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Wolny-Abouelwafa, Edyta. "Socio-Political Events and Music: Egyptian Songs Supporting ʿAbd Fattāḥ al-Sīsī". Journalism and Media 4, № 4 (6 грудня 2023): 1182–97. http://dx.doi.org/10.3390/journalmedia4040075.
Повний текст джерелаАнотація:
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.
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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.
Повний текст джерелаАнотація:
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.
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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.
Повний текст джерелаАнотація:
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.
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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.
Повний текст джерелаАнотація:
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.
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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.
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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.
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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.
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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.
Повний текст джерелаАнотація:
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.
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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.
Повний текст джерелаАнотація:
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.
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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.
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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.
Повний текст джерелаАнотація:
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.
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Bychak, Kaciaryna. "The Wandering of the Mother of God with the Child in the Folk Tradition of the Border Between Slavia Orthodoxa and Slavia Catholica: Apocryphal and Folklore Motifs." Palaeobulgarica 47, no. 2 (July 2023): 119–38. http://dx.doi.org/10.59076/2603-2899.2023.2.07.
Повний текст джерелаАнотація:
The narrative of the wandering Mother of God with the Child is popular within the corpus of the Folk Bible circulating on the frontier between Eastern and Western Christianity. In vernacular oral traditions transmitted on the borderlands of Poland, Belarus and Ukraine, we find not only interpretations of the canonical source of the New Testament motifs “Flight to Egypt” and “The Massacre of the Innocents” (Mat 2:13–19), but also some parabiblical motifs reaching back to apocryphal texts of the first centuries of Christianity (e.g. Prot. Jas., Arab. Gos. Inf.). The latter reflect traditional developments, incorporating portrayals of biblical characters into the native worldview of narrators. The motif of the wandering Mother of God with the Child is found in several types of oral transmission: a) The Nativity/Christmas ritual: carols, pastorals, church songs, sermons and homilies, fairground performances; b) in traditions relating to Marian devotion (folk Marian songs, iconography in Eastern Christianity); c) in axiological and moral traditions: songs, legends, charms. This paper presents collected variants of the motif of Wandering in folk culture and analysis of the origin of the motifs and their adaptation in the environment of vernacular tradition and of the social, religious and theological messages contained in the texts.
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Mehta, Brinda. "Staging Tahrir: Laila Soliman’s Revolutionary Theatre." Review of Middle East Studies 47, no. 1 (2013): 49–55. http://dx.doi.org/10.1017/s2151348100056329.
Повний текст джерелаАнотація:
If one day, a people desire to live, Then fate will answer their call And their night will then begin to fade, And their chains break and fall.“Will to Live” Abī al-Qāsim al-ShābīOne of the most inspiring aspects of the Egyptian revolution was the outpouring of creative expression that accompanied the uprising’s social and political movements in the form of protest songs, poetry, slogans, chants, graffiti and installation art, street theatre, cartoons, among other forms of artistic inventiveness. Creative dissidence has always been an integral part of protest movements, as argued by Iraqi poet Sinan Antoon (2011): Poetry, novels and popular culture have chronicled and encapsulated the struggle of peoples against colonial rule and later, against postcolonial monarchies and dictatorships, so the poems, vignettes, and quotes from novels were all there in the collective unconscious.... The revolution introduced new songs, chants and tropes, but it refocused attention on an already existing, rich and living archive.... Contrary to all the brouhaha about Twitter and Facebook, what energized people in Tunisia and Egypt and elsewhere, aside from sociopolitical grievances and an accumulation of pain and anger, was a famous line of poetry by a Tunisian poet, al-Shabbi.Antoon evokes Abū al-Qāsim al-Shābī, whose poem “The Will to Live,” referenced in the epigraph, symbolized the battle cry of Tunisians in the anti-colonial struggles of the early 1900s. Refrains from the poem echoed in both Tunisia and Egypt during the Arab spring uprisings over one century later, thereby highlighting the intimate synergies between the creative imaginary and revolutionary action.
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Natvig, Richard Johan. "‘I Saw the Prophet in My Dream’: Prophet Songs from aZārCeremony in Lower Egypt." British Journal of Middle Eastern Studies 41, no. 3 (April 14, 2014): 306–21. http://dx.doi.org/10.1080/13530194.2014.888263.
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McLaughlin, Fiona. "Youssou N'Dour's Sant Yàlla/Egypt: a musical experiment in Sufi modernity." Popular Music 30, no. 1 (January 2011): 71–87. http://dx.doi.org/10.1017/s0261143010000656.
Повний текст джерелаАнотація:
AbstractIn collaboration with the Cairene composer Fathy Salama, Youssou N'Dour released an album that appeared in Dakar in 2003 as Sant Yàlla (‘Praise God’), and internationally in 2004 as Egypt. Sung in Wolof to the accompaniment of an Egyptian orchestra, the album consists of a suite of eight interrelated pieces, seven of which are praise songs to Senegalese Sufi shaykhs, while the remaining piece praises God, the Prophet Mohammed, and some important Mauritanian shaykhs. In this essay I argue that in bringing Senegalese Islam to the international arena, N'Dour uses his stature as a world-class musician to both articulate and participate in the creation of a Sufi modernity, namely a way of being a Sufi Muslim in a globalised world. In addition to being a personal journey for Youssou N'Dour, both musically in its orientation towards the East rather than the West, and in his own religious faith, Sant Yàlla/Egypt also echoes many of the current preoccupations of Muslim intellectuals and artists as they seek to renew and reinterpret their own local religious traditions for a global audience.
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Abdelmoez, Joel W. "Performing (for) Populist Politics." Middle East Journal of Culture and Communication 13, no. 3 (November 27, 2020): 300–321. http://dx.doi.org/10.1163/18739865-01303007.
Повний текст джерелаАнотація:
Abstract In July 2013, after months of protest, Egypt’s first democratically elected president, Mohammed Morsi, was ousted by the Egyptian armed forces. The Muslim Brotherhood, who supported Morsi, took to the streets, chanting and singing against the ousting, which they termed a military coup, while supporters of Sisi, who viewed it as a revolution, began producing songs to show their allegiance to the military leadership. While abundant research has been conducted on the role of oppositional and revolutionary music in Egypt since 2011, relatively little has been done on the widely popular pro-military music sometimes known as watani music. Watani songs are a genre of patriotic music made by popular artists to show their allegiance to the Egyptian armed forces. In this paper I examine the surge of watani songs and trace their history back to the Nasser era, thereby showing a continuity in style as well as content. I further argue that there are connections between nationalism and gender constructions, as the national project comes with obligations for men to offer their bodies to the cause. This obligation is aided by constructions about ‘male bravery’ and ‘courage’ that are designed to make men believe that military service is somehow essential to masculinity. Watani music, whether commissioned or not, fits well with this mythology of military men. It forms an ideological undercurrent, supports the narrative that it is necessary for patriotic military men to bravely safeguard the nation against its enemies.
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Bassiouney, Reem. "Constructing the stereotype: Indexes and performance of a stigmatised local dialect in Egypt." Multilingua 37, no. 3 (April 25, 2018): 225–53. http://dx.doi.org/10.1515/multi-2016-0083.
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Abstract ‘Saʿidi dialect’ is a general phrase used by Egyptians to refer to a group of dialects spoken in an area that stretches from the south of Cairo to the border of the Sudan. Of all the dialects found throughout Egypt and the Arab world, Saʿidi Arabic is one of the most ridiculed, stigmatised and stereotyped in the media. Salient phonological and semantic features of Saʿidi are associated with undesirable attributes such as ignorance, stupidity and a lack of sophistication. These negative indexes are often emphasised by the media. However, some Saʿidi intellectuals and public figures employ these very features to perform their identity, thus creating a positive stance and highlighting the favourable traits of Saʿidis. This article examines data from the media, including soap operas, poetry – both written and performed – postcards and songs. It utilises the concepts of indexicality and stance-taking to explore the metalinguistic discourse of Saʿidis and non-Saʿidis in the media. In addition, the article examines indexes of Saʿidi features that are considered second order indexes, but that are used by performers who employ a Saʿidi dialect to create a stance that is remarkably distinct from the rest of Egypt.
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Fay, Mary Ann. "Encountering the Harem: European Men and the Sexualisation of the Harem in Early Modern Egypt." Chronos 35 (November 4, 2018): 7–28. http://dx.doi.org/10.31377/chr.v35i0.200.
Повний текст джерелаАнотація:
To enter the harem and meet the women who resided there, we discover that our route into this most private and personal of spaces is not direct but oblique. We can locate the harem in the homes of the once-powerful and wealthy; we can open the door and enter, but our encounter with the women, whose lifestories we very much want to hear, is never direct. It is mediated by sources other than the women themselves and obstructed by troublesome concepts about their character and their personality, their relationships and the lives they led behind the harem door. The historian can sit where the harem women sat, gaze at the street life below through a window screened in mashrabiyya, watch the play of light on the carved and painted ceiling and walk through the harem garden listening in perfect privacy to the songs of the birds. But the historian cannot hear their voices. How could it be otherwise, the reader might ask?
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Tahir, Azwar. "In response to crisis: the use of songs to respond to multiple crises in Yusuf Islam (Cat Stevens)' post-conversion lyrical compositions." International Journal of Humanities and Innovation (IJHI) 5, no. 3 (September 30, 2022): 90–96. http://dx.doi.org/10.33750/ijhi.v5i3.156.
Повний текст джерелаАнотація:
Yusuf Islam, also known as Cat Stevens, is a well-known singer and songwriter. He had decided to avoid the music industry for many years. He focused more on humanitarian activism as well as building educational institutions in London. In 2006, through the release of the album entitled "An Other Cup", Stevens marked his return to popular music with a strong intention to carry his Islamic vision. Furthermore, he connected his humanitarian activism with his lyrical compositions. The artist has shown very intense participation in crises that happened across countries. In dealing with these crises, the use of a single seemed very rational since such crises need a fast response and a single song is easier to compose than an album. The result of those circumstances is Stevens' releasing several songs in response to multiple crises across different countries. He released "The Little Ones" to voice the misery of the genocide in Bosnia. Similarly, Islam released "Indian Ocean" for the victims of the tsunami in Indonesia, "My People" to support people's freedom regarding political turmoil in the Arab world, such as Egypt and Tunisia, and "He Was Alone" to show sympathy for children's refugees at the Syrian-Turkish border. These responses were all released in his post-conversion phase. This essay argues that Islam, also known as has used his post-conversion lyrics, particularly his singles, to help voice the misery of the victims of multiple crises.
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Darnell, John C. "The Rituals of Love in Ancient Egypt: Festival Songs of the Eighteenth Dynasty and the Ramesside Love Poetry." Die Welt des Orients 46, no. 1 (August 12, 2016): 22–61. http://dx.doi.org/10.13109/wdor.2016.46.1.22.
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Al-Sowaidi, Belqes, Felix Banda, and Arwa Mansour. "Doing Politics in the Recent Arab Uprisings: Towards a Political Discourse Analysis of the Arab Spring Slogans." Journal of Asian and African Studies 52, no. 5 (September 10, 2015): 621–45. http://dx.doi.org/10.1177/0021909615600462.
Повний текст джерелаАнотація:
The present paper aims to analyse a number of those slogans collected from the sit-in quarters in Egypt, Libya and Yemen. Using political discourse analysis, it unravels various typical discourse structures and strategies that are used in slogans in the construction of a sub-genre of political discourse in the Arab world. Drawing data from several mediums, including banners, wall graffiti, audio-visual instruments, chanting, speeches and songs, this paper tries to show the extent to which the slogans serve as a medium by which political complaints and comments are dispensed and consumed. This paper draws on a rhetorical analysis to find out their persuasive effect on shaping the Arab intellect and on the change of the political atmosphere in the region. Lastly, this paper attempts to show to what extent the slogans meet the standards of political discourse and whether they can be considered as a sub-genre of political discourse or not.
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Imtiyas, Difla Nur, and Kholisin Kholisin. "Perbandingan Bunyi Dua Ragam Bahasa; ‘Amiyah dan Fusha dalam Lagu Karya Nancy Ajram." An Nabighoh 24, no. 2 (December 31, 2022): 231. http://dx.doi.org/10.32332/an-nabighoh.v24i2.5300.
