Relevant bibliographies by topics / Songs of Egypt

Academic literature on the topic 'Songs of Egypt'

Author: Grafiati
Published: 27 July 2024
Last updated: 28 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Songs of Egypt.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Songs of Egypt"

1

Wolny-Abouelwafa, Edyta. "Socio-Political Events and Music: Egyptian Songs Supporting ʿAbd Fattāḥ al-Sīsī." Journalism and Media 4, no. 4 (December 6, 2023): 1182–97. http://dx.doi.org/10.3390/journalmedia4040075.

Full text
Abstract:
This article presents the results of research conducted on Egyptian popular songs, categorized as patriotic and showing their writers’ support for ʿAbd Fattāḥ al-Sīsī. He was first a general, Minister of Defense and commander of the Supreme Council of the Armed Forces. When protests occurred in Egypt in 2013, he remained the main actor on the political stage. Then, he became marshal, resigned from his army positions, became the candidate for presidency and finally became president of the Republic. The author of this article briefly describes what happened in Egypt in this short time (2011–2014), and answers the main research questions which concern the messages of the songs, discussing whether the messages changed from the beginning of these events to the moment when he became president of Egypt. She points out how the songs follow the political events, and presents the results of her own participant observations, including photos from when she was living in Egypt from the middle of June 2013 to October 2014. She introduces this phenomenon, how the country changed in a few months and how the culture (music/popular culture) was an important part of the country’s changes that influenced these song’s messages.
APA, Harvard, Vancouver, ISO, and other styles
2

Kwon, JiSeong James, and Matthias Brütsch. "Das Hohelied als jüdische Version der Liebesdichtung innerhalb eines gemeinsamen intellektuellen Hintergrundes in der hellenistischen Zeit." Journal of Ancient Judaism 12, no. 2 (June 2, 2021): 149–74. http://dx.doi.org/10.30965/21967954-bja10010.

Full text
Abstract:
Abstract This essay is intended to demonstrate that the Song of Songs (Canticles) is a product of a Hellenistic and Jewish intellectual background. It takes up motifs from Egypt, Mesopotamia, and is based on the Hellenistic poetry from Greece–Sicily–Alexandria. Its basic literary forms (Paraklausithyron, runaway love, descriptive songs of man and woman) were derived from the Hellenism of Alexandria, e.g. Theocritus and Moschus or its predecessors as an amalgam of these cultures. This conclusion is further supported by the manuscript evidence for the Songs of Songs found among the Dead Sea Scrolls.
APA, Harvard, Vancouver, ISO, and other styles
3

Wolny-Abouelwafa, Edyta. "The Heart of Arabs. Emirati Songs for Egypt." Nowa Polityka Wschodnia 37, no. 2 (2023): 278–94. http://dx.doi.org/10.15804/npw20233713.

Full text
Abstract:
Creating patriotic songs in the Arab countries is very common. They can represent different types of music, can be connected to special occasions or be created without them, just from the ‘need a heart’. The author of the article has been doing research on contemporary Egyptian patriotic songs for years. On the basis of her results, she has decided to divide all the analysed songs into the those created by Egyptians for Egyptians and in addition created by other artists for Egypt and its citizens. The job of the latter she calls ‘patriotic songs’ as well and divided them into two main groups which are connected with the way they identify themselves. The article presents the results of the analysis of selected songs released by United Arab Emirates’ artists for Egypt. The article’s author’s goal was to check the songs’ topics and which one of the previously mentioned groups they represent. She also mentions the figure of Hussain Al Jassmi, the most popular, in recent years, Emirati singer creating patriotic songs for Egypt. She analysed the songs on the basis of the songs’ topics and combined it with the contemporary relations between United Arab Emirates and Egypt while mentioning their origins historically. All of this allowed her to reach the conclusions presented in the article.
APA, Harvard, Vancouver, ISO, and other styles
4

Ilmi, Muhammad Bakhrul. "Egyptian Revolution Visualization in Arabic Song Syuhada 25 Yanayer and Sout El Horreya." Insyirah: Jurnal Ilmu Bahasa Arab dan Studi Islam 6, no. 1 (June 9, 2023): 52–63. http://dx.doi.org/10.26555/insyirah.v6i1.6735.

