Academic literature on the topic 'Arab Aesthetics'
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Journal articles on the topic "Arab Aesthetics"
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الاء عيسى كريم and علي عبدالله عبود. "Fashion Aesthetics in Contemporary Arab Sculpture." Basrah Arts Journal, no. 27 (November 30, 2023): 136–42. http://dx.doi.org/10.59767/2023.11/27.10.
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The art of sculpture in the Arab world formed a solid foundation in the field of art through the various sculptural products presented by Arab sculptors in employing art through which they contributed to the reflection of the cultural heritage due to the forms, symbols, images, forms of clothing and their external formal influences that were included in their works, which reflected the aesthetics of fashion in Arab sculpture. Contemporary, which necessitated highlighting the knowledge of its aspects from the cognitive, social, artistic and cultural aspects, and the connotations expressed by the Arab sculptor in dress, and to know the cultural value and employ it in the sculptural work, through which it is possible to differentiate between one country and another in terms of culture, traditions, and knowledge of the segments of society that were the basis for the variation in people's daily lives. The current research includes four chapters, the first chapter of which includes the research problem, which becomes clear through the following question: What are the aesthetic values achieved by fashion in contemporary Arab sculptural work, as well as the importance of research and the need for it, which lies in the fact that it represents a reflection of the aspects of traditional Arab life. The current research aims to identify the aesthetics of fashion in contemporary Arab sculpture. The research is limited spatially to sculptural works in the Arab world, temporally from 1950 to 2020, and objectively by studying sculptural works that reflect the aesthetics of contemporary Arab fashion.
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Gaber, Tammy. "Modern Arab Art." American Journal of Islam and Society 26, no. 1 (January 1, 2009): 114–17. http://dx.doi.org/10.35632/ajis.v26i1.1422.
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This book endeavors to define a specific term for modern Arab art, which ismost often considered a continuation of Islamic or ethnic art or a subordinatecopy of western trends. This academic text, which targets audiences interestedin contemporary art or the Arab world, or both, is divided into threeparts: “Background and Definitions,” “Modern Arab Aesthetics,” and “The Arabic Letter in Art.” It contains forty images within the text and thirty-twoplates of contemporary works of art by Arabs ...
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Moosa, Ebrahim. "Aesthetics and Transcendence in the Arab Uprisings." Middle East Law and Governance 3, no. 1-2 (March 25, 2011): 171–80. http://dx.doi.org/10.1163/187633711x591512.
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Politics is regarded as a science for it tells us what to do, when it deals with measurable concepts. But politics is also an art—a form of practice, telling us how and when to do things. Lest we forget, the arts of persuasion and inspiration are part of politics. And, every art also produces an aesthetic. By aesthetics I mean, the ways by which we think about art: recall, art is what we do and how we do things. Th ose things and acts that become visible when we do and produce certain actions—jubilation, conversations, speeches, greetings, protests, banners, deaths, wounds and other expressions—all constitute the means by which thought becomes visible, eff ective, and sensible. Th ese forms and visible expressions of the sensible constitute the aesthetics of politics. Only the patient will know where the momentum for change in the Arab world is heading. But, if the outcome of the Arab uprisings is unclear, then there is one certainty: the people have changed the order of the sensible. Th anks to peaceful protests in the face of regime brutality, tens of millions of people have performed change in myriads of expressions: aesthetics. Th eir feelings have cumulatively changed, and how people feel about governance is ultimately what politics is all about.
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ALWAN, Jolan Hussien. "THE AESTHETIC DISCOURSE OF DECORATIVE ART )ISLAMIC CIVILIZATION AS A MODEL)." RIMAK International Journal of Humanities and Social Sciences 04, no. 01 (January 1, 2022): 635–55. http://dx.doi.org/10.47832/2717-8293.15.44.
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Islam is a major turning point in the life of the nation in particular and humanity in general, because the impact of the Arab-Islamic civilization on human life as a whole is still visible. Art was a manifestation of the Arab Islamic culture and that it represents a pattern of human civilization patterns. Arab Islamic art is one of the important tributaries that accompanied the life and development of the Arab Muslim man. Islamic religious buildings, such as statues, pictures, and other tools used by the Christian churches in their rituals, as these teachings prevented from imitating nature completely. The abstract of the reality of the Creator. This spiritual identity of art is the prominent feature that has marked the history of Islamic art, in all its diverse fields, from diagnosis to abstraction. The Arab-Islamic personality crystallized under the Islamic religion, and art and its aesthetics became a source of interest for Muslim philosophers of beauty, including Al-Ghazali, Abuhyan Al-Tawhidi and Al-Farabi, because Islamic religious thought is far from everything that is analogous in Islamic art so as not to be an emulation of the Creator. From here, the research problem started with the following question: What distinguished the decorative art from the rest of the Islamic arts through its vast civilization from the other arts? And to what extent does it include the aesthetic dimension within the opinions of Muslim philosophers who are interested in the aesthetics of art? 1-As for the importance of the research, it focused on: the possibility of considering it a source for those interested in studying decorative. 2-The possibility of seeing the aesthetics of decorative art and the artist's orientation to this type of art.
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Manshur, Fadlil Munawwar. "Aesthetic Interpretation of the Qur'an Sarah R. Bin Tyeer: A Critical Study." TAJDID 29, no. 1 (August 20, 2022): 1. http://dx.doi.org/10.36667/tajdid.v29i1.934.
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This study discusses Sarah R. Bin Tyeer’s views concerning Al-Qur’an aesthetics. This article emphasizes that people who read pre-modern Arabic-Islamic literature often encounter themes of binary opposition within them, for example, the conflict between the sacred and the profane, the pious and the godless. In the Arab-Islamic tradition, literary and aesthetic elements are pre-modern, modern, and contemporary literary expressions that show the continuity of the influence of Al-Qur’an as a sacred entity. Tyeer thinks that there have been many scientific studies placing Al-Qur’an in the history of literature and investigating its influence on Arabic literature. Through critical discourse analysis method, this study has tried to describe, interpret, and critically explain Al-Qur’an esthetics discourse. This method has proven that Tyeer’s ideas concerning Al-Qur’an aesthetics are considered appropriate in elaborating and exploring the relationship between Tyeer’s thoughts on Al-Qur’an aesthetics with the cultural and social contexts that surround it. Tyeer also succeeded in explaining the relationship between the use of the beauty of Al-Qur’an language and Arab social and cultural practices. In this case, Tyeer’s view is focused on the text and context, not on the scientific paradigm.
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Mohamed, Eid, Waleed Mahdi, and Hamid Dabashi. "The aesthetics of dissent: Culture and politics of transformation in the Arab world." International Journal of Cultural Studies 23, no. 2 (September 19, 2019): 141–49. http://dx.doi.org/10.1177/1367877919859898.
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Our special issue captures the interplay of media, politics, religion, and culture in shaping Arabs’ search for more stable governing models at a crossroads of global, regional, and national challenges through systematic and integrated analyses of evolving and contested Arab visual and performing arts in revolutionary and unstable public spheres. The issue presents a unique attempt to investigate these forms of cultural production as new modes of knowledge that shed light on the nature of social movements with the aim of expanding the critical reach of the disciplinary methods of political discourse and social theory. Contributors articulate the ways in which the Arab scene can contribute to the understanding of the rise of new social movements worldwide by exploring the methodological gaps in dominant Western discourses and theories.
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Howell, Sally. "Cultural Interventions: Arab American Aesthetics between the Transnational and the Ethnic." Diaspora: A Journal of Transnational Studies 9, no. 1 (March 2000): 59–82. http://dx.doi.org/10.3138/diaspora.9.1.59.
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Much of contemporary writing on diaspora stresses, as Gilroy and Clifford do, the inadequacies of national and ethnic identities. As people move (and are moved) across the globe, they transform local identities into new and hybrid forms. Sometimes, people in motion are reborn. They look back on the “land of their [first] birth” with a sense of relief—some have escaped, after all—or with pangs of nostalgia for a time and place that no longer exist. Whether they are “Afro-Americans” traveling to Europe (as in Gilroy’s example) or Arab refugees arriving in Detroit, they cannot avoid bringing “the constraints of ethnicity and national particularity” with them. What is more, as they settle into new nation-states, they must reimagine themselves in unfamiliar contexts of ethnicity and identity. In my work among Arab immigrants and their descendants in Detroit, I have encountered many “discrepant cosmopolitanisms” and, just as often, discrepant localisms. Each interacts with its alternatives; each, in its way, feeds into the complex process by which Arabs resist, create, represent, transcend, and fall victim to ethnic identity in America.
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Ammagui, Nada. "Artistic Taste-Making at the Sharjah Biennial." Review of Middle East Studies 54, no. 1 (June 2020): 125–26. http://dx.doi.org/10.1017/rms.2020.8.
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This poster investigates the role that the Sharjah Biennial (SB), an international art showcase in the United Arab Emirates, plays in the development of a local artistic and cultural taste. It argues that the SB contributes to the molding of local aesthetic values through its selection of curatorial themes, artists, artworks, and, especially, venues. Using field visits, interviews, and archival research informed by sociological and anthropological theories on aesthetics, the author shows that organizers of public art exhibitions and programs are in a key position to shape the art to which people are exposed and how this, in turn, creates a public valuation of aesthetics. This project fills a gap in contemporary biennial literature by shedding light on the pivotal roles of art events in shaping societal aesthetic values.
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Bahoora, Haytham. "Locating Modern Arab Art: Between the Global Art Market and Area Studies." Review of Middle East Studies 54, no. 1 (June 2020): 25–36. http://dx.doi.org/10.1017/rms.2020.15.
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AbstractThis essay situates the publication of Modern Art in the Arab World: Primary Documents in the context of an expanding global interest in modern Arab art as well as the study of modern Arab art as an academic discipline. The essay first examines the implications of the cultivation of a new museum and gallery infrastructure for modern Arab art in the Arab Gulf. It then considers how the academic study of modern Arab art has faced institutional barriers, due largely to the overwhelming academic focus on Ancient Studies and Islamic art. Finally, it suggests that Modern Arab Art in the Arab World provides scholars with a comprehensive textual archive that calls for a historicized approach to theorizing the emergence of modernist aesthetics in Arab visual cultures.
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Kurraz, Abdullah. "Artistic Narrative Structure of Ihsan Abdel Quduos and D. H. Lawrence's Novels: A Stylistic Comparative Sketch." International Journal of Linguistics, Literature and Translation 5, no. 3 (March 5, 2022): 48–57. http://dx.doi.org/10.32996/ijllt.2022.5.3.6.
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This paper explores the artistic structures, aesthetics, and thematics in the literary works of Ihsan Abd Al-Quduos (the Arab writer) and D. H. Lawrence (the English writer) in terms of the narrative style, language, dialogue, settings, and characters through a textual analysis in the light of the premises of the narrative aesthetics, comparative assumptions and aesthetic intertextualities. Comparatively, the paper sheds light on the aspects of artistic aesthetics of structure and style between the two writers, basically the treatment of women, clarifying their narrative experiences. Therefore, this paper adopts the descriptive and analytical critical theory to explore similarities and dissimilarities in the aesthetics, style, and language of both writers' selected texts. The results of this paper textually reveal both authors' awareness of the nature of the fictional discourse as linguistic creativity and special artistic composition. Also, both novelists show some similarities and differences in narrative content, style, structure and themes, each according to his realistic experience as a result of the relationship with the surrounding environment and the cultural background. So, the two writers are very careful with all their art and creativity to endow their novels with aesthetics of expression and their structural and semantic spaces. The paper explores such issues in their selected narratives, which include Ihsan's Sleepless, The Dead End, A Nose and three Eyes, and Don't Turn off the Sun. Lawrence's novels include Sons and Lovers, Women in Love, The Lost Girl, Aaron's Rod, and Lady Chatterley's Lover.
Dissertations / Theses on the topic "Arab Aesthetics"
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Van, de Peer Stefanie E. "The aesthetics of moderation in documentaries by North African women." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3535.
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This thesis focuses on documentaries by North African women, who have been marginalised within the limited space of the field of African filmmaking. I illustrate how North African cinema has suffered from neglect in studies on African as well as Arab culture and particularly African and Arab cinema. I discuss the work of four pioneering women documentary makers in Egypt, Tunisia, Algeria and Morocco. Consecutively I will discuss Ateyyat El Abnoudy, Selma Baccar, Assia Djebar and Izza Génini’s work. My approach is transnational and Bakhtinian in the sense that I am an outsider looking in. I promote a constant self-awareness as a Western European and an academic interested in the area that is defined as the Middle East. Like the documentary makers, I take the nation state as a starting point so as to understand its effects, in order to be able to critique it and place the films in a transnational context. The documentaries in this thesis illustrate that films of a socio-political nature contest the notion of a singular national identity and can become a means of self-definition. Asserting one’s own cultural and national identity, and subjectively offering the spectator an individual’s interpretation of that self-definition, is a way towards female emancipation. Going against the grain and avoiding stereotypes, evading censorship and dependence on state control, these directors find ways to give a different dimension to their identity. Analysing the work of these four pioneering filmmakers, I uncover diverse female subject matters treated by a similar aesthetic. I argue that through overlooked cinematic techniques, they succeed in subverting the censor and communicating a subtle but convincing critique of the patriarchal system in their respective countries. Their preoccupation with representing ‘the other half’ puts a new and under-explored spin on perceptions of anti-establishment filming with subtly emancipating consequences. I suggest that their common aesthetic is one that develops moderation in terms of context, content and style. There is a cinematic way of implicitly subverting not only the (colonial) past but also the (neo-colonial) present which goes further than re-inscription or compensation: new modes of resistance co-exist with the more rebellious and heroic ones. These women’s films rewrite, imply and contemplate rather than denounce and attack heroically. They do not reject as much as interrogate their situations, counting on the empathic and intersubjective abilities of the spectator. A relationship of trust between director, subject and spectator is crucial if we want to believe in the subalterns’ aptitude for voicing issues and gazing back. I reveal a different approach to communication beyond the verbal, and a belief in the subjects’ capacities to speak and listen. This is echoed in the filmmaker’s sensitive analysis of the subjects’ expression and voice and the non-vocal expression – the gaze. The intended outcome is dependent on the willingness of the spectator to take part in the intersubjective communication triangle. I conclude with the idea that moderation is the foundational concept of a post-Third Cinema transnational aesthetic in North Africa. Ateyyat El Abnoudy, Selma Baccar, Assia Djebar and Izza Génini are pioneers of women’s filmmaking in North Africa, who opened up a space for underrepresented subjects, voices and gazes.
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Bitar, Amer. "The Impact of Visual Representations of Leadership in Tribal Dominated Societies: A critical qualitative study of aesthetic leadership in the United Arab Emirates." Thesis, University of Bradford, 2017. http://hdl.handle.net/10454/17216.
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This thesis explores the role and impact of leadership as a socially
constructed and aesthetic phenomenon in tribal-dominated Bedouin Arabia.
The concept of leadership is investigated in terms of its discursive and
aesthetic dimensions across different geographical, historical, and
intellectual settings by adopting and applying a Foucauldian perspective of
interconnected concepts of power/knowledge, discourse, subjectivity, body
symbolism and the power of gaze. The thesis draws on three related types of
data: First, images to understand the leaders’ perspective. Second,
interviews with artists to gain insights into the visual message and the
creative process. Third, through semi-structured interviews with the audience
to garner an understanding of how it perceives the message leaders send.
This thesis contributes theoretically to ongoing research into the visual
representation of leadership and to critical debates concerning Foucauldian
perspectives on discourse, power, discipline and the body. This thesis
concludes by recommending practical implications for rethinking leadership
as something both aesthetic and mythical to consider the role of followership
in the consumption of leadership-themed visual artworks and
communication, and the growing global role and influence of social media in
shaping leader-follower relations.
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La, Follette Tavia. "Sites of Passage: Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social Practice." Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1365450771.
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Messaadi, Farhat. "Poésie de la nature à l'âge abbasside (VIII-XIII siècles) : approche analytique et thématique." Thesis, Paris, INALCO, 2019. http://www.theses.fr/2019INAL0004.
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Ce travail de recherche explore la place de la nature dans la poésie arabe à l’âge abbasside (VIII-XIII siècles), en s’intéressant plus particulièrement à l’esthétique de la poésie, à l’imaginaire arabe et à l’essence même de la production poétique. Il s’agit de montrer en quoi l’évolution de la poésie descriptive dans la littérature arabe constitue un sujet, non seulement essentiel, mais aussi sous-jacent à la poésie de la nature telle qu’elle est abordée et traitée par d’autres chercheurs dans des périodes différentes. Pour ce faire, cette étude a délibérément respecté la démarche chronologique, afin de proposer une vue synoptique de l’évolution de la représentation de la nature depuis la période préislamique jusqu’à l’âge abbasside, en passant par la période omeyyade, ère durant laquelle ce thème deviendra un thème à part entière et trouvera pleinement sa place, bien ancrée dans le nouvel essor civilisationnel de la vie citadine. Ce mode de vie inédit a invité les poètes abbassides à se tourner vers la description des aspects de la nature dans un langage mieux élaboré, épousant exactement les changements d’inspiration de la société contemporaine et engendrant naturellement une production poétique métamorphosée, fruit d’une débauche d’imagination spontanée, foisonnant de connotations polysémiques imprimant une dynamique enlevée. Cette représentation artistique versifiée en une langue riche et raffinée, ponctuée par un rythme marqué, miroir fidèle de l’environnement intellectuel et culturel de l’époque envisagée, se manifeste chez des poètes abbassides innovants, construisant de longs poèmes sur le thème unique de la nature dans lesquels ils épanchent leurs émotions et leur vécu. Finalement, ce travail de recherche a montré que la poésie avait atteint son apogée esthétique à l’âge abbasside qui, ainsi, devint l’âge d’or de la littérature arabeThe piece of research is exploring the place of Nature in the Arabic poetry during the Abbasside Age (VIII-XIII century), focusing more particularly on the poetical aesthetics, the Arabic imaginativeness as well as the very essence of poetical production. This work aims at showing how the evolution of descriptive poetry in the Arabic literature can be considered as a subject not only essential, but also subjacent to the poetry of Nature itself by the way it has been tackled and treated by other research students in other periods. In this perspective this research has deliberately abided by chronological approach in order to propose a synoptic survey of the evolution of the representation of Nature since the preislamic era until the Abbasside age throughout the Ommeyyade period during which this theme was to become a full one completely inserted into the new civilization development of the urban way of life. Indeed this new way of life invited the Abbasside poets to engage into the use of a more elaborate language for describing the various aspects of Nature, thus, strictly following up the changes in inspiration due to this contemporary society and naturally entailing a deeply transformed poetical production as the fruit of a spontaneous, abundant imagination rich in polysemic connotations inducing a spirited dynamic movement. This artistic representation written in richly refined verses, hammered out in a marked rhythm, faithfully mirrored in the intellectual and cultural milieu of their epoch, is obvious among this Abbasside poets making innovations while building long poems about the subject-matter of nature-in which they pour forth their emotions and their experience-. Last but not least, this piece of research has put in the limelight that poetry had reached its peak of aesthetical perfection during the Abbasside Age that consequently became the Golden Age of the Arabic literature
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DeVault, Christopher. "Amorous Joyce: Ethical and Political Dimensions." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/196.
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My dissertation challenges the longstanding dismissal of love in James Joyce's texts by examining the ethical and political implications of his love stories. Primarily using Martin Buber's works (but also including perspectives derived from bell hooks and Julia Kristeva), I define love as an affirmation of otherness and adopt a critical framework that promotes the love of others over the narcissistic devotion to oneself. In so doing, I highlight love as the ultimate challenge to authoritarian systems because the embrace of the other is necessary to transcend the boundaries that alienate individuals from each other and that justify imperialist and racist political structures. I thus offer a love ethic that not only compels meaningful individual interaction, but also establishes a model for effective social and civic participation, encouraging a climate of cooperation that embraces the solidarity and empathy needed for progressive politics. I also argue that analyzing Joyce's works provides a fruitful opportunity to recognize the individual and political viability of this love ethic. Focusing on Dubliners, Stephen Hero, A Portrait of the Artist as a Young Man, Exiles, and Ulysses, I examine the relationships between his characters' pursuits of love and their socio-political struggles, arguing that their love for others directly influences their acceptance of otherness within the colonialist discourses of Joyce's Dublin. For example, James Duffy's refusal of Emily Sinico in "A Painful Case" also rejects her advice to engage in the political cooperation that would promote his socialist ideas. Similarly, Stephen Dedalus's promotion of symbolic romance over real-world attachments focuses his aesthetics on ideal beauty instead of everyday Dublin, which alienates him from his audience and limits the practical success of his art. By contrast, Leopold Bloom's love for his wife Molly reflects a broader empathy for others that encourages social dialogue and counteracts what Joyce called "the old pap of racial hatred," an element in both British imperialism and Irish nationalism. My dissertation's afterword anticipates the amorous potential of Finnegans Wake, reading ALP's concluding soliloquy as a demonstration of her enduring affection for HCE that is reignited through each iteration of the text's cyclical narrative.
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Belkind, Nili. "Music in Conflict: Palestine, Israel and the Politics of Aesthetic Production." Thesis, 2014. https://doi.org/10.7916/D8QN64WP.
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This is an ethnographic study of the fraught and complex cultural politics of music making in Palestine-Israel in the context of the post-Oslo era. I examine the politics of sound and the ways in which music making and attached discourses reflect and constitute identities, and also, contextualize political action. Ethical and aesthetic positions that shape contemporary artistic production in Israel-Palestine are informed by profound imbalances of power between the State (Israel), the stateless (Palestinians of the occupied Palestinian territories), the complex positioning of Israel's Palestinian minority, and contingent exposure to ongoing political violence. Cultural production in this period is also profoundly informed by highly polarized sentiments and retreat from the expressive modes of relationality that accompanied the 1990s peace process, strategic shifts in the Palestinian struggle for liberation, which is increasingly taking place on the world stage through diplomatic and cultural work, and the conceptual life and currency Palestine has gained as an entity deserving of statehood around the world.
The ethnography attends to how the conflict is lived and expressed, musically and discursively, in both Israel and the occupied Palestinian territories (oPt) of the West Bank, encompassing different sites, institutions and individuals. I examine the ways in which music making and attached discourses reflect and constitute identities, with the understanding that musical culture is a sphere in which power and hegemony are asserted, negotiated and resisted through shifting relations between and within different groups. In all the different contexts presented, the dissertation is thematically and theoretically underpinned by the ways in which music is used to culturally assert or reterritorialize social and spatial boundaries in a situation of conflict.
Beginning with cultural policy promoted by music institutions located in Israel and in the West Bank, the ethnography focuses on two opposing approaches to cultural interventions in the conflict: music as a site of resistance and nation building amongst Palestinian music conservatories located in the oPt, and music is a site of fostering coexistence and shared models of citizenship amongst Jewish and Arab citizens in mixed Palestinian-Jewish environments in Israel. This follows with the ways in which music making is used to re-write the spatial and temporal boundaries imposed on individuals and communities by the repressive regime of the occupation. The ethnography also attends to the ways in which the cultural construction of place and nation is lived and sounded outside of institutional frameworks, in the blurry boundaries and `boderzones' where fixed ethno-national divisions do not align with physical spaces and individual identities. This opens up spaces for alternative imaginings of national and post-national identities, of resistance and coexistence, of the universal and the particular, that musically highlight the daily struggles of individuals and communities negotiating multiplex modalities of difference.
Books on the topic "Arab Aesthetics"
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Shabout, Nada M. Modern Arab art: Formation of Arab aesthetics. Gainesville, FL: University Press of Florida, 2008.
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Shabout, Nada M. Modern Arab art: Formation of Arab aesthetics. Gainesville: University Press of Florida, 2007.
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Ghurayyib, Rūz. al- Naqd al-jamālī wa-atharuhu fī al-naqd al-ʻArabī. Bayrūt: Dār al-Fikr al-ʻArabī, 1993.
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Shalaq, ʻAlī. al- ʻAql fī al-turāth al-jamālī ʻinda al-ʻArab. Bayrūt: Dār al-Madā lil-Ṭibāʻah wa-al-Nashr, 1985.
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Behrens-Abouseif, Doris. Schönheit in der arabischen Kultur. München: Beck, 1998.
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Murtāḍ, Muḥammad. Mafāhīm jamālīyah fī al-shiʻr al-ʻArabī al-qadīm: Muḥāwalah tanẓīrīyah wa-taṭbīqīyah. Bin ʻAknūn, al-Jazāʾir: Dīwān al-Maṭbūʻāt al-Jāmiʻīyah, 1998.
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Studies, Institute of Ismaili, ed. Beauty and Islam: Aesthetics in Islamic art and architecture. London: I.B. Tauris in association with the Institute of Ismaili Studies, London, 2001.
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Leaman, Oliver. Islamic aesthetics: An introduction. Edinburgh: Edinburgh University Press, 2004.
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Qalʻahʹjī, ʻAbd al-Fattāḥ Rawwās. Madkhal ilá ʻilm al-jamāl al-Islāmī. Bayrūt: Dār Qutaybah, 1991.
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Gesser, Silvina Schammah, and Susana Brauner. "Aesthetics, Politics and the Complexities of Arab Jewish Identities in Authoritarian Argentina." In Contemporary Sephardic and Mizrahi Literature, 43–68. First edition. | New York : Routledge, [2017] | Series: Routledge Jewish studies series: Routledge, 2017. http://dx.doi.org/10.4324/9781315308593-4.
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Friis, Guillermo, and Mary E. Killilea. "Mangrove Ecosystems of the United Arab Emirates." In A Natural History of the Emirates, 217–40. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-37397-8_7.
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AbstractGray mangroves (Avicennia marina) represent the only evergreen forests of the United Arab Emirates (UAE), where they occur at the northern edge of the species’ range and are subject to extreme environmental conditions. Mangroves occur both throughout the western and eastern coasts of the seven Emirates, either in natural or restored populations. They act as ecosystem engineers, creating a habitat that is exploited by a wide variety of organisms, including species of conservation concern. As the only mangrove species of the Arabian Gulf, the gray mangroves represent a relevant asset for local communities. They provide numerous ecosystem services of cultural and socioeconomic importance, from their aesthetics and recreational uses in urban spaces to their role as carbon sinks or nursery habitats for species targeted for commercial fishing. Thanks to successful afforestation programs, the UAE mangroves are experiencing a steady recovery after severe cover losses resulting from the intense urban development that followed the 1970s oil boom, and nowadays they represent more than half of the total mangrove cover in the Arabian Gulf. However, national mangrove forests still face considerable threats derived from human activities. Active, long-term policies and management will be needed to ensure the survivorship of these critical ecosystems.
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Kreinath, Jens. "Infrastructures of Interrituality and the Aesthetics of Saint Veneration Rituals Among Orthodox Christians and Arab Alawites in Hatay." In The Palgrave Handbook of Anthropological Ritual Studies, 345–71. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76825-6_17.
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Pannewick, Friederike. "The Year 1979 as a Turning Point in Syrian Theatre: From Politicization to Critical Humanism." In Re-Configurations, 277–87. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-31160-5_18.
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Abstract This chapter investigates a crucial turning point in the writing of Syrian dramatist Saadallah Wannous (1941–1997) in the late 1970s. This internationally acclaimed author belonged to a generation of Arab intellectuals and artists whose political and artistic identities were strongly shaped by the question of Palestine. After the Camp David Accords of 1978 and the resulting Egypt-Israel peace treaty, signed in 1979, Wannous attempted suicide and stopped writing plays for more than ten years. This chapter shows how the plays he published after this self-imposed silence moved away from a didactic, political theater and towards psychological studies focusing on individuals as well as minority and gender issues. This chapter asks whether the significant aesthetic and conceptual turn in Wannous’s work from the early 1990s onwards might go beyond the concerns of a specific individual artist. To what extent does it mark a generational shift in regard to the meaning and connotations of political art?
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Najjar, Michael Malek. "Acting Arab/Arab acting." In Arab American Aesthetics, 99–113. Routledge, 2018. http://dx.doi.org/10.4324/9781315103914-7.
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Harb, Sirène. "An aesthetics of haunting." In Arab American Aesthetics, 29–41. Routledge, 2018. http://dx.doi.org/10.4324/9781315103914-3.
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Pickens, Therí A. "Introduction." In Arab American Aesthetics, 1–10. Routledge, 2018. http://dx.doi.org/10.4324/9781315103914-1.
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Fadda, Carol N. "The poetics of torture in Philip Metres’s Sand Opera." In Arab American Aesthetics, 13–28. Routledge, 2018. http://dx.doi.org/10.4324/9781315103914-2.
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Pazargadi, Leila Moayeri. "Unfixing the autobiographical subject." In Arab American Aesthetics, 42–60. Routledge, 2018. http://dx.doi.org/10.4324/9781315103914-4.
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Stiffler, Matthew Jaber. "“Serving Arabness”." In Arab American Aesthetics, 63–86. Routledge, 2018. http://dx.doi.org/10.4324/9781315103914-5.
Full textConference papers on the topic "Arab Aesthetics"
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Ibrahim, Fayrouz. "ART EDUCATION CHALLENGES AND THE ROLE OF COMMUNITY EDUCATION IN DEVELOPING AESTHETICS PERCEPTION IN ARAB SOCIETIES." In International Technology, Education and Development Conference. IATED, 2017. http://dx.doi.org/10.21125/inted.2017.2338.
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إبراهيم أحمد العزّي, يونس. "Halabja in Poetic Memory: The Crime and the Case." In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/55.
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"Abstract The Halabja case, and the genocide to which the people of this city were subjected, represented an international crime with all the dimensions and connotations of the word, and thus left a wound in the memory of the human conscience, the effects of which were reflected in various forms politically, socially, and culturally. The Halabja crime constituted intellectual and literary foundations for many Iraqi and Arab poets and writers, and it became an artistic theme for many poems and literary works in the contemporary creative achievement. Among these writers was the Iraqi poet (Ahmed al-Hamd al-Mandalawi), whose poem (Execution of a City in My Country) is regarded as an artistic painting that recorded the details of this tragedy, and depicted its bloody events, in a high literary style, and a language far from complex, embodied the poetry of sadness and the memory of pain. This is what makes it a rich sample in technical and objective terms, and worthy of research and study. The stylistic approach was adopted as a method of reading and a mechanism for analysis, to reveal the aesthetics of this poem, and the mechanisms of its artistic formation, according to a critical and analytical vision, highlighting the poetics of the text and the poeticity of the creator on the one hand, the depth of tragedy and the connotations of sadness and sorrow On the other hand, the text. The study methodology necessitated dividing the research into an introduction and three sections. The introduction formed a methodological threshold - including (Halabja - the poem - and the poet), which collectively represents the external / theoretical framework of the research. As for the research sections, it was devoted to the study of the three levels of the poem - according to the mechanisms of the stylistic approach - which are respectively: the structural level, the phonemic level, and the semantic level, which the poet was able through his employment of the elements of formation and artistic construction to highlight these stylistic levels and their poetics that tempt the researcher to approach the text and critically debate it what reveals its aesthetic beauty secrets."
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Ignjatović, Zlatomir. "Green walls as a sustainable urban solution." In Ekološko inženjerstvo - mesto i uloga, stanje i budući razvoj (16). Union of Engineers of Belgrade, 2024. http://dx.doi.org/10.5937/eko-eng24025i.
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Green walls or vertical greenery represent an innovative approach to the integration of greenery in the urban environment. The paper will explain green walls as a sustainable urban solution. The aim of the work is to highlight the ecological, aesthetic, and functional aspects of green walls, emphasizing their contribution to air quality improvement and the visual appeal of city spaces. The paper will present concrete achievements and benefits of the implementation of green walls worldwide, the percentage of green areas in cities, and legal regulations defining a certain percentage of green areas with the goal of reducing the effects of greenhouse gases. At the recently held COP28 conference in the United Arab Emirates, the focus was on climate change and planetary warming caused by the effects of greenhouse gases such as carbon dioxide from burning fossil fuels for energy. In addition to reducing fossil fuels and exploring alternative energy sources, minimizing harmful gases can also positively impact the increased presence of green areas in urban spaces, a topic further discussed in the paper itself.
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D, Gowtham, Dharshan L, Harshad Bornare, Kakade Ritesh, Manish Deoli, Vilas Vadla, and Phani Kumar Kakani. "Foam and FRP Sheets Packaging for Headliner Stiffness at Curtain Airbag Area." In Symposium on International Automotive Technology. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2024. http://dx.doi.org/10.4271/2024-26-0008.
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<div class="section abstract"><div class="htmlview paragraph">As we all know, automotive headliners are an essential component of any car’s interior as they cover all the internal components and provide a clean and finished look. Headliners not only increase the aesthetic appeal of a car’s interior, but also acts as an insulation and sound absorption source. As per the latest Government norms, Curtain Airbag (henceforth called as CAB) has been made mandatory and this change calls for the corresponding changes in the Headliner packaging of all passenger vehicles. In general, curtain air-bag deployment calls for a twist open of Headliner at lateral sides (a portion below Hinge-line) during the deployment. This enables the inflated airbag to flow inside the passenger cabin to protect the passenger from any injury. Conventionally no components are packaged below the hinge-line area of headliner to avoid obstruction for CAB deployment and any part fly-off concerns. For this reason, no foams/components are kept below the hinge-line region of the headliner. In this paper we are discussing the pros of introducing the Polyurethane (henceforth called as PU) foams below the hinge-line without hampering the CAB deployment criteria.</div><div class="htmlview paragraph">This paper also dwells upon the characteristic and type of the foams that need to be used to serve the purpose. These foams have been specifically designed to increase the stiffness and solidity of Headliner at all joinery/interface areas without any compromise on the CAB deployment requirements mandated by ARAI*. Height and the width of the foams are optimized to act as a guide for deployment rather than obstructing it.</div></div>
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Purnell, Maria Kathryn N. "The Prevailing Art and Tradition of Intentional Dental Modification in Prehistoric Southeast Asia | Ang Namamayaning Sining at Tradisyon ng Intensyonal na Modipikasyon ng Ngipin sa Sinaunang Timog-Silangang Asya." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-06.
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Since prehistoric times, humans have changed select characteristics of their bodies, such as tattooing, hair-dyeing, cranial and feet deforming, and teeth modifying. Teeth are some of the most well-preserved remains in the archaeological record, with which we can study past cultural and ritualistic beliefs. Previous publications on dental modifications in Southeast Asia are mostly limited to the mainland, thus this paper reviews modifications observed in prehistoric sites across Southeast Asia, identifying common techniques and motivations. Findings show occurrence of dental ablation, filing, plating, and coloration, which began in the Neolithic, disappeared in the Bronze Age, but reappeared in the Iron Age, although the absence may be due to sampling shortage. Modifications have been associated to aestheticism, group identity, rite of passage, practicality, and medical benefit, but whether these all ring true remains uncertain. It is recommended that future research expand scope for better data representation, analyze modifications with context of community profiles, and investigate the significance of migration in the prevalence of certain techniques and patterns as part of understanding the cultural aspects of past humans’ lives, and assess the cultural (dis)continuity of these traditions into modern-day forms of body modification, art, healing, self-expression, and identity. Magmula sinaunang panahon, maitatala ang mga pagbabagong pisikal sa katawan, tulad ng pagtatato, pagkukulay ng buhok, at pag-iiba-anyo ng ulo, paa, at ngipin. Nabibilang ang ngipin sa mga lubos na napepreserbang artepakto sa arkiyoloji, at sa gayo’y magagamit pang-aral ng mga nakalipas na kultura at ritwal. Kasalukuyang limitado sa mainland ng Timog-Silangang Asya ang saliksik sa intensyonal na modipikasyon ng ngipin, kaya tatalakayin dito ang mga sinaunang modipikasyong nabanggit sa buong rehiyon, at tutukuyin ang pagkakatulad sa mga teknik at motibasyon. Nagsimula ang paglaganap ng sadyang pagtatanggal, pagliliha, pagkakalupkop, at pagkukulay ng ngipin noong Panahong Neolitiko, naglaho noong Panahong Tanso, at bumalik muli pagsapit ng Panahong Bakal, ngunit maaaring iukol ang paglaho sa kakulangan ng datos. Hindi pa tiyak, pero pwedeng ang mga modipkasyon sa estetisismo, pakikisama, pagriritwal, praktikalidad, at benepisyong-medikal. Inirerekomendang palawakin sa susunod na saliksik ang sakop para sa mas mabuting representasyon ng datos, suriin ang mga modipikasyon sa konteksto ng komunidad, at imbestigahan ang kahalagahan ng migrasyon sa paglaganap ng mga partikular na teknik at padron habang inuunawa ang mga aspetong kultural ng sinaunang panahon, at tasahan ang pagpapatuloy (o hindi) ng mga tradisyong nabanggit sa kasalukuyang modipikasyon ng katawan, sining, paggagamot, pagpapahayag ng sarili, at identidad.