ,

- his proposed his 488.) ) . lso to haveto lso (A (A 172 –

for the the for

IsmÁÝÐl Cairo 174 nt .

CEU eTD Collection 180 179 178 177 IsmÁÝÐl Sultan. the of subjects the as recognised only were they concert international and s vizier. a as rank Mu powers. foreign the with title the gave which This 1866 diplomacy NÙ and bribing by negotiated served an exile, inIstanbulfirstas as later adiplomat. Sultans the of servant [MurÁ sultans, two with negotiation the of absence striking the and independent. as and becomes ifit touse necessary force, it.‛ I shalluse I safety. in country the traverse to able be shall travellers ystem

Al Stanton,273. Al 75. Vatikiotis, Îammad ÝAlÐ, a ÝAlÐ, Îammad - - Although seen be to least at or Sultan the from independent become to wanted politically IsmÁÝÐl

Ayy Ayy w important Two firmÁn (following ÝAbd al ÝAbd (following d V died too quickly in 1876]), is rich in episo in rich is 1876]), in quickly too died V d –

Ù Ù in fact, posedIsmÁÝÐ it b bi, 384. bi, : first, that the line of succession was changed from pri changedline ofsuccession from was : first,that the Ð , 26 ,

also permitted the coinage of his of coinage the permitted also

- the Europeans called the rulers in Egypt ‚Vice Egypt in rulers the called Europeans the 55.

This intention is important in understanding the visua the understanding in important is intention This 180

firmÁn The new rank and title of title and rank new The khidÐw firmÁn .

utn Ad al ÝAbd Sultan

ÝAzÐz

hs en a eonto of recognition a meant This from 1841 from

(khedive) to IsmÁÝÐl instead of instead IsmÁÝÐl to (khedive) s

Ad a ÝAbd svst o Egypt, to visit ’s Ottoman symbols from it. it. from symbols Ottoman l outside ofl outside it. sud y Ad al ÝAbd by issued Á Psas te oeg Mnse o ImÝl genius IsmÁÝÐl) of Minister Foreign (the Pasha’s bÁr

l fixed the title of the governor of Egypt as Egypt of governor the of title the fixed - AÐ (1861 ÝAzÐz - AÐ aray nw i fo te ite we he when fifties the from him knew already ÝAzÐz 54

own khidÐw 178

- - when IsmÁÝÐl offered IsmÁÝÐl when ÝAzÐz 6 ad Ad a ÝAbd and 76) currency. des

177 was something new in the Ottoman the in new something was independence

when he showed himself as a loyal loyal a as himself showed he when

However, during the history of history the during However,

shall spare no efforts to this end, this to efforts no spare shall ut e etoe here mentioned be must wÁlÐ - 179 Roy‛, in the official Ottoman official the in Roy‛,

mogeniture to hereditary in tohereditary in mogeniture

Second, a Second, ih h ih t contract to right the with l - – ÍamÐd l set of the later years later the of set l

ak o h tm of time the to back an incr an firmÁ

(1876 wÁlÐ eased n

of 1867 of

and its and b , - 1909 1909 tax).

oth oth his

CEU eTD Collection 185 32 1992), Press, of California 184 183 182 Islam. in God of names 181 PR accomplished Baron by accompanied town the in visits numerous made but Mariette Auguste by designed was which exhibition Parisians. the for spectacles Univer Exposition the visited nation Egypt. a of image an least, at or nation new a also wanted he and rule hereditary new ‚ruler meant khidÐw was (chancellery) semi ( Pharaoh) the of servant the was YÙsuf it of introduction ( epithet c wanted ÝAbd a ÝAbd onsidered first the title title the first onsidered

Zeynep Çelik, Çelik, Zeynep and Ibid., v.s. EI², originArabic ofis The Reid, 219. Reid, For unknown reasons, IsmÁÝÐl and IsmÁÝÐl reasons, unknown For - fiil rcie n h cacley s chancellery: the in practice official

as unofficial title. unofficial as l independence - laqab ÝAzÐ “khid Al

‛ - z) could have been read as the servant of IsmÁÝÐl. of servant the as read been have could z) Ayy , thus it suggested that he is ‚cl is he that suggested it thus , o Ysf te governo the YÙsuf, of ) Ð Displaying the Orient: architecture of Islam at n at Islam of architecture the Orient: Displaying w” Ù

[khedive] b there were two objections: two were there tasks for the Khedive. The design and the catalogue of the Egyptian part Egyptian the of catalogue the and design The Khedive. the for tasks called Ð, 384 Ð,

Ýa o te mg o i) n i tte s el ad e n hs advisors his and he and well, as title his in it) of image the (or bd al bd -

- 387.

al 34. al 182

(P. J. Vatikiotis). J. (P. - - - asmn himself. Haussmann 184

ÝazÐz dÐwÁn al dÐwÁn Ý

Finally, IsmÁÝÐl adopted this custom this adopted IsmÁÝÐl Finally, az

Ð el o 16 wti a e wes n tesle became themselves and weeks few a within 1867 of selle In the new Paris of Haussmann, IsmÁÝÐl did not only visit the visit only not did IsmÁÝÐl Haussmann, of Paris new the In z

– (mighty)

the servant of the mighty. the of theservant - khi Sultan Sultan o te hro i te QurÞÁn. the in Pharaoh the of r dÐwÐ

and as a as ne h tm o time the ince 55

eod hti turn, in that second, and occasionally and ÝAbd a ÝAbd first, that first, oser to royalty‛ to oser

possible 185

l - aite a as a esn who person a also was Mariette ÝA in

Al it is not is it name for his new rank new his for name eteenth zÐ - Ý z did not meet in Paris when both when Paris in meet not did z A zÐz MÎma Ýl the ÝAlÐ MuÎammad f

. ‚the (Al)mighty‛ is also one of the the of one is also (Al)mighty‛ ‚the - 183 ÝAbbÁs I and SaÝÐd also used also SaÝÐd and I ÝAbbÁs century world's fairs world's century 181

splendid

because because IsmÁÝÐl had a new title, a title, new a had IsmÁÝÐl

h culSla’ name Sultan’s actual the The solution was an old an was solution The

enough khidÐw Yet, .

gis the against ( This is the is This

U in Persian in (after all, (after niversity niversity dÐwÁn –

CEU eTD Collection University Press, 1971), 100. 1971), Press, University 189 188 87 1889), 187 186 (under Ottoman whom new neo the rejected (who ÝAlÐ MuÎammad under touched already Alexandr existing the keeping while Cairo in foremost and first culture, of institutions into invest started changed: thesituation With thereignIsmÁÝÐl) IsmÁÝÐl, Egyptian stateis, (that to ofthe audience the formed alone almost which community European the by subsidised and maintained aesthetics. the of foundation diplomacy education, importa is metropolis. modern a into Cairo transform to started Egypt. to excursions make to started figures political good the to and facilities, work. his is Exposition 1867 the in

Behrens Cf. ofWales. the instance, Prince For † Janet elik In

, 39. , L. Abu L. - chapter 89. 89.

- either by the exclusion of the indige the of exclusion the by either Abouseif,118.

t eas fcsn o hs ope itnin ad akrud (French backgrounds and intentions complex his on focusing because nt

- Lughod

2 , ian theatres. The visual The theatres. ian

ar Oea os cn e nesod n nw otx o political of context new a in understood be can House Opera Cairo I

(1971) have

–

oiia idpnec, oensto) h hsoia eet f the of event historical the modernisation) independence, political

, - Cairo Cairo led peetd h theatre the presented already 3.2 style palaces were built and also,style palaces theShepheard wereHotel). built nentoa rltos f h Keie nmru important numerous Khedive, the of relations international

Cairo Cairo –

J. Carlile McCoan, McCoan, Carlile J. 10 186 01 Years of The CityVictorious The of Years01

and the New Institutions of A of and theNew Institutions Due to the growing fame of Egypt and its improving its and Egypt of fame growing the to Due and architectural landscape architectural and 56 nous population or by the latter’s non latter’s the by or population nous

Egypt under Ismail under Egypt 187

This descriptive story of IsmÁÝÐl of story descriptive This -

Along with these visits, the Khedivethe visits, these with Along Mamluk style) Mamluk - ie n ar ad n Alexandria in and Cairo in life

(Princeton, New Jersey: Princeton Jersey:New Princeton (Princeton,

(London: Chapman and Hall, Hall, and (London: Chapman rt

188 of Cairo was already was Cairo of

and under ÝAbbÁs under and 189 - interest ’s rule ’s

CEU eTD Collection 193 192 191 190 IsmÁÝÐl. by opened were were born. w entertainment and education for places new of ceremonies Canal state and city and gardensbuildings entertainment 1869 in realised only was which Lesseps De that and Canal Suez the to 1866 in newTheparts. two into mostly parts old the leaving while districts new of creation the transf used are ‚new‛ and ‚Old‛ city. new the and old the surveying a 1867 in Paris from back was IsmÁÝÐl planned were gardens q new a for public works.‛ of program broader a of part ‚a as also served which 1866) in (completed Canal

new minister minister new Ibid., 108. Ibid., 103. Ibid., Cf., for instance, Cf.,instance, for 105. Ibid., Among the institutions of culture one has to first mention the numerous schools which schools numerous the mention first to has one culture of institutions the Among had first IsmÁÝÐl ormation of Cairo was not a proper a not was Cairo of ormation 190

He started building a new palace in 1863 (finished in 1868) and also had a pl a had also and 1868) in (finished 1863 in palace new a building started He uart

– n h nw di new the in

er in chapter 4 this idea will be characterized by the description of the Suez Suez the of description the by characterized be will idea this 4 chapter in Al f ulc works public of .

– - The whole process of Westernisation of process whole The Ayy

IsmÁÝÐlÐ a new canal built between Cairo and Lake Thimshah Lake and Cairo between built canal new a

were in the first years of his reign his of years first the in Ù , increased , b 193

Ð , 187 ,

part of part The first school for girls was also established in 1867, then in then 1867, in established also was girls for school first The ya. tit f sÁÐÐa n EzbekÐ and IsmÁÝÐlÐya of strict

- 210 and Pollard, 101 and Pollard, 210 191

–

Gas and water were water and Gas efforts were also due to the final permission of the Sultanthe of permission final the to due also were efforts – the imperial set, the the one the

after visiting the visiting after AÐ MubÁrak ÝAlÐ

transformation - year delay permitted to erect more buildings of buildings more erect to permitted delay year 57

- 106.

here a new social class and a new identity identity new a and class social new a here rmsd h ed f the of end the promised

. The works were even accelerated when accelerated even were works The . themselves

–

Exposition Universelle Exposition

h dd vrtig n aig and making in everything did who introduced to Cairo and new public new and Cairo to introduced

was accompanied with the erection the with accompanied was

of the old the of ya

. embodying a new idea of the the a idea new of embodying 192 intact

h nw Western new, The here into

thus dividing Cairo dividing thus

eas te visual the because the new the

– ok f works . He appointed He .

the Is the

but mÁÝÐlÐya o r

rather - 1868 style an

CEU eTD Collection 201 o Châtelet au incognito il serendit lendemain, Le l’Opéra. 200 199 198 197 historique introduction 196 195 194 o an 1868 in Français) (Théâtre Comédie la de operas. and theatres the visited often he 1867, in Paris in stay Offenbach first Brugsch Heinrich with Khedive the of order the by opened public beginning natives.‛ the to accessible be all above building first Mariette, reassured and power to came IsmÁÝÐl identities.‛ modern departmen their and Cairo) and Istanbul Greece, (in Museums National local the that states He Reid. by thoroughly researched was history whose Museum Egyptian the was buildings symbolical important patronage the (under 1873 n 4 January 1869. January 4 n

Ibid., 116 Ibid., 106. in Reid, Quoted 105. Reid, Guindi Bey Georges 103. Reid, Al Sadgrove, 46. Sadgrove, “ Le vice Le - director. sÁÐ ws en on keen was IsmÁÝÐl Ayy

n a mas f education of means as and Ù - b

roi avait la passion du théâtre. Le 18 juin soir Le 18 théâtre. du passion la avait roi . Probably, in his youth he became fond of these arts, but it is sure that during his during that sure is it but arts, these of fond became he youth his in Probably, . - of his rule his of Ð

118. , 204 and Po and 204 , 199 in neopharaonic style.‛ neopharaonic in

195

201

(

and Jacques Tagher, Tagher, Jacques and LeCaire

intended

llard, 104. The This event was announced in the new and short and new the in announced was event This

Egyptian ( Egyptian pr ad har. i favourite His theatre. and opera ts were ‚also arenas in which local citizens began forging their their forging began citizens local which in arenas ‚also were ts : of IsmÁÝÐl’s third wife, CheshmÁ KhÁnim). CheshmÁ wife, third IsmÁÝÐl’s of Institut francais d‟Archéologie orientale, 1945 orientale, d‟Archéologie francais Institut

his

modernising project as a creation and transfor and creation a as project modernising I 16 a Eyta sho o Eytlg hd been had Egyptology of school Egyptian an 1869 In . 197 Bulaq Ismaïl d’après les documents officiels documents les d’après Ismaïl 198

Mariette tells us that ‚the viceroy intends it should it intends viceroy ‚the that us tells Mariette

It is clear from this statement that IsmÁÝÐl from the from IsmÁÝÐl that statement this from clear is It )

Museum was opened in 1863 immediately afterimmediately 1863 in opened was Museum 58 d it was inaugurated with the Offenbach the with inaugurated was it d 196

úl‟on Cendrillon.” jouait [1867]

the building itself ‚may have been Egypt’sbeen have ‚may itself building the , il assista à la représentation de Don Carlos à Carlos Don de représentation il assistala , à , a German Egyptologist German a , 200 pl y was ay

He commissioned a Théâtrea commissioned He ), ), 115

avec avant avec Douin, 9. Douin,

- lived cultural Arabic cultural lived a el Hél Belle La 194 - 116

One of the most the of One .

- propos et propos mation of a of mation è , -

ne opera as its as

by CEU eTD Collection 207 1978 in sketch smallis a biographical There from Raafat, ofSamir article 206 205 204 203 202 as operated Fe his 11 opened under also was circus Cairo The theatres. the of superintendent railway the of director havin originally 1876). in already post his up gave he (probably man t of superintendant audienceestablish asophisticated(seechapter 5 origin.‛ Gallic the favouritesin Parisian theseperformance of that None culture. of national alanguage Arabic as into translating necessityof ofthe aware became and court his Al by probably Hél occasion the first opera for [ theatres houses, newspaper, Ibid. To my best knowledge there is no is there my knowledge To best Ý 86. McCoan, I Sadgrove, 49. Sadgrove, Abd bid., 48 and 61. and 48 bid., è ) http://www.egy.com/cgi ne A forgotten person tod person forgotten A

the ladies of the harem did not know French and therefore ‚could not follow the the follow not ‚could therefore and French know not did harem the of ladies the based on memoires of the family members. family memoireson ofthe based

Ù ) n,147. , and ,

ÁÐ al WÁdÐ

was printed in BÙlÁq in printed was well well

ray 1869. bruary -

te ae als Pavlidis, Pavlos name the g ÓahÔÁw

the he Khedivial theatres from 1867 until 1867 from theatres Khedivial he tiyÁtrÁt/malÁÝi – “

The Gezira Palace a.k.a. the Marriott Hotel. the Marriott a.k.a. Palace Gezira The less, there is another, less sophisticated explanation for the translation the for explanation sophisticated less another, is there less, NÐl gi udr rnh’ eye Draneht’s under again Ð. in Egypt. in

203 [The Valley of Nile] of Valley [The bin/go?section=landmarks&article=99 - 207 translation into Arabic which into wastranslation the

ay, One explanation for this translation would be would translation this for explanation One

o ol pbi bidns ee rce bt palace a but erected were buildings public only Not

full Pavlos (Paul, Paolino) Draneht or or Draneht Paolino) (Paul, Pavlos Busch‟s b 206

]‛. biography of Draneht Bey. The ofDraneht biography three days before the premiere the before days three

202 It is not is It

Verdi’s Aida Verdi’s h iagrto o te oéi ws lo the also was Comédie the of inauguration The

known being wt ohrpas ‚onan, ah, coffee paths, ‚fountains, plans: other with ,

. We know that a French group gave gave group French a that know We . ( Min ceit ne Sa under chemist a why 205 neapolis: University of Minnesota Press, Press, Minnesota of University neapolis: when 1879 ” - He was He

10 Cairo Times Cairo he -

14 most about him is available in himismost available about 204 was appointed in 1867 as the as 1867 in appointed was , Internet, accessed 13 April 13 Internet,accessed ,

These translationsThese HilÁna al – originally Draneht Bey Draneht

the work was done most done was work the he

14 October 1999 October 14 retired as a very rich rich very a retiredas ÝÐd supervision

- that the Khedive the that te bcm a became then , JamÐla a Cypriote Cypriote

became the became

( ; availa later willlater La Belle Belle La - theatre

which an an 2007. and ble ble

- : CEU eTD Collection 212 211 210 209 208 behaviour of customs French the followed theatres. the in invisible were but cloths French customs. family their in Westernized slowly Egyptian as interpreted best be can which aims of mixture a formed together these that here argue o set political a of or colonisation cultural ofpart awas styles andMediterranean Europeanarchitectureusingor Europeaninstitutions, state improvement‛. municipal the all 1868 and in projectwas 1869,basically During byIsmÁÝÐl. accelerated which a was city modern a into Cairo of transformation the that seems It builders. and 1869. November 1 in inaugurated was House Opera as formation the in role a entertainmentplay of means new with audience) set imperial the up setting came groups al QaÒr of palace the in theatre improvised an ‚in performances

Abu 66. Sadgrove, 67. Ibid., Edwin de Leon, Edwin de 101 Hunter, well. The social life also changed during these years these during changed also life social The Cairo the legends, and myths of home Egypt, in theatres all of important most The is - Lughod

cultural policy and political aesthetics political and policy cultural hars n pbi entertainment public and theatres political aesthetics.

- 102.

(1971)

o gp t pa i te palace the in play to Egypt to The Khedive’s Egypt Khedive’s The

, 105. ,

210

– Creating an aesthetic environment for po for environment aesthetic an Creating

i tete ad i efrs o ev te hdv (n the (and Khedive the serve to efforts his and theatres his

( New York: Harper and Brothers, 1878 Brothers, and New Harper York: r p r

– buildings were built with a ‚frantic pace of of pace ‚frantic a with built were buildings 60 211

- art of an indigenous Westernisation project. Westernisation indigenous an of art with the exception that Egyptian ladies Egyptian that exception the with theatre.