Full text
Abstract:
This study presents a description of the visual depiction of the revolutionary process, or Tsaurah which is shown in the song clips of Syuhada 25 Yanayer and Sout El Horreya. By using semiotic theory Roland Barthes is able to interpret the signs seen in the clips of the two songs. Details about the Tsaurah incident can be known and examined after watching and analyzing every piece of the video clips of the revolutionary songs. The description of the struggle of the Egyptian people can be seen from two different sides in these two research objects; he looks full of sadness when he sees the visual for the song Syuhada 25 Yanayer, and he looks full of happiness when he sees the clip for the song Sout El Horreya. The study used in this research is descriptive qualitative type. The collection of data in this paper was done by observing and noting. The results of the study show that the two song clips that are the object of study are able to visually depict the conditions during the Revolution in Egypt.
APA, Harvard, Vancouver, ISO, and other styles
5

Poppe, Donna. "Scribing Work Songs at an Archeological Dig in Egypt." General Music Today 24, no. 2 (October 5, 2010): 31–36. http://dx.doi.org/10.1177/1048371310385214.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Massad, Joseph. "Liberating Songs: Palestine Put to Music." Journal of Palestine Studies 32, no. 3 (2003): 21–38. http://dx.doi.org/10.1525/jps.2003.32.3.21.

Full text
Abstract:
This article surveys the history of songs about Palestine from 1948 to the present, examining how the changes in musical style and lyrics correspond to the changes in the exigencies of the Palestinian struggle itself. Tracing the primacy of revolutionary Egypt in the 1950s and 1960s, the central role of Fayruz and the Rahbani brothers in the wake of the 1967 war, and the emergence of Palestinian groups and singers as of the late 1960s, the article provides historical and political analyses of these songs as central features of how Arab popular culture has dealt, and continues to deal, with the Palestine tragedy.
APA, Harvard, Vancouver, ISO, and other styles
7

Krzeszewska, Karolina, and Katarzyna Gucio. "Selected Elements of Animated Nature Associated with the Birth of Jesus in the Bulgarian Oral Culture and Apocryphal Narratives." Studia Ceranea 4 (December 30, 2014): 65–83. http://dx.doi.org/10.18778/2084-140x.04.05.

Full text
Abstract:
The article attempts to extract textual and extratextual planes on which representatives of fauna made their mark in the folklore of the South Slavs, mainly Bulgarians; in their oral literature, rituals, and beliefs, juxtaposed with selected Apocrypha, primarily from the Protoevangelium of James, confronted with the Scripture. The analysed texts (legends, folk tales, ritual songs performed during Christmas) relate to the birth of Christ in Bethlehem and placing him in a manger – the events of Night of Bethlehem and the flight of the Holy Family to Egypt. The excerpted texts of fairy tales and legends marginalise the theme of the Divine Birth, focusing on the figure of the Mother of God and her actions: meeting with St. Tryphon, rejecting the child, receiving lessons on motherhood from the frog, escaping with the Child to Egypt. The birth of Jesus is used as an excuse to tell a story of an etiological character (theme cursing animal or plant), often based on ritual custom and referring to it, such as clipping vines. Just as in the case of fairy tales and legends, folk song uses the birth of Jesus to explain the genesis of some of the characteristics and phenomena of nature. Presentation of animals in ritual songs occasionally refers to the economic sphere (the shepherds slept, and their flock wandered away), while wild animals are the object of punishment or reward. The Apocrypha known among the South Slavs mention animals in situations encountered also in the Bulgarian oral literature – the cosmic silence when fauna and flora freezes in anticipation of the birth of the Young God. The quoted texts of the Bulgarian oral culture referring to the theme of the Nativity of the Lord, the Gospel inspiration or even interaction with the apocryphal text fades into the background. The content of the stories and folk songs seems to be primordial in relation to the processed content of the Gospel; biblical characters and situations are introduced to oral stories already in circulation, creating texts that are testament of the so-called folk Christianity.
APA, Harvard, Vancouver, ISO, and other styles
8

Guerra, Paula, Carles Feixa Pàmpols, Shane Blackman, and Jeanette Ostegaard. "Introduction: Songs that Sing the Crisis: Music, Words, Youth Narratives and Identities in Late Modernity." YOUNG 28, no. 1 (January 14, 2020): 5–13. http://dx.doi.org/10.1177/1103308819879825.

Full text
Abstract:
In this special edition on popular music, we seek to explore Simon Frith’s (1978, The sociology of rock, London, UK: Constable, p. 39) argument that: ‘Music’s presence in youth culture is established but not its purpose’. ‘Songs that sing the crisis’ captures contemporary accounts, which build upon popular music’s legacy, courage and sheer determination to offer social and cultural critique of oppressive structures or political injustice as they are being lived by young people today. Young people have consistently delivered songs that have focused on struggles for social rights, civil rights, women’s rights and ethnic and sexual minorities rights through creative anger, emotion and resistance, and we know that music matters because we consciously feel the song (DeNora, 2000, Music in everyday life, Cambridge: Cambridge University Press). However, in the aftermath of the post-2008 global economic and cultural crises, young people, in particular, have faced austerity, social hardship and political changes, which have impacted on their future lives (France, 2016, Understanding youth in the global economic crisis, Bristol: Policy Press; Kelly & Pike, 2017, Neo-liberalism and austerity: The moral economies of young people’s health and well-being, London, UK: Palgrave). This special issue assesses the key contestation where popular music is a mechanism to not only challenge but to think through ordinary people’s experience and appeals for social justice. The present introduction starts by presenting the historical and theoretical background of this research field. Then, it introduces the articles about the songs that sing the crisis in Portugal, Spain, Ireland, Finland, Norway, Egypt and Tunisia through the rhythms of rap, hip-hop, fado, electronic pop, indie rock, reggaeton, metal and mahragan.
APA, Harvard, Vancouver, ISO, and other styles
9

Frood, Elizabeth. "Book Review: Village Life in Ancient Egypt: Laundry Lists and Love Songs." Journal of Egyptian Archaeology 90, no. 1_suppl (December 2004): 39–41. http://dx.doi.org/10.1177/030751330409001s16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

MUSTAFA, Mairna H. "Cultural Heritage: A Tourism Product of Egypt under Risk." Journal of Environmental Management and Tourism 12, no. 1 (February 21, 2021): 243. http://dx.doi.org/10.14505/jemt.v12.1(49).21.

Full text
Abstract:
The heritage of Egypt is known for its richness and diversity; besides the numerous archaeological and historical sites (tangible heritage), different regions in the country are distinguished for their poetry, songs, dances, handicrafts and other forms of intangible heritage. This paper aims at giving an overview of Egyptian cultural heritage forms, then shedding the light on different threats that hinder their sustainability as tourism cultural resources. An exploratory approach was used in gathering information from literature. The significance of this research comes from the fact that few published works discussed the problems facing heritage in Egypt, particularly, intangible heritage. Clearly, human actions and climate change, globalization, political instability, improper tourism development and social change are all contributing to the erosion of an integral part of the Egyptian culture and social identity. General recommendations were given on ways to save this valuable heritage from loss; these mainly relate documentation, protecting cultural properties, raising awareness and behaviour modification.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Songs of Egypt"

1

Van, Rhyn Chris. "Towards a mapping of the marginal : readings of art songs by Nigerian, Ghanaian, Egyptian and South African composers." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85813.

Full text
Abstract:
Thesis (PhD)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity.
AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.
APA, Harvard, Vancouver, ISO, and other styles
2

Mossallam, Alia. "Hikāyāt sha‛b - stories of peoplehood : Nasserism, popular politics and songs in Egypt, 1956-1973." Thesis, London School of Economics and Political Science (University of London), 2012. http://etheses.lse.ac.uk/687/.

Full text
Abstract:
This study explores the popular politics behind the main milestones that shape Nasserist Egypt. The decade leading up to the 1952 revolution was one characterized with a heightened state of popular mobilisation, much of which the Free Officers’ movement capitalized upon. Thus, in focusing on three of the Revolution’s main milestones; the resistance to the tripartite aggression on Port Said (1956), the building of the Aswan High Dam (1960-­1971), and the popular warfare against Israel in Suez (1967-­1973), I shed light on the popular struggles behind the events. I argue that to the members of resistance of Port Said and Suez, and the builders of the High Dam, the revolution became a struggle of their own. Ideas of socialism and Arab nationalism were re-­articulated and appropriated so that they became features of their identities and everyday lives. Through looking at songs, idioms and stories of the experiences of those periods, I explore how people experimented with a new identity under Nasser and how much they were willing to sacrifice for it. These songs and idioms, I treat as an ‘intimate language’. A common language reflecting a shared experience that often only the community who produces the language can understand. I argue that songs capture in moments of political imagination what official historical narratives may not. Furthermore, I argue that these songs reveal silences imposed by state narratives, as well as those silences that are self-­imposed through the many incidents people would rather forget. The study contributes to an understanding of the politics of hegemony, and how an ideology can acquire the status of ‘common sense’ through being negotiated, (re)-­articulated, and contributed to, rather than enforced on a people suppressed. It also contributes to our understanding of popular politics, and the importance of exploring the experiences and intentions of people behind historical and political milestones; understanding politics beyond the person of politicians and the boundaries of the nation state.
APA, Harvard, Vancouver, ISO, and other styles
3

Eprile, Brendan Thabo. "Songs of Change: How Music Helped Spark the Arab Spring Revolutions in Egypt and Tunisia." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1495732921517124.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Roberts, Phillip Christopher. "Her em Iteru (On the Nile)." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491818188450595.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Yanikdağ, Yücel. "'Ill-fated' sons of the 'Nation' : Ottoman prisoners of war in Russia and Egypt, 1914-1922 /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402544592298.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Fischer, Stefan 1966. "Die Aufforderung zur Lebensfreude im Buch Kohelet und siene Rezeption der ägyptischen Harfnerlieder." 1996. http://hdl.handle.net/10500/16788.

Full text
Abstract:
Summaries in English and German
Text in German
The question is dealt with, whether or not the calls to joy in the book of Qoheleth are dependend from another source. Seven key-texts are taken as a basis (2:24-26; 3:12.13; 3:22; 5:17-19; 8:15; 9:7-10; 11,7-12,7) which have the form of ::titl"[i'~]-sayings and share the root "1.liU. Three further texts (2:1-11; 6:9; 7:14) are also relevant. In the exegesis the content, reasoning and contextual function of these texts are analyzed. Qoheleth quotes, comments on and corrects traditional views of wisdom. He sets them in polar structured arguments in which the calls to joy are significant since the arguments always lead to a double conclusion: a vanity statement and an ethical instruction. The latter form the books teaching on wisdom which consists of joy and the fear of God. In this way the calls to joy in the key texts function as a refrain which increases as the book progresses and becomes the main message. The theme of the joy of life is next examined in Old Testament, Egyptian, ancient Near Eastern, Greek and apocryphal texts. These leads to the conclusion that the call to joy in the book of Qoheleth comes closest to the Egyptian "heretical" harper's songs. These texts agree not only in the content and reasoning of joy, but also in the use of idioms und comparisons. These occur not just in the key texts but throughout the whole book. The "heretical" harper's songs were originally used in the cult of the dead. Later they were used at feasts and banquets. This makes it possible to interpret them in the same Egyptian complex of tradition as other belletristic texts, especially love songs. They can therefore be assigned with the calls to joy to the genre of feast and banquet poetry. Since the adoption of the Jove songs in the Song of Songs has already been shown, the same can now be said for the harper's songs. Presumably this happened through Canaanite influences in premonarchic times.
Es wird der Frage nachgegangen, ob in den Aufforderungen zur Lebensfreude des Buches Kohelet eine Vorlage rezipiert worden ist. Dazu werden sieben Kerntexte (2,24-26; 3,12.13; 3,22; 5,17-19; 8,15; 9,7-10; 11,7-12,7) zugrunde gelegt, welche durch die Wurzel n~tu und die Form des l11'"[1'~]-Spruchs miteinander verbunden sind. Drei weitere Texte gehiiren der Sache nach dazu (2,1-11; 6,9; 7,14). Diese Texte werden exegesiert, um sie nach ihren Inhalten, Begriindungen und ihrer kontextualen Funktion zu erfassen. Der Verfasser des Buches Kohelet zitiert, kommentiert und korrigiert traditionelle Ansichten der Weisheit. Dazu stellt er sie in polar strukturierte Argumentationseinheiten, in welchen die Aufforderungen zur Lebensfreude Signifikanz haben, da diese Argumentationseinheiten jeweils auf eine Nichtigkeitsaussage und eine ethische Anweisung hinaus laufen. Letzere bildet die Lebenslehre des Buches, die auf den Sii.ulen Lebensfreude und Gottesfurcht fuBt. Dabei bilden die Kerntexte der Lebensfreude einen Refrain, der im Fortgang des Buches gesteigert wird und am Ende als Hauptanliegen hervortritt. Dem Motiv der Lebensfreude wird daraufhin in alttestamentlichen, ii.gyptischen, altorientalischen, griechischen und apokryphen Texten nachgegangen. Dabei stellt sich heraus, da8 die Aufforderungen zur Lebensfreude im Buch Kohelet die griiBte Nii.he zu den "haretischen" Harfnerliedern Agyptens aufweisen. Zu diesen Texten gibt es Ubereinstimmungen nicht nur in den Inhalten und Beweggriinden des Lebensgenusses, sondern auch in der Verwendung einzelner Idiome und Vergleiche, und zwar nicht nur in den Kerntexten, sondern verstreut im Buch. In der Verwendungssituation der "hii.retischen" Harfnerlieder Iii.flt sich eine Verschiebung vom Totenkult zu Fest und Gelage aufzeigen. Dariiberhinaus lassen sie sich in Agypten in einen Traditionskomplex mit anderen Texten der schiinen Literatur, insbesondere den ii.gyptischen Liebesliedern stellen. So kann eine gemeinsame Gattungszuweisung mit den Aufforderungen zur Lebensfreude in der Fest- und Gelagepoesie erfolgen. Da fiir die Liebeslieder eine alttestamentliche Rezeption schon wahrscheinlich gemacht worden ist, kann diese nun auf die Harfnerlieder ausgedehnt werden. Dieser Traditionsweg verlief vermutlich iiber kanaanii.ische Vermittlung in vormonarchischer Zeit.
D.Th.(Old Testament)
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Songs of Egypt"

1

McDowell, A. G. Village life in ancient Egypt: Laundry lists and love songs. New York: Oxford University Press, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Nancy, Shayne, ed. Through heaven's eyes: The Prince of Egypt in story and song. New York: Dutton Children's Books, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

al-Mūsīqá, Dār al-Kutub al-Qawmīyah (Egypt) Qism. Fihris al-mūsīqá wa-al-ghināʾ al-ʻArabī al-qadīm al-musajjalah ʻalá isṭiwānat. [Cairo]: al-Hayʾah, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

al-Mūsīqá, Dār al-Kutub al-Qawmīyah (Egypt) Qism. Fihris al-mūsīqá wa-al-ghināʼ al-ʻArabī al-qadīm al-musajjalah ʻalá isṭiwānat. [Cairo: al-Hayʼah al-Miṣrīyah al-ʻĀmmah lil-Kitāb], 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Waugh, Earle H. The Munshidīn of Egypt: Their world and their song. Columbia, S.C: University of South Carolina Press, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Rose, John. The sons of Re: Cartouches of the kings of Egypt. Warrington: Rose-Technology, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

The sons of Re: Cartouches of the kings of Egypt. Croft, Warrington, Cheshire: JR-T, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

McCaughrean, Geraldine. Casting the gods adrift: A tale of ancient Egypt. Chicago: Cricket Books, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Zuhur, Sherifa. Asmahan's secrets: Woman, war, and song. London: Saqi, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

artist, Smith Alison, ed. Song of Siwa: The Marzuk-Iskander Festival : Siwa Oasis, Western Desert, Arab Republic of Egypt. Bloomington, Ind.]: Xlibris LLC, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Songs of Egypt"

1

Cochran, Judith. "Sons of Ishmael." In Routledge Library Editions: Egypt, Vol10:1—Vol10:6. London: Routledge, 2021. http://dx.doi.org/10.4324/9780203079140-128.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Jyrkiäinen, Senni. "Loving Daughters, Devoted Sons and Kissing Protestors Online: Navigating Intimacy and Multiple Aspects of the Self Among Young Facebook Users in Egypt." In The Palgrave Handbook of Gender, Media and Communication in the Middle East and North Africa, 15–30. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-11980-4_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Bombardieri, Luca. "Mill-songs." In Stone Tools in the Ancient Near East and Egypt, 71–80. Archaeopress Publishing Ltd, 2019. http://dx.doi.org/10.2307/j.ctvndv6xd.9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

"V. SONGS AND ROYAL HYMNS." In The Literature of Ancient Egypt, 299–334. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300128567-008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Omran, Mohammed. "CHILDREN'S GAMES AND SONGS IN EGYPT." In Children in the Muslim Middle East, 425–30. University of Texas Press, 1995. http://dx.doi.org/10.7560/711334-037.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

"Spindles and songs: women in urban occupations." In Women in Nineteenth-Century Egypt, 64–101. Cambridge University Press, 1985. http://dx.doi.org/10.1017/cbo9780511583506.004.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

"Appendix: chronological list of songs examined." In Language and Identity in Modern Egypt, 363–65. Edinburgh University Press, 2014. http://dx.doi.org/10.1515/9780748689651-014.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Heshmat, Dina. "The Poetics of Disillusion." In Egypt 1919, 38–58. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458351.003.0002.

Full text
Abstract:
The first chapter deals with the representation of the 1919 revolution in the vaudeville of the mid-twenties, through an analysis of two plays by Amin Sidqi (1890-1944), al-Intikhabat (The Elections, 1923) and Imbratur Zifta (The Emperor of Zifta1924), an unpublished manuscript. The plays preserve to some extent the irreverent spirit of the revolution’s songs and slogans, offering an example of subversive humour and bitter sarcasm as performed in the immediate aftermath of the revolution. The first play exposes the limits of the liberal parliamentary system usually presented as one of the gains of the 1919 revolution, and frames the effendiyya’s electoral ambitions as dictated by self-serving concerns. The second play underlines the ambition for social change, more specifically the declaration of independence of a Delta city during the 1919 turmoil, as a bitter failure. I examine the way these narratives narrate subversive and dramatic episodes of the anti-colonial struggle, and address the apparent paradox between the comic tone and the feelings of bitterness expressed in both plays.
APA, Harvard, Vancouver, ISO, and other styles
9

Heshmat, Dina. "Rewriting History in the 1990s." In Egypt 1919, 155–81. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458351.003.0007.

Full text
Abstract:
This chapter analyses narratives published, performed or screened between 1968 and 1999 that have attempted a ‘rewriting of history’ in a context of defeat, in the aftermath of the 1967 naksa. Belonging to different genres (a play, two novels, a television series) all these works feature peasants (and urban underprivileged) as key actors of the 1919 revolution and narrate their resistance in a laudatory mode. The chapter starts with an analysis of al-Masamir (The Nails,1968) by Saad al-Din Wahba, and goes on with readings of Qantara al-Ladhi Kafara (Qantara Who Became an Infidel, 1966) by Mustafa Musharrafa and al-Faylaq (The Legion, 1999) by Amin ‘Izz al-Din. Finally, it examines Gumhuriyyat Zifta (The Republic of Zifta, 1999), a television drama written by Yusri al-Gindi and directed by Isma‘il ‘Abd al-Hafiz, in which the peasant community of the Delta village is given a much more important role than is generally admitted in the historiography about the village’s declaration of independence during the 1919 revolution. Special attention is given to the use of the colloquial, including the songs of the Zifta series, based on poems by ‘Abd al-Rahman al-Abnudi.
APA, Harvard, Vancouver, ISO, and other styles
10

"Protest Songs from the Streets of Mamluk Cities." In Egypt and Syria under Mamluk Rule, 17–24. BRILL, 2021. http://dx.doi.org/10.1163/9789004459717_003.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Songs of Egypt' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography