نظام التصنيف الجديد للخط الطباعي العربي the New Arabic Type Classification System Mohamed Hazem M
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I Did Not Know the Levant in Its Heyday, I Arrived Too Late, All That
1 I did not know the Levant in its heyday, I arrived too late, all that was left of the spectacle was a tattered backcloth, all that remained of the banquet were a few crumbs. But I always hoped that one day the party might start up again, I did not want to believe that fate had seen me born into a house already condemned to demolition. My people have built many houses, from Anatolia to Mount Lebanon, to coastal cities and the valley of the Nile, only to abandon them, one after another. I feel a nostalgia for them, unsurprisingly, and also a little stoic resignation when confronted by the vanity of things. Never become attached to something you might miss when the day comes that you must leave! It was in Beirut that I was born, on February 25, 1949. The news was announced the following day, as was once cus- tomary, via a paragraph in the newspaper where my father worked: Mother and child are both doing well. The country and the region, on the other hand, were doing badly. Few realized it at the time, but the descent into hell had already begun. Egypt, the adoptive country of my mother’s family, was in turmoil. On February 12, two weeks before my birth, Hassan al-Banna, founder of the Muslim Brotherhood, had been assassinated. He had gone to meet with one of his political allies; as he left the building, a car drew up and a gunman fired. Although shot in the chest, he did not collapse and the wound did not seem serious. -
Developing an Arabic Typography Course for Visual Communication Design
Developing an Arabic Typography course for Visual Communication Design Students in the Middle East and North African Region A thesis submitted to the School of Visual Communication Design, College of Communication and Information of Kent State University in partial fulfillment of the requirements for the degree of Master of Fine Arts by Basma Almusallam May, 2014 Thesis written by Basma Almusallam B.F.A, Kuwait University, 2008 M.F.A, Kent State University, 2014 Approved by ___________________________ Jillian Coorey, M.F.A., Advisor ___________________________ AnnMarie LeBlanc, M.F.A., Director, School of Visual Communication Design ___________________________ Stanley T. Wearden, Ph.D., Dean, College of Communication and Information Table of Contents TABLE OF CONTENTS………………………………………………………………...... iii LIST OF FIGURES……………………………………………………………………….. v PREFACE………………………………………………………………………………..... vi CHAPTER I. INTRODUCTION…………………………………………………………. 1 The Current Issue………………………………………………….. 1 Core Objectives……………………………………………………. 3 II. THE HISTORY OF THE ARABIC WRITING SYSTEM, CALLIGRAPHY AND TYPOGRAPHY………………………………………....………….. 4 The Arabic Writing System……………………………………….. 4 Arabic Calligraphy………………………………………………… 5 The Undocumented Art of Arabic Calligraphy……………….…… 6 The Shift Towards Typography and the Digital Era………………. 7 The Pressing Issue of the Present………………………………….. 8 A NOTE ON THE PROCESS…………………………………………………………….. 10 Applying a Framework for Research Documentation…………….. 11 Mental Model……………………………………………………… 12 Proposed User Testing……………………………………………. -
Q: Write a Note on Life and Literary Works of Taha Hussain. Introduction
Q: Write a note on life and literary works of Taha Hussain. Introduction: Taha Hussein (1889- 1973)was one of the most influential Egyptian writers and intellectuals. He was a figurehead for the modernist movement in Egypt and was considered dean of contemporary Arabic literature and a pioneer of enlightenment. LIFE: Born in AI-Minya province, Upper Egypt, on November 14th, 1889 he became blind due to illness at a very early age of two years. He went to an Islamic kuttab (a traditional school where children learn to read, write, and recite the Quran), and then was sent to Al-Azhar University, where he was educated in religion and Arabic literature. He studied under Nalino and Javedi in criticism. He also learnt French language. In 1914 he got the degree of Ph.d by writing Zikraa Abi Al-Aalaa. He traveled to France on scholarship. He studied history and Greek literature and composed thesis on Ibne Khuldoon. He served as Arabic professor in jamia Al-ahlia. In 1950he became education minister. His Literary Works: Taha Hussein's works can be divided into three categories: 1) Scientific study of Arabic literature and Islamic history: In this book, he brought some .(ال جاه لي ال ش عر ف ي) In 1962, Taha wrote On Pre-islamic poetry different and opposite ideas and views against rigid and conservative ideas and became criticized by many literary persons namely Mustafa Sadiq Al-Rafie and Mamen Al-Aziz. After was banned by Egyption Parliament due .(ال جاه لي ال ش عر ف ي) some time On Pre-islamic poetry to its novel and odd ideas. -
Language Culture Type 2.Indd
Arabic script and typography is alphabetical; the direction of writing is from right to left; within a word, most letters form connected groups. AOne expects an alphabet to consist of a few dozen letters repre- senting one unique sound each. The Arabic alphabet evolved somewhat away from this ideal: although most letters correspond to a sound, a few letters are ambivalent between two or more sounds. Some letters don’t represent sound at all: they have only a grammatical function. For modern office use there are 28 basic letters, eight of them only differentiated from other letters by diacritics, and six optional letters for representing vowels. Older spellings made less use of diacritics for dif- ferentiating; on the other hand, to facilitate Qur’an recitation, additional vowel signs occur, along with elaborate cantillation marks. To acknowl- edge slight variations of the received text, some Qur’an editions have ad- ditional diacritics, discretely adding or eliminating consonant letters. As the Arabic script evolved into a connected script, it developed an elaborate system of assimilations and dissimilations between adjacent letters. Outside a small group of connoisseurs and calligraphers who study the principles established by the Ottoman letter artists, surpris- ingly little is understood of the efficiency and subtlety of this system,¹ and modern industrial type designs follow the approach found in el- ementary Western teaching materials.² There, beginners in Arabic script are given a maximally simplified scheme. While simplification is totally sound from a pedagogical perspective, it provides too narrow a basis for the development of professional typography. The Arabic script stems from the same source as the Latin, Greek, and Hebrew writing systems: Phoenician (figure 1).³ The underlying proto- alphabet had some two dozen characters; there were no vowels. -
I) If\L /-,7\ .L Ii Lo N\ C, ' II Ii Abstract Approved: 1'
AN ABSTRACT OF THE THESIS OF Asaad AI-Saleh for the Master of Arts Degree In English presented on _------'I'--'I--'J:..=u:o...1VL.c2=0"--'0"-=S'------ _ Title: Mustafa Sadiq al-Rafii: A Non-recognized Voice in the Chorus ofthe Arabic Literary Revival i) If\l /-,7\ .L Ii lo n\ C, ' II Ii Abstract Approved: 1'. C". C ,\,,: 41-------<..<.LI-hY,-""lA""""","""I,--ft-'t _ '" I) Abstract Mustafa Sadiq al-Rafii, a modem Egyptian writer with classical style, is not studied by scholars of Arabic literature as are his contemporary liberals, such as Taha Hussein. This thesis provides a historical background and a brief literary survey that helps contextualize al-Rafii, the period, and the area he came from. AI-Rafii played an important role in the two literary and intellectual schools during the Arabic literary revival, which extended from the French expedition (1798-1801) to around the middle of the twentieth century. These two schools, known as the Old and the New, vied to shape the literature and thought of Egypt and other Arab countries. The former, led by al-Rafii, promoted a return to classical Arabic styles and tried to strengthen the Islamic identity of Egypt. The latter called for cutting off Egypt from its Arabic history and rejected the dominance and continuity of classical Arabic language. AI-Rafii contributed to the Revival by supporting a line ofthought that has not been favored by pro-Westernization governments, which made his legacy almost forgotten. Deriving his literature from the canon of Arabic language, culture, and history, al-Rafii produced a literature based on a revived version of classical Arabic literature, an accomplishment which makes him unique among modem Arab writers. -
Designing Software to Meet the Needs of International Users
DESIGNING SOFTWARE TO MEET THE NEEDS OF INTERNATIONAL USERS A Project Report Presented to The Faculty of the Department of Anthropology San José State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by David Mohr December 2013 © 2013 David Mohr ALL RIGHTS RESERVED SAN JOSÉ STATE UNIVERSITY The Undersigned Graduate Committee Approves the Project Report Titled DESIGNING SOFTWARE TO MEET THE NEEDS OF INTERNATIONAL USERS by David Mohr APPROVED FOR THE DEPARTMENT OF ANTHROPOLOGY _____________________________________________________________________________ Dr. Chuck Darrah, Department of Anthropology Date _____________________________________________________________________________ Dr. Roberto Gonzalez, Department of Anthropology Date _____________________________________________________________________________ Professor Awad Awad, Middle Eastern Studies, Department of Humanities, Date Arabic Coordinator, Department of World Languages and Literatures Abstract Most software applications are designed and built in North America, catering to English- speaking, North American users. Ethnography is commonly used to ensure the product addresses the needs of domestic customers, but there is no analogous research with regard to foreign consumers. As a result, often times the features in these applications fail to sufficiently address the needs, expectations, and workflow of non-English-speaking users. Although software engineering manuals minutely detail the technical aspects of bringing an English application to -
•C ' CONFIDENTIAL EGYPT October 8, 1946 Section 1 ARCHIVE* J 4167/39/16 Copy No
THIS DOCUMENT IS THE PROPERTY OF HIS BRITANNIC MAJESTY'S GOYERNMENT •C ' CONFIDENTIAL EGYPT October 8, 1946 Section 1 ARCHIVE* J 4167/39/16 Copy No. LEADING PERSONALITIES IN EGYPT Mr. Bowker to Mr. Bevin. (Received 8th October) (No. 1051. Confidential) 53. Ibrahim Abdul Hadi Pasha. Sir, Cairo, 30th September, 1946 54. Maitre Abdel Hamid Abdel Hakk. With reference to Mr. Farquhar's despatch 55. Nabil Abbas Halim. No. 1205 of-29th August, 1945, I have the honour 56. Maitre Ahmed Hamza. to transmit a revised list of personalities in Egypt. 57. Abdel Malek Hamza Bey. I have, &c. 58. El Lewa Mohammed Saleh Harb Pasha. JAMES BOWKEE. 59. Mahmoud Hassan Pasha. 60. Mohammed Abdel Khalek Hassouna Pasha. 61. Dr. Hussein Heikal Pasha. Enclosure 62. Sadek Henein Pasha. INDEX 63. Mahmoud Tewfik el-Hifnawi Pasha. 64. Neguib el-Hilaly Pasha. I.—Egyptian Personalitits 65. Ahmed Hussein Effendi. 1. Fuad Abaza Pasha. 66. Dr. Tahra Hussein. 2. Ibrahim Dessuki Abaza Pasha. 67. Dr. Ali Ibrahim Pasha, C.B.E. 3. Maitre Mohammed Fikri Abaza. 68. Kamel Ibrahim Bey. 4. Mohammed Ahmed Abboud Pasha. 69. Mohammed Hilmy Issa Pasha. 5. Dr. Hafez Afifi Pasha. 70. Aziz Izzet Pasha, G.C.V.O. 6. Abdel Kawi Ahmed Pasha. 71. Ahmed Kamel Pasha. 7. Ibrahim Sid Ahmed Bey. 72. ,'Lewa Ahmed Kamel Pasha. 8. Murad Sid Ahmed Pasha. 73. Ibrahim Fahmy Kerim Pasha. 9. Ahmed All Pasha, K.C.V.O. 74. Mahmoud Bey Khalil. 10. Prince Mohammed All, G.C.B., G.C.M.G. 75. Ahmed Mohammed Khashaba Pasha. 11. Tarraf Ali Pasha. -
9781474434010 Pepe Bloggin
Blogging from Egypt Edinburgh Studies in Modern Arabic Literature Series Editor: Rasheed El-Enany Writing Beirut: Mappings of the City in the Modern Arabic Novel Samira Aghacy Autobiographical Identities in Contemporary Arab Literature Valerie Anishchenkova The Iraqi Novel: Key Writers, Key Texts Fabio Caiani and Catherine Cobham Sufism in the Contemporary Arabic Novel Ziad Elmarsafy Gender, Nation and the Arabic Novel: Egypt 1892–2008 Hoda Elsadda The Unmaking of the Arab Intellectual: Prophecy, Exile and the Nation Zeina G. Halabi Post-War Anglophone Lebanese Fiction: Home Matters in the Diaspora Syrine Hout Prophetic Translation: The Making of Modern Egyptian Literature Maya I. Kesrouany Nasser in the Egyptian Imaginary Omar Khalifah Conspiracy in Modern Egyptian Literature Benjamin Koerber War and Occupation in Iraqi Fiction Ikram Masmoudi Literary Autobiography and Arab National Struggles Tahia Abdel Nasser The ArabNahdah : The Making of the Intellectual and Humanist Movement Abdulrazzak Patel Blogging from Egypt: Digital Literature, 2005–2016 Teresa Pepe Sonallah Ibrahim: Rebel with a Pen Paul Starkey Minorities in the Contemporary Egyptian Novel Mary Youssef edinburghuniversitypress.com/series/smal Blogging from Egypt Digital Literature, 2005–2016 Teresa Pepe Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce -
Authentic Arabic: a Case Study 2. TECHNICAL and AESTHETIC CHALLENGES
Authentic Arabic: a case study 2. TECHNICAL AND AESTHETIC CHALLENGES Thomas Milo, DecoType, Amsterdam, the Netherlands Before the invention of photography, 19th century travelers often were accompanied by artists. Their meticulous drawings reveal an interesting blind spot in these observers’ minds. The famous David Roberts R.A. does not depict a single letter of Arabic1. Others seriously try to reproduce Arabic script with varying success: this drawing of the interior of the Hagia Sophia Church, alias Aya Sofya Mosque2, includes some of the large calligraphic tableaux with the names of the caliphs (visible are the names of: Ali, Umar, Husain, Hasan and Abu Bakr). The delicate beauty of the building is captured with an eye for subtle detail. None of that subtlety remains of the Arabic calligraphies. What does remain is the visual equivalent of Beethoven’s Für Elise as played by a cell-phone. This alarming lack of perception still pervades all attempts to deal with Arabic script. 1 See for instance David Roberts R.A., The Holy Land, 123 coloured facsimile lithographs & The Journal from his Visit to the Holy Land, Terra Sancta Arts Ltd, Israel, 1982 (first edition 1842) 2 Caspare Fossati, Die Hagia Sophia, nach dem tafelwerk von 1852, Harenberg Kommunikation , Dortmund 1980. For comparison similar, authentic tableaux are superimposed. They were taken from Nabil F. Safwat, The Art of the Pen, Calligraphy of the 14th to 20th centuries, Volume V of the Nasser D. Khalili Collection of Islamic Art, The Nour Foundation/Oxford University Press 1996. 20th International Unicode Conference Washington DC, January 2002 Authentic Arabic 2 – Technical and Æsthetic Challenges A more recent illustration is a drawing of the interior of the Süleymaniye Mosque in Istanbul3. -
Reclaiming Egyptian Identity in Naguib Mahfouz's Trilogy
Journal of the College of Arts. University of Basrah No. ( 53) 2010 Naguib Mahfouz's Task of Cultural Representation Assist. Prof Ghanim Jasim Samarrai University of Sharjah, UAE I. Introduction In the first half of the twentieth century, many Arab writers were engaged in a long and difficult task aimed at achieving cultural independence and intellectual decolonization after years of inertia caused, if not imposed on them, by foreign domination. These writers were well aware of the fact that literature, amongst other types of artistic production, was a powerful medium for human expression, especially for those who look for better representation of their cultural identity. They observed, in particular, "the rise in the social power of the novel as an important form for expressing the collective imaginary" (Jacquemond, 2008: 221-2), and realized that we, the Arabs, are among those who have a very strong yearning for this kind of expression. Our cultural identity has for decades been under pressure and threat of fragmentation, ironically, "in an age of identity." (1) We have been worried about our identity and we need to affirm it; we need to show who we are. In Egypt, that task has been carried out by a group of writers, among whom Naguib Mahfouz stands out. This Egyptian Nobel Prize laureate was not merely a novelist, but over and above that, a man of vision committed to reclaiming the rich heritage of Egypt, of every inch of it. This commitment, I have to state, was not a political devotion or a cultural trait absorbed as the writer matured; it developed in him from the time he was seven years old, when he experienced an early meaning of nationalist feeling (Enany, 2007: 3). -
The American University in Cairo Government and Politics in Egypt
The American University in Cairo Government and Politics in Egypt Fall-2016 Instructor: Ashraf El Sherif Monday-Thursday 3:35-4:55 pm WALEED C148 Office hours: Monday-Thursday 12:30-2:00 pm Office: HUSS 2027 Email: [email protected] Course Objective This course offers a historical and thematic analysis of the nature and dynamics of modern Egyptian politics including the state institutions, civil-military relations, parliaments and political parties, ideology and political economy. The objective of this course is to study the evolution of Egypt's political institutions, processes and dynamics highlighting its elements of continuity and change. The first part of the course will be chronological, intended to give students a basic knowledge of the history and evolution of Egyptian political institutions. The course will start by searching state origins in Mohammed Ali's time and the regime's origins in Nasser's time. We will then proceed to Sadat's period that constituted the backdrop of the Mubarak's periods that will form the second part of the course.. The second part will be thematic, in which we will deepen our knowledge of some key political issues facing Egypt today that have led Egypt to the 2011 revolution and shape its post 2011 political arena till the reconsolidation of authoritarianism in the post- 2013 era. Such themes will include but are not limited to the following:, the rise of the second republic, civil participation, social movements, civil society, ideological actors, the role of the military, parliamentary elections, presidential elections and the evolving legal structure. The last part of the course will highlight the 2011 revolution and its political impacts including the counter-revolution and re- consolidation of state authoritarianism under General Abdel-Fattah al-Sisi and the military rule. -
Classifying Arabic Fonts Based on Design Characteristics: PANOSE-A
Classifying Arabic Fonts Based on Design Characteristics: PANOSE-A Jehan Janbi A Thesis In the Department of Computer Science & Software Engineering Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Computer Science) at Concordia University Montreal, Quebec, Canada July 2016 © Jehan Janbi, 2016 Abstract In desktop publishing, fonts are essential components in each document design. With the development of font design software and tools, there are thousands of digital fonts. Increasing the number of available fonts makes selecting an appropriate font, which best serves the objective of a design, not an intuitive issue. Designers can search for a font like any other file types by using general information such as name and file format. But for document design purposes, the design features or visual characteristics of fonts are more meaningful for designers than font file information. Therefore, representing fonts’ design features by searchable and comparable data would facilitate searching and selecting a desirable font. One solution is to represent a font’s design features by a code composed of several digits. This solution has been implemented as a computerized system called PANOSE-1 for Latin script fonts. PANOSE-1 is a system for classifying and matching typefaces based on design features. It is composed of 10 digits, where each digit represents a specific design feature. It is used within several font management tools as an option for ordering and searching fonts based on their design features. It is also used in font replacement processes when an application or an operating system detects a missing font in an immigrant document or website.