– This meant also that the harem ladies wore ladies harem the that also meant This

and it is very hard to judge if implanting if judge to hard very is it and 212 –

C 209

h cut n te hdv himself Khedive the and court The hapter the elite (of men) started to become to started men) (of elite the

rnh hd n nros oe in role enormous an had Draneht

- will describe its foundation its describe will NÐl. ), 3 ‛ 29. 208 litical reasons litical

of Egyptian identity identity Egyptian of

Also, later Turkish later Also, twelve months

continuous by the by

were

I ,

CEU eTD Collection 214 213 bewill described united. are state new a of representation the and independence of aims political the set: 1869. November 17 from Canal f state The can art of institutions Cairo. of transformation architectural and visual the im an as realised only was which Egypt independent an of dream his by characterized was politics This politics. later his for the surface. lived society native of masses The entertainments. courtly private, diplomat good a dance. not did gentlemen Egyptian the of most that and balls at present not

Ibid., 340. Ibid., 339. Ibid., preparatoryphase a as earlylife and education IsmÁÝÐl’s described have chapterI this In estival

–

in the next chapter.in the next

par excellence par also used these occasions for diplomatic issues. diplomatic for occasions these used also also also

be characterized be

T age of independency. The creation of this image involved image this of creation The independency. of age was the inauguration ceremony (ceremonies) of the Suez Suez the of (ceremonies) ceremony inauguration the was his event embo event his

by 61

the public festivities and state and festivities public the died

his political aesthetics in aesthetics political his sÁÐ’ rlto t at ad public and arts to relation IsmÁÝÐl’s 214

unchanged

Yet, these were mostlywere these Yet, 213

The ruler The - – celebrations.

an imperial imperial an at least, on least, at

Thi –

as s CEU eTD Collection 217 22 216 215 re was finally again, and again occurred Canal the of Ages. Middle the caliphs in project the reviving considered the of some even, it, about wrote repeatedly when culture. Exhibition‛ shar set imperial their and ceremonies the Indeed, House. Opera Cairo the of foundation the of background direct European the by elaborated w IsmÁÝÐl of aesthetics political set‛ ‚imperial the call I what is this and 1869ceremoniesCanal in Suez the in embodiedwas image politicalidea. This this of image new a of intention political the with hand

- Mohamed Anour Moghira, AnourMoghira, Mohamed 13. Mitchell, Ibid., 26 Ibid., 25. The history of the Suez Canal goes back to the ancient Egyptian and Persi and Egyptian ancient the to back goes Canal Suez the of history The in hand went capital ‚modern‛ a into Cairo of transformation the seen, have we As

canal a

- 28. THE SUEZ CANALI AND 215

hrce describes character existed e something common with operas and exhibitions exhibitions and operas with common something e

led i 20 BC 2000 in already

L’Isthme de Sue de L’Isthme - Eg

yptian image of the ceremonies. T ceremonies. the of image yptian r son n h ls catr n hr tee il be will these here and chapter last the in shown ere gnrl etr o nineteenth of feature general a 4.1. The Suez Canal z, Passage millénaire(640 Passage z, TS INAUGURATION: THETS INAUGURATION:

which is the focus of this chapter this of focus the is which CHAPTER 4 CHAPTER - l indepen old 62 . 216

Arab 217 - invented by the savants of Napoleon of savants the by invented

In western (French) thought (French) western In rtr peevd t mmr and memory its preserved writers et ‚mini dent

fr instance, (for - 2000) 2000) his event also serves as the as serves also event his ( - Paris: L‟Harmattan, 2002), 2002), Paris: L‟Harmattan, mie o a lat the least, at or empire‛ -

IMPERIAL S cen tury tury ÁÙ al HÁrÙn – .

The roots of the of roots The this ‚World this Mediterranean an empires an ET - the idea the RashÐd)

- as - ,

CEU eTD Collection 224 223 222 221 220 219 218 ne s however, their of part as themselves French the by regarded although and economic and subscriptions. 4% ofother Egypt of Roy Suez 1859. in begun signed Sa when Egypt to hurried he Egypt), in Consul French the was Lesseps De older the when tutor his was (he SaÝÐd with financ get to energy and networks the had who one the but idea, the geographer ÝAbbÁs nor project, the in interested Saint by namely

w contract with the Company (that is, with De Lesseps) in which they re they which in Lesseps) De with is, (that Company the with contract w Moghira, 30. Also Landes,Also177. 30. Moghira, Abu foot Cf. 63. Ibid., 61. Ibid., Moghira, 56. Moghira, later). (see Bauer Mgr. by given ceremony blessing the in Cf.speech the ) was established in 1858 with 52% of French French of 52% with 1858 in established was ) rm h bgnig te uz aa, vn t pa, a no was plan, its even Canal, Suez the beginning, the From - ioit cretd h mistake the corrected Simonists - Lughod between them between note 153 note

question but a political one political a but question aw in it a sign of the desire for desire the of sign a it in aw

Gratien Le Père Le Gratien (1805

(1971) (SaÝÐd originally did not want such a sha a such want not did originally (SaÝÐd huad o Egyptians of thousands 221

in chapter 2. inchapter

- The Suez Canal Company ( Company Canal Suez The 1894) , 102 , immediately. .

, was the person who made the last step last the made who person the was ,

ÝÐd was appointed as the new the as appointed was ÝÐd

. 218

222

judged it impossible based on false counting but later the later but counting false on based impossible it judged 220

too

Although the Sultan the Although

workers I . . By the British it was regarded as a French project French a as regarded was it British the By . in

Egyptian independence. Egyptian Ferdinand de Lesseps, a a Lesseps, de Ferdinand 18 63 Compagnie Universelle du C du Universelle Compagnie 21

id uig h cntuto, t a also was it construction, the during died . 219 private

mission oee, MuÎammad However, re but he washe but re wÁlÐ

subscriptions, 44% of the Vice the of 44% subscriptions,

gave no permission, the works the permission, no gave civilisatoire

in 1854 in

: he was not the inventor of inventor the not was he : 224 ‚given‛ e

. Due to his friendship his to Due . ol a ehia or technical a only t In 1866, IsmÁÝÐl had a had IsmÁÝÐl 1866, In

French French and the contract was contract the and . 223 anal anal

by his ‚friend‛) his by - The Ottomans, The

formulated the formulated diplomat and and diplomat AÐ a not was ÝAlÐ M aritime dearitime - CEU eTD Collection 230 229 228 227 226 Appendix,452. Moghira, anonymes. sociétés les régissent France, enqui, les lois soci comme constitution to demands) other (among 225 Khedive the calling by Egypt to sent was ultimatum an explanation demanded and upset were Pasha ÝAlÐ ruler, independent an as received was he London and Paris Berlin, Vienna, Italy, to on went he and serious as IsmÁÝÐl war. of refugees the for Greece of Queen finished just who Corfu, Greece of King the was invited first the but Egypt in sovereign real the as first Sultan, Vichy. in cure its and disease ceremonies. construction,4600 miles. theCanal distance this shortened to Marseille The m. 150 at widest the and long km agreed. they approaching, was inauguration of day the when other societies.‛ anonym jurisdiction, is Company the that stated and agreements former

McCoan, 92. McCoan, Al 92. McCoan, es [thecompany] “[…]elle McCoan, 95 McCoan, Al - - n h sme o 16, sÁÐ taeld o uoe o nie ery vroe o th to everyone nearly invite to Europe to travelled IsmÁÝÐl 1869, of summer the In Ayy Ayy over financing the works the financing over ÝAbd a ÝAbd ÙbÐ, 409 and McCoan, 93 and 409 ÙbÐ, 408 ÙbÐ, 227 - yet

98 and Al and 98

- h ofca reason official The - ÝAzÐ

410 i i modelled is ‚it 225 .

z, became very angry because not enough that IsmÁÝÐl did not did IsmÁÝÐl that enough not because angry very became z, été et rapports des associés entre eux, elle est, par une convention spéciale, réglée par par réglée spéciale, une convention par est, elle eux, entre associés des rapports et été

- It is a difficult story how IsmÁÝÐl and De Lesseps negotiated with eachwith negotiated Lesseps De and IsmÁÝÐl how story difficult a is It Ayy

t régie par les lois et usages du pays du usages et les lois par t régie the war with the Sultan, and IsmÁÝÐl also presented money to the to money presented also IsmÁÝÐl and Sultan, the with war the ÙbÐ, ibid. ÙbÐ,

- 94.

228 because IsmÁÝÐl refused the use of forced labour forced of use the refused IsmÁÝÐl because

hn h ra rao o hs rvl eae ulc the public, became travel his of reason real the When s seil case special a as f hs rp peetd o te Ottomans) the for (presented trip this of en souverain en 229

The warning of the of warning The 64 ”

–

The 16th article of the 1866 Concession. 1866 ofthe article The16th - , and , Bombay rout was 10.400 miles before the before miles 10.400 was rout Bombay Egyptian . - 230

when it was judged as not sufficient not as judged was it when [Egypt] n h Fec lw conce laws French the on

Sultan Sultan

. 226 Egyptian under is it therefore

Toutefois, en ce qui regarde sa qui regarde en ce Toutefois,

Sultan was not regarded by regarded not was Sultan ÝAbd a ÝAbd T he

Channel today Channel l - ÝAzÐ z and his vezir,his and z – a a throat a was

, George, in in George, ,

everywhere but finally, but

invite him invite rning the the rning In:

is 170 is e - , CEU eTD Collection August Mariette.) August Nile. du 234 233 232 231 Khedive, the of order the by Egypt in tourists, the of purposes the for made been desired the and game this of independence inwhat were Icall embodied features aesthetical The England. and France and Ottomans between the and Egypt between game a in atmosphere, political tense highly a in of byatheSultan. dismissed telegraph the Turkey.‛ that reservation from Egypt of independence the of and Kings the among place Khedive’s the of ‚evidence an was Canal Suez the of ceremonies quietenedanger thePorte’s ceremonies the After IsmÁÝÐl. leaveEgypt they while wait to had Porte The Egypt. to come to started guests the when November of end the until answer not did IsmÁÝÐl gained privileges the all cancel to seemed ultimatum powers European the with communicate

Al McCoan, 102. McCoan, Itinéraire des invités aux fétes d’Inauguration du Canal de Suez qui séjournent a séjournent qui Canal de Suez du fétes d’Inauguration aux invités des Itinéraire - hs a oe f h frt world first the of one was This Al Ayy Le - AyyÙbÐ claims that the absence of the mention of the Sultan’s name at the opening the at name Sultan’s the of mention the of absence the that claims AyyÙbÐ ÙbÐ, 417 ÙbÐ,

Caire, October 1869. 1869. October Caire, 100 -

103, 111 and Al and 111 103,

- 418.

indep

endence finally proved to be only an image an only be to proved finally endence . Publie par Ordre de S. A.S. Khédive. le de Ordre par Publie 232 - Ayy 4.2. The Ceremonies:

Nbr ah, h cee Frin Min Foreign clever the Pasha, NubÁr , ÙbÐ, 410 ÙbÐ, -

- tourist famous T 418. he opening ceremonies of the Suez Canal ceremonies Suez were opening ofthe he only

an 65 –

‚imperial set‛.

thus the thus hog te toa ambassadors. Ottoman the through

the Imperial Setthe

by the title of Khedive (see chapter 3). chapter (see Khedive of title the by - 233 events royal guests served as served guests royal

hs iw s utfe wt the with justified is view This (Presumably this was writtenby was this (Presumably

–

ueos guide numerous

u Caire et font le voyage voyage le Caire u font et .

In 1879, IsmÁÝÐl was was IsmÁÝÐl 1879, In se o IsmÁÝÐl, of ister

protection for for protection - books had had books 231 234

This held held

CEU eTD Collection 239 238 237 Libraires Cie., et Maisonneuve 236 141 235 Su M. yacht, her of captain the of letters the on based ‚exhibition‛ IsmÁÝÐl’s of feature main the certainly was presence her as Egypt Empress was occasion this for Cairo und help can which situation historical unique a offers it that is reconstruction this arrived toth Cairo. of monuments old the recommend house s et cirque son eu a il comme hippodrome, Ni with autumn elegant an became confor le par rivaliser, de digne hivernale, station bazaar. the in spent be Charact describe Egypt. to times and routes shipping the with reader the gave French agency, Cook’s by England

Ibid., 17 Ibid., E. and Tissot, Bernard H M. M. Cf. Ibid., 50, 51 50, Ibid., 44. Ibid., - erstanding of what ‚colonial‛ means here in November 1869 November in here means ‚colonial‛ what of erstanding 14

The ceremonies can be reconstructed through various eyes and agendas. and eyes various through reconstructed be can ceremonies The information on Alexandria, Cairo and the cities of cities the and Cairo Alexandria, on information John Sleigh John 2. n is ipdoe a i aray has already it as Hippodrome, its and - Egyptian dictionary and a plan of Egypt with Egypt of plan a and dictionary Egyptian

ce d

41. Al

n Monaco and e city, theOpe e - exandria as a half a as exandria

58.

Pudney, Pudney,

Suez: De Lesseps’ Cana Lesseps’ De Suez: 237 ].

- 238 Éditeurs, 1869). Éditeurs,

ra - Th resort which resort 235

was finished. was Itinéraire pour L’Isthme deSuez L’Isthme pour Itinéraire

oee, s ar ‚s e tan ’vi sn pr e son et opéra son d’avoir train en ‚est Cairo as However, y wro ey -

Western city Western in France by Bernard and Tissot. This last This Tissot. and Bernard by France in Eugénie e bu Cio ht i et eeu us ue élégante une aussi devenu est ‚il that Cairo about te

rveille. Another chosen memoire is the diary of an an of diary the is memoire chosen Another rveille. 239 regarding the comfort and the pleasures the and comfort the regarding

l on théâtre de vaudeville‛ de théâtre on

( with cafés and theatres while the afternoon can afternoon the while theatres and cafés with 66 As we will see will we As New York NewYork .

In the following I will describe her voyage in in voyage her describe will I following the In its

t et le et t ics n is comedy] its and circus – a map of the of map a

Washingt s plaisirs, avec Nice et Monaco et Nice avec plaisirs, s

et les Grandes Villes d’Égypte Villes les Grandes et the Suez Canal and also provided also and Canal Suez the ,

by the time the French tourists French the time the by on: Frederick A. Praeger, 1969), 1969), Praeger, A. Frederick on: .

One of the first visitors of visitors first the of One railways rsial, h authors the eristically,

[will acquire [will h atos only authors the one had one . 236

The reason of reason The

The booklet The for ,

( can rival can Paris: Paris: its its a better better a a small a opera ‛

[it

CEU eTD Collection 241 http://www.napoleon.org/en/special_dossier/suez/index.html 1997 Gründ, Su de Canal du 240 also mat capta 16 the Suez Port to arrive and Novembre al ÝAbd Emir the of disposal the at be would r to wishes 12 the on Cairo 25 the (from Egypt L’Aigle October. 22 in Alexandria al ÝAbd in (Constantinople Istanbul yacht the embarked she fortnight a regardingfact the t Egyptians contemporary archives Egyptian me to works. historical scholarly numerous reconstruction the in used also I Lavriano. di Comte noblemen, Italian

McCoan, 85 McCoan, Pudnay, 149. Pudnay, hématique pour suivre le chanel le suivre pour hématique Euge notes that even De Less De even that notes n became in hc describe which

- and ÝAzÐ nie left Paris on the 30 the on Paris left nie ) . eturn to France right after the after right France to eturn

Cf. also the wonderful project ofthe wonderfulCf. project the also ez de Roberto Lavriano Di Morra ez deRoberto - ad dne wt al h dpoas Fnly the Finally, diplomats. the all with dinner a and z got

111; Zananiri, 82 Zananiri, 111; th 240 comdto i te e plc o QÒ al QaÒr of palace new the in accommodation

erby angry. terribly hat fascinatedofArab it lots n t te or of board the to and but also to the fact that fact the to also but

th It must be stated here that no Egyptian no that here stated be must It

October) among ‚les meilleures conditions possible‛ she returned to returned she possible‛ conditions meilleures ‚les among October)

the

Sil I eiv ta tee ut e on sm Aa sources, Arab some found be must there that believe I Still, .

She immediately went to Cairo in the company of the captain of captain the of company the in Cairo to went immediately She s -

e 92; Pudnay, 141 Pudnay, 92; the official letters) letters) official the

events adteegnessee ey anxious very seemed engineers the and s th

of September and arrived to Venice next day where after where day next Venice to arrived and September of

He writes that it needed ‚une veritable precision precision veritable ‚une needed it that writes He L’Aigle ‛

[a real mathematic precision to follow the chanel]. the follow to precision mathematic real [a –

L’Aigle t a b prl de o y iie acs t the to access limited my to due partly be can it , ed. , - inauguration. Eugenie wished Eugenie inauguration. 168 Fondation Napoleon Fondation

(The Eagle). She stopped in Athens and then in then and Athens in stopped She Eagle). (The

it was was it th Alberto 67 ; cf.also There . - -

ae. hy l They Kader. Ottoman travellers.Ottoman nex –

, Internet, accessed 05 May2007. 05 Internet,accessed ,

hr se a a ecrin ih Sultan with excursion an had she there Siliotti not a a not dy Nw h epes expressed empress the Now day. t

Journal de Voyage en Egypte Voyage de Journal L’Aigle

and Alain Vidal Naquet Naquet AlainVidal and held as a a as held - Arab memoire or diary is know is diary or memoire Arab

available from available

eft hardly manoeuvred and the the and manoeuvred hardly -

Ð. fe a rp n Upper in trip a After NÐl. lxnra n h 15 the on Alexandria 241 ‚national‛ event ‚national‛ impératrice

that the Le Forbin Le the that . Eugénie was so so was Eugénie (

– Paris: Librairie Librairie Paris:

Inauguration Inauguration

rie to arrived

by the by th

her her

He He of n

CEU eTD Collection 244 239. 243 L’Aigle Paris Vincennes, de Chateau Marine, de Departement Défanse, 242 M chapter 5). dr his rich with himself associated lavishly probably and Khedive the of a taste the learn could Mariette as country. Egypt of image an generated it also, and exhibition this of ‚curator‛ the background, imperial The progress. technical and universalism of celebration a was it that in Exhibition World a to resembles also It Canal. the of opening the is ‚frame‛ the and themselves rulers the were [...] staged Mubarak Ali the to answer Egyptian an of something and Mariette, Lesseps, de Ismail, Khedive festivities ‚The Egypt: in exhibition great a as regarded be can and features aesthetical had certainly 16 the On reports. and memoires the in ‚fair‛ ‚image‛, ‚scene‛, of words used often the by characterized be can ceremony French thi now,and 1867Exposition, for the Egypt designed image an of minutes, fri

nse o te oacy wo wro who Monarchy, the of inister hee ta she that ghtened Gilles Lambert, Gilles ( BB/4/1048 the dossier in found usedthe documents I Reid, 129. 129. Reid,

Franz tour a as served trip this during Mariette eams of Egypt as a cultural unit. The scenario of the the of scenario The unit. cultural a as Egypt of eams , Captain Surville to „l‟Amiral Ministre de la Marine et des Colonies”. des et Marine la de Ministre „l‟Amiral to CaptainSurville , in ‚

heureusment - this image and behaves as a personal servant. The image The servant. personal a as behaves and image this

oeh a as tee n h etuae f on Gua nrsy te Prime the Andrássy, Gyula Count of entourage the in there also was Joseph

Auguste Mariette Mariette Auguste wept ‛ . 242

a ngt h hd ‚rs nerveuse‛ ‚crise a had she night at ,

political and cultural absolutism of the Khedive served as a proper proper a as served Khedive the of absolutism cultural and political

–

L’Ég th the blessing of blessing the th ypte an ypte e o ho to te

great exhibitions.‛ great cienne sauvée sables des cienne 68 e ht h Fec Epes looked Empress French the that me

Archives Nationales Nationales Archives - ud fr h Empress. the for guide

the Canal started the whole series which which series whole the started Canal the ) –

this contains the letters of the captain of ofthe captain letters the contains this 244

The exhibited ‚objects‛ being‚objects‛ exhibited The Aïda

( u i lse ol fr few a for only lasted it but Paris: J. Paris:

– s time in Egypt, guides the in s time

Serv

- il e on on (see soon born be will like being of the whole the of being like ices Historique de la la de ices Historique - C. Lattés, 1997 C.Lattés, 243

T e n who one he

od as good ),

235 -

CEU eTD Collection 249 248 247 246 Ferenczy] Idához, 245 ‚universal the communicate to published were drawings and Riou) Eduard by (mostly countries European modernwho advertised rulerhiscountry ofthepress. by thehelp Khedive. the (like correspondents newspaper and royal “of visitors, more value arrived Eugenie object, precious most last, (Friedric Prussia of finallythe French),in and was time this afriend of 16 the on 13 12 the on arrived host as IsmÁÝÐl order: IsmÁÝÐliya. and Suez Port to hurried visitors Arab masses Mariette or the gave IsmÁÝÐl rather, weight. some gained just usual

th Ibid., 149. Ibid., 143. Pudney, Idám! Kedves MacCoan, 103. MacCoan, 85 MacCoan, , next day De Lesseps and his family, on the 15 the on family, his and Lesseps De day next , h iagrto crmne ad al wr dsrbd n eal o h raes n the in readers the to detail in described were balls and ceremonies inauguration The [Dear Ida! [Dear –

ed.

and 1000 servants, 500 cooks. 500 servants, 1000 and th lutae Lno News London Illustrated As a diplomat, t diplomat, a As not only Europeans, but also ‚Anatolians, Circassians, Bokharans‛, Turkish and Turkish Bokharans‛, Circassians, ‚Anatolians, also but Europeans, only not

Tolnayné Kiss Mária (Budapest: Akadémiai Kiadó, 1992), 60. 1992), Kiadó, Akadémiai (Budapest: Mária Kiss Tolnayné the French corvette Le Forbin arrived with Algerian Emir ÝAbd al ÝAbd Emir Algerian with arrived Forbin Le corvette French the

- 111 and 111 –

– Erzsébet királyné, Ferenc József, Andrássy Gyula és Schratt és Schratt Gyula Andrássy József, Ferenc királyné, Erzsébet

Letters of Queen Elizabeth, Franz Joseph, Gyula Andrássy Gyula Joseph, Franz Queen LettersElizabeth, of h Wilhelm, later: Friedrich III Friedrichlater: Wilhelm, h –

Zananiri, 83 Zananiri,

t a nt ny wri only not was it

he ruler knew the value of publicity. of value the knew ruler he es n hd h wse wih were which wishes the had and ders

in the Khedive‟s eyes was army awhole in theeyes Khedive‟s of

” - 84. 249 245

h cetd n mg o mdr Eyt n h papers the in Egypt modern of image an created who h to raies ee sÁÐ ad e esp, or Lesseps, De and IsmÁÝÐl were organizers two The r the or th 246 . The prince and princess of Ho of princess and prince The .

tten The tourists and invited persons arrived in hu in arrived persons invited and tourists The

e od Illustré Monde Le on the board of the of board the on 69

documents ) 247

with his wife Princess Victoria and as the as and Victoria Princess wife his with the morning of the 17 the morning ofthe th

The sovereigns arrived in in arrived sovereigns The

Emperor Franz Emperor , but a few weeks later paintings later weeks few a but , ad ag h pas o the of praise the sang and )

L’Aigle Probably, he was the first the was he Probably, , and Katalin Schratt to Ida Ida to Schratt Katalin and , xctd y e Lesseps De by executed Katalin levelei Ferenczy Ferenczy levelei Katalin - Joseph with Andrássy, Andrássy, with Joseph lland arrived on the on arrived lland . th hommes deslettreshommes 248

t he Crown Prince

Apart from the from Apart - QÁdir (who at (who QÁdir the following the ge ,

CEU eTD Collection 253 252 251 (1869 Canal, Suez ofthe “Opening Houghton, they because his presentation for uncomfortable himself feels 250 Deum. Te the sang all they after and Jerusalem) of Archbishop Chris The canal the and audience it made features sensual this In described LondonNewsmanner: inthe following inthe Illustrated threeafternoon the16 inthe o’clock aesthetics political the embodying event. the of importance‛

Cited in Pudney, 152 in Cited Pudney, members ofthe the to say Houghtoncould Lord Zananiri,85. 153. Ibid.,

- 70): 88 70): M. deLesseps. left. her upon var every Khedive in persons distinguished the of crowd and a were right Behind her upon Austria of Emperor the having central seat, the took Empress the pavilion, the Entering jewels. with blazing scimitar his looking eastwards, faced b a with and lace, gold with blue, Koran,was uniform Viceroy’s the from inscription grand frontedtowards [...] visitors Mecca; pavilion forThe boththe others. the andthe an by surmounted pulpit, arranged crosses small four with Jerusalem, of cross the bearing shield a was sanctuary Christian the of front in but crescent; surmounted gilt the were with pavilion each of corners four the at masts The nations. all of flags all were They tropica Ulemah. with adorned Mussulman and carved, theprettily wood, forof builts the pulpit of a third regulations the the and to church, according Catholic dressed the altar an and another Khedive attendants, immediate the for seats containing one number, in three were pavilions The [...] infantry. Egyptian with length whole its alonglined Itwas pavilions. the placeto landing the from constructed beenhad planks erectedIt was onthe inthe pavilions performed

imperial set defined as a representation of an idea of empire, whose aesthetic whose empire, of idea an of representation a as defined set imperial in as a cnutd y h P the by conducted was mass tian

- 1

05.

89.

- 153. 153. 251

–

‚thi resemble 250 s part [...] was very brief but the scene was a striking one‛. striking a was scene the but brief very was [...] part s

h besn crmn ws t h hat f h whole the of heart the at was ceremony blessing The ” Proceedings of the of London of the of Proceedings

th f gp and Egypt of lv iae frt the first image, live a

of November Royal Geographical Geographical Royal 70 tirh f lxnra i sm sources, some (in Alexandria of atriarch

rne oehr The together. France

“have read so much upon the subject”. much so uponthe read “have and it has a real theatrical character arealand has theatrical it Imperial and Royal guests and their their and guests Royal and Imperial sand of the seashore [...] A footway Aof of[...] theseashore sand round the large one. The Moslem Moslem The one. large the round

Royal Geographical Geographical Royal Soci Muslim road green ribbon; the hilt of hilt the ribbon; green road l plants and flowers and the the and flowers and plants l ety 253 iety of uniform, including uniform, of iety

on 10 that he January10 on 1870

After this, Mgr. Bauer, Mgr. this, After chief

blessing started at at started blessing qÁdÐ Society

lse the blessed

14, no. 2 2 no. 14, Lord Lord , even, even, , . It is .

the 252

CEU eTD Collection 257 May 05 2007. accessed http://www.napoleon.org/en/special_dossier/suez/html 256 May 05 Internet,accessed http://www.napoleon.org/en/special_dossier/suez/html Lesseps. de thatofFerdinand world, ofthe corners the four to cry and aloud shore this on pronounce to whicham proud I name a century, the c so just Columbus, Christopher it, whodiscovered genius man of ofthat name ofthe posterity to reminder permanent 255 Napoleon: Fondation 254 noting worth is it However, picturesque]. clothes o variety the compulsory, was behaviour cosm fête étaient cette certains rendait dont élégants, cérémonie, vraiment de arabes costumes des et militaires uniformes rares picture a 18 ofthe evening completedrout. On the the IsmÁÝÐlÐ that pavilions huge the surrounds which crowd The values. universal Columbus. to Lesseps Lesseps de Ferdinand and Emperor the Empress, the Khedive, who

In the collection of the Fondation Napoleon, available from available Napoleon, the Fondation of Inthe collection “ Zananiri,85 in published oftheare speech Parts Di Livarno, 122. Livarno, Di Let us proclaim to very end of the age that just as the New World (discovered in the 15th century) is a century) inis the 15th (discovered World New the as that just of the age very end to Letproclaim us

these were not that monstrous. these were not that The inauguration ceremonie inauguration The the participantsSuez, Port in ceremony inaugurationAfter the a te persona the was

a wee hy e wt tre hp cmn fo Pr SaÝÐd Port from coming ships three with met they where ya, - (some of which were really elegant), made this cosmopolite feast really really feast cosmopolite this made elegant), really were which of (some value as di Livorno notes: ‚Bien que la t la que ‚Bien notes: Livorno di as value anal between these two continents will be a continuous memorial to the name of a manofthe 19th ofa name the memorialto continuousa will be two continents these between anal 257

www.napoleon.org

255 2007. representations of this blessing ceremony by Riou show a colourful colourful a show Riou by ceremony blessing this of representations amnr f Euge of almoner l ”

This speech glorified the French technical innovations and also the also and innovations technical French the glorified speech This Fondation Napoleon Fondation

that the real cause real the that

s , Int , 256 ate

ernet, accessed 05 May 05 2007. accessed ernet,

f the rare military uniforms and ceremonial Ar ceremonial and uniforms military rare the f the money and the Khedive asked Khedive the and money the - i, eiee a og peh n oor f the of honour in speech long a delivered nie, , 87, the whole speech is available at the wetheat is available speech whole the 87, – availablefrom th plt tè pittoresque très opolite 71 - -

content/inauguration/ content/inauguration/ceremonie/ceremonie.html however, a contemporary photograph contemporary a however,

there ball. agrandiose was was the was

enue civile fût de rigueur, la variété des des variété la rigueur, de fût civile enue IsmÁÝÐl’s

ceremonie/ceremonie.html decision to refuse providingrefuse to decision 254 we

– ‛

re re n h cmae De compared he and [Although , shipped next day today next shipped

This ball itself hadThis ballitself hs symbolically thus

for bsite ofthe bsite

more loans. more

h civic the

reflects reflects , , a bic bic

CEU eTD Collection Íusayn ZakÐ EffendÐ ZakÐ Íusayn by Arabic into translated and Brugsch Monsieur al Madrasat al MulÙk qudamÁÞ al sana al MadÁris 260 259 258 seen, have an institutions national of foundation ceremo Canal Suez The new lights. 1870 the of end the at soon, but time this at Egypt of image European the to tied was Egypt of sovereign image Egyptian The IsmÁÝÐl. powerful a of umbrella the under achieved be can which state modernised people. Egyptian the is subject whose history continuous a as created is Egypt of history the and ideas national (European) with image Nonetheless, European day’s the with accordance in Egypt represent and present only can which Egypt of image Western it call may I if exhibition‛, ‚live this judge to easy too all be would It fall. IsmÁÝÐl’s caused which and powers European company. Canal Suez f the process disastrous for francs 38.000.000 pay to has Egypt that decide to III Napoleon provoked which Canal Suez the of construction the for labour corvée the

See, for instance, the (first) Arabic history of ancient Egypt Al Egypt in ancient of history Arabic the (first) instance, for See, 89 LorgHoughton, Owen,126 In November 1869, IsmÁÝÐl’s Egypt indeed was a hybrid a was indeed Egypt IsmÁÝÐl’s 1869, November In - thÁlitha [ thÁlitha too - MiÒrÐ - – LisÁn al LisÁn

n national one 127. in fact, this is precisely the time when the w the when time the precisely is this fact, in there were sceptical voices as well as voices sceptical were there [The third year] 1872 March March 1872 year] third [The ya - miÒriyyÙn bi miÒriyyÙn

[The garden of t of garden [The ] - oin: h jiig f w sea two of joining the notions: . MaÒrÐ al - ( 90. The nly led inally n it continues until the no. the 12.) no. until it n continues

is n their and nies - - QadÐm was other the after institution qalam masyu BarÙksh, wa BarÙksh, masyu qalam

he Egyptian schools] heEgyptian o h tkn care taking the to , as a Potemkin a as ,

[Hi s came a will to understan to will a came s storical table of the famous ancient the famous of table storical d vice d -

1873 February]: ÝAdad 4 ÝAdad February]: 1873

260 one of his students in the School of Ancient Egyptian, Mr. Egyptian, Ancient of School the in students of his one oiia ashtc form aesthetics political

- However, this image image this However, versa. In the beginning of the seventies the of beginning the In versa. 72 -

, like set. However, these events generated events these However, set. like .

- ed. 259

taÝrÐb ÎaÃrat Íusayn ZakÐ Ef ZakÐ Íusayn taÝrÐbÎaÃrat f h cutys iaca mtes y the by matters financial country’s the of

JÁbir ÝAÒfÙr. Cairo: DÁr al DÁr Cairo: ÝAÒfÙr. JÁbir This image at this time this at image This a te final the as s - ÓahÔÁwÐ’s educational journal: journal: educational ÓahÔÁwÐ’s

ord ‚Egyptian‛ started to be to started ‚Egyptian‛ ord one (ie the (like founded d the Egyptian self Egyptian the d , 7 - image of a nation and a state a and nation a of image 12.

Egyptian kings written by by written kings Egyptian : ed Jadwal tarÐkh mashÁhir mashÁhir tarÐkh Jadwal is ws n mg o a of image an was first

itr o civilisation of victory h bcgon o the of background the fendÐ min talÁmidhihi talÁmidhihi fendÐ min - Kutub, 1997. (Al 1997. Kutub,

was Á Al DÁr - perception an Egyptian an RawÃat al RawÃat 258 , as we we as , - Kutub filled

- T

he in – a - . .

CEU eTD Collection 262 261 des every to art of audie an Khedive the of hobby personal contex fromKhedive 1870 in Library] National [Egyptian

Sadgrove, 82. Sadgrove, Guindi cribed chapter. inthe following t of the Suez Canal events Canal Suez the of t - nce thus transforming the country the transforming thus nce Tagher, 117. Tagher,

the time of time the n (h hd h mny o te ikt. hs onain vn wl be will event foundation This ticket). the for money the had (who one

his

enthronement.

262 , in the context of the imperial set, imperial the of context the in ,

while it becomes soon clear that he that clear soon becomes it while

261 cniun a rcs wih a iiitd y the by initiated was which process a continuing ) by by

The foundation of the Cairo Opera House in the OperaCairo in the House of foundationThe 73 artistic means and provide p provide and means artistic

can

later

easily easily

ublic institutions ublic wanted to create to wanted be seen as the as seen be CEU eTD Collection 264 263 he 1861 In the forcon a as him with theatre a planned ÝAlÐ MuÎammad Already Community. Greek Alexandria in Theatre Zizinia the designed SaÝÐd of rule the under 1862 in who Western The built were ideology cultural a concept t arrived House everything Opera the With art. of institutions and artists by ideas political of representation Ism Hous Opera Cairo the of foundation the empire independent an as Egypt of idea the express to Khedive the

Ibid., 311. Ibid., 310. Tagher, ÁÝÐ afterlife of this piece ofartafterlife close will and tonationalism ofthispiece connection its chapter.this In Chapter 2, the Italian architect, Pietro Avoscani was mentioned in relation with the with relation in mentioned was Avoscani Pietro architect, Italian the 2, Chapter In seen have we As AESTHETICAL POLITICS l (embodied in

- ( style ent style see

decorated the Jaz the decorated

chapter 1 chapter ertainment o Egypt what characterizes the oper the characterizes what Egypt o

the Suez CanalSuez was ceremonies) the

in the last chapter last the in ).