Повний текст джерелаАнотація:
When viewed from its variety, Arabic can be divided into two forms: standard variety Arabic (fushah) and non-standard variety Arabic (amiyah). In Arabic, the sounds of vowels and consonants can change according to the speakers, such as the Egyptian speakers 'amiyah, who could not pronounce Arabic fusha perfectly, and vice versa. This led to the appearance of sound changes between the two varieties of language. This study aims to analyze the forms of sound changes 'amiyah Egyptian dialect (BADM) and Arabic fushah (BAF). In this research, researchers will analyze using Crowley's theory of sound change. The data in this study is in the form of lyrics of 5 songs by Nancy Ajram, Lebanese nationality, but his work dialect Egypt. The results showed that BADM and BAF have differences in pronunciation that cause the appearance of sound changes. The types of sound changes that occur following Crowley's theory are (1) lenition and fortition, (2) tough loss, (3) good addition, (4) metathesis, (5) assimilation, and (6) tone changes.
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Guilhon, Giselle. "Sufi Night: Music, Ritual and Ecstasy on the Conteporary Scene." Arteriais - Revista do Programa de Pós-Gradução em Artes 3, no. 5 (December 29, 2017): 70. http://dx.doi.org/10.18542/arteriais.v3i5.5356.
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ResumoÀs vinte horas dos dias 14 e 15 de maio de 2004, a Sala de Concertos da Cité de la Musique, em Paris, abriu suas portas para quatro ordens sufis do mundo muçulmano – Murid (do Senegal), Yesevi (do Egito), Kadiri (do Afeganistão) e Chisti-Qawwali (do Paquistão) – uma após a outra, apresentarem seus concertos espirituais. A audição (al-sama) da Nuit Soufie (nome dado ao concerto) terminou, nas duas noites, de madrugada. Através das recitações e cantos poéticos dos Murids do Senegal, das recitações corânicas apresentadas em elaboradas técnicas vocais, pelo Sheikh Ahmad Al-Tûni (do Egito), do círculo de zikr (repetição dos nomes de Deus), liderada por Mir Fakr al-Din Agha (do Afeganistão) e do canto alegre e contagiante dos Qawwâli (do Paquistão), sob a batuta de Asif Ali Khan, os rituais sufis rivalizaram com os “transes” techno da cultura rave atual. Neste texto – que é fruto de uma etnografia de passagem – a autora faz uma reflexão comparativa entre os “transes vertiginosos” produzidos nas pistas rave de dança e os “transes esotéricos” experimentados pelos participantes (“musicantes” e “musicados”) dos e nos concertos ou audições (al-sama) públicos, sufis.AbstractAt eight o’clock on the 14th and 15th of May 2004, the Salle des Concerts of the Cité de la Musique, in Paris, opened its doors to four Sufi orders of the Muslim world – Murid (from Senegal), Yesevi (from Uper Egypt), Kadiri (from Afghanistan) and Chisti-Qawwali (from Pakistan) –, one after another, present their spiritual concerts. The audition (al-sama) of the Sufi Night (the name given to the concert), on the both of the two nights, ended in the small hours. With the recitations and poetic songs of the Murids from Senegal, the Koranic recitations presented in elaborate vocal techniques by Sheikh Ahmad Al-Tûni (from Egypt), the zikr circle (repetition of the names of God), led by Mir Fakr al-Din Agha (from Afghanistan) and the joyful and contagious Qawwali songs (from Pakistan), led by Asif Ali Khan, the Sufi rituals rivaled the profane techno “trances” of modern rave culture. In this text – which is fruit of an ethnography of passage – the author makes a comparative reflexion between the “vertiginous trances” produced on the rave dance floors and the esoteric “trances” or “ecstasies” experienced by the participants (“musicians” and “listeners”) of and in the public Sufi concerts or auditions (al-sama).
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Guilhon, Giselle. "SUFI NIGHT: MUSIC, RITUAL AND ECSTASY ON THE CONTEMPORARY SCENE." Arteriais - Revista do Programa de Pós-Gradução em Artes 3, no. 5 (December 29, 2017): 70. http://dx.doi.org/10.18542/arteriais.v3i5.5508.
Повний текст джерелаАнотація:
ResumoÀs vinte horas dos dias 14 e 15 de maio de 2004, a Sala de Concertos da Cité de la Musique, em Paris, abriu suas portas para quatro ordens sufis do mundo muçulmano – Murid (do Senegal), Yesevi (do Egito), Kadiri (do Afeganistão) e Chisti-Qawwali (do Paquistão) – uma após a outra, apresentarem seus concertos espirituais. A audição (al-sama) da Nuit Soufie (nome dado ao concerto) terminou, nas duas noites, de madrugada. Através das recitações e cantos poéticos dos Murids do Senegal, das recitações corânicas apresentadas em elaboradas técnicas vocais, pelo Sheikh Ahmad Al-Tûni (do Egito), do círculo de zikr (repetição dos nomes de Deus), liderada por Mir Fakr al-Din Agha (do Afeganistão) e do canto alegre e contagiante dos Qawwâli (do Paquistão), sob a batuta de Asif Ali Khan, os rituais sufis rivalizaram com os “transes” techno da cultura rave atual. Neste texto – que é fruto de uma etnografia de passagem – a autora faz uma reflexão comparativa entre os “transes vertiginosos” produzidos nas pistas rave de dança e os “transes esotéricos” experimentados pelos participantes (“musicantes” e “musicados”) dos e nos concertos ou audições (al-sama) públicos, sufis.AbstractAt eight o’clock on the 14th and 15th of May 2004, the Salle des Concerts of the Cité de la Musique, in Paris, opened its doors to four Sufi orders of the Muslim world – Murid (from Senegal), Yesevi (from Uper Egypt), Kadiri (from Afghanistan) and Chisti-Qawwali (from Pakistan) –, one after another, present their spiritual concerts. The audition (al-sama) of the Sufi Night (the name given to the concert), on the both of the two nights, ended in the small hours. With the recitations and poetic songs of the Murids from Senegal, the Koranic recitations presented in elaborate vocal techniques by Sheikh Ahmad Al-Tûni (from Egypt), the zikr circle (repetition of the names of God), led by Mir Fakr al-Din Agha (from Afghanistan) and the joyful and contagious Qawwali songs (from Pakistan), led by Asif Ali Khan, the Sufi rituals rivaled the profane techno “trances” of modern rave culture. In this text – which is fruit of an ethnography of passage – the author makes a comparative reflexion between the “vertiginous trances” produced on the rave dance floors and the esoteric “trances” or “ecstasies” experienced by the participants (“musicians” and “listeners”) of and in the public Sufi concerts or auditions (al-sama).