The Opera House will be used as a core around which a public and public a which around core a as used be will House Opera The

s Ð

of Mu of

5 and also the “operatic” idea behind it which produced which it behind idea “operatic” the also and .1

palace where Ism where palace

The Building andItsA The Building

IN E Î ammad 5 GYPT: , .1

the imperial set was a construction by the order of order the by construction a was set imperial the CHAPTER 5 CHAPTER e .1

in this imperial set. The political aesthetics of of aesthetics political The set. imperial this in

Construction 74 Ý Al

THE CAIRO OPERA HOUS Ð. It was also indicated that he was the one the was he that indicated also was It Ð. ÁÝÐl (then prince) lived. prince) (then ÁÝÐl

transformed as aesthetical politics: theaestheticaltransformed politics: as

rchitect(s) atic state atic

, applying Ruth Bereson‟s Ruth applying ,

This chapter focuses on focuses chapter This 264

Probably this is this Probably E

AND AÏDAAND s tructor. Aïda

263

CEU eTD Collection London: John Lan London: John 271 270 269 429 (1965): 4 Cairo ofModern Origins The “Tale of TwoCities: (1965), recent 268 267 Centre Research E whobuil architect 266 265 (M Square Opera the was square work‛. lattice t for separately boxes, royal had and woodwork fine and 1971. in easily so down burnt it why cause main cost its peo 800 around was house the of capacity The night. first the in was constr Azbak) therefore of borderline The order co a as usually mentioned night. first the of programme with charged was finally and gardens, khedivial the of decoration the and works artistic with entrusted was he later why gypt at the time of the Khedive, ofthe time gypt the at

ÝAbd Al 52. Sadgrove, still Opera “The 52. Sadgrove, wasof flowI real a There 52. Sadgrove, and Ibid. Sadgrove, 56 and and 56 Sadgrove, h pae o te ulig tef a i te e the in was itself building the for place The rumours ū

n, was that time time that

99. symbolis of the Khedive of ucted in six month, sowhen month, Euge insix ucted

- was ordered to design an Opera House, w House, Opera an design to ordered was 457

160.000 English pounds. English 160.000 of its planned demolition.” Thus wrote Abu wrote Thus demolition.” planned ofits

(1990): 86 (1990): h quarter the 271 t and reconstructed mosques in Egypt. Dalu Jones, mosquesEgypt. Dalu in reconstructed t and 444. e, 1915 e,

stands, anachronistically, in its currently not too fashionable district but there have been but there district fashionable too not currently in its anachronistically, stands, -

Ayy Baron de Kusel, de Baron usd tws nipesv Iainbidn ih asv aae Its façade. massive a with building Italian impressive an was it Outside used as a store was store a as used

es the distinction between old and new. and old between distinction the es Ù ), b

Ð 89. -

93. 90. 93. talian architectes in Egypt. I identified I in Egypt. architectes talian also gives this amount: 292. amount: givesthis also

for theconstruction Ism - ” architect, but I did not find anything concerning this person. this concerning anything find not did I but architect,

Environmental Design: Journal of the Islamic Environmental Design Design Environmental theIslamic of Journal Design: Environmental

ÁÝÐlÐ An Englishman’s recollections of Egypt 1863 to 1887 to 1863 Egypt of recollections Englishman’s An Ð ya d Á . n Ubar n

269 F demolished for demolished r some or

It was constructed constructed was It Á nie arrived in late October, she could she October, participate arrived inlate nie 75 ) and in the middle of it the statue of Ibr of statue the it of middle the in and ) was givenwas inmid

265 , ” Comparative Studies in Society and History and Society in Studies ” Comparative f h ubn itras te Ope the historians, urban the of - Lughod in a footnote in 1965: 1965: in infootnote a Lughod

270 With him, the name of a certain Rossi is Rossi certain a of name the him, With

g o te Ezbek the of dge The interior was beautified with gold with beautified was interior The ith all its furnishing its all ith clarifying

Mario Rossi (d. 1961) 1961) Rossi (d. Mario

“Va penseiro… Italian Architects in Architectsin Italian penseiro… “Va he ladies of the harem the of ladies he 268 mainly

An old palace (Qa palace old An - April, ple and S and ple

the place for the Ope the for place the of wood which was the was which wood of 1869. Ð ya adgrove gives that gives adgrove

but he . A . Janet Abu Janet

267 Gardens, at the the at Gardens, ( New York,

lso, was another Ò

“ r ra House House ra Av with - Lughod Lughod al oscani - Am Á ra. It ra. 7, no 7, h thin Ð 266 m Ð r

CEU eTD Collection 276 275 274 273 59. 272 of Prince Crown the and Eugénie Empress audience the among that gives Sadgrove conditions anddied in1890,complete 1875. cement a of construction with and Alexandria of port new the of enlargement finan miserable his for mercy ruler‟s refused. was this but works public promoting for society a for establish the intentions Khedive‟s the of himself for money the all debts his from place buildingwas ofthe abuilt. park burnt car multistorey (Ism

Arnaud, 59 Arnaud, ibid. Arnaud, and 311 Tagher, Jean Ibid. 313. Tagher,

soldier ÁÝÐ h iagrto o teCio pr Hue apnd n h 1 the on happened House Opera Cairo the of inauguration The enlarge to asked later was Avoscani 276 -

Luc Arnaud, Arnaud, Luc l‟s father) was erected later. Today, later. erected was father) l‟s

societies but was always without luck. without always was but societies fe te hdv‟ adcto i 17, vsai ie aog miserable among lived Avoscani 1879, in abdication Khedive‟s the After of fortune. of - 61.

. , he had problems with the moneythe with problems had he , 273

Le Caire Caire Le Indeed, he is seen now as a bad businessmen who tried to make the best the make to tried who businessmen bad a as now seen is he Indeed, 274

In his In –

mise en plac en mise

final . 1. 2

The I twenty e d’une ville moderne 1867 moderne ville d’une e cial conditions and finally he was entrusted with the with entrusted was he finally and conditions cial lyforgotten. – nauguration ofnauguration theHouse

he is used is he

h house the this square is still called M called still is square this years, 76 a “h Keie hs uss icuig the including guests, his Khedive, “the was rsi, h Keies eiu, oe f his of some retinue, Khedive‟s the Prussia,

– In 1874 he proposed a plan to the Khedive Khedive the to plan a proposed he 1874 In

he did not ac not did he Avoscani tried to make businesses and businesses make to tried Avoscani

by n 1873. in Jean

- 1907 - Luc 272 complish the work and spent andwork the complish 275

(Sindbad (Sindbad However,

Arnaud

Then he begged for the for begged he Then st Ð

d f oebr 1869. November of Á – n Ubar n

as an example of example an as Actes1998) Sud,

s n cn see can one as Á -

factory in in factory yet in the in yet

to CEU eTD Collection 280 279 278 277 canal.‛ the of opening the for MaÎrÙsa, purposes royal for exclusively entertainers as used praised for inRigoletto and ‚the their adroitness.‛ skill singers short The source. the know imagination imperial an with along representation and modernity imagination European of product a is fo the of representation Italian singers. Verdi’s Then Khedive.name the the of of shouting the and History, (Mélodie), Music o end Fame, The Commerce. Industry, Agriculture, Mercy, Justice, allegories: eight represented they Ism of bust a around stood singers Eight Poniatowsky. with DranehtBey. The thefollowing programme was set imperial d be can state operatic the Ism government: officers.” military and officials Ibid., 53. Ibid., Douin, 53. Sadgrove, Sadgrove, 56. Sadgrove, It is hard to mi to hard is It modern a for entertainment European a is play This the for played was cantata a First, 470

opinions of the Egyptian officers among the audience the among officers Egyptian the of opinions - . 471. vsai a rsosbefrti frt night first this for responsible was Avoscani

278

ÁÝÐ

lived Arabic cultural journal of Cairo, WÁdÐ al WÁdÐ Cairo, of journal cultural Arabic lived l‟s presence is the presence of the state. Therefore here an early use of of use early an here Therefore state. the of presence the is presence l‟s ss the fact that in the first month the artists of the Opera House were were House Opera the of artists the month first the in that fact the ss rces represents Ism represents rces

etected

277

This description gives the representation of the Egyptian the of representation the gives description This

s hs a b rgre a a rprtr pae f the of phase preparatory a as regarded be can this as

and shows the characteristics of an exhibition: exhibition: an of characteristics the shows and ÁÝÐl’s innovations and characteristics. However, it it However, characteristics. and innovations ÁÝÐl’s 280

77 honor of the Khedive composed by prince prince by composed Khedive the of honor

f the cantata was accompanied with a hurray a with accompanied was cantata the f h taiin f sn te etr at as arts Western the using of tradition The

–

they performed ‚on the royal yacht, al yacht, royal the ‚on performed they

as Douin narrated. as ÁÝÐl and while executing the cantata the executing while and ÁÝÐl Rigoletto –

279 otpoal,hn n hand in hand probably, most empereur

. It would be interesting to interesting be would It . - NÐl –

but there is no written written no is there but was given by the finest the by given was

[The Valley of Nile] of Valley [The

Te allegorical The . - , CEU eTD Collection 281 the Opera nationali House t in that 1870 in hope his expressed UnsÐ MuÎammad a Abu AllÁh ÝAbd of editor the of son The performances. actual the of descriptions paradigm Idescribe will nume his in traced also be can IsmÁÝÐl of politics aesthetical The behaviour‛.‚operatic the time same the at but use private a only not meant house opera the statesmen structure) governmental state oth Eugenie, and W audience an create to tried Khedive the ceremonies, inauguration the after However, IsmÁÝÐl. by ceremonies preciou

estern artsestern aroused. gradually Sadgrove, 56. Sadgrove, Aïda - The IsmÁÝÐl After month. first its in visitors illustrious most the had House Opera Cairo The offic

will play also in Arabic language. Arabic in also play will piae entertainments private s

st (Arabist) intention is connected to the Opera House. House. Opera the to connected is intention (Arabist) st two years later confirm this (24 december 1871). 1871). december (24 this confirm later years two

ers with himself with ers House state and later this habit continued, at least, the reports we have from the pr the from have we reports the least, at continued, habit this later and

- funded

er notables er played exclusively Italian pieces in Italian. The editors and writers of writers and editors The inItalian. exclusively pieces Italian played l - also with means of an aesthetical politics politics aesthetical an of means with also SuÝ d d 18/) w yas ae wl tasae h lbet of libretto the translate will later years two 1885/6) (d. Ùd

ÁÐ al WÁdÐ Aïda –

as we saw, the first night in the opera wa opera the in night first the saw, we as (this was also a possible way to gain a new rank or office in the in office or rank new a gain to way possible a also was (this

visited the house. It was IsmÁÝÐl’s habit to take the court and court the take to habit IsmÁÝÐl’s was It house. the visited .

- 5 ( NÐl see see . 2

Repertoire andA ulse dsrpin o opera of descriptions published hpe 2) chapter 281

This claim is the probably the first sign when awhen sign first the probably the is claim This 78

was followed during the Suez Canal Canal Suez the during followed was he next season in 1870/71, the O the 1870/71, in season next he udience This presence of the state in the the in state the of presence This rous funds for pieces of art of pieces for funds rous

and thus, a public use of the the of use public a thus, and However, in this in However, WÁdÐ al WÁdÐ s already packed with packed already s - - hms bt no but themes, NÐl

–

first periodfirst this editor, this emiere of of emiere Aïda : as a as : WÁdÐ pera

–

CEU eTD Collection 286 285 284 283 282 di Nights. One and Thousend in Baghdad of Barber the and barber Rossini’s between of critic the and Arabic into translated both were Novem of notables. usual the and Íusayn, and TawfÐq MuÎammad sons, his IsmÁÝÐl, Donizetti’s occasion this for and season), 1 the again (t was 1870 night November first the 1870/71, of season new the In known. also is audience freely. librettos were of theatre. features educational the to constrained only not now is which understanding an shows piece journal the was understanding primary ‚catharsis‛ the soon operabut the of educationalnature Its audience. an create and transform to tried also and natio a create to point central a as served House Opera the Thus drama‛. Arab in experiments the to respond to ready were they that readers] Arabic [its ‚ensured also and performed‛ and written be could pieces dramatic Arabic which in climate al scovery of this similarity is a way to understand and appropriate a foreign work of art of work foreign a appropriate and understand to way a is similarity this of scovery - in Sadgrove Quoted 57. Ibid., Sadgrove, 58. Sadgrove, Ibid. 60. Ibid., NÐl The national (first Arabic, then Egyptian) identity and the sp the and identity Egyptian) then Arabic, (first national The

upid y hs, w those, by supplied

a sas n h Oea os pi b te hdv. hs ora tried journal This Khedive. the by paid House Opera the in seats had : ‚we feel grief and anguish as if we had had we if as anguish and grief feel ‚we :

ber 1870 the Opera gave the the gave Opera the 1870 ber

284

The The ., 58. ., his

WÁdÐ al WÁdÐ date

ho later

- NÐl –

became established as the beginning of the Cairo Opera Opera Cairo the of beginning the as established became ie h rc Al rich the like

continued to report on the Opera the on report to continued lBrir i Siviglia di Barbiere Il La Favorite La 79

been ill‛. been - MuwaylihÐ ÁÐ al WÁdÐ

was played was - effect of the opera mentioned opera the ofeffect 283 - NÐl

This emotional power of the of power emotional This –

–

nal art of drama and opera opera and drama of art nal icvrd h similarities the discovered rnltd n distributed and translated

read of theatre and opera opera and theatre of read this and the and this –

– among the among

from these reports the reports these from 285

On Friday, 4 Friday, On

La Favorite La o cet a ‚create to audience 286

by theby

The 282 sit th –

CEU eTD Collection 290 289 288 Philosophical 287 audience. the in Egyptians the find not did observes European T and agenda Ottomanizing with Istanbul H occasionof the of premiere created.‛ has Khedive grand the things care to seem poor, or rich whether population, native ‚the that noted 1872 in visitor European contemporary a aesthetical politics. Khedive the of intentions the by produced tool a is comparison he obs he wvr the owever,

Weaver, 228 Weaver, Armstrong, WilliamGeorge Quoted in Sadgrove, 61 in Sadgrove, Quoted Cf.EI² aÝyÁn instance, For ambiguous. somehow are audience the of composition the on reports The doors of withthe theatrerelaxing civilisation, its side. providing enteredhaveth they theatres.Now these pleasedwith Egypt ofpeople the see to than more me delights Nothing me: to said [...]Juan Theatre Don the ofof Director translation the [...] a was hand his in and turban, white a in slave black a saw I It isaclear a fez Cairo. miracle tosee inthe theatres of future. and present, past, of melodies the all to drums the of banging monotonous the miauing the prefer theatre;they our like not do wealthy, the even W ervers focused their attention their focused ervers hen I say Egyptian public, I refer especially to the European colony; f colony; European the to especially refer I public, Egyptian say I hen , s.v. “Fs.v. , ), Indians,attended‛ and note foreigners and others thecorrespondent also

Society of Newcastle of Society - 229. Á Al ris Al ris -

JawÁÝib

nothing either for the for either nothing - Shiy to make the alien familiar. alien the make to - 62. Á

q A visit to Egypt in 1872: described in four lectures to the Literary and Literaryand the to four lectures in described 1872: in Egypt visit to A Te Answers] [The ”

Aïda ( A.Karam). G. -

upon

that - Tyne 289

) writes in 1871 that ‚many Egyptian notables ( notables Egyptian ‚many that 1871 in writes ) if they were speaking about different audiences. The The audiences. different about speaking were they if 287

( Newcas

Also, the Italian critic, Filippo Filippi wrote on the Filippiwrote on Filippo critic, Italian Also, the [EzbekÐ esae ( hgl ifunil rbc ae in paper Arabic influential highly (a newspaper 80 – tle

t s rsl o hs politica his of result a is it -

upon The very possibility of this comparison is comparison this of possibility very The ya] gardens, or Opera, nor for any of the the of any for nor Opera, or gardens, ya] - Tyne: J. M. Carr, 1874), 7. 1874), Carr, M. J. Tyne: 288

h Ottoman The 290 [sic

! ] ashtc and aesthetics l

of their chants, chants, their of or the Arabs, the or rough all theall rough - influ s that wujÙh enced

CEU eTD Collection 293 292 291 aesthetical the of creation the Finally, radiated. lifestyle Westernised a which from centre a certainly was it institutions political the among held not was House Opera 1871/72 in while 85, 1870/71, year, next the in held, were performances 66 1869/70, season, first the In theatre. personal his not use two 1870/1871. David of Cirque Italian the engaged had ‚Draneht where erected nurturing and servedof aesthetical theKhedive. politics theideas elite Egyptian the among audience Europe the and Draneht was It ‚progress‛. relation hidden the and art Western between for indicative are place relaxing a as theatre and civilisation about o of advertisements Arabic placed also who 3) chapter discrepancyof twoviewsthedifferent betweentheresult these is backgrounds. ideological the involved, for not were natives the and entertainment European a was it Filippi, for idea: different a meant elite. Ottoman the of presence the underlined correspondent

Sadgrove, 62. Sadgrove, Ý 63. Sadgrove, Abd s -

three years of the Opera was an embryonic state of a of state embryonic an was Opera the of years three Ballet ‚Director The of Ù n,141. the theatre were not always separated always not were theatre the - - 292 cultural pol efracs ee lo ed n h Oea os and House Opera the in held also were performances

This Cirque was later destroyed for the enlargement of the House. The first The House. the of enlargement the for destroyed later was Cirque This Al

- of the Opera‛ mentioned in the in mentioned Opera‛ the of JawÁÝÐb it ics in1871.

cultural

it wasit

deology sign of modernisation and the n and the modernisation sign of

the the –

Aïda t a mria, u pltcly dominant. politically but marginal, was it . an stuff of the Cairo Opera who ‚nurtured‛ an ‚nurtured‛ who Opera Cairo the of stuff an This relation could be described in terms of the of terms in described be could relation This 81 . It was maintained by the Khedive but it was it but Khedive the by maintained was It .

crowns the repertoire. the crowns

article is presumably Draneht Bey (see Bey Draneht presumably is article ea in peras ffairs when the public and private private and public the when ffairs

For everyone the opera house house opera the everyone For

ÁÐ al WÁdÐ - atives were involved. The The were involved. atives Guillaume‛ in the season season the in Guillaume‛ et o t Cru was Cirque a it to next 293

Aïda Although the Cairo the Although - NÐl

. embodies this this embodies 291

i words His

This

CEU eTD Collection 298 297 296 295 294 taught children and tomusic chatted withtheir mothers: revitalized already and Italian principal opera the is life musical Cairene of feature occasionallyballs for opened Opera. the of affairs the over years two last the in because 1876 in superintendence well. as months hot the in pieces the showed Theatre Zizinia the where Alexandria to went actors and plays the summer, the for closed was Opera Cairo the When months. five is, that March, 30 around to November 1 from performances. 80 around yearly gave Opera the 1877, in season last its in even then, Until anymore. it subside not could Khedive

ÝAbdÙn, 147. ÝAbdÙn, Aida in thestatistics See Ibid. Kitchener, Frederick that report could Kitchener, Frederick Englishman, an 1909 from However, the because closed be to had it when 1877 until operation in was House Opera The European music. better kindness. greatest the with me treated always and read B especially were Pashas, A one and Hungarian, Egypti Maltese, American, a had I

– eethoven, and Chopin very well, well, very Chopin and eethoven, rab

Egypt (MiÒr Egypt - – educated

t Cairo pianoforte pupils pupils pianoforte Cairo t A.M.]. The Egyptian Egyptian The A.M.].

aie in facile French, Italian, Greek, Sp Greek, Italian, French, Ý – Abd the opera the

‚Recollections of Life at Cairo, at Life of ‚Recollections

ÝAÐda), French operas, ancient and modern.‛ and ancient operas, French an, Turkish, Syrian, Turkish, an, Egyptians, especially the wom the especially Egyptians, 298 Ù n,141

ovrain Te wud fe etran e at me entertain often would They conversation.

ed. pure groups o , visiting - 296 Walid Walid in the beginning of the twentieth century. Mr. Kitchener also Kitchener Mr. century. twentieth the of beginning the in

146.

loe Aa [oe h dsicin ewe Eyta and Egyptian between distinction the [note Arab blooded neetn ad naig some engaging; and interesting After 1877, until the 1890s, the opera was closed and only and closed was opera the 1890s, the until 1877, After

Aouni n Turco and 294

It is a lot considering that it it that considering lot a is It ( f twenty of Cairo: Sharouk Sharouk Cairo: Jewish, Albanian, Jewish, spoke several languages fluently, and were well well were and fluently, languages several spoke anish, Belgian, Swiss, Russian, Russian, Swiss, Belgian, anish, ‛ and ‚ and ‛ 82 295 ‛ r festivals.

- The Times Musical

gpin lad Egyptian It is probable t probable is It Cairenes

- There is a movement on fo on movement a is There w nationalities two en, to cultivate and understand understand and cultivate to en, Press

a certain Leopold Larouse Leopold certain a

297 are almost note almost are –

Circassian, one Norwegian, one Norwegian, oneCircassian,

Cairo Opera House, 1997), House, Opera Cairo

e, hel o te aiis of families the of chiefly ies, It se It

64, no. 961 (1923): 961 no. 64, hat Draneht Bey quitted the quitted Bey Draneht hat ems that the high society high the that ems f hm lyd Bach, played them of

was usually open only open usually was -

rts, Australi British, Danish, Austrian, Danish, -

perfect in all the the all in perfect tea ot among the among ot -

ate, and parties, 203

“

- 59. he great he (?) 204. the best best the

took

203. an,

CEU eTD Collection 300 May 23 2007. Internet,accessed Company, Opera the Cairo of wesbsite thefrom available 299 1938) a (1932 Cantoni (1886 Clemente Pasquale Arabicwritten operasespecially werefirst inthe state” “operatic a for place a the in found is is it operahouse, every As House.Opera Cairo name the bears and Centre Cultural National today House Opera new The House. Opera simply socialism 60s‟ and Khediv the called was Europeanalike. ladies the by maintained partly were socializing for place a as House Opera populari the and spread, its music, Western of fashion The harem. the of ladies the to also intended probably were operas of translation first the that mentioned already Ther

The Cairo Opera House today repeteatedly presents presents repeteatedly today House Opera Cairo The Aouni, e is an untold story about the relation of Egyptian women and the Western arts. It was was It arts. Western the and women Egyptian of relation the about story untold an is e The posit The namThe nd after him the directors were all Egyptians.nd afterhimthe directorswere

140.

e of the Opera House was changing was OperaHouse the of e ion of the director of the Opera House was occupied first Draneht Bey, then Bey, Draneht first occupied was House Opera the of director the of ion - ersnain f h state the of representation 1937). The first Egyptian director of the Opera was ManÒÙr GhÁnim (1937 GhÁnim ManÒÙr was Opera the of director Egyptian first The 1937). . The national opera play even today is today even play opera national The .

ial, then Royal, then Sultaniale, then again Royal, and in the 1950s‟ the in and Royal, again then Sultaniale, then Royal, then ial,

- 1910), then Gennaro Forniaro (1911 Forniaro Gennaro then 1910),

5 .3

N ationalism

–

hs s ht a dsrbd y eeo a the as Bereson by described was what is this 83 Aïda

http://www.egyptguide.net/opera/ocompany.html

half ofcentury. thetwentieth according to the titles of the rulers.itthe First, of titles the to according , it is an integral part of the standard repertoire, repertoire, standard the of part it isan integral

and Aïda 300

Aïda , 299

1931), after him, Fortunato him, after 1931), original numerous although

–

Egyptian or or Egyptian ty of the the of ty , - CEU eTD Collection 304 s 303 Bärenreiter 302 301 story. Egyptian ancient an such of sketch original the had who brother August’s Mariette, Eduard is it that suggestion one is there differences: libretto. whole the wrote even Italian. into it‛ ‚versed and translated Ghislanzoni Antonio in1868 in Egypt impresario Frencha ‘manufactory’ small a of work rocks and him digging death his to sent is Radames Finally Radames. with love in also is who pharaoh the of daughter the by unveiled being are they because traitor being with accused finally and her with love in falls (Radames) army Egyptian the of leader the but It 1870. in actual an creationaim and the Egypt ancient about cenario anonyme de l‟opera Aida, l‟opera de anonyme cenario

Uwe Schweikert, UweSchweikert, Aida, Verdi’s Charles Osborne, “The Plot of Plot “The Charles Osborne, de “Apropos Humbert, Jean However, there are other suggestions: that this this that suggestions: other are there However, August of creation The - Metzler, 2001 Metzler, Aïda

is about an Ethiopian princess ( princess Ethiopian an about is Mariette

ed.

dies with him. Thisis him. with dies 301 Hans “Aida”in ) (Mariette and Du Locle knew eachother knew Locle Du and (Mariette composed thefinal Verdire and story inFrench later and about modern Egypt at the same time. same the at Egypt modern about and

Aïda (see chapter 3), is 3), chapter (see ), Busch

461

Verdi Handbuch Verdi

- is from the beginning associated with nationalism. with associated beginning the from is l‟egyptomanie dans l‟oeuvre de Verdi: Attribution a Auguste Mariette d‟un Mariette Auguste a Attribution Verdi: de l‟oeuvre l‟egyptomaniedans

474. 474. ( Aida, Minneapolis: University of Minnesota Press, 1978 Press, Minnesota of Minneapolis: University ” d idea ofIsmÁÝÐlbe

Revue de musicologie de Revue – 461.

” that it was first drawn by Mariette, the Mariette, by drawn first was it that 303 The Musical Times Musical The

5.3.1 The Project of

the today oee, ocrig the concerning However,

, the one who is usually credited with the plot of plot the creditedwith usually is who one the

ed. Anselm Gerhard and Uwe Schweikert ( Uwe and Schweikert ed.Anselm Gerhard Aïda 84 -

known plotoftheopera.

) who is captured by the Egyptian Empir Egyptian the by captured is who ) hind it: aesthetical it: politics hind 62, no 2. 2. no 62,

110, no. 1520 (Oct. 1969): 1034 1969): 1520 (Oct. no. 110, 304 final

Ano Aïda (1976): 229 (1976):

libretto and the plot of plot the and libretto ther one, that it was probably the probably was it that one, ther 302

–

Du Locle made an excursion anmade Locle Du I call the call I Some suggest that Mariette that suggest Some - original 256. ),3.

n Camil n

project structured it whilestructured it .

Stuttgart: Stuttgart: da hr are there idea - 1036. Thi

le D le

alive in the the in alive of Aïda s

103

Aïda u Locle, Locle, u opera

4. was a was Aïda

the e, is

CEU eTD Collection page numbers. page 309 308 307 306 305 1870 spring and 1869 of autumn Aïda Bey no is it because and occupations hymn the refuted He ofthe numbercomposer one Europe celebrations Canal Suez the embodied inthe work. intention political a thus and opera ‚national‛ a create c I what is This idea. common a to form give to European and Egyptian both intention, and work collaborative a of result a as opera this regard to justified it.‛ touched has else nobody archaeologist, famous the Bey, Mariette Locle’s Du it. did who asks composer the and well‛ very theatre the knows who one and craft, this to accustomed French Racine dramas(Metastasio, and o and Italian from insertions small with Locle Du by enriched was scenario and dramaturgy lines. first the wrote which hands his was it and idea Khedive’s

Ibid. 223. Weaver, 1036. Osborne, Aouni, Ibid., 222. The original letter French letter in The original 222. Ibid., s orsodne ih ed i iprat eas h ognzd h frt tgn of staging first the organized he because important is Verdi with correspondence ’s t s eti ta D Lce rm rne otnosy obre Vri uig the during Verdi bombarded continuously France from Locle Du that certain is It . in Khedive the by asked already was Verdi hand, expert very a shows ‚it that Locle Du to writes Verdi plot, the reading After

34 - 35. ‚He [Mariette] received from the Khedive the outline of a plot‛. ofa the outline Khedive the from received [Mariette] ‚He 35.

nwr ‚h Eyta libretto Egyptian ‚the answer:

wri

ig o rnh Bey Draneht to ting (chapter

with new and new plots that the composer refused. composer the that plots new and new with m cso t cmoe cainl pieces.‛ occasional compose to custom my t

– published in in published 3)

although already struggling with the fameWagner.although alreadythe of with struggling . 308 thers).

It is worth to note that Verdi in those years was years those in Verdi that note to worth is It 85

306 Egypte et Verdi EgypteVerdi et the summer of summer the

‚oh eas m nmru present numerous my because ‚both , s h wr o te V the of work the is

f n meil imagination imperial an of –

MiÒrwa 1869 to compose a hymn for hymn acompose to 1869 305 all the all

And finally, that the that finally, And

- Verdi. rjc of project 307

Cairo: 1951. No No 1951. Cairo:

I iceroy and of of and iceroy i certainly is t 309

Aïda Draneht

Being final , to ,

CEU eTD Collection 314 313 312 1876),” 311 310 drawing was depression complete a in was Mariette Paris, In 1871. which May, in bloodily Commune oppressed Paris the opposition: an arose quickly Versailles in government ne the Against armistice. announced and city the up gave French the when 1871 January to 1870 September from Paris besieged Prussians the continued: Paris. in republicans the by launched army his with captured was III, Napoleon emperor, French the Sedan, of battle the After 1870). July (17 Prussia on war declared France Paris, to arrived Mariette text as well. the on but themusic on only not hold strong a composerhad the how correspondenceshows Egypt. outside k can he and premiere), the direct to Egypt to go not will Verdi that means (this opera the conduct and prepare to Cairo to persons send will he libretto, the pay will he in met opera. the of design the up set to charged being with 1870 July in Paris to sent was who Mariette by Khedive, the of name the in and w answered who Verdi, to it sent immediately Locle Du and Locle Du to plot original the gave Mariette Paris. for Paris the of director the

Published Published J. Lambert John Bierman, Bierman, John JulianBudden, - G But there have been a serious obstacle: the Franco the obstacle: serious a been have there But

Prod‟homme The Musical Quarterly Musical The early June in Italy. in earlyJune , 244. , in numerous sources, here I quote from quote I here sources, numerous in 313

312

The premiere in Cairo was scheduled inJanuarThe inCairowas premiere scheduled Napoleon III and His Carnival Empire HisCarnival III and Napoleon Ver

Verdi immediately started working with the librettist Ghislonzini and their and Ghislonzini librettist the with working started immediately Verdi and Theodore Baker, Theodore and di

( Ne w ith the above quoted words. Finally, a contract was signed by Verdi Verdi by signed was contract a Finally, words. quoted above the ith

Opéra 311 York: Vintage Books, 1987), 105. 1987), Books, Vintage York:

17, no. 1 (1921): 73 1 no. (1921): 17,

Verdi got 150.000 francs for the work the for francs 150.000 got Verdi

- Comique

“Unpublished letters from Verdi from Verdi “Unpublishedletters 314

310

The Second French Empire was over yet the war the yet over was Empire French Second The Du Locle probably wanted a special Verdi special a wanted probably Locle Du - 103.

Prod‟ Draneht Bey and Verdi (possibly Mariette also) Mariette (possibly Verdi and Bey Draneht 86

94. (New York: St. Martin‟s Press,1988), 332 Martin‟sPress,1988), St. York: (New homme, 89. homme,

- Prussian war. In a few weeks after weeks few a In war. Prussian

y, 1871. to Camille Du Locle (1866 Locle Du Camille to – w, conservative French French conservative w,

plus he had conditions:had he plus

and a and coup d’etat coup eep the rights the eep - 376. - - opera

was was CEU eTD Collection 318 317 316 315 Verdi, For 1872. February 8 to premier Milan the 1871, December 24 to scheduled finally was premiere Cairo The chosen. be to had staff and orchestra of sets different Two Milano. European proposed the and premiere Cairo the of singers and actors the same time. the the about conscious was Khedive the that reign.‛ his of memories precious most the of one be later could His States, His c in had Highness place takes action whose work new a of score the write to Maestro, that also writes He one. Cairo the until premiere 2 December at letter, the to appeals and war the of because wait to has Verdi that Bey Draneht from answer an had he but Egypt to wrote Verdi Paris. in stocked was Mariette that readywith t the armistice. was Verdi of Wagner. Paris beloved his Monto‛ du Henry to went ‚they function, theatrical a to detail every in suitable not were plans his that of design and costumes the

Aouni,83. Lamber,252. Ibid., 225. Ibid., 224. Weaver, idea h srn ad h sme o 17 ws pn b Vri n Daet ih selecting with Draneht and Verdi by spent was 1871 of summer the and spring The 1871after leave inJanuary, Mariettecould Paris The only tobepostponed. had premier of an Egyptian national opera: he was the the was he opera: national Egyptian an of 316

317

It is not aIt isnot surprise that in –

onceived the thought of creating a creating of thought the onceived probably to Henry de Montant. In Italy, Verdi was sad about the news for news the about sad was Verdi Italy, In Montant. de Henry to probably –

he was anyway angry to the G the to angry anyway was he , 80 Daet re t bg ed fr atn wt te European the with waiting for Verdi beg to tries Draneht 1870, 2,

Aïda

and chose the materials for th for materials the chose and he opera in November 1870. However, he did not know he know However, didnot he opera inNovember1870. Aïda

topos

87 there is athere continuousbackground. war inthe is

- being of being ermans because of the growing influence growing the of because ermans é national work national Khedive minence grise minence Aïda sÁÐ ‚n eetn yu dear you, selecting ‚in IsmÁÝÐl

and indeed was the creator creator the was indeed and 318 e set. e

force majeure force

[my Italics A. M.] which M.] A. Italics [my It is clear from this letter this from clear is It and

315 premiere in La Scala, Scala, La in premiere

the public donator at donator public the

When it turned out turned it When . In the next the In .

of CEU eTD Collection premiere to distribute among the Arabic among to distribute premiere translations. ( Al Arabic: into Translation ofEgypt. Khedive [ ÝAbd 321 320 319 accepted soon class upper Egyptian ‚the while Opera of meaning the with familiar audience we As work iswor it translate the first cond beto invitation the acceptedBottesini Finally, forth. so and negotiations desires, personal of 1871. year, same the Bologna conMariani that anotherimpulse partly refused he Stolz with love in was he because but premiere Cairo the conduct of role the sing to elected was she and him to the casting also was ÒaÎÐfa al tawqÐÝ

In fact, there a there fact, In and Sadgrove,54 Budden, ū was libretto The critiques. and celebrities invited Khedive the premier, Cairo the For n, n, ) WÁdÐ al WÁdÐ ) journal WÁdÐ al Al Arabic: into Translation mentioned above the in happened play The Egypt of Khedive – Written byMr.andcomposed Ghislanzoni [ int divided is It songs. musical charming with mixed marvel of composed is [ representation the is, (that opera as known is play the of translation The have have

141. It reads: ‚The translation of the opera called Aïda. Written by Mr. Ghislanzoni and composed composed and Mr.Ghislanzoni by Written calledAïda. the translationopera of ‚The reads: It 141. Òawt - d into Arabic and (from Arabic and d into theArabic) awsatih 110.

Probably this shorter one is the earliest and probably this is the one which was published for the the for was published which one isthis the probably earliest isthe and one this shorter Probably seen previously seen

with uctor of -

th to translateth to page thetitle Arabiclibretto: ofthe NÐl. (First edition). In the press of the journal( the press of Inthe edition). (First NÐl. re two title pages published: the above translated one in Weaver, 228. Another one in in one Another 228. in Weaver, one translated above the two published: titlepages re

–

Budden, ibid. Budden, sÐn instead of ÒÁd!] by Verdi. Compiled acc Compiled Verdi. byÒÁd!] of instead sÐn

sÐn a

- Aïda instead of instead NÐl personal issue because Miss Sto issuepersonal because Miss , with the aim to show it in the Theatre and Opera of Cairo, Egypt Cairo, of Opera and Theatre the in it show to aim the with ,

321 in Cairo(and there he 1877). remained until , the Arabic journal journal Arabic the ,

lous scenes and strange [or: Western Western [or: strange and scenes lous

319

ÒÁ

The final casts of both premieres therefore were the results the were therefore premieres both of casts final The - called speaking notabilities. speaking d - ÝAbd !] by Verdi. Compiled f Compiled Verdi. by !] - ÝAbd Al ÝAbd ducted the first Wagner opera (Lohengrin) in Italy in Italy in (Lohengrin) Wagneropera first the ducted Aïda

- into Turkish. For the Egyptian perception Turkish.ofFor theEgyptian into the aÐ AÐ Al AbÐ FaqÐr . 88 - This is a theatrical piece from the kind which kind the from piece theatrical a is This FaqÐr

WÁdÐ a WÁdÐ Aïda tawqÐÝ al tawqÐÝ

AbÐ Al AbÐ

theatre in the season of the year 71/72. year the of season the in theatre taÒwÐr jurnÁl ording to the order of His Highness, the the of His Highness, the order to ording

lz, a beautiful Czech actress was close lz, aclose actresswas beautiful Czech in Milan. Draneth wanted Mariani to Mariani wanted Draneth Milan. in l - NÐl - SuÝÙd EfendÐ, the editor of the journal theeditor journal the of EfendÐ, SuÝÙd ) WÁdÐ al WÁdÐ ) - - ] of a famous historical event). It It event). historical famous a of ] awsatih o Su

made serious efforts to make its its make to efforts seriousmade scenes. seven and parts three o r

Ù Eed, h eio o the of editor the EfendÐ, ÝÙd the order of His Highness His of order the

- NÐl in Cairo, year 1288. year Cairo, NÐl in

–

- print

320 mustaghriba

- mistake probably mistake probably –

it must be must it ] dances dances ] ‛

My My ,

the .

CEU eTD Collection 325 324 323 322 cultural. the of cloth the in itself conceals political the finally and artists by taken is Ernestaccounts and theopera Reyer.society itself. gave Egypt,its They the premier: the for Cairo to came Europeans. the (Ara society high Egyptian the mixed: was audience the that means This as theceremonies printed hundred inArabicand four inTurkish. was hundred three time: that elite Egyptian the of composition the suggesting is booklets the of premier the was discourse growing this of part major new a songs‛). Western [or: strange and scenes marvellous of composed is (‚It before years two or one established already was above given t he idea of regularly attending the Opéra and the Comédie‛. the and Opéra the attending regularly of idea he

Ibid. 54 Sadgrove, Kusel 65. Ibid., The genesis and project and genesis The many lovely women,resplendent jewels. with in officers staff Khedival the and the in fro Consul and the All to box. moved royal large they as sparkling stones precious and diamonds their with through work, lattice thin with in inthe RoyalEgyptiancovered Haremwhich princesses thefronts were of were Boxes, the and present, was Khadivah the and there, were princes the all with Khedive [T]he eye an have We

bourgeoisie , 323 89.