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Idema, Wilt L. "The Revolt of the Mice." Reinardus / Yearbook of the International Reynard Society 30 (December 31, 2018): 81–93. http://dx.doi.org/10.1075/rein.00016.ide.
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Abstract The tale of the war of the mice against the cat has a history of several thousands of years. First known from ancient Egypt, it was wide-spread in Classical antiquity, would remain popular in the Near East until modern times, and also was widely known in Europe in medieval and early modern times in paintings, prints, songs, and mock-epics. In China the most popular tale on the antagonism of mice and cats was the tale of their underworld court case. Starting from the first half of the nineteenth century, some versions of that tale also include an account of the war between the two species. Only one stand-alone treatment of the theme is known from an edition of the 1920s. In Japan the theme of the war of the mice against the cats also makes its first appearance in print in the first half of the nineteenth century. No direct foreign influence can be discerned in the emergence of this theme in either country.
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Kuhrt, Amélie. "A. G. MCDOWELL: Village life in Ancient Egypt: laundry lists and love songs. xvii, 279 pp. Oxford: Oxford University Press, 2000." Bulletin of the School of Oriental and African Studies 64, no. 2 (June 2001): 268–308. http://dx.doi.org/10.1017/s0041977x01220163.
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Monti, Ednardo Monteiro Gonzaga do. "Música da terra dos faraós: aprendizagens de Anttonieta de Souza numa viagem ao Egito." Revista de História e Historiografia da Educação 1, no. 2 (May 1, 2017): 106. http://dx.doi.org/10.5380/rhhe.v1i2.51169.
Повний текст джерелаАнотація:
O presente estudo tem como horizonte as aprendizagens da professora Anttonieta de Souza na viagem que realizou ao Egito na década de 1950. Com base na série de artigos intitulada “Minhas impressões sobre o Egito”, as perguntas que norteiam o texto são: quais tradições e culturas musicais egípcias a artista apresentou aos leitores da Revista do Conservatório Brasileiro de Música? O que aprendeu com os estudos arqueológicos e históricos sobre a música e os músicos da terra dos faraós? Os escritos da cantora dos palcos de concerto do Rio de Janeiro, publicados no periódico oficial da instituição de ensino superior de música que ela dirigia, permitem interpretar que as bases da tradição musical daquele povo eram os rituais religiosos, os mitos, as festas populares, as canções de trabalho, as fanfarras militares e as lendas. E que os estudos musicológicos sobre a antiguidade, com os quais Anttonieta teve contato na viagem, ressaltam que os instrumentos achados nos sítios arqueológicos possibilitaram repercutir timbres que há milhares de anos não soavam; e também conhecer as vestimentas e adornos feitos com flores de lótus que cantores e instrumentistas utilizavam; e ainda, adquirir informações sobre as grandes famílias de músicos que funcionavam como espécies de dinastias artísticas.Music from the pharaoh's land: learning of Antoinetta de Souza on a trip to Egypt. This study focuses on the learnings of Professor Anttonieta de Souza during her trip to Egypt in the 1950s. Based on the series of articles entitled “Minhas impressões sobre o Egito” (My impressions about Egypt), the questions guiding the study are as follows: What Egyptian traditions and musical culture did the artist present to the readers of the Revista do Conservatório Brasileiro de Música (Brazilian Conservatory of Music’s Magazine)? What did she learn from archaeological and historical studies about music and musicians of the Pharaohs’s Land? The writings of the singer who graced the stages of Rio de Janeiro, published in the official journal of the Conservatório Brasileiro de Música that she directed herself, allow for the impression that the nucleus of the Egyptian musical culture were the religious rituals, myths, the popular parties, Work songs, military fanfare and legends. What’s more, her work that focuses on the antique music culture of Egypt emphasizes that instruments found on archaeological sites made the reverberation of timbres possible that for thousands of years did not sound; investigates the garments and accessories made from lotus flowers that singers and instrumentalists used; and considers the large families of musicians who functioned as if they were, to some extent, artistic dynasties. Keywords: Travel; Music education; Egyptian culture.
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Abu Hatab, Wafa. "The Arab Spring: A New Era of Humor Consumption and Production." International Journal of English Linguistics 6, no. 3 (May 26, 2016): 70. http://dx.doi.org/10.5539/ijel.v6n3p70.
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<p>The 26-year-old Tunisian street vendor, Mohammad Bouazizi set himself ablaze, sparking demonstrations and revolutions in more than one country in the Arab world. Protestors utilized all possible forms of expression to give an outlet for the long suppressed feelings, attitudes and thoughts. A new social discourse emerged where freedom of expression was imposed. Tunisia led the move and was followed by Egypt, Libya, Yemen and Syria. Though these revolting countries have many things in common, each has its own touch to the mosaic portrait of the new social discourse. Political satire has its place in this discourse where political humor has witnessed a tremendous boom. The present study was based on data obtained from cartoons, slogans, digital discourse and jokes. It investigated the use of humor by protesters in the Arab Spring countries, the linguistic devices employed and the role of intertextuality. The study revealed that humor was used in the Arab Spring countries to denigrate the presidents. Sources for intertextuality included proverbs, songs, poetry and commercials. Humor made use of some linguistic devices such as puns, synonyms, antonyms, lexical ambiguity and rhyme.</p>
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Amin, Dina. "Eighteen Days in Tahrir Protests: The Perfomatives of Civic Action in Egypt’s 2011 Revolution." Protest 2, no. 1 (June 13, 2022): 55–77. http://dx.doi.org/10.1163/2667372x-bja10021.
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Abstract On January 25, 2011, a spontaneous mobilization of masses of Egyptian folks congregated in Tahrir Square calling for change in Egypt. ‘Bread, freedom and social justice’ is what Egyptian demonstrators chanted throughout their encampment in the Midan. Shortly after Tahrir Square had turned into a community of protestors congregating and setting up camp day and night in the large plaza, random protestors and performers started devising means of entertainment imbued with political satire with which to engage and incite the crowds. Songs and dances as well as lengthy dramatic monologues, verbatim testimonies, poetry recitations and various styles of storytelling emerged. Those performative acts of protest are similar in nature to renowned Egyptian dramatist Yusuf Idris’s recounting of the Egyptian village al-samir performance tradition, which was also performative and unruly in nature. This interdisciplinary study compares that indigenous dramatic art form, al-samir, with the revolutionary performatives of protest that sprang up extemporaneously in the Midan during the Egyptian revolution in 2011. The paper raises questions about the nature of protest and community formation, democracy, performativity and focuses only on the first 18 days of the January uprising, that specific historical moment only and its transformative effect on theatrical performances, performers and protestors at the time. The paper proposes that the Tahrir performatives of protest were an ephemeral phenomenon that appeared as embodiments and celebrations of political freedom in a specific time and place, and they ended when the call for democracy and the euphoria of the uprising of 2011 gradually faded away.
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Adam, Abdussalam. "The Conflict between Ahlus-Sunnah and Tijāniyya Muslims in Ghana." Oguaa Journal of Religion and Human Values 5, no. 1 (January 1, 2019): 75–101. http://dx.doi.org/10.47963/ojorhv.v5i1.340.
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The paper examines the theological debates between the Ahlus-Sunnah and their Tijāniyyah Brotherhood counterpart in Ghana. It traces the history of Islam in Ghana before listing the myriad of issues that led to violent conflict between these two Muslim groups. The Sharī‘ah rulings pertaining to the subjects of dispute are then highlighted. The study adopted the analytical, historical and descriptive research designs of the survey type. A self-developed questionnaire, two separate structured interview schedules and Focus Group Discussion guides were used for data collection among the members of the two groups. Using the stratified random sampling technique, 1,200 copies of questionnaire were administered to selected individuals who are members of the two religious groups (600 participants per group). Data were analyzed using simple percentage. Findings revealed that majority of the Ahlus-Sunnah (75%) and the Jallo Bāba group of the Tijāniyyah (80%) hold tenaciously to their views and, therefore, were more prone to violence. Findings further showed that socio-economic factors like occupation, type of education received and educational attainment play significant roles in the conflict. Whereas doctrinal and interpretational differences are the remote causes of the conflict, radical preaching which is sustained by provocative songs is responsible for the conflict’s eruption. Countries like Saudi Arabia, Iran, Bahrain and Egypt also exacerbated the violence through the support given to both parties. Evidence is, however, lacking to justify the claim that ethnicity aid the clashes. The paper concludes with an admonition for the feuding parties to place higher premium on the Islamic teachings on peaceful co-existence among people.
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Le Roux, Magdel. "In Search of the Origin of the Merchants of Sena." Religion and Theology 10, no. 1 (2003): 24–50. http://dx.doi.org/10.1163/157430103x00150.
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AbstractThe oldest, recorded oral tradition ofthe Lemba of southern Africa, individually also known as mušavi (buyer/trader), nyakuwana (the man who finds the things which are bought), or mulungu ('white man' or 'the man from the North'), is that their Israelite ancestors came to Africa by boat as traders from a remote place called Sena on the 'other side' of the 'Phusela'. Some say they came through Egypt. From anthropological and archaeological evidence it has become clear that at a very early stage continuing influences between the Semitic world (Phoenician, Hebrew and Sabaean) and the eastern parts of Africa had a reciprocal impact. The Sabaean (Yemenite) colonies were established in Ethiopia very early. There seems to be a historical link between the Lemba and Yemen. Later documents (684-900 CE) (for example Arab and Portuguese) refer to 'Moorish' traders along the east coast of Africa who possessed notably Semitic characteristics without being clearly Muslim. It is not certain who those 'Moorish' people were, but their traditions and customs were reminiscent of those that we know today as Lemba. Numerous Lemba songs, recitations, prayers, praises, proverbs and customs bear witness to their traditions of origin and their trading skills. One advantage of dealing with a 'living source' is that the researcher can sometimes verify some of the information on traditions. A qualitative study of Lemba 'Israelite' culture underlies this article. Oral traditions do not provide us with chronology, and some cannot be verified. The oral traditions of the Lemba and historical, archaeological and genetic data suggest that the immigration of the Lemba to Africa as traders could have taken place before the Christian era, but probably before the 6th century CE. An oral tradition can survive many generations.
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Nisa, Khairatun. "A NOVEL 5 TITIK 1 KOMA BY MUHAMMAD KAMAL IHSAN ON PERSPECTIVE AL-GHAZALI’S SUFISM." Jurnal Ilmiah Ilmu Ushuluddin 19, no. 1 (June 30, 2020): 84. http://dx.doi.org/10.18592/jiiu.v19i1.3455.
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Based on the results of the study, it can be concluded that the novel 5 Titik 1 Koma by Muhammad Kamal Ihsan contains aspects of akhlaki and amali sufism that are in line with Sufism Al-Ghazali's thinking, especially in the stages (maqâmat) and conditions (ahwâl) by which a person sâlik. However, there are differences in the formulation of elements of happiness that must be possessed, even though basically they are interconnected in their implementation.This novel tells the story of the struggle of a mute woman who is studying in Egypt named Zaritsa through the main character named Ihsan. Zaritsa 's determination has provided extraordinary experiences for other characters in this novel, so that they become better people and are more grateful to God for all the pleasures they feel. In addition to containing stories, this novel also contains an explanation of five points and one comma itself, namely gratitude, patience, confidence, sincerity, honesty, and love.The Sufism aspect contained in this novel which is also explained by Al-Ghazali in the form of maqamat is a spiritual level that must be attained by a sâlik and ahwal, namely the mental condition of a salik. Maqâmât and ahwâl contained include: Repentance, patience and gratitude, zuhud, tawakkal, mahabbah (love), sincerity, and honesty. Everything is in accordance with what was mentioned by Al-Ghazali, but there are differences in the use of terms such as the use of sincerity in the face of all the tests that Al-Ghazali called ridha.In addition to Maqamat and Ahwal, this novel also contains the formulation of happiness that will be achieved by Jiaka humans to have gratitude, patience, confidence, sincerity, honesty, and love. The formulation of happiness is in line with Al-Ghazali's view, but Al-Ghazali uses a different language, namely knowing oneself, knowing God, knowing the world, and knowing the hereafter. By recognizing these four things, then someone will surely be grateful, patient, confident, sincere, honest, and love as mentioned by the novelist.The suggestions conveyed based on this research are novel writers, especially Islamic novels to better popularize Sufism values, given the large number of people interested in reading novels compared to reading religious books directly. Researchers are expected to enrich their studies with other methods of literary research, so as to add to the treasures for research in literature, in the form of novels, films, poems, short videos, poems, songs and so on.
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Gray-Fow, Michael J. G. "The Mental Breakdown of a Roman Senator: M. Calpurnius Bibulus." Greece and Rome 37, no. 2 (October 1990): 179–90. http://dx.doi.org/10.1017/s0017383500028941.
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Some time early in 50 B.C. the two elder sons of M. Calpurnius Bibulus the Roman governor of Syria were killed in Egypt by milites Gabiniani, Roman soldiers left there by A. Gabinius – an earlier governor of Syria. What Bibulus' sons were doingin Egypt is a mystery, partly because we do not know how old they were; all we know about them is that they were outstandingly gifted or outstandingly beautiful, or both. The soldiers had been left in Egypt (basically as mercenaries) by Gabinius in 54 B.C. when hehad been bribed by Ptolemy XII Auletes to restore him to the throne from which he had been driven by his exasperated subjects. Why these particular troops took it into their heads to murder Bibulus' sons is another mystery, which we will touch upon, but our main concern here is the effect which the death of his sons had on Bibulus. Our contention is simply that the incident is part of a rarely documented example from the classical world of a clear mental breakdown in one prominent individual. In Bibulus' case it took the form of paralysing shock, followed by grief, depression, and a frenzy of sleepless activity in which he eventually wore himself to death. To understand how this operated in the way it did in this particular case, we need to understand Bibulus the man and his personal history.
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Dziennik, Matthew, and Micheal Newton. "Egypt, Empire, and the Gaelic Literary Imagination." International Review of Scottish Studies 43 (March 7, 2019): 1–40. http://dx.doi.org/10.21083/irss.v43i0.3912.
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This article presents an edition, translation, and analysis of a Scottish Gaelic song by the Reverend Seumas MacLagain [James McLagan] (1728-1805) about the battle of Alexandria of 1801. This text, which has not received any previous scholarly attention, is a rare illustration of an attempt of a member of the Gaelic intelligentsia to re-frame Gaelic identity and history so as to reconcile them with the agenda of British imperialism. While largely unmentioned in analysis of Gaelic Scotland, the victory in Egypt was a crucial moment that was used by McLagan and others to draw the Gaidhealtachd into a British sphere more completely than ever before. By exploring the motifs, formulas, and devices used by McLagan in his song, and contrasting them with other Gaelic and pan-British approaches to the victory in Egypt, this article challenges assumptions about the nature of Gaelic military song in this era and suggests the importance of British imperialism to the Gaelic literary imagination in the early nineteenth century.
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Kemp, Barry. "Just Like Us? A review of Village Life in Ancient Egypt: Laundry Lists and Love Songs, by A.G. McDowell, 1999. Oxford & New York (NY): Oxford University Press; ISBN 0-19-814998-0 hardback, £40, xvii+279 pp., 26 figs." Cambridge Archaeological Journal 11, no. 1 (April 2001): 123–30. http://dx.doi.org/10.1017/s0959774301210075.
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Roisah Fathiyatur Rohmah. "Representasi Kerinduan dalam Lagu Umm Kulthūm Qiṣṣat Ḥubb Karya Aḥmad Rāmī: Analisis Semiotik Charles Morris". Al-Ma‘rifah 18, № 1 (30 квітня 2021): 55–66. http://dx.doi.org/10.21009/almakrifah.18.01.05.
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The purpose of this research is to reveal the representation of a male character’s longing for his lover in the song Qiṣṣat Ḥubb, a song full of emotion. The song was sung by Umm Kulthum, a famous singer from Egypt who has a big influence in the Arab world. The song Qiṣṣat Ḥubb was composed by an Egyptian writer named Aḥamd Rāmī. In the song Qiṣṣat Ḥubb, some signs have a deeper meaning. The study of meaning in this study uses Charles Morris’s theory of semiotics, which is divided into three, namely syntactic meaning, semantic, and pragmatic meaning. This study used a descriptive-analytic method by describing the data on the object of research, then continued with the analysis. The results of this study indicate that the syntactic meaning in the song Qiṣṣat Ḥubb is the sadness of a man because he reminisces with his late lover. The semantic meaning of this song is the confusion of a man who is abandoned by his lover. Meanwhile, the pragmatic meaning is the longing of a man for his lover which causes suffering and almost drives him crazy.
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Herrera, Linda. "Song without Music. Islamism and Education : A Case from Egypt." Revue du monde musulman et de la Méditerranée 85, no. 1 (1999): 149–59. http://dx.doi.org/10.3406/remmm.1999.2641.
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Legendre, Marie. "Changing the Narrative through Mothers, Daughters, and Sons." Medieval Encounters 29, no. 5-6 (November 16, 2023): 555–82. http://dx.doi.org/10.1163/15700674-12340177.
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Abstract This article offers a reassessment of the ties between the families of two half-brothers, ʿAbd al-ʿAzīz and ʿAbd al-Malik sons of Marwān ibn al-Ḥakam. The first succeeded their father as caliph, while the second was governor of Egypt at the turn of the eighth century. The modern historiography has made much of ninth- and tenth-century narratives of opposition between the two. Those narratives are reassessed with a focus on how ties of kinship were used as a literary tool to build a distinctive memory of the Marwanid family. Even if moments of competition are recorded between the two, the families of those two men were instrumental to the success of the Marwanids as a caliphal family. The focus here is on marriage ties between their sons and daughters as well as on how the sons and their fathers participated in the same marriage patterns. The paper offers to shift our perspective by placing emphasis on family members that are usually not given proper attention: mothers, daughters, sisters and a wider pool of sons.
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Elsaket, Ifdal. "SOUND AND DESIRE: RACE, GENDER, AND INSULT IN EGYPT'S FIRST TALKIE." International Journal of Middle East Studies 51, no. 2 (May 2019): 203–32. http://dx.doi.org/10.1017/s0020743819000023.
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AbstractThis article explores the coloniality of gender, sexuality, and desire, and the links between nationalist and commercial imperatives, in the making of Egypt's first sound film, or talkie, in 1932. Through an analysis of the politics, economy, and memory of Yusuf Wahbi's filmAwlad al-Dhawat(Sons of the Aristocrats), it shows how the interplay between new sound technologies, the global film trade, and nationalist and racialized narratives of gender and resistance shaped the contours of ideal femininity and masculinity during the interwar period in Egypt. The article also shows how the film's representations formed at the intersection between the filmmakers’ attempts to challenge colonial stereotyping and their efforts to capture an ever-expanding global film market. Often neglected in cinema scholarship, early filmmaking in Egypt, I argue, is critical to understanding wider processes of nation formation and gendered characterizations.
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Fadhilah, Fina Nur, and Fina Nur Fadhilah. "Perubahan Bunyi Bahasa Arab Fusha ke dalam Dialek Mesir Pada lagu Tamally Ma’ak." `A Jamiy : Jurnal Bahasa dan Sastra Arab 9, no. 1 (June 16, 2020): 47. http://dx.doi.org/10.31314/ajamiy.9.1.47-68.2020.
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The review was intended to analyze the changing of Arabic language sound Fusha on the language speaker ' Amiyyah of Egypt through the song of Tamally Ma'ak. In this review, Peneliti will use Crowly-owned theories. The data used was the vocabulary obtained from the song of Tamally Ma'ak. The result of this menunjukka is that there is a sound change [Q] as [ʔ] [ʕ] becoming [ʔ], [ħ] becoming [h], [long vocal] became [short vocal], [ʤ] becoming [ɣ], [D̪ ˁ] becoming [d], [s ˁ] becoming [s], [short vocal] into [long vocal], a sound deviation Vocals and consonants, [f] became [b], [ʔ] becoming [b], [Q] becoming [ɣ], a consonant, [ʔ] becoming [t], vocal [a] vocal [Ǝ] and vocal [a] became vocal [u].
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Pasha, Zainab Nasim, and Amna Umer Cheema. "Exploring Affective Justice in Tawfiq al-Hakim’s The Song of Death (Ughniyat al- Mawt)." Journal of English Language, Literature and Education 2, no. 02 (November 18, 2020): 21–34. http://dx.doi.org/10.54692/jelle.2020.020272.
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This research is an attempt to explore the formation of the assemblage of justice in Tawfiq al-Hakim’s The Song of Death (Ughniyat al- Mawt) (2008). The play is Al-Hakim’s rendition of a rural tragedy. Alwan, the son returning from the metropolis, remains caught up in a centuries’ long tribal blood feud. Urged on avenging his father’s murder, and failing to do so, Alwan dampens his mother’s thirst for blood with his own. This paper looks at the play with reference to K. M. Clarke’s merging of the affective theory with the fabric of justice. In this way, the portrayal of both tribal and new formations of systemic justice rising in Nasser’s Egypt will be explored within the play. Furthermore, this research investigates the role past traces and remnants of encounters with justice play in the structuring of justice within the rural scape of modern Egypt. The paper explores and dismantles various binaries presented in the text: tribal and modern, justice and vengeance, and shame and honour. It analyzes the ways in which emotional expressions and affects are articulated and institutionalized by the characters. In addition, the possibility of new imaginaries and cartographies of justice will be explored in order to reframe the debate around the binary of tribal and modern judicialization of violence.
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Sherwood, Aaron. "The Mixed Multitude in Exodus 12:38: Glorification, Creation, and Yhwh’s Plunder of Israel and the Nations." Horizons in Biblical Theology 34, no. 2 (2012): 139–54. http://dx.doi.org/10.1163/187122012x627821.
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Abstract The “mixed multitude” of Exodus 12:38 is a curious detail who are included amidst the departure of God’s people from Egypt. Yet close attention reveals that the mixed multitude holds a key concerning Israel’s deliverance and their nature as God’s people. Exodus 12:35-39 is a hinge device, and the one place in the narrative of chapters 1-15 in which its liturgical elements, plunder and creation motifs, and primary theme of God’s glorification converge. This makes 12:35-39 both a structurally and thematically key moment in the larger narrative, wherein God’s plunder from Egypt is an Israel who is constituted of both the “sons of Israel” and the “mixed multitude” of 12:38. And in view of Israel’s deliverance in their crossing of the sea in chapter 14, this composite people is identified as God’s new humanity who is brought forth in his new act of creation.
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Gordon, Joel. "Singing the pulse of the Egyptian-Arab street: Shaaban Abd al-Rahim and the geo-pop-politics of fast food." Popular Music 22, no. 1 (January 2003): 73–88. http://dx.doi.org/10.1017/s0261143003003052.
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Veteran Egyptian shaabi singer Shaaban Abd al-Rahim recently attained superstar status as the ‘interpreter of the pulse of the Egyptian-Arab street’ due to a pop hit proclaiming his hatred for Israel. Shaaban’s notoriety has been further enhanced by his abortive sponsorship of an ‘indigenous’ sandwich marketed in Egypt by McDonald's. Contracted by the fast food giant precisely because of his popularity, the singer was soon after dismissed in the wake of political pressure outside Egypt regarding the song that had made him a star. The deliberate turn to a singer like Shaaban for product sponsorship, especially for a commercial to be broadcast by state-run media, underscores weakening boundaries between what is ‘classically’ approved and what is still considered to be ‘vulgar’ or ‘low-class’ music, however popular it is among wide sectors of the population. For the moment, at least, Shaaban has become a figure with whom even a scornful intelligentsia must contend.
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Imes, Carmen Joy. "Can I Get a Witness? Miriam’s Song in the Literary Design of Exodus." Bulletin for Biblical Research 33, no. 4 (December 2023): 426–40. http://dx.doi.org/10.5325/bullbiblrese.33.4.0426.
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Abstract Miriam plays a disproportionate role in the literary design of Exodus because she strategically participates in both major rescue operations. She witnesses the rescue of her brother Moses as well as the rescue of the Israelite nation from Pharaoh’s oppressive regime in Egypt. The stories about her in Exodus provide a frame for these acts of deliverance. Her song also functions prophetically; as the sister of Aaron, she, too, functions as Moses’s spokesperson and calls upon Israel to respond faithfully. This article counters current scholarship (R. Burns and R. Hawkins) by providing a better explanation of Miriam’s namelessness in chapter 2 and her prophetic activity in chapter 15. It engages with G. Janzen’s assessment that the song of Miriam is analeptic, occurring before Moses’s longer version of the song. Her rebellion story in Num 12 and the prophet Micah’s recognition of her leadership role alongside Moses and Aaron both suggest that Miriam was highly revered and deeply loved. Literarily, she bears witness to God’s saving work and calls upon readers to respond in celebration.
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Gjoshi, Ragip. "Chronicle of Designing of Textbooks – ABC Books, Reading Comprehension and Grammar Books in Albanian Language in Kosovo 1886 – 2019." European Journal of Social Science Education and Research 6, no. 3 (September 25, 2019): 44. http://dx.doi.org/10.26417/ejser.v6i3.p44-52.
Повний текст джерелаАнотація:
According to the pedagogue and scholar of the school textbooks, the textbook is a basic and mandatory school book, which serves as a basic tool and source of knowledge in the given field of study. Created in support of the education curriculum and didactically shaped, taking into account the psychophysical skills of the students, the subject matter of the course, the type of school, the degree and the profile of education. Students use it in all stages of the learning process and in everyday self-education. It is known that the existence of the scripture is mentioned by the old Babylonia when tile plates were used to write the textual content, as early as four thousand years ago. In addition to that, in ancient Egypt, the texts were written in papyrus, which was used even in old Greece and later in Rome. The parchment was used in the middle Ages, whereby it is believed that the texts were written two thousand years ago. The story of the proper text begins with the discovery of Jan Gutenberg's printing press in 1438. This is where the textbook as a massive book of education derives from. It was an epochal discovery. Meanwhile, while it is known that although Albanian is one of the oldest languages in Europe, it is however documented late. The first documents of the Albanian language are considered from the 15th century (Formula e Pagëzimit, Fjalorthi i A.Von Harfit dhe Perikopeja e Shen Matineut). Meanwhile, Buzuku (Meshari 1555), for us Albanians, is the starting point for text design. It was the time when the didactic reformer Czech pedagogue Jan Amos Komenski (1592-1670), with the first text in Latin, illustrated Orbis sensualium pictus (The Sensual World in Photography), arrived as the founder of the textbook theory. However, it can be concluded that the ABC book, the literature and grammar texts in particular, and the textbook in general, in Kosovo were of multiple importance to Albanians who were deprived of the right to education in Albanian language. The history of textbook design in Albanian language in Kosovo is very new. After the Renaissance, which was marked as a bright epoch in the effort to draft textbooks for Albanian schools, "The Literary Commission" (Komisia Letrare), established in Shkodra in 1916 would join to serve in the name of this cause. The aim of this body was to gather and publish the visions of Albanian folk literature such as: poetry and songs, tales, traditions, lessons, etc. Recently, efforts have been made to compile literary bibliographies in Albanian language. Nevertheless, it would be useful to continue with a bibliography of Albanian Language reading comprehension books in the school tradition in Albania, Kosovo and other areas where Albanians live and are educated in Albanian language. In Kosovo, Mati Logoreci is a pedagogue, is considered to be among the first textbook writers. This patriot and intellectual is a treasure of Albanian tradition in many fields, especially of education and school, as didactic, text analyst, organizer, controversial to highlight scientific, educational, social values. Mati Logoreci has an indisputable value in the history of the Albanian didactic thinking, in particular, the current educational values, adding to these values also some features of contemporary personality traits, traditional learning, within the learning methods. Logoreci was among the first Albanian educators in Kosovo. The path to development of the book in Albanian language in Kosovo was difficult, which at the same time is the best indicator of the situation of this group of the Albanians.
45
Chlebowski, Piotr. "The eagle from Rzecz o wolności słowa." Studia Norwidiana 37 English Version (2020): 199–214. http://dx.doi.org/10.18290/sn.2019.37-11en.
Повний текст джерелаАнотація:
The article attempts at explaining the motif of the eagle which appears in the final Song XIV in the poem Rzecz o wolności słowa. Previous scholars have unambiguously associated this symbolic vision with the apocalypse and with the figure of St John. The reading of Volney’s Travels through Syria and Egypt, supported by the source description of Palmyra’s ruins from Robert Wood’s The Ruines of Palmyra, otherwise Tedmor, in the Desert (1753), points rather to an archaeological source of Norwid’s imagery – the image of the ruins of the Palmyrene Temple of the Sun (Baal).
46
Calvert. "Sons of the Country: Nasser, Qutb, and the Struggle that Defined Egypt." Bustan: The Middle East Book Review 10, no. 1 (2019): 1. http://dx.doi.org/10.5325/bustan.10.1.0001.
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47
Bohlman, Philip V. "The Munshidīn of Egypt: Their World and Their Song. Earle H. Waugh." History of Religions 31, no. 1 (August 1991): 97–98. http://dx.doi.org/10.1086/463269.
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48
Hoffman-Ladd, Valerie J. "The Munshidin of Egypt: Their World and Their Song. Earle H. Waugh." Journal of Religion 70, no. 3 (July 1990): 491–92. http://dx.doi.org/10.1086/488453.
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49
Ramzy, Carolyn M. "Modern singing sons of the Pharaohs." Ethnologies 37, no. 1 (May 3, 2017): 65–88. http://dx.doi.org/10.7202/1039656ar.
Повний текст джерелаАнотація:
In 2009, the U.S. Library of Congress officially launched the Ragheb Moftah Collection, an online exhibit that presented the largest music archive of Coptic liturgical recordings and music transcriptions outside of Egypt. Moftah, an amateur Egyptian collector, had commissioned an English composer, Ernest Newlandsmith, to notate and record the entire Orthodox hymnody. They both believed that, as the last connection to a Pharaonic and pre-Islamic past, the ancient melodies lay unchanged, “buried under a debris of Arabic and other ornamentation.” Drawing on Wendy Cheng’s notion of strategic orientalism (2013) and Timothy Mitchell’s staging modernity (2000), I explore contemporary discursive politics of sound archives in the Coptic community. Specifically, I investigate the role of Coptic music archives in articulations of community legitimacy, indigeneity, and agency as a religious and political minority in a Muslim majority nation. How have today’s cantors and activists rendered western transcriptions as sound objects which to negotiate authenticity as Egypt’s last remaining “modern sons of the pharaohs,” even without being able to read them? As the principal curator of the site, I explore how Western scholarly encounters have not only entangled Coptic music discourses in a western-centered teleology of modernity and progress, but in emulating the West, also infused them with orientalist critiques that equated heterophony and embellishments to “Arab debris” that marked signs of backwardness.
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Gadalla, Saad, James McCarthy, and Oona Campbell. "How the Number of Living Sons Influences Contraceptive Use in Menoufia Governorate, Egypt." Studies in Family Planning 16, no. 3 (May 1985): 164. http://dx.doi.org/10.2307/1967018.
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