A s - 55.

I argued earlier in chapter in earlier argued I The Khedive invited the most famous critics in Europe Europe in critics famous most the invited Khedive The

f the Suezf the Canal a acmaid y frain f n eteia evrnet One environment. aesthetical an of formation a by accompanied was - witness, Baron de Kusel’s account Kusel’s de Baron witness,

Aïda

already mentioned already -

–

mustaghriba embodies aesthetical politics, when a rul a when politics, aesthetical embodies - reported Generals and their wives were present, the ministers ministers the present, were wives their and Generals which one could see, hazily, the forms of the ladies, the of forms the hazily, see, could one which 3 and 3 their brilliant uniforms while in every box were were box every in while uniforms brilliant their 89 324

the European audience the

4, these are the years when the formation of formation the when years the are these 4,

dne mxd ih hrig mus charming with mixed dances ] 325

Italian Filippo Filippi and the French French the and Filippi Filippo Italian

of the premiere which was which premiere the of Aïda 322

. The definition of the opera the of definition The The numbe The :

–

bs and Turks) and Turks) and bs t wo accepted and accepted wo r of the printed the of r er’s intention intention er’s

Just as as Just –

ical just CEU eTD Collection 328 327 326 nationalartistic toolin struggleswhy they orhow and considered Egyptians 1877. until repertoire Christma atwas premier its that considering lot a is (which times of career the starts Milan, and audience. enthusiastic the by stage the to summoned Verdi. not Egypt, of a country their for stand can which something as intellectuals the by least, at or population creationa national of opera. country his and noted, already I as coun independent an with ruler modern a of image an Canal Suez the public symbol public

Ibid., 229. Ibid., Cf. Budden Aïda iip as ifre hs uoen uine ht h Keie o te plue in applause the got Khedive the that audience European his informed also Filippi que a is It Egypte et Verdi et Egypte

in Egypt. This is Thisis in Egypt. the object ofmylast sub , 111. ,

- . There is an unwritten history of the reception and usages and reception the of history unwritten an is There . ceremonies, the premiere of the of premiere the ceremonies, to i te pr Hue and House Opera the if stion with the help of the journalists. The idea was was idea The journalists. the of help the with 326 , the list of performances (no page number) and and number) page performances(no the list, of probably

At the Scala the At 328 Aïda

rm hs on owrs i i a ey neetn ise o the how issue interesting very a is it onwards, point this From wa ti oea en fr hm n hw hy sd t s an as it used they how and them for meant opera this what ,

he was one of the first modern rulers wh rulers modern first the of one was he

Aïda - premier Verdi is the one who before the end of the of end the before who one the is Verdi premier 5. . In Cairo, it was given in the season of 1871/72 of season the in given was it Cairo, In . 3.2

The Afterlife of 90

Aïda Aïda - chapter.

327

try. He knew t knew He try. did not makedid not ofit. any use was used by IsmÁÝÐl for a creation of creation a for IsmÁÝÐl by used was was later accepted by the Egyptian Egyptian the by accepted later was

From these two premiers, in Cairo in premiers, two these From Aïda

ÝAbdÙ n,141 s Eve, 1871), and it was on on was it and 1871), Eve, s –

as we have seen seen have we as - he power of the of power he 147. o advertised himself advertised o

(and non (and

- piece ispiece usages) sixteen media; –

the

CEU eTD Collection http://opera.stanford.edu/Verdi/Aida/history.html 332 mistakes.) and errors serious websitecontains this infoat (The given April 2007. 15 331 Saint of fertile brain thecamefrom the Opera at was which byCompany the 330 329 of symbol a became soon It Cairo. in shown was which composition musical same the 1876. in himself Italian Verdi originallywritten. whom and was it for ‚ as project, 1960’s the in House Opera the of topos a became it 1952, After period. this in Europeans the by such as handled and maintained Egypt the by maintained and not KulthÙm Umm actress) young (then singer famous Eg An piece. the staged often also they and Egyptian been have House Opera the of directors the 1930’s, the of end the nineteen it staged also Europeans Company. French a by 1903/04 season the in staged was It 1921).

Available from Egyptvoyager.com; from Available Egyptvoyager.com; “ ÝAbdÙ See the OperaGlass at Stanford University withperformance Universitya Stanford at theOperaGlass See

[...] [...] clear if after the reign of IsmÁÝÐl, the idea of the of idea the IsmÁÝÐl, of reign the after if clear AIDA comes back to Cairo, its first aud first its Cairo, to back comes AIDA n uoe atr h sces n ia 17, h pee a qiky hwd n other in showed quickly was piece the 1872, Milan in success the after Europe, In occupation(1882 British the during numbers, less in although played,was it Certainly,

indeed in Egy in indeed

here was also an unforgettable performance of Aida at the Great Pyramid in the spring of 1912, given 1912, of spring in the Pyramid the Great Aidaat of performance unforgettable wasan also here cities, then in Vienna (1874), Vienna in then cities, n, n, 150. Aïda - twenties twenties

was shown at the Giza pyramids as a ‚natural‛ background. It was advertised advertised was It background. ‚natural‛ a as pyramids Giza the at shown was 332 Aïda

Verdi slightly changed some of the parts in 1872, but overall it remained it overall but 1872, in parts the of some changed slightly Verdi pt also supported by researchers like researchers by supported also pt

was on the repertoire in the Italian the in repertoire the on was

for the first time first the for -

Saens, who regularly wintered at Cairo before the war.” Kitchener, 203. war.”Kitchener, the before Cairo at wintered whoregularly Saens, a ntoait bfr te eouin n 92 r t was it or 1952 in revolution the before nationalists ian http://www.egyptvoyager.com/aida_mainpage.htm

House that season, Alvarez taking the title the taking Alvarez season, that House .

Budapest (1875) and finally Verdi conducted it in Paris in it conducted Verdi finally and (1875) Budapest n 01 s tourist a as 2001 In , Internet, accessed 27 April 2007. 27 Internet,accessed ,

in front of t of front in yptian yptian 91 ience ‛ 331

We Egypt. never knowthatvisited Verdi -

Aïda

Aïda (this movie wa movie (this for the world to see what had inspired had what see to world the for - history of history he pyramids in 1912. in pyramids he

Ñ the with 1942 in made was movie as a national opera was taken over over taken was opera national a as - ā attraction and also as an artistic artistic an as also and attraction - liÎ influenced Opera House. House. Opera influenced

ÝAbd Aïda , avai , s restored in 1992). It is It 1992). in restored s ū - n who was the director the was who n

329 Ale. This original idea idea original Ale. This lable from lable

e nw ht the that know We , Internet, accessed accessed Internet, , 330 - born Arabs born

Also, in the in Also, S ince

– -

CEU eTD Collection 336 335 334 333 a is inappropriate European itself. situation or appropriate as viewed be can opera an that fact the that say could Europ views opinion his is this and Paris in educated was Fikri Amin that attention guests Egyptian the that thought Europeans that means event This of French his of and education minister former Pasha, Fikri Allah ÝAbd by (ICO). lead there, Orientalists sent of was delegation Congress Egyptian International Eight the at 1889, in Stockholm morethe world. than 120times inthegreat of operahouses opera popular most the of one still is it Ver theatreof made Italian an 1953 In Mexico. in one another 1917 in soon then USA, the in 1885. in staged was it Turkey In 1886. in House Opera Metropolitan the at German) (in played fully first was it later Music), of (Academy York New in 1873 in was premiere the USA, the In spectacle. ancien was which something

- Based on the data in Operabase, available from from available in Operabase, the on data Based Ibid. Ibid. Reid, congress cultural event which ‚Amin Fikri thought a particularly appropriate choice‛. appropriate particularly a thought Fikri ‚Amin which event cultural congress An early example how the E the how example early An

ean

ih oha oe. hr i as a aos Zeffirelli famous a also is There Loren. Sophia with f h ohr ebr i te mission the in members other the of

250.

influence and watched it with European eyes European with it watched and influence

di’s home town, Bussetto in 2001 andre was2001 in Bussetto town, home di’s 333

and the Egyptian guests found it also appropriate. But let me call the call me let But appropriate. also it found guests Egyptian the and

The first Western first The

- educat

Eyt n uoen mgnto ad a togt s real a as thought was and imagination European in Egypt t ed son, Amin Fikri was their translator. their was Fikri Amin son, ed gyptian and the European images of images European the and gyptian - Aïda pieces www.operabase.com . This means that Fikri probably was under a a under was probably Fikri that means This . 92

movie as a silent movie was released in 1911 in released was movie silent a as movie

Aïda –

it was given in the season of 2006/2007 of season the in given was it

is appropriate for showing respect for respect showing for appropriate is . As another counterargument, one one counterargument, another As . - 334 staged in La Scala, 2006. Scala,La in staged , Internet, accessed 15 April 2007. 15 accessed Internet, ,

- version staged in the small small the in staged version Aïda –

we do not know not do we Aïda

Aïda met happened at happened met

was the out the was - movie

335 Today,

was was the An 336 -

CEU eTD Collection 338 443 Geburtstag 1901,” Jahre 337 and House Opera Cairo the behind man The built. be could ideas Western of reception of fina and art of piece national a publicity, a audience, an which around core a as r proper a as government nationalist 1950’s, the after when, finally, and which in process of image Egyptian aesthetical Egyptian themselves intellectuals the for glory and hope certain a embodies part a became piece the visions of the present] those [Aï of basis the On Aïda envisions elegy an in who ShawqÐ AÎmad by written is obituary the how understand memoir author’s the In freedom. for desire MuqtaÔaf journal Beirut the in published was one, anonymous first, The 1901. in death Verdi’s efers process toaless moreappropriation completed or of

Quoted in Quoted Ibid., 138. Ibid., – 4.) My aim in this chapter was to show how the creation of the Cairo Opera House served House Opera Cairo the of creation the how show to was chapter this in aim My an and Western a between distinction a such easily so made be not may there However, ‚ : Egypt by written texts two in mirrored is approach same The

[Aï

, ed. Ulrich Konrad withand Heidrich Jürgen UlrichKonrad ed. , view of view (Selection) and praises Verdi as a political artist who gave expression the Italians Italians the expression gave who artist political a as Verdi praises and (Selection)

da] represents Egypt, for this [our p [our this for Egypt, represents da] Musikalische Quellen Musikalische

politics of IsmÁÝÐl which ofIsmÁÝÐl politics Locke, 137. (With a reference to Peter Bachmann, “Zwei arabische Verdi “Zwei arabische Bachmann, Peter (With to reference a 137. the European influence is stronger than the native views and intentions intentions and views native the than stronger is influence European the Aïda da] we recall those [long those recall we da] Aïda polytheism .

This view and the and view This

Poal, h vr big f hs pr sgs n appropriation an signs opera this of being very the Probably, . of the discourse of Egyptian intellectuals’ nationalism. Also, it it Also, nationalism. intellectuals’ Egyptian of discourse the of /

that gooutfrom it –

Quellen zur Musikgeschichte: zur Quellen

‚ atvtd te nin Eytas] minds Egyptians’] ancient [the captivated

national value and symbol of Egypt, this emergence onlyemergence this Egypt, of symbol and value national politics politics Aïda

emerges in an Egyptian an in emerges conditions of this perception were perception this of conditions in fact is thecreatorin factis of - 93 e ago] nights ago] s

.‛ resent] era, resent] Hans Joachim Marx, [Göttingen, 2002], 439 2002], [Göttingen, Marx, Joachim Hans Aïda 338

Here, one can cleacanHere, one

wa Festschrif / te ic wih epd i to him helped which piece the s And seek [in the Egyptian reality Egyptian the [in seek And / and of digestion Westernforms. As it was in the ages gone by. gone ages the in was it As t für Martin Staehelin zum 65. 65. zum Staehelin Martin t für the future glory of Egypt of glory future the - lead Opera House under a a under House Opera lead Aïda rly observe early rly how ians as obituaries of of obituaries as ians . – -

Würdigungen aus dem dem aus Würdigungen

hs s peculiar a is this ‛.

created by the by created 337 lly a history history a lly

h other The – 47. 47. Al in –

- /

CEU eTD Collection numerous Egyptian nationalist componentsdiscourse. of works and art of dealing with institutions in turned was aesthetics political His sovereignty. independent an Aïda

is Khedive IsmÁÝÐl and his imperial imagination which was only left from a dream of of dream a from left only was which imagination imperial his and IsmÁÝÐl Khedive is of art. Aesthetical politics was shown as one of the asof one shown was Aesthetical art. politics of 94

o eteia pltc in politics aesthetical to CEU eTD Collection gpinvcry o etr har n pr ih a with opera and theatre Western to viceroys Egyptian was Egypt fromwasas Operaandintroduced Studies defined also was which aesthetics political methods and results previous the of unification the how showed and claim Said’s on introduced Egypt I century nineteenth of history cultural the Second, concerning methods culture. Mediterranean century nineteenth of concept of concept a for argued and event foundation network lead occupation. tomilitary which ultimately if Said of argument re to intended was statement This empire. modern a as Egypt independent an of dream his of means a as IsmÁÝÐl Khedive by created set imperial an and aesthetics Canal Suez the of opening the of context general the in House Opera cultural initiated colonialism byEdwardSaid. and Studies Opera between principle of creation the in andHouse politics aesthetical into transformed After setting up the theoretical f theoretical the up setting After the of understanding new a for framework theoretical a up set to intended I 1 chapter In Introductio the In study this In done done , n hpe 2 chapter in

h pltcl eteis f Kh of aesthetics political the the Cairo Opera House and House Opera Cairo the Aïda I nrdcd y hss claiming thesis my introduced I n a . The attempt involved first the problems of periodizatio of problems the first involved attempt The . hr nntet cnuy n gp ad o te plcto o a of application the for and Egypt in century nineteenth short Aïda I ivsiae te rel the investigated It . Aïda bridging a as used aestheticswas political conceptof The .

(Post)Colonial studies thus reframing the discourse on discourse the reframing thus studies (Post)Colonial ramework, a comparative study between study comparative a ramework, that

itself became a became itself CONCLUSION

embodied a . T . helping concepthelping political aesthetics. in 95

Aïda concept dv ImÝl a dsrbd hc was which described was IsmÁÝÐl edive was accomplished was n h fudto o te ar Opera Cairo the of foundation the in

topos were colo were ation of the Ottoman Sultans and and Sultans Ottoman the of ation n out n

of ht h fudto o te Cairo the of foundation the that

of postcolonial theories).postcolonial of

‚the ok to look nial artefacts thus part of a of part thus artefacts nial operatic (I ana (I the practice of practice the was a part of political of part a was under the umbrella of of umbrella the under

state‛ was taken was state‛ lysed the debate the lysed -

e Istanbul and Istanbul aie the xamine

n where I where n previous previous

public Third, Third, CEU eTD Collection run that arguing c th with along shown was Egyptians among opera the of acceptance and audience an create to Khedive the of Ope Cairo The Aïda opera, national a of idea the in and House Opera Cairo the of foundation the in embodied that only anof image character this exhibition the describe to applied was set imperial of concept The background. historical a with 4 chapter was events of chain This Canal. Suez the of ceremonies inauguration the of institutions new of culture. establishment the with along aesthetics political his of part a as guideline a as British independence for negations and intention his First, aesthetics. early education, constrained and to thecourts elites. was it 1860s the before but performance, civic and audience growing a with along usage Wester of usage private the that was conclusion polit early and representation hapter concludes with a relation between relation a with concludes hapter . The forgotten history of its inception and its architect, Pietro Avoscani Pietro architect,its and inception its of history forgotten The . aesthet the 5 chapter In The I 3 chapter In ,

and French empires were depicted using his change of title (from title of change his using depicted were empires French and embodiment the the - . Second, his architectural and visual transformation of Cairo was introduced introduced was Cairo of transformation visual and architectural his Second, . to the European perceptions of the event. The conclusion of this chapter was chapter this of conclusion The event. the of perceptions European the to character of the visu the of character ra House was House ra oiia ashtc and aesthetics political life and rule were described as a preparatory phase for his political political his for phase preparatory a as described were rule and life

sketched e creation of creation e independence par excellence par

understood as an artistic part of the imperial set. The intention intention The set. imperial the of part artistic an as understood cl oiis f hdv ImÝl a itoue wih was which introduced was IsmÁÝÐl Khedive of politics ical the roots of the political aesthetics of Khedive IsmÁÝÐl. His His IsmÁÝÐl. Khedive of aesthetics political the of roots the cl eteis f h (toa and (Ottoman the of aesthetics ical Aïda

al image of the blessing ceremony blessing the of image al was setupusingwas credit. European and strategies

of Ism of

as connected to an idea of the Egyptian empire. This empire. Egyptian the of idea an to connected as the Aïda

96 ÁÝÐ aesthetical politics of IsmÁÝÐl were the forces forces the were IsmÁÝÐl of politics aesthetical

l‟s polit l‟s , the Opera House and Egyptian nationalism Egyptian and House Opera the , n arts was gradually transformed to a public public a to transformed gradually was arts n ical aesthetics is the imperial set of set imperial the is aesthetics ical with

Sult

gpin sae The state. Egyptian) and and a n ÝAbd al ÝAbd n it wÁlÐ reconstructed ,

also connected also were

to khedive) to - ÝAzÐz

narrated

the in .

CEU eTD Collection changes could be visualized and visualized be could changes elite. cultural and political the for model a constituted behaviour Khedive’s The published. were explanations and advertisements translations, e sides. artistic House istheonlyoperain the Arabic house practice) social bourgeois a as then Khedive, the of model the following (first, House Opera the visited indeed elite Egyptian location strange elite the of place the everywhere is opera The never. even, or regularly houses opera their visit not do population the of masses huge country aesthetics to aim an with also House, Opera Cairo the of foundation the on here studied was itself represent can force opera with relation its and pattern this of character exhibition The Europe. Central to even and Ottomans, the Italy, France, imperial The culture. and will represent imperial this Yet, set. imperial nationalism before even ideas, nationalist of manifestation visual a created which veryone is being seen. seen. being is veryone An opera house can fulfil various functions. It can have political, social, economic and economic social, political, have can It functions. various fulfil can house opera An natur The Aïda

. also

ned evd h iae f n meil da hc ws ecie hr a an as here described was which idea imperial an of image the served indeed .

M e of the opera does not let it to be very popular. I believe that in any given any in that believe I popular. very be to it let not does opera the of e n mg o a eea lnsae f the of landscape general a of image an s ipraty i i a lc fr aiu kns f representations of kinds various for place a is it importantly, ost a : unite

ainl nttto ad csooia, universalistic cosmopolitan, a and institution national set and political aesthetics are aesthetics political and set Ps)ooil and (Post)Colonial T he Cairo measured is measured

house –

and here it must be mentioned that the that mentioned be must it here and uine a cetd through created was audience s as public places where the state as an aesthetic an as state the where places public as s to ws h mnfsain f Ism of manifestation the was ation - pr Suis ne te mrla f political of umbrella the under Studies Opera speaking world.speaking 97 the Cairo Opera House Opera Cairo the

not only characteristic to Egypt, but to but Egypt, to characteristic only not , a marginal but but marginal a ,

nineteenth century Mediterranean Mediterranean century nineteenth n o t of One

e place he which the

motn pae A place. important n by and

peak offered a offered s

ÁÝÐ w

Cairo Opera Cairo ee l the all here of

l‟s locus h press: the

Egyptian Egyptian political

– proper proper .

there The

CEU eTD Collection Mediterranean of palaces the within appropriated and distorted created, were Egypt of images The context. Ottoman the to outlook continuous a with analysed be should rulers Egyptian the by art of ceremonies symbols, of usage The aspects. three these of point meeting a as seen be can years first its in House Opera Cairo The organised. were changes social and cultural be must century.Westernisation nineteenth the in period, short a in culture Mediterranean conceptof previous creating publicspaces for new being repres and practices social new place ideas for For the further analysi further the For

paralleled with Ottomanization and Arabization as three principles along which the which along principles three as Arabization and Ottomanization with paralleled oil rcse nvrhls cniud i i rqie t ts ad ul a firm a built and test to required is it continued) nevertheless processes social political aesthetics. s of this peculiar epoch before the British occupation (when the (when occupation British the before epoch peculiar this of s

. Nationalism in this context means nothing else then elsenothing then context this means in . Nationalism ented. 98

and works and CEU eTD Collection ÝAÒfÙr Arabic: in Journals The Encyclopaedia Columbia EI e Encyclopaedia The TurkishCulture Ministry of OperaGlass. Operabase. Moussinga,Paul Fondation Napoleon. Egyptvoyager. Ersoy House. Opera Cairo Internet sources: BB/4/1048: D ocuments: ²: En Tomiche) Atiya) S. (A. ( III‛ ‚Selim And), http://newspot.byegm.gov.tr/arsiv/2000/May/N22.htm http://www.egyptguide.net/opera/ Marine, Chateau Vincennes, Paris. de 1997. year] third Egyptian schools.The 6202CCB0C312D1DD2E9EA986 http://goturkey.kulturturizm.gov.tr/BelgeGoster.aspx?17A16AE30572D313679A6640 from available maixcent/html/these_front.html thesis, 1882. à 1869 de , ,

cyclopaedia of Islam, Second Edition Second Islam, of cyclopaedia J Ayla Á bir

www.operabase.com

ed , http://opera.stanford.edu Archives Nationales Nationales Archives “ . .

http://www.egyptvoyager.com/aida_mainpage.htm - . ntries: The Ottoman Ottoman The Maixcent.

adt al Rawdat “F ,

www.napoleon.org Á Virginia Aksan Virginia i Al ris

‟nvrié Charles L‟Université http://www.cai L’Egypte et la question d’Egypte à travers la presse britannique la questiontravers d’Egyptela à et L’Egypte - , aÁi al madÁris -

Sixth Editi Sixth Shiy , – accessed 28May2007.

utn ad h at f painting, of art the and Sultans Opera Turkey in – Á

q , , accessed May 28 , 2007. Services Historique de la Défanse, Departement de de Departement Défanse, la de Historique Services ” accessed 2007. 23May

), ), , accessed28May 2007 BIBLIOGRAPHY (1872 March , accessedMay 24 2007. ( , accessed 28May, 2007. . . Karam) G. A. - “khid on. S miÒrÐ rooperahouse.org/opera_home_english.aspx

http://www.univ 99 . S. v. “masra v. S. . - . v. ‚colonisation‛. Ð ya

De w” . -

Al [khedive . Gaulles Gaulles

– - al sanat 1873 February). 1873 “nah ,

Î‛ , accessed 14January. ] - -

(P. J. Vatikiotis), “ Vatikiotis), J. (P. lille3.fr/theses/moussinga

[theatre

Ã - Lille . thÁlitha thÁlitha a”

, accessed 28May, accessed 200 [

cultural III, ]

(J. M. Landau, Metın Landau, M. (J.

Cairo: the of gardens [The 2004. ”

available from from available awakening DÁr al DÁr Unp þ ib

Ô‛ ublished -

Kutub. [Copt

- ] pail

7. and (N. (N.

] -

CEU eTD Collection

Müge. Fatma Göçek, Michel. Foucault, Martin Evans, Selim. Deringil, H. Roderic Davison, Curl Cooper Coller, Zeynep. Çelik, Choueiri Braudel, Fernand. Bierman, Ruth. Bereson, Benjamin Al Jan. Assmann, Ande General literature: - Ý Azm , from

rson Revolutionary theMiddle of Socialists East Cambridge, Harvard Massachusetts: University Press, Nationalism and Social Change York: Books, Pantheon 1972. Palgr the Ottoman Empire, 1876 1973. taste . Angeles: Uni fairs. State 2002. James Stevens James

, Frederick., Ian, Hel Ian, , ,

, ,

John. John. Youssef M. Youssef

the George Vol1. Seminar, Rudé ai Jalal Sadik .

ave Macmillan, 2004. Macmillan, ave Walter

University Press, ofCalifornia c1992.

Benedict London, York: New Manchester

ed. en Davies, and Julie Kalman, Julie and Davies, en operatic The Napoleon IIINapoleon Empire and HisCarnival Displaying the Orient the Displaying Moses The Well The . .

Memory andtheMediterranean

versity Press, ofCalifornia 2005. Illuminations London Newand York: 1991 Verso, h Acelg o K of Archeology The Culture and Empire and Culture Colonialism in Question in Colonialism

. .

Reform in the Ottoman Empire 1856 Empire Ottoman the in Reform Egyptomania: the Egyptian revival, a recurring theme in the history ofhistory the in theme recurring a revival,Egyptian the Egyptomania: . Rise of the Bourgeoisie, Demise of Empire of Demise Bourgeoisie, the of Rise mgnd omnte: elcin o te rgn n Sra of Spread and Origin the on Reflections Communities: Imagined Moder

, “Orienta : Manchester University Press, c1994 University Press,: Manchester . New York. New and Oxford h Eyta. h Mmr o Egypt of Memory The Egyptian. the - Protected Domain Protected

state n Arab Historiography Historiography Arab n - im n Oinaim n Reverse. in Orientalism and lism . New York: 1969. Books, Schocken Routledge, 2003.

1909 : cu :

ltural policy and the opera house. opera the and policy ltural . London:I.. 1998. B. Tauris, rhtcueo Ilma nineteenth at Islam of architecture : – olde n te icus o Language on Discourse the and nowledge

The French Experience, 1830 Experience, French The

Melbourne: The George Rudé Society, 100 –

eds. Theory, Knowledge, History Theory,Knowledge, –

: Oxford University: Oxford 1996. Press,

Ideology and the legitimation of Power in Power of legitimation the and Ideology

8 (1980): 5

. New York: 2002. Books, Vintage French History and Civilization Civilization and History French

–

. Historical Discourse and the Nation the and Discourse Historical

. New Press,1988. York: Martin‟s St.

- 1876. 1997. - . 26.

New York: G York: New

– n etr Monotheism. Western in

”

Ottoman Westernization Ottoman

hmi: Jra of Jornal A Khamsin:

London: Routledge, London: - 1940 . Berkely and Los andBerkely . - century world's century . ordian Press, Press, ordian

New 2005 –

Papers . New New . York: .

CEU eTD Collection ÝArafah ÝAlÐ, ______Abu Ý alÝAbd and Egypt Cairo:History of Z White, and BadÐÝ MuÎammad SharÐf, Roger. Owen, S. Charles Maier, Loomba,Ania. R. Nikki Kiddie, Hourani and Barbara Harlow, Abd al Abd ubaida - Cambridge,London, and Harvard Massachusetts 2006. University England: Press, Methuen, 1987. Lughod Press, 1972. Univer sourcebook. Al Princeton 1971. University Press, Comparative Studies inSociety andHistory il Egypt of awakening the in ideology and al MaÔbaÝaan ÝA MuÎammad of rule the of end TawfÐq Îukm awÁÞil 1993 East theMiddle in andMovements Ideas Political State. Essays on Hopkins University Press, 1978 DÁr al al

- - - - - Hayden Kit - , KarÐm, Sami , waÔanÐ ÝarabÐ Malik

DÁra A . Á

lbert - b, 1983 sity Press IqrÁÞ, 1984.

ÝAbduh. ya al ya l , Anwar. , The Middle East in the World Economy 1800 Economy World the in East Middle The . . -

ya (1805 ya

. Colonialism/Postcolonialism A MiÒrÐya Al . Janet

TeNto tt nteMdl at,i ibid: in East‟, Middle the in State Nation „The - Cairo Cairo rpc o Dsore Esy i clua criticism. cultural in Essays Discourse. of Tropics NaÒr Arab thought in the liberal age, 1798 age, liberal the in thought Arab Îmad ÝIzzat.Îmad

Oxford: Blackwell Publishing, 1999. Blackwell Oxford: ayd J Sayyid - .

ÎadÐtha.

. mn Empires Among

, ,

1962

1945. i Carter Mia

- NaÎdat MiÒr: NaÎdat – “ - 1892) Q ae f w Cte: h Oiis f oen Cairo Modern of Origins The Cities: Two of Tale , - 10 1848 ml ad amÁl Áhira fÐ ÝaÒr IsmÁÝÐl ÝaÒr fÐ Áhira LubnÁnÐ .

[Historical studies in the in studies [Historical

1 er o Te iy Victorious. City The of Years 01

TaÞrÐkh at TaÞrÐkh . AÎmad ZakÐ ÝAbd al ÝAbd ZakÐ AÎmad

- [The awakening of Egypt: The genesis of the national idea national the of genesis The Egypt: of awakening [The 1882 ,

- ya, 1998. Ð “Al DÐn eds . .

Takawwun al Takawwun

4 vols. [The history of education in Egypt from th from Egypt in education of history [The vols. 4 lÐ until the beginning of the rule of TawfÐq.] of rule the of beginning the until lÐ - . –

taÝlÐm

meils ad Orientalism and Imperialism mrcn Ascendency American 101 . -

London and New Routledge, 1998. York: A .] . fÐ MiÒr min nihÁyat Îukm MuÎammad ÝAlÐ ilÁ ilÁ ÝAlÐMuÎammad Îukm nihÁyat min MiÒr fÐ fghÁnÐ”

[Cairo in the epoch of IsmÁÝÐl.] of epoch the in [Cairo [Cairo]: Al [Cairo]:

7, no 4 ( 7, no - KarÐm, ed. KarÐm, - Fikr wa Fikr

. modern - Berkeley: University of California California of University Berkeley: 1939 1965 - HayÞa al HayÞa - - 1914 . London, New York: New London, . l - ): 429

AydiyÙlÙjÐya fÐ nahÃat MiÒr nahÃat fÐ AydiyÙlÙjÐya Arabic DirÁsÁt tÁrÐkhÐ DirÁsÁt Islam, the People and the and People the Islam,

. London and New York: New and London . rneo, e Jersey: New Princeton, n Is Predecessors Its and - - 457.

MiÒ

atmr: h John The Baltimore: awakening .

Tauris: New York,New Tauris: – r

yah al yah documentary A ya fÐ ya Al - .] ÝÀ -

l BayrÙt: QÁhira: mma l mma Oxford

- nahÃa Cairo

” e - : .

CEU eTD Collection MubÁrak, ÝAlÐ BÁshÁ. MubÁrak,ÝAlÐ Mitchell Mer Marlowe, John. Leon Lane Laverne. Kuhnke, Al F. Robert Hunter, Heyworth Ghannam Khaled. Fahmy, Gilbert. Delanoue, A. Jack Crabbs, Beth. Baron, G Baer, Jean Arnaud, - JabartÐ uu M Paul. M. ruau, , TheLondon:East Hagueand 1798 al ,

1882).I Transformation London: Press, c1994. University Yale Chicago 1969 Press, Actes 1998. Sud, 1980. the for TawfÐq Paris: Didier, 1858. Revington University CaliforniaPress, 1990. of Modern Bureaucracy London:Frank Cass,1968 a GlobalCa Egypt.

Edward William. Edward di de Edwin - ÝI abriel , lmÐ

, Timothy , - ,

Dunne Farha

tr. SmuelMoreh, ÝAbd al ÝAbd

ya, 1997. ya, Cambridge: CambridgeUniversity Press, 1997. The women's awakening in Egypt: culture, society, and the press the and society, culture, Egypt: in awakening women's The - - . II. II. Luc. Luc. tde i te Socia the in Studies , 1882.

Spoiling Spoiling the Egyptians.

. . The Writing of History in Nineteenth in History of Writing The

LeL‟Institut Français Caire: d'Archéologie Orienta

l te Pasha’ the All , iro

Remaking the Modern the Remaking gp udr t Khedives its under Egypt . Egypt under the Khedives 1805 Khedives the under Egypt -

J ie a Risk at Lives Moralistes et politiques musulmans dans l'Egypte du XIXe siècle (1798 siècle XIXe du l'Egypte dans musulmans politiques et Moralistes Colonising Egypt RaÎmÁn Le Caire Caire Le ames 'gpe otmoan, 1840 contemporaine, L'Égypte .

Al Berkeley iy f ar. Al Cairo.] of city [Napoleon in Egypt: Al Egypt: in [Napoleon Cairo: The CairoPress, American 1984 University in

- An account of the manners and cus and manners the of account An KhiÔ

. .

. London: University. ofPittsburgh 1984. Press, n nrdcin o h hsoy f dcto i mdr Egypt modern in education of history the to introduction An .

Princeton: M.WienerPublications ÝAjÁÞib al ÝAjÁÞib aÔ at aÔ – -

LosAngeles

ie n lc due il mdre 1867 moderne ville d’une place en mise mn Mhe Ai hs ry n te aig f modern of making the and army his Ali, Mehmed men: s ( 1938 – - - TawfÐqÐ West Publications, Publications, West 1978.

ulc elh n ieenh etr Egypt Century Nineteenth in Health Public . Hsoy f oen Egypt Modern of History l

Cambridge - ) ÁthÁr fÐ ÁthÁr .

London:André 1974 Deutsch, - – Áia Al QÁhira:

ya al ya

Space, Relocation, and the Politics of Identity in Identity of Politics the and Relocation, Space, . 102

London - odn Smsn o, aso, ere and Searle Marston, Low, Sampson London: Jabarti’ - - l

JadÐda li JadÐda - tarÁjim wa tarÁjim

University - 1879 - : University of California Press, 2002. : University ofCaliforniaPress, - Méhémet de 1857: H s Chronicle of the French Oc French the of Chronicle s - Cen ayÞ - – Mi al a

tury Egypt tury From Hous From

Òr al Òr l Press, 1988. toms of the modern Egyptians modern the of toms - akhbÁr - MiÒrÐ ,

1993 - QÁhira. . Chicago le du Caire, 1982. le duCaire, a al ya . BayrÙt: DÁr al DÁr BayrÙt: . ] . . –

ehold Government to Government ehold

- A study in National in study A

l à ad Pacha Said à Ali

- [The new p new[The - Am al ÝAmma 1907. .

: University of of University : . New Haven; New .

Berkeley: . Sindbad Sindbad cupation, cupation, - - lans oflans Kutub KitÁb,

– -

. . .

CEU eTD Collection G Bey, Guindi Georges. Douin, Butler A IsmÁÝil KhediveOn Ism J. P. Vatikiotis, R. Ehud Toledano, ______aÔ Angelo. Sammarco, Malcolm. Donald Reid, Lisa. Pollard, ÑalÁÎ. MuntaÒir, l - - ÓahÔÁwÐ, RifÁÝat RÁfiÝ. RÁfiÝ. RifÁÝat ÓahÔÁwÐ, yÙÐ IlyÁs AyyÙbÐ, étrangèrs. 1801 Britannique occupation CambridgeUniversity Press, 1990. Egyptliberating (1805 ÝAbd al Institut Français 1945. Orientale au d‟Archéologie Caire, Nell‟Istituto per poligraficodello Stato real 1879.] I 1879. anniversary of Weidenfeld 1991 andNicholson, Library:Cambridge 22)Cambridge:University Press, 1990. n V.] works Collected literature. and DirÁsÁt wa II.] works Collcted education. and nationalism ÝArabÐya li Al BayrÙt: I.] works Collected urbanization. and culture [Civilization, ,

- A Nashar, 1981. – lfred

bi Al - - - uÁia mrr hmÐ Ýma Ýl wafÁt ÝalÁ ÝÁmman khamsÐn murÙr munÁsibat . . NÁÒir: a new studyofhistory anew NÁÒir: II

J. J. FÐ eorges et Tagher, Jacques. Tagher, et eorges - utrn te nation the Nurturing .

QÁhira: MadbÙlÐ,199 Maktaba Al The histo The - - Le FrançaisL'Institut Caire: d'Archeologie Court LifeCourt inEgypt [The history of Egypt of history [The l l - . ÁÝÐl: - - i Ýrb iÁ Ad al ÝAbd ilÁ ÝUrÁbÐ Min

l - itie u èn d Kéie sal I 1867 II. Ismail Khédive du Règne du Histoire DirÁsÁt wa Nashar, 1973. - ark MÒ f Ýh al Ýahd fÐ MiÒr TaÞrikh iÁa w siyÁsa dÐn wa dÐn

State and society in nineteenth century Egypt. century nineteenth in society and State his death.] his death.]

itie e 'gpe oen, eus oamd l jusqu`a Ali Mohammed depuis moderne, l'Egypte de Histoire ry of modern Egypt from Muhammad from Egypt modern of ry ar Uiest ad h mkn o mdr Egypt. modern of making the and University Cairo - l Al - - lugha a 1923). - - - l l - wa tamaddun - Al Nashar, 1973. aaÐa wa waÔanÐya

QÁ wa

- . Berkeley: Universityof Press, California 2005. 1882

: London: and Hall, Chapman 1887 hira

- . l h fml pltc o mdriig clnzn and colonizing modernizing, of politics family the

- in the time of Khedive IsmÁÝÐl P IsmÁÝÐl Khedive of time the in adab. Al adab.

- : MaÔbaÝa DÁral : MaÔbaÝa BayrÙt: Al BayrÙt: Ái: iÁa aÐa li jadÐda qirÁÞa NÁÒir: – . - Ismaïl d’après les documents officiels. documents les d’après Ismaïl ] MadÐnat NaÒr,] MadÐnat al hdv sÁÐ bsÁ i snt 83 l sanat ilÁ 1863 sanat min bÁshÁ IsmÁÝÐl khadÐv

103 'pe ls ouet oiiax gpin et Egyptiens originaux documents les D'apres -

l - - l 6 ÎiÃÁra -

. tarbÐ

- e digeografia società d‟Egitto, AÝmal al AÝmal -

ya. MuÞassasa al MuÞassasa BayrÙt: Al BayrÙt:

- Al - - Kutub al kÁmila V kÁmila

l Orientale, 1937. - - urn Al ÝumrÁn. Ýa al AÝmal - QÁhira: DÁr

ihi Ali to Ali Mubarak Ali to Ali - MuÞassasa al MuÞassasa - .

ÝArabÐ - - (Cambridge Middle East Middle (Cambridge [IsmÁÝÐl . tÁÞrÐkh. MiÒrÐ

- [On Religion, la Religion, [On 73. - Áia I kÁmila .

- Ýa al AÝmal ya li ya ya, 1945. asha from 1863 to 1863 from asha L’Apogée. al

Fo Ýrb to ÝUrÁbÐ [From - – ShurÙ - -

- MuÞassasa al MuÞassasa d ÝArabÐya li ÝArabÐya n h 50th the on

- 1934. I Cambridge: DirÁsÁt wa DirÁsÁt .

. London: .

Áia I. kÁmila Le Caire: Le

q, 2003 [Politics,

nguage Roma: Roma:

- . l

- - -

CEU eTD Collection Ayla. Ersoy, Pierre Cachia, Bu Behrens ______Barbour Mu Badawi, and Arabic, Egyptian On Ottoman t and art Gaston. Zananiri, of Occupation with an Connection in Ismail Khedive the Lettersfrom“Secret A. E. Stanton, Angelo. Sammarco, Mohammad. Sabry, Mohammad. Sabry, Carlile. McCoan, J. Sir Edward Malet, Leon,Edwin de. Blanchard. Jerrold, nduq, MahdÐ. 2007. http://newspot.byegm.gov.tr/arsiv/2000/May/N22.htm Picart, 1924. Ermyntrude Sanderson Malet by Lord London:and Co. Tinsley Samuel Badawi, Arab t Innovation, andTradition, Eclecticism Studies 8, no.1( Press, 1988. Lithographie MolcoC. and 1923. Comp., Nouvelle”, 269 East the F 1879) r a - ,

n Abous - Nevill ç 282.

a . Paris: Librairie Oriental. Paris: hought.] Al i

hammad s 8, no.4(1937): 991

23 “rnltos n aattos” I adaptations.” and “Translations . 1935 d Coast of Africa.” of Coast . i, oi ad tpe Vrot eds. Vernoit, Stephen and Doris eif,

. ' “ “

A “ Al - The Egypt Khedive’s The Ottoman Ottoman The Th

35. Cambridge: C The ArabicTheatreThe inEgypt r

c - ): 173 masraÎ h e ArabicTheatre inEgypt Egypt under I Egypt under Ismail Pacha Pacha Ismail under Egypt e hdv Imi e LEyt (1830 L’Egypte et Ismail Khédive Le . L’Empire Egyptien sous Ismail et L’Ingérence Anglo L’Ingérence et Ismail sous Egyptien L’Empire

a eèe e ’srt aia Eyte (1863 Egyptien Natinal l’Esprit de Genèse La é

L o gp 1879 Egypt Mustafa. Mustafa. e - l Majlis al Majlis

o r - g e 187. ̀ i g

e wa n

O e

- r d taÎawwulÁt al taÎawwulÁt i u e al Aai Drama. Arabic Early - - Journal of the Royal African Society African Royal the of Journal

n smail. ÀÝlÐ li 1012. Sultan K - t ambridge Universityambridge Press, 1992. a 83 eie ad ragd t h rqet f Lady of request the at arranged and edited 1883; h iste Paul Geuthner,1933. l e e . New York: HarperBrothers, York:and 1878. . New ́ d , 1937. ,

i -

18 v London:Chapman and Hall, 1889. l ad h at f painting.” of art the and s - e thaqÁfa, 1998. 79.

I . s . Leiden: 2006. Brill, . 104 m London: Murray, 1909. John

. -

a .” Ýaql al heatre the 19 in Part III.” Part – i

l Bulletin ofthe School OrientalStudies of Bulletin

d Some Chapters of Contemporary History Contemporary of Chapters Some n e

oen rbc Literarure Arabic Modern - ÝarabÐ

abig: abig University Cambridge Cambridge: sai At n h 1t Century: 19th the in Art Islamic 1863 Bulletin of the School of Oriental of ofthe School Bulletin

, Internet, accessed 17 May May 17 accessed Internet, , . [Theat

- à th 1894).

1875 century re and the changes of the changes andof re the

1882). .

lxnre „Typo Alexandrie: Le Caire 34, no. 136 (1935): 136 no. 34,

: -

Francaise (1863 Francaise

vial from Available

ai: Libraire Paris:

e. . M. M. ed. , : L ' Institut

- - . CEU eTD Collection travellersEuropean Egypt in aÔ al Muslim and Ulacacci, Nicola. Tagher,Avoscani,“Pietro artiste Jacques. Khedive.” the of time the at Egypt in Architects Italian penseiro… “Va Dalu. Jones, ÝAbd the Pietro CairoOn Opera and House Avosca El Arabischer Theaterbegriff Zum Nachahmung? oder “Schauspiel Reinhard. Schulze, Sadgrove, Najm, Mu Menemencioglu, M. Jacob Landau, Al - - - - ÓahÔÁwÐ, RifÁÝat RÁfiÝ. RÁfiÝ. RifÁÝat ÓahÔÁwÐ, Allah. FatÎ FransÐs MurrÁsh, Shawan KhatÐb, MuÎammad Kámil, ed. Kámil, MuÎammad KhatÐb, ū Ithaca 1996. Press, Arabic literature.] Middle EasternStudies) Pennsylvania 1958 Press, ManshÙrÁtath WizÁrat Al bÁriz. MuÞassasaal égyptienne (1990): 86 Environme Islamic the of Journal Design: Environmental Al ( Trad Musical New a of Integration (1994): Jahrhundert.” 19. im Reiseschriftsteller n, 1985 - - Ñ MuÞassasa al QÁhira: al DÁr

ā Îammad YÙsuf. Îammad YÙsuf. , P. C. P. li

[ Î. Salwa

Arabic travellers the 19 Europein in

KhamsÙn ÝÁmÁn min al min ÝÁmÁn KhamsÙn The Refinement of the Gold in a Comprehensive Depiction of Paris of Depiction Comprehensive a in Gold the of Refinement The - -

93. 84 no. 4. (1949): 306 no. 4.(1949): The Egyptian Theatre in the Nineteenth the in Theatre Egyptian The Nermin. “The Ottoman Theatre 1839 Theatre Ottoman “The Nermin. Pietro Avoscani Pietro - ‚ . ÝArabÐ . tde i te rb hae ad Cinema and Theater Arab the in Studies

etr Msc n Is rciinr i Eyt c. 1825 (ca. Egypt in Practitioners Its and Music Western - ÝAr - ShurÙq, 2000. ShurÙq, BayrÙt

ya li abÐy Al Ad - - ThaqÁfa, 1994.

- masraÎÐ - a li 10, no.1.(1983): 48 l ÐÁ an DÐwÁn h: DÁr Al

. - in the 19 in

DirÁsÁt wa - l – - - ilt ÁÐ, 1867. BÁrÐs, RiÎlat

DirÁsÁt wa

314. NaÛariyyÁt al NaÛariyyÁt cenni biografici ya fÐ

- m

- th ū - ThaqÁfa, c ThaqÁfa, - aÐ fÐ NafÐs sÐqÁ wa sÐqÁ

to i a hnig Environment.‛ Changing a in ition - décorateur et home d‟affaires.”décorateur et home century - l l -

105 - adab al adab Nashar, 2004. Nashar, 2004. - Welt des Islams des Welt l -

Nashar, 2002. Nashar, ni - - - maÒraÎ wn ÁÐ a tak aw BÁrÐs ÐwÁn l - : : - 58.

. 1967.

ÙbirÁ . - th ÝarabÐ al Leghorn, 1871.

century:

- 1923 [A . . [Theories of Theatre.] Dimashq: Theatre.] of [Theories .

[Fifty years of Music and Opera.] and Music yearsof [Fifty etr (1799 Century

journey .” - ÎadÐth.

Philadelphia . , New , ntal Design Research Centre Research Design ntal

Bulletin (British Society (British Bulletin

o Paris] to [The drama in modern dramainmodern [The Ser., Vol. 34, Issue 1 1 Issue 34, Vol. Ser., lÒ al hlÐÒ - Cahiers d’histoireCahiers 1882 Uiest o University : - bÐ fÐ ibrÐz

sa Music Asian ). - BayrÙt 1985): The The 1985):

Berkshire: ] BayrÙt: - talkhÐÒ Al :

for - f

CEU eTD Collection Gossett, Philip. “Verdi, Ghislanzoni and Aida: The Uses of Convention.” of Uses The Aida: and Ghislanzoni “Verdi, Philip. Gossett, L’ Della Busch edAuni, Walid, and Aïda Verdi:On Cox Marie. Jean Carré, LuigiBalboni, Antonio. Western Egypt: in dwellers Perriéres Kusel Kitchener Houghton Lord Flaubert,Gustave. Fahmy Pacha, Gallini. Charmes B George. William Armstrong, l É o t gypt , t

Son, Britain: 2003. Flammarion, M. Carr, 1874. Newcastle of Society Philosophical and Literary no. 2(19 Cambridge Opera Journal The Jour Caire: glisotto auspici delcomitato Alessandrino Tipo Stabilimento D‟Egitto: Alessandria Lane,John 1915. The Musical Times Society ofLondon è , ,

ea Fabrizio Seta, Baron de.Baron Hans e e , Alain , , ,

Frederick J. J. Frederick et Verdi , Carle de Carle

Gabriel

1883

L’ , ed nal of Modern History ( History nal ofModern 74): 291 Institut Francaisd'ArchéologieOrientale, . . . . .

Vintage Egypt: Cruising the Nile in the Golden Age of Travel of Age Golden the in Nile the Cruising Egypt: Vintage Aida Frederick An Englishman’s recollections of Egypt 1863 to 1887 to 1863 Egypt of recollections Englishman’s An Verdi’s Aida Verdi’s .

“

(MiÒr wa (MiÒr . pnn o te uz Canal Suez the of Opening Voyage en Égypt Egypt Lower in and Cairo at Months Five

Un Parisien auCaire Un Parisien oaer e érvis rnas en francais écrivains et Voyageurs

. –

- Souvenirs I

334.

O il azr: Exo azzuri: cieli “O 14, no.2(1869 Egypt. Gl’Italiani nella Civilt 64, no961 . -

FardÐ).

. ‚

vst to visit A Minneapolis: University Press ofMinnesota Cairo: Cairo Opera House, 1997. Sharouq Press, h Aeia Nvl iso i Egypt in Mission Naval American The

3, no.1(1991): 49

- ‚ I

Recollectio

. Paris: Grasset, 1992. . Paris: Grasset, I. [Cairo]: al DÁr ( 1923

Le Patrie”, „Le Caire: 1935. 1954 - 70): 88

. gp i 17: ecie i fu lcue t the to lectures four in described 1872: in Egypt

): 203 Cair ). 106

o: Librairie et Nouvelle,Ebner iim n Daai Dsore n Aida.” in Discourse Dramatic and ticism s f ie t Cairo at Life of ns à - .” .” -

- 105.

della Societ Penasson. V. Litografico Egiziana delEgiziana SecoloVol.I. XIX. 204. - rceig o te oa Geographical Royal the of Proceedings - ØbirÁ, 1951. 62. 62.

- upon

199 É

gypte - 2 à Tyne .

(1932) Dante Alighieri,Dante 1906. London: Richard Bentley and Bentley Richard London:

(1517 .

Newcastle .

. -

New York, London: York,New 89, 2. 1869), Critical Inquiry Critical , 1978 Opera publicata publicata Opera

- Cie. upon . Paris; Great Paris; .

– . ,

Vols., Le Le Vols.,

III. 1873. - Tyne: J. Tyne:

1, .‛ ‛

CEU eTD Collection Anour. Mohamed Moghira, Elizabeth Kashey, et Caire au séjournent qui Suez de Canal du d’Inauguration fétes aux invités des Itinéraire 1869 Shipping, World and Canal Suez “The E. Max Fletcher, Charles the SuezOn Canal: Uwe. Schweikert, Said, Edward W. Cambridge Opera Journal Robinson J. Prod‟homme, Aida of Plot “The Charles. Osborne, “ P. Raph Locke, Edga Istel, Jean Humbert, Auguste a Attribution Verdi: de l‟oeuvre dans l‟egyptomanie de propos “A Jean. Humbert, Quarterly Institut français d'archéologie orientale, 2002. vice In: des Mariette. l'époque Auguste par transmise l‟Égypte de l‟image (1976): 229 Aida.” l‟opera de anonyme scenario d‟un Mariette L‟Harmattan, 2002. 1988. Alfred by Drawings Caire: Mourès, 1869. Nile. du voyage le font Economic History LibrairieParis: 461 Locle (1866 1036. no. - Roux, Jules. Roux,

- 2 (2005): , 474.

ad to ikle. A eei Suy f h Ad Libretto.” Aida the of Study Genetic “A Kinkeldey. Otto and r

- Stuttgart: Bärenreiter Marcel. Les Expositions universelles de 1 de universelles Expositions Les Marcel. 3, no. 1 (1917): 34 3, no.1(1917): - ad hooe ae. Upbihd etr fo Vri o Camille to Verdi from letters “Unpublished Baker. Theodore and G Beyond the exotic: How „Eastern‟ is „Eastern‟How exotic: the Beyond - Culture and Imperialism.Culture - 256. Paul . 1876).

In “Aida.” 105 Empress Eug Empress

Hachette etHachette Cie, L’Isthme et le Canal de Suez Historiq Suez de Canal le et L’Isthme

. –

- , 18 139. os 1805 rois ” -

Henri Darjou and P. Moutand P. and Darjou Henri

The Musical Quarterly The

5, no.2( , no. 4(1958): 556 , no.

Caire, October 1869. Publie par Ordre de S. A. le Khédive. le A. S. de Ordre par Publie 1869. October Caire, Verdi Handbuch Verdi ’she e uz Psae ilnie (640 millénaire Passage Suez, de L’Isthme I Ad a Oinait Oper Orientalist an Aida “Is enie's State Visit to the Opening of the Suez Canal, 1869. Canal, Suez the of Opening the to Visit State enie's - - 1882 52 1993 - .” .” Metzler, 200 Metzler,

1901. .

The Musical Times Musical The ,

): 133 ed.

New Vintage York: Books, 1993. 107 Daniel - 573. - , 140.

ed. Anselm Gerhard and Uwe Schweikert. Uwe and Gerhard Anselm ed.

1. 17, no. 1(1921): 73 17, no.

Panzac Aida . New York:New 867 et 1878 et la création d‟ création la et 1878 et 867

110, no. 1520 (Oct. 1969): 1034 1969): (Oct. 1520 no. 110, ? eu d musicologie de Revue ue ”

t André et Cambridge Opera Journal Opera Cambridge –

État Actuel État a rne lÉyt: à l'Égypte: & France La - 1914.”

The Shepherd Gallery, Shepherd The -

103. Raymond

. h Junl of Journal The

Tome Premier, Premier, Tome - 2000) h Musical The .

e Caire: Le 2 n 2. no 62, .

P Aïda aris:

a?” 17, Du Le - :

CEU eTD Collection K M. Wendy Shaw, Malcom. Donald Reid, Gilles. Lambert, MarietteOn Egyptology: and ed. Kiss Mária Tolnayné, Vidal Alain and Alberto Siliotti, Angelo. Sammarco, Jo Pudney, rn Jsp, yl Adás, n Ktln crt t Ia Ferenczy] Ida to Schratt Katalin and Akadémiai Kiadó, 1992. Andrássy, Gyula Joseph, Franz Schratt és deSuezCanal Morra DiLavriano deRoberto 1935. a Praeger, 1969. iulzto o Hsoy n h Lt Otmn Empire Ottoman Late University CaliforniaPress, 2003. of the in History of Visualization Press, 2002. I. War World to Napoleon from Identity Lattés, 1997. p e r ç u n Sleigh. hn

d e

l Katalin levelei Ferenczy Idához. Ferenczy levelei Katalin

'histoire du Canal de Suez. de Canal du 'histoire

uut Mariette Auguste

L e . uz D Lses Canal Lesseps’ De Suez:

hs paas Acelg, uem, n Eyta National Egyptian and Museums, Archeology, pharaos? Whose

R ossos n Psesd Msus Acaooy ad the and Archaeology, Museums, Possessed: and Possessors Kedves Idám! Idám! Kedves e ́ g n

d ‘ba, e ai e d’Isma’ et Sa’id de ‘Abbas, de s

Naquet. –

’gpe nine sauvé ancienne L’Égypte –

Erzsébet királyné, Ferenc József, Andrássy József, Ferenc királyné, Erzsébet Journal de Voyage en Egypte Egypte en Voyage de Journal 108

[ P

r é ar: h Aeia Uiest o Cairo of University American The Cairo: c Nw ok Wsigo: rdrc A. Frederick Washington: York, New . [Dear Ida! [Dear i . Paris: Librairie. Paris: Gründ, 1997. s

d e

l 'histoire d‟ 'histoire – .

Letters of Queen Elizabeth, Queen of Letters ekl ad o Angeles: Los and Berkely ds sables. des e l 1848 il, É g y p t – e

. tom. 4.] Rom 4.] tom. . Inauguration du Inauguration - 1879 Paris:

. Budapest: Avec un

Gyula

J. - C. a: