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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.
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Akabli, Jamal, and Chadi Chahdi. "Hollywood’s (Mis) Construction of Gender: The Aesthetics and Politics of Stigmatising Arab/Muslim Women." International Journal of Linguistics, Literature and Translation 5, no. 8 (August 1, 2022): 17–28. http://dx.doi.org/10.32996/ijllt.2022.5.8.3.
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The image of the Arab and Muslim woman, whether as sexually obsessed and oppressed or simply a backward terrorist invented and reinvented in the studios of Orientalist filmmakers, has been an object for decades (and hardly a subject) of imperial Orientalist discourse. From being depicted as repressed mysterious harems sexually outfoxing one another to gain the sheik’s attention to eroticised veiled belly dancers alluring the audience to eventually fanatical extremists threatening the United States, Arab and Muslim women’s representation reflects that Hollywood cinema had reached its sexist and racist height long before the September 11 attacks. By presenting them as voiceless and unable to speak for themselves, the entire industry not only undermine the efforts of female Arab and Muslim activists to achieve gender equality but also acts and reacts within a vicious hegemonic patriarchal discourse that hinders their progressive attempts to better their image.
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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 (2000): 59–82. http://dx.doi.org/10.1353/dsp.2000.0023.
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Ågerup, Karl. "Knowing an Arab: Yasmina Khadra and the aesthetics of didactic fiction." Critique: Studies in Contemporary Fiction 59, no. 2 (November 27, 2017): 180–90. http://dx.doi.org/10.1080/00111619.2017.1373057.
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Shilton, Siobhán. "Art and the ‘Arab Spring’: Aesthetics of revolution in contemporary Tunisia." French Cultural Studies 24, no. 1 (January 29, 2013): 129–45. http://dx.doi.org/10.1177/0957155812464166.
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AL-AKAM, RUAA SADEQ MHMOOD, and Salam Hameed Rasheed. "Aesthetics of Byzantine Christian Art." Journal of Humanities and Social Sciences Studies 4, no. 1 (February 27, 2022): 143–53. http://dx.doi.org/10.32996/jhsss.2022.4.1.14.
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The current study addressed the study of (The aesthetics of Byzantine Christian art). Its problem was identified by answering the following question: What are the aesthetics of Christian art represented by the Byzantine icon? Also, it aims to (recognize the aesthetics of Byzantine icon art). The research community was identified to achieve the goal, which consisted of icons and religious drawings that the researchers could count as a framework for the research community after collecting pictures of the subject from foreign and Arab sources and Internet sites. The sample was drawn according to the following reasons: a) It covers the temporal and spatial limits of the research and what fits with the data to achieve the goal, b) Diversity of technical methods adopted in drawing icons and c) The study sample models witnessed a diversity of contents and ideas. The research study reached the following conclusions. First, they borrow iconographic products, religious images and semantic symbols related to the Christian tradition and employ them through analytical visual inferences, in harmony with the structural and structural treatments of the elements and organizational foundations. Second, the products of icon art are associated with the nature of the transition from the tangible to the ideal and in line with the loading of the composition structure with an expressive energy, explaining the necessity of interpretation of religious discourse, and defining the operational vision with a clear dramatic sense. Third, the iconographic models depend on philosophical data supporting the religious meaning carried in them and giving endless explanations for the public discourse affecting the functionality of (idea) or (event). Fourth, the models of iconographic art are close to the nature of the functional induction of spiritual and sacred tendencies. At the level of deep interpretations accompanying visual forms with a clear aesthetic impact, we find that icon art carries with it religious reference effects related to the sacred. Lastly, Icon art invests in accumulating aesthetic knowledge to produce the artistic image and summons the largest possible amount of data affecting its formulation and output.
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Shabout, Nada. "Whose Space Is It?" International Journal of Middle East Studies 46, no. 1 (February 2014): 163–65. http://dx.doi.org/10.1017/s0020743813001347.
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Designers and architects argue that interaction in public spaces is the product of relations between physical, cultural, social, and aesthetic components. As an art historian, my interest in and understanding of the production of public space is necessarily linked to its visual construction and to public art in particular. Urban planners have always included art in public spaces as a means of forming relationships between the people and the space. Governments have similarly understood the political significance of public space and its power to make meaning and have commissioned art accordingly. This essay reflects on the role of aesthetics and public art in the production and transformation of the modern public space in the Arab world by considering two examples from Cairo and Baghdad.
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Avila, Robert. "Space for “Speculative Friendships”: Keith Hennessy and Jassem Hindi’s future friend/ships." TDR/The Drama Review 62, no. 2 (June 2018): 136–43. http://dx.doi.org/10.1162/dram_a_00753.
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Starting from the ineffable brutality of the Syrian Civil War, and the larger world of war and empire, dancer/performers and cocreators Keith Hennessy and Jassem Hindi draw on Arab Futurism, queer politics and aesthetics, and Donna Haraway’s conception of Science Fiction, embracing and queering the SF imagination to create “speculative friend/ships.”
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Tabur, Merve. "Settling the Desert, Unsettling the Mirage: Urban Ecologies of Arab and Gulf Futurisms in Ahmed Naji’s Using Life." Utopian Studies 35, no. 1 (March 2024): 187–208. http://dx.doi.org/10.5325/utopianstudies.35.1.0187.
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ABSTRACT Contemporary Arabic speculative fiction, particularly following the Arab Spring uprisings, is often interpreted as part of an emerging trend of Arab dystopias responding to political upheaval. These texts’ ecological concerns, which produce diverse conceptions of futurity, are understudied. This article examines how urban futures are envisioned in an Egyptian speculative fiction text, Ahmed Naji’s Istikhdām al-ḥayāh (2014; Using Life, 2017). Putting Using Life in dialogue with discussions on Gulf futurism and Arabfuturisms, the article first examines the text’s depiction of hegemonic techno-futurist visions, aimed at manifesting a global utopian future through urban design and development projects. The author argues that this futurist discourse, which has affinities with Gulf futurism, operates through the dual enframing of nature and history, and then demonstrates how the text resists this techno-futurist vision through an assemblage aesthetics that echoes Sulaiman Majali’s Arabfuturism(s) manifesto. The novel’s assemblage aesthetics, which is central to its conception of counter-futures, redefines the human relationship to urban ecologies and to literature through an emphasis on embodiment.
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Al-Abbas, Mohammed Baker Mohammed, Monther Sameh Al-Atoum, Mowafaq Ali Alsaggar, and Rawan M. Abu-Hammad. "Aesthetics and Semiotics of Communication in Visual Language: A Multimodal Criticism on the Short Film of Ismail." Theory and Practice in Language Studies 14, no. 2 (February 1, 2024): 570–77. http://dx.doi.org/10.17507/tpls.1402.30.
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This conceptual paper aims to present a multimodal critique of the visual language in the short film Ismail. It analyses the social semiotics represented in the film's composition of image and language, which portrays a day story from the Palestinian visual artist Ismail Shammout (1930-2006) in the diaspora. From an aesthetic perspective, the research focuses on the social construction of an artist's identity through visual language. Such film transforms the artist's narrative into a communicational oeuvre in Arabic to represent an individual description of the Palestinian diaspora, which constructed one of the prominent grand narratives in the modern history of Arab Art. The main character in the film is Ismail, a Palestinian painter who performs his daily job as a candy seller in the streets. The argumentation in this critique depends on the aesthetic manifestations of the social semiotics of Arab Art in the film. Throughout the film's visual language, Ismail keeps representing his thoughts about the characteristics of Arab Art. He is a travelling aesthetician who walks through the desert and sells candy to strangers while talking to a younger kid escorting him through the film. The research's problem corresponds to the need for more investigation into language study, which this research advances to render. The methodology dedicated the aesthetic critique to produce aesthetic research on the film's visual language. Introducing an aesthetic review of visual language and connecting it with sociopolitical semiotics is significant. This research raises awareness of the importance of visual language knowledge in education systems.
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Edwin, Shirin. "Racing Away from Race: The Literary Aesthetics of Islam and Gender in Mohammed Naseehu Ali’s The Prophet of Zongo Street and Abubakar Adam Ibrahim’s The Whispering Trees." Islamic Africa 7, no. 2 (November 2, 2016): 133–58. http://dx.doi.org/10.1163/21540993-00702010.
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Some literary discussions on Islam in West Africa argue that African Muslims owe allegiance more to Arab race and culture since the religion has an Arab origin while owing less to indigenous and therefore “authentic” African cultures. Most notably, in his famous quarrel with Ali Mazrui, the Nobel laureate Wole Soyinka wrenches race to serve a tendentious historicism about African Muslims as racially Arab and therefore foreign to African culture. In their fiction, two new West African writers, Mohammed Naseehu Ali and Abubakar Adam Ibrahim, allegorize African Islamic identity as tied to Arab race and culture as madness, lunacy and even death. In particular, Ali’s short story “The Prophet of Zongo Street” engages with this obsessive dialectic between African Islamic identity and Arab race. Although not explicitly thematizing Islamic identity as tied to Arab race or culture, three other stories by the same authors, Ali’s story “Mallam Sile” and Ibrahim’s stories “The Whispering Trees” and “Closure,” gender the dialectic between race and Islamic identity. Ali and Ibrahim show African Muslim women’s abilities to effect change in difficult situations and relationships—marriage, romance, legal provisions on inheritance, prayer and honor. In so doing, I argue, these authors reflect a potential solution to the difficult debate in African literary criticism on Islamic identity and Arab race and culture.
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Almazaidah, Ismail Suliman. "Nizar Qabbani's Attitude towards Arab-Israeli Peace Treaties: An Analysis of his Poetic Contents." Modern Applied Science 13, no. 4 (March 31, 2019): 104. http://dx.doi.org/10.5539/mas.v13n4p104.
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This study aims to discuss the attitude of the Arab poet Nizar Qabbani towards peace treaties with Israel. It examines a number of poems in which the poet shows his rejection of these treaties. Using a discourse analysis approach, the study explores the poet's attitudes toward these treaties and the poetic imagery he uses to express his rejection. The study concludes that Qabbani’s attitude is marked by his rejection of such treaties, and he expressed his anger towards the Arab leaders who signed them and on the Arab nations who did not object their signature. The content analysis of Qabbani’s poetry reveals that it is characterized by directness and constructiveness in some verses. It is also marked by its distance from the simple and compound images and from the aesthetics that are always found in his romantic poetry.
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El Younssi, Anouar. "ʿAbdullāh al-ʿArwī’s ʾAwrāq: sīrat Idrīs al-dhihniyyah and the Aesthetics-Politics Dialectic." Journal of Arabic Literature 54, no. 1-2 (May 23, 2023): 189–216. http://dx.doi.org/10.1163/1570064x-12341477.
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Abstract This article discusses the politics of form in ʿAbdullāh al-ʿArwī’s 1989 ʾAwrāq: sīrat Idrīs al-dhihniyyah (Papers: Idrīs’s Intellectual Biography), an important contribution to Moroccan experimental literature in the postcolonial era. Together with Muḥammad Barrādah’s 1987 novel Luʿbat al-nisyān (The Game of Forgetting, 1996), Awrāq consolidated the experimental turn in the Moroccan literary scene, aiding thereby its ascent to the mainstream. ʾAwrāq is a two-layered text, presenting the reader with, first, a stack of papers of various sorts belonging to the diseased protagonist Idrīs, and second, the commentaries on this archive by the narrator and Shuʿayb. The book constantly oscillates between these two layers, attempting in the process to shake the dominant realist form and its underlying European point of reference. ʾAwrāq’s search for its best form parallels Idrīs’s quest to restore, or be reconciled to, his identity in the context of France and Europe’s colonial project and its legacy. The text’s experimentalism is thus strategically harnessed to wrestle, within the diegesis, with various political and sociocultural challenges facing Morocco, and the Arab/Arabo-Amazigh world more broadly, in the postcolonial era—including the colossal task of reconciling the Islamic heritage (al-turāth) with hegemonic Western discourses of modernity.
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Snyder, Stephen. "Transvaluation and Aesthetic Displacement: Gezi Park and the Power of Art." Protest, Vol. 4, no. 2 (2019): 26–30. http://dx.doi.org/10.47659/m7.026.art.
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The wave of demonstrations that developed out of the Gezi Park sit-ins manifested a form of aesthetic creativity that employed transvaluation and displacement in a way that set them apart from other protests in Turkey and the Arab world. Transvaluation and displacement were arguably among the primary forces that drove the protests following the forceful breakup of the Gezi Park sit-ins. The protests began when police forcefully removed sleeping demonstrators from Gezi Park. To most observers, the police use of violence to clear the park was deemed disproportionate, and the resistance countered the tear gas, truncheons, water cannons, and detentions with a level of aesthetic intensity that surprised detractors as well as supporters. The primary aim of the movement was to protect a park in the center of Istanbul, but the resistance represented a broad coalition of those who opposed what they perceived as the autocratic ruling style of then Prime Minister Recep Tayyip Erdoğan. They ranged from anti-capitalist Muslims to students who simply opposed the Prime Minister’s Islamification of the Turkish public sphere. Examining the way in which transvalution and displacement were used as a response to the force employed by riot police at the direction of the Turkish government shows how political art was employed effectively in the Gezi Park protests. Keywords: aesthetics displacement, art and social power, Gezi Park, political, political art, politics and aesthetics, protest
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Abu-Rawis, Basma. "The Aesthetic and Decorative Calligraphic Values of the Kaaba Kiswah." International Journal of Educational Sciences and Arts 3, no. 7 (July 18, 2024): 116–33. http://dx.doi.org/10.59992/ijesa.2024.v3n7p5.
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This study seeks to explore the aesthetic and decorative values of the covering the Kaaba throughout history, focusing on design analysis. The study also aims to shed light on the genius of Arabic calligraphy embodied in the covering the Kaaba, using an analytical artistic approach and vision. The study is based on the descriptive analytical approach, The study concluded that the history of interest in designing the covering the Kaaba dates back to an ancient period before Islam, where the decorations and fabrics used developed until they reached the current form, reflecting the value of beauty and art of the covering the Kaaba through its designs, emphasizing the importance of Arab-Islamic decoration and the role of art in highlighting this. The great legacy. I also concluded that the aesthetics of Arabic calligraphy on the covering of the Kaaba express aesthetic, artistic and religious values, and carry an important message for Islam, where Arabic calligraphy is applied with the highest levels of authenticity and distinction according to artistic foundations.
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Berrebbah, Ishak. "The Politics and Aesthetics of Storytelling in Diana Abu-Jaber’s Crescent: A Strategic Implementation of an Old Folkloric Arab Tradition." English Studies at NBU 6, no. 1 (June 30, 2020): 127–44. http://dx.doi.org/10.33919/esnbu.20.1.6.
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This paper discusses the politics and multi-functionality of storytelling in Diana Abu-Jaber’s novel Crescent (2003). I argue that the strategic use of storytelling places Crescent as a complex hybrid text that projects the nature, and development, of Arab American literature in the contemporary era. In addition to having the practice of storytelling as an apparatus to project identity in Crescent, Abu-Jaber re-appropriates its empowered status in Arab culture as well as politicizes its image in the mind of her readers. Besides employing critical and analytical approaches to the novel, this paper relies on arguments and perspectives of prominent postcolonial and literary critics and theorists such as Edward Said, Suzanne Keen, Walter Benjamin, and Samaya Sami Sabry, to name a few.
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HLITIM, Rabiaa. "THE AESTHETIC OF INTERTEXTUALITY IN THE ARAB FEMINIST NOVEL"WOMEN IN HELL" BY " AICHA BENNOUR"AS MODEL." RIMAK International Journal of Humanities and Social Sciences 3, no. 1 (January 1, 2021): 483–92. http://dx.doi.org/10.47832/2717-8293.1-3.38.
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The corpus of the novel, through its different components and structures, has focused on the mechanism of intertextuality considering that the novel is the literary type that is most capable of absorbing different texts and reshaping them in its discourse, it therefore remains the most open and flexible form. The contemporary novel does not stand out if it is not bound up with variable discourses and various types of religious and historical writings. In this research work, we have tried to study the aesthetics of intertextuality in the Arab feminist novel, taking as an example the novel by " Aïcha Bennour" "Women in Hell ". This contemporary writer has taken the Holy Quran, history and literary production as a reference for her writings in order to express the Arab women′s suffering.
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HLITIM, Rabiaa. "THE AESTHETIC OF INTERTEXTUALITY IN THE ARAB FEMINIST NOVEL"WOMEN IN HELL" BY " AICHA BENNOUR"AS MODEL." RIMAK International Journal of Humanities and Social Sciences 3, no. 1 (January 1, 2021): 483–92. http://dx.doi.org/10.47832/2717-8293.1-3.38.
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The corpus of the novel, through its different components and structures, has focused on the mechanism of intertextuality considering that the novel is the literary type that is most capable of absorbing different texts and reshaping them in its discourse, it therefore remains the most open and flexible form. The contemporary novel does not stand out if it is not bound up with variable discourses and various types of religious and historical writings. In this research work, we have tried to study the aesthetics of intertextuality in the Arab feminist novel, taking as an example the novel by " Aïcha Bennour" "Women in Hell ". This contemporary writer has taken the Holy Quran, history and literary production as a reference for her writings in order to express the Arab women′s suffering.
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Atta, Awatif. "Features of the human image in Gulf women’s poetry (1990-2000 AD) and its motives: A realistic and critical vision of Souad Al-Sabah’s experience." International Journal of Educational Sciences and Arts 3, no. 4 (April 23, 2024): 10–61. http://dx.doi.org/10.59992/ijesa.2024.v3n4p1.
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This study attempts to identify the dimensions and features of the issues of the humanistic trend in the poetry of contemporary Arab women in the Gulf region and the formations of their images in the poetry of Sheikha Suad Al-Sabah, by citing poetic texts from her collections published during the last decade of the third millennium, dismantling them, analyzing them, and monitoring the effects of that transformation and its consequences on Society in light of its treatment during the period specified for the study; To link it to the process of contemporary issues and renewal on the literary and critical scene in the Arab region, at the local, international and global levels, in everything related to the concerns of contemporary man and his position on life; To show the stylistic characteristics and phenomena she relied on in forming the images of her human poem, And highlighting its aesthetic and semantic value, whether in terms of the structure of the language or its coding, and the aesthetics of its poetic formation. In continuation of what literary studies have covered about it, and based on the fact that literature is the broad space that helps spread virtuous values, lofty principles, and high ideals in life with the aim of establishing human relationships based on justice and harmony.
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Nabil, ٍRowa Mohamed. "Hybrid Identities/Hybrid Music: The Political Aesthetics of Arab Youth Musical Performances in Diaspora." مجلة علوم وفنون الموسیقى 46, no. 1 (August 1, 2021): 30–51. http://dx.doi.org/10.21608/jfma.2021.28721.1002.
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Kesrouany, Maya Issam. "Critical Hope." Critical Times 6, no. 1 (April 1, 2023): 85–113. http://dx.doi.org/10.1215/26410478-10235953.
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Abstract This article explores the theory and practice of critique in the works of the Lebanese Communist intellectual Husayn Muruwwa (1910–1987) and his grandson Rabih Mroué (b. 1967). Husayn Muruwwa, one of the most important Arab intellectuals of the second half of the twentieth century, reinvented literary criticism and cultural critique in the 1950s and '60s. His grandson, one of the most prominent Arab visual artists, has been redefining the critical approach to visual representation since the Lebanese civil war. The article pits Husayn Muruwwa's critique based on collective hope and emancipation against his grandson's vision of an individualistic critique based on desire. It considers the critical and political writings of Husayn Muruwwa and Rabih Mroué's performances, video lectures, and interviews to explore specifically how they represent hope in relation to critique, and it ultimately suggests a participatory aesthetics that is common to both and that transcends their autobiographical statements and establishes resonances between their thought. Their approaches to critique, the article illustrates, play out as revised inheritances of both the Arab renaissance (nahda) and the national liberation movements in the 1970s. These revisions create a continuity that is critical to understanding the relationship between critique and hope in the Arab intellectual tradition.
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Close, Ronnie. "Parallax Error: The Aesthetics of Image Censorshipe." Cabinet, Vol. 2, no. 2 (2017): 74–81. http://dx.doi.org/10.47659/m3.074.art.
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Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.e. parts of the human body. The position of photography within Egypt and much of the Arab world is a contested one shaped by the visual formations of Orientalism created by the impact of European colonial empires in the region. This archival project examines the intersection of visual cultures embedded behind the series of photographic images that have been transformed through acts of censorship in Egypt. This frames how these doctored photographic images impose particular meanings on the original photographs and the potential merits, if any, of iconoclastic intervention. Parallax Error examines the political and aesthetic status of the image object in the transformation from the original photograph to censored image. The ink and paint marks on the surface of the photograph create a tension between the censorship act and its impact on the original. These hybrid images provide a political basis to rethink visual culture encounters in our interconnected and increasingly globalised contemporary image world. Keywords: aesthetics, censorship, iconoclasm, images, representation
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Zahrawi, Samar. "Democratizing the Dramatic Text: Wannous’s Late Aesthetics and Individual Freedom." Arab World English Journal For Translation and Literary Studies 5, no. 1 (February 15, 2021): 3–19. http://dx.doi.org/10.24093/awejtls/vol5no1.1.
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Sadallah Wannous (1941-1997), the Arab World’s most celebrated dramatist, gave up on the didactic art of the ‘theater of politicization’, in the middle of his career, in favor of a freer introspection of human psyche and passions. He spent his most prolific late years searching for new aesthetics and promoting a culture of free thinking. Abandoning his prior commitment to achieving the modern state, Arabic unity, the liberation of Palestine and the triumph of communism, he started creating individuals who are caught up in conflicting passions, loyalties and choices. However, his new themes will still betray a will to reform the many ailments in Arabic culture and politics, such as politico-religious coalitions and colonialism. This article will study the artistic and ideological transformation in Wannous’s later drama. It will also explore the later pro-democracy trends through analyzing the emerging individualism in characterization and the plurality of discourses in the plays of the later period 1989-1997, namely The Rape (1989), Historical Miniatures (1993), Miserable Dreams (1994), Rituals of Signs and Transformations (1994), and Drunken Days (1997).
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Aziz, Abd, and M. Imam Sofyan Yahya. "KRITIK INTRINSIKALITAS DAN EKSTRINSIKALITAS SASTRA MODERN DALAM KAJIAN SASTRA ARAB MODERN." Mumtaz: Jurnal Studi Al-Qur'an dan Keislaman 3, no. 1 (October 21, 2019): 23–36. http://dx.doi.org/10.36671/mumtaz.v3i1.31.
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In the practice of literary criticism, including Arabic literature, there are two approaches in evaluating literary works, namely the intrinsic approach and the extrinsic approach. The intrinsic approach bases itself on the objective value of literary works itself without connecting with other sciences, or approaches that seek to see literary works objectively with the propositions of linguistics and literary aesthetics. From this approach was born a flow of semiotic literary criticism and structural literary criticism. Meanwhile, the extrinsic approach uses certain scientific measures in evaluating literary works. The extrinsic approach to literary criticism seeks to see literary works from the viewpoint of disciplines outside of literature. This approach gave birth to sociological literary criticism, psychological literary criticism, archaeological literary criticism, moral literary criticism, philosophical literary criticism, and others.
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Greenberg, Nathaniel. "Mythical State." Middle East Journal of Culture and Communication 10, no. 2-3 (2017): 255–71. http://dx.doi.org/10.1163/18739865-01002009.
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In the summer of 2014, on the heels of the declaration of a ‘caliphate’ by the leader of the Islamic State in Iraq and Syria (ISIS), a wave of satirical production depicting the group flooded the Arab media landscape. Seemingly spontaneous in some instances and tightly measured in others, the Arab comedy offensive paralleled strategic efforts by the United States and its allies to ‘take back the Internet’ from ISIS propagandists. In this essay, I examine the role of aesthetics, broadly, and satire in particular, in the creation and execution of ‘counter-narratives’ in the war against ISIS. Drawing on the pioneering theories of Fred Forest and others, I argue that in the age of digital reproduction, truth-based messaging campaigns underestimate the power of myth in swaying hearts and minds. As a modus of expression conceived as an act of fabrication, satire is poised to counter myth with myth. But artists must balance a very fine line.
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Bartsidis, Michalis, and Fotini Tsibiridou. "Review essay: Shuttered experiences and revolution; A. Agathangelou and N. Soguk, (eds), Arab Revolutions and World Transformations." Historein 14, no. 2 (October 5, 2014): 112. http://dx.doi.org/10.12681/historein.286.
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<p>This review essay involves a critical presentation and reflection of the volume edited by Anna Agathangelou and Nerzat Soguk entitled <em>Arab Revolutions and World Transformations</em> (London: Routledge, 2013). This volume contributes to the enrichment of the problematic regarding the Arab uprisings and opens up a discussion on three basic issues: firstly, revolution within the framework of postcolonial critique; secondly, the encounters between the local and the global; and lastly on the impact of social poetics and aesthetics of people as agents, beyond dominant orientalised discourses and representations of otherness. Under the lens of political anthropology and philosophy, this review essay introduces to these critical approaches an additional focus, that of the concept of “dignity”. Its ethical dimension should remind us of the importance of affect on the building of the universally posed political questions concerning democracy, revolution, social movements, citizenship and civic virtue.</p><p> </p>
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Baker Mohammed Al-Abbas, Mohammed. "Portraying the Arab Intellectual in Visual Media: A Sociological Analysis of the Plastic Artist’s Identity in Shaghaf TV Series." Dirasat: Human and Social Sciences 49, no. 6 (December 30, 2022): 24–37. http://dx.doi.org/10.35516/hum.v49i6:.3982.
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This research aims to explore the socio-visual possibilities of artistic identity through Arab media. It focuses on the “Shaghaf” series, a drama show that was podcasted during Ramadan month 2020. This paper critiques several visual elements, the first element is the image of the plastic artist, the second is the fourth dimension that consists of time, space, and movement and the third element is the representations of social reality and its psychosocial dilemmas. Furthermore, this paper negotiates dramatic intersections within the literature that discourses the Death of Art and the Death of Author by postmodern philosophies. The present critique deconstructed the aesthetic approaches integrated within the unit of analysis, which is the artists’ identity. This identity transforms through a symbolic duality between latent and manifest representations in the public versus private social spaces. The research discussed the critical need to manage the cultural content in the media as well as to focus on the positive role of the artist in society. The present paper resists stereotyping less privileged people of physical/social/psychological needs, and any exclusionary content in media that defines them as socially unfamiliar. Finally, this paper is significant because it focuses on the woman artist's identity as a social construction in the Arab media, as women artists are underrepresented in visual media in general. Furthermore, Art Sociology, as an approach in Fine Arts Studies, presented an advancement in the specialty and does not exclude the philosophies of Aesthetics and Art History but rather conceptualizes theories with qualitative and quantitative methodologies.
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Nassar, Farid, and Muhammad Rabaa. "Jewish Orientalism and its Manifestations in the Modern Linguistic Study." International Journal for Scientific Research 2, no. 12 (December 23, 2023): 92–139. http://dx.doi.org/10.59992/ijsr.2023.v2n12p6.
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This study deals with the impact of Jewish Orientalism and its manifestations in the modern Arabic linguistic study, understanding its danger, especially since it was built, for the most part, on political, religious, or other foundations that distance it from science and objectivity to a great extent. The importance of this study lies in calling for a re-reading of the Orientalist output that invaded linguistic studies, a balanced and careful reading, far from influence and fascination, far from isolation and disapproval, in order to capture what is compatible with the Arab cultural identity, and what its mechanisms are suitable for enriching knowledge, revealing the patterns and aesthetics of the Arab heritage. As well as taking serious and clear critical positions on Orientalist approaches, based on cognitive foundations. Especially since those approaches that continued to benefit from other Oriental outputs with their terminology. Some Arab critics in the cultural arena continued to reproduce them, making them a field for application. This study follows the inductive analytical approach, which is based on tracking different opinions about Jewish Orientalism, its problems, its characteristics, its use in serving Jewish purposes, and its danger. This study reassured that any Jewish researcher could prefer to work within the Orientalist movement as a European Orientalist, and not as a Jewish one. They greatly benefited from it in serving their Zionist issues by presenting them in a Western form, to ensure their acceptance among Arabs and Muslims, taking advantage of the Eastern inferiority complex towards the West. As for the Arab modern scholars, their linguistic study ranged between a study largely influenced by what they learned from the West under the slogan of modernity, science and objectivity; it began to be read through the eyes of the Orientalists. And on the other side, a study that relied on a cultural reference represented in preserving and protecting Arabic from malicious calls. Another method represented in following the linguistic theories developed by the West in its own context, based on combining the borrowed approach with the Arabic subject in addition to a study represented in investing the outcome of accumulated efforts, to form a scientific awareness of Arabic and a general linguistic one, in which Arabic raises its own questions and issues.
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Abu-Shomar, Ayman. "Unreconciled Strivings of ‘Exilic Consciousness’: Critical Praxis of Resistance in Susan Abulhawa's Mornings in Jenin." Journal of Holy Land and Palestine Studies 18, no. 1 (May 2019): 101–20. http://dx.doi.org/10.3366/hlps.2019.0204.
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This article discusses how Susan Abulhawa's Mornings in Jenin, its thematic concerns and aesthetics, are developed in tandem with the discourse of diaspora and exilic consciousness leading to critical praxis. It traces the interactions between exilic consciousness and identity construction in the context of resistance literature. These interactions exhibit the author's ability to be inside and outside discourses of struggle producing a model in which exile challenges bigoted struggles, hence the evolution of critical praxis. In the context of the Arab-Israeli conflict, Abulhawa represents another humanistic voice that resists dominant political narratives by dismantling their hegemonic power structure.
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Al-Mahadin, Salam. "Do Muslim Women Need Saving? Making (Non)sense of FEMEN's Ethico-Aesthetics in the Arab World." Women's Studies in Communication 38, no. 4 (October 2, 2015): 388–92. http://dx.doi.org/10.1080/07491409.2015.1088289.
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Toukan, Hanan. "Liberation or emancipation? Counter-hegemony, performance and public space in Lebanon." International Journal of Cultural Studies 23, no. 2 (September 20, 2019): 264–81. http://dx.doi.org/10.1177/1367877919847487.
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This article is about the ways in which counter-hegemony is expressed in performance art dealing with notions of public space and the publics. The article examines two works of art from Lebanon: Rabih Mroué and Lina Saneh’s Photo-Romance (2009), produced and performed before the initial heady days of the Arab uprisings of 2011 unravelled, and the Dictaphone Group’s This Sea is Mine (2012), produced immediately after the onset of the uprisings. Each of the pieces interrogates public space and citizenship in Beirut in very different ways to express dissent and perform resistance. The former does so through a conceptual interrogation of public space in Beirut within an institutional set-up, and the insistence on the inability to ever represent the country’s contentious sectarian politics. The latter works through an embodied experience focusing on interaction with the public physically located outside of an art institutional set-up and literally along the city’s shoreline. By drawing on theories of aesthetics and their relationship to radical democracy in public space, the article highlights the different iterations of counter-hegemony that circulate in the work of these contemporary Arab artists to argue that, like the momentous Arab uprisings of 2011–12, resistant works of art may only be understood within a longer history of strife and popular protest in the region that have produced differing forms of dissent at various points in time.
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Zarytovskaya, Victoria Nikolaevna. "Motifs and images of F. M. Dostoevsky in the novel “Cold White Sun” by the Jordanian writer Kafa Al-Zou’bi." Philology. Issues of Theory and Practice 16, no. 11 (November 29, 2023): 4054–61. http://dx.doi.org/10.30853/phil20230617.
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The aim of the study is to prove the high degree of influence of Russian classical literature on contemporary prose of the writers in the Arab East today, which has emerged as a result of the growing interest in the Russian classical literature in Arab countries in the past. The article analyzes the novel “Cold White Sun” by the Jordanian writer Kafa Al-Zou’bi, which was shortlisted for the Arab Booker Prize in 2019. The conceptual content of the novel is examined, including its themes (the individual’s loneliness in the world, the predestination of fate, atheism, the redemption of crime, etc.), as well as the artistic techniques of the realization of the author’s idea (imagery, reference to the author in the text, the significance of the natural background, etc.) and the aesthetics of language (choice of lexical units, semantic fields, etc.). The scientific novelty of the work is determined by turning to the little-studied material of the latest Arabic literature in domestic literary studies that represents the postmodernist trend of the 21st century, and attempts to establish its close connection with Russian classical literature. The research results indicate parallels in motifs (youthful maximalism, victimology, etc.) and Fyodor Dostoevsky’s imagery (the atmosphere of Petersburg, the room-as-coffin, etc.) discovered in the book by the Jordanian writer.
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PLATT, SUSAN NOYES. "MODERN ARAB ART FORMATION OF ARAB AESTHETICS BY NADA SHABOUT AND BELONGING AND GLOBALISATION CRITICAL ESSAYS IN CONTEMPORARY ART AND CULTURE BY KAMAL BOULLATA (ED.)." Art Book 15, no. 4 (November 2008): 35–36. http://dx.doi.org/10.1111/j.1467-8357.2008.00992_3.x.
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Mallah, Mohammed. "Aesthetics of the musical and rhythmic sense and its relation to Arabic poetry." Dirasat: Human and Social Sciences 49, no. 2 (August 2, 2022): 238–48. http://dx.doi.org/10.35516/hum.v49i2.1787.
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Music and poetry played an important role in life and created its own space. Also, they crystallized more clearly and their role have became more effective with the evolution of human civilizations. From Greeks Era to this time, the relationship between them has become coherent and continuous and it's not limited to celebrations, anniversaries, feasts or rituals, but rather took their place on stage and contributed in building and developing society. The Arabic language sciences student cannot separate sounds, performances, prose, grammar, rhetoric, not even morphology , literature or criticism, as they are coherent elements and cannot be separated, and all of them seek an important purpose, which is to understand the Holy Qur'an and the noble Prophetic hadiths in addition to Arabic poetry. The researcher believes that there is a relationship between rhythm in music and rhythm in Arabic language (the science of performances) in Arabic poetry. The study summarizes the rhythmic and musical sense in Arabic language and the relationship between them, since they represent one unit in the history and course of modern Arab culture.
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Papastergiadis, Nikos, and Charles Esche. "Assemblies in Art and Politics: An interview with Jacques Rancière." Theory, Culture & Society 31, no. 7-8 (April 12, 2013): 27–41. http://dx.doi.org/10.1177/0263276413476559.
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This interview was conducted on 8 October 2011 at the Van Abbemuseum, Eindhoven. It was held during a symposium that reflected on the work of Rancière and was a part of a broader engagement with the concept of autonomy and its relation to art organized by an umbrella group of universities and arts organizations under the name of ‘The Autonomy Project’. A number of the symposium’s participants – Peter Osborne, Gerald Raunig, Isabell Lorey, Ruth Sondregger, Kim Mereiene and Adrian Martin – contributed questions that formed the basis of this interview. The interview took place at a time when the longer-term possibilities of the Arab Spring and Occupy/Indignados movements were under general scrutiny. It was also a moment when the Van Abbemuseum itself was compelled to reflect on its own position of political autonomy in relation to neoliberal state directives, political populism at the local level and its own critique of aesthetic autonomy. Rancière’s work on aesthetics and politics has been as much appreciated as a clearance strategy against prevailing visual prejudices as it has served as a platform for rethinking the emancipatory potential of creative practice.
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Bakriyyeh, Rajaa. "OVERLAP OF THE PICTURES OF COLOR TEXTS IN THE NOVEL HOT MAROC BY THE MOROCCAN WRITER YASSIN ADNAN : THE FRAGMENTED PORTRAIT AS A SAMPLE." International Journal for Humanities & Social Sciences (IJHS), no. 1 (June 30, 2022): 5–14. http://dx.doi.org/10.69792/ijhs.22.1.2.
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This study focuses on one of the central issues that is are overlooked in the qualitative artistic research: the relationship of the literary text with the attached color text, specifically the cover text, through one sample- the novel Hot Maroc by the Moroccan writer Yassin Adnan in its two translations into French and English versus the two original Arabic texts. The study notices that the artistic overlap between the aesthetics of the textual content and the aesthetics of the textual color content constitutes an exceptional model in raising an unaddressed deep debate between form and content that concerns a broad public of recipients. The qualitative test that I conducted between the covers of the novel Hot Maroc in the forms of their artistic revelations led me to draw amazing conclusions regarding the color impact of the cover artistry on the novel's popularity. The research discusses the following issues: the artistic criteria that support the credibility of the work; the artistry of the design of the cover by the Arab publishing houses, and the rate of concordance and compatibility between the form and content to achieve the joy of the work; the criteria of the foreign publishing houses in the design of the cover; the differences between the criteria of the two cultures in producing the book covers in general and the cover of Hot Maroc in particular; the fame and spread of the work and its public spread. The study concludes that the book-cover design has a significant impact on the receivers of the work, and recommends that that the Arab publishing houses promote their paper culture, and come up with a plan of what we agree to call 'cultural marketing'.
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Shilton, Siobhán. "Alterity in Art: Towards a Theory and Practice of Infra-thin Critique." Paragraph 37, no. 3 (November 2014): 356–71. http://dx.doi.org/10.3366/para.2014.0134.
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This article explores distinctively visual presentations and performances of alterity from the perspective of art theory and practice. It gives particular attention to Marcel Duchamp's notion and practice of the infra-mince. The ‘infra-thin’ is not usually related to postcolonial questions. However, numerous evocations of alterity in contemporary art, this article argues, resonate with Duchamp's infra-thin — not only in their practices but also in the ways in which they present the relationship between different cultures and views of ‘difference’. Focusing on artwork responding to the ‘Arab Springs’ as a striking instance of wider aesthetics of resistance, this article shows how such art can be seen to adapt the infra-thin for the purposes of a multidirectional critique.
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El Zein, Rayya. "Toward a Dialectic of Discrepant Cosmopolitanisms." Middle East Journal of Culture and Communication 13, no. 2 (October 22, 2020): 170–89. http://dx.doi.org/10.1163/18739865-01302007.
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Abstract The opening of dozens of pubs, cafés and bars catering to an alternative ‘youth’ clientele illustrates how Ramallah, Beirut and Amman have benefited from a post-2008 investment boom that curates leisure and cultural production with bohemian, DIY and other ‘counterculture’ aesthetics. Yet, social expectations and price points in these venues often betray the supposedly progressive politics of these ventures. In this article, I acknowledge that it would be easy to dismiss this cosmopolitan growth and the patterns of policing behavior they impose as an exclusionary and problematic ‘gentrification-as-liberation.’ But such a critique would miss the opportunity to engage the affective and social struggle over visions of a social future enacted by urban Arab youth in their choices of leisure consumption. I argue that being able to cogently critique gentrifying processes in these cities means we must first understand the development of counterculture and counter discourse as necessarily dialectical. The micro-negotiations between competing or discrepant cosmopolitanisms offer important insight into sociopolitical discourse and cosmopolitan feeling in urban centers that did not, in large part, witness sustained mass protests in the years following the Arab uprisings.
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Kanaan, Marlene. "Editorial." Hawliyat 15 (July 6, 2018): 7–8. http://dx.doi.org/10.31377/haw.v15i0.51.
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To all readers who followed Hawiiyat, the University of Balamand Journal of the Faculty of Arts and Social Sciences from its first issue, I have the pleasure to offer them this Florilege issue after an interruption of four years. It contains mainly philosophical, literary and political studies, as well as research in other domains written by colleagues from the University of Balamand, the Lebanese University, the University of AI-Yarrnouk, the University of Jordan, and the University of Mascara in Algeria. These articles, unveil, in some way, the basic interests of our Balamand Faculty as well as the interests of all those who have participated in this volume. It truly merits our attention. The study by Ghomari Taibi focuses on the current political situation in the Arab world and defends, in its interpretation of the events that are shaking Arab societies, the thesis of "social disintegration". This social disintegration has made those societies open to the ideas and actions of all sorts of adventurers and manipulators. The researches done by Mazen Naous, Peter Williams, Nada Sayed-Ziade and Frank Darwiche analyze various academic questions posed by the literary works that they examine in order to understand and rediscover the authors. Dealing with the poetry of Alfred Lord Tennyson and of Imru' a1-Qais; dealing with the City in French contemporary poetry; dealing with a novel of Vladimir Nabokov or with the problem of "god" in Heidegger's philosophy and the Sufism of Ibn' Arabi , these studies, written with ardour and passion, deserve our admiration. They make us love the works and understand the said authors by giving us profound insight into the human soul. The article by Charbel Dagher, which focuses on the relationship between aesthetics and citizenship, is astonishing and enticing when it relates the aesthetic expressions to political citizenship. Finally, the article of Rajai Khanji and Muhammad Saraireh on the strategies of translation gives new insight into the difficulties of the work of the translators, the go-betweens or passeurs of cultures. The melange of trilingual studies of this ISlh issue of Hawliyat is innovative. I am sure it will elicit reflection and debate. Returning to its annual rendez-vous, Hawliyat is committed, beyond unforeseeable events of the time and the world, to remaining, in the forthcoming issues, a major centre of scientific university research and intellectual life in the pure humanist tradition: the one of freedom of the spirit and intellectual independence.
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Snowdon, Peter. "The Revolution Will be Uploaded: Vernacular Video and the Arab Spring." Culture Unbound 6, no. 2 (April 17, 2014): 401–29. http://dx.doi.org/10.3384/cu.2000.1525.146401.
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The vernacular online videos produced by the Arab revolutions constitute an un-precedented (though not unproblematic) historical resource for understanding the subjective experience of the ordinary people who find themselves on the front line of revolutionary struggle. But they also effect a sea-change in the way in which we view and understand YouTube itself. This article argues that the political significance of these videos lies less in their explicit content, than in their aesthetics - that is, in the new formal and sensory propositions that they constitute, the ways in which they “redistribute the sensible” (Rancière).
The prologue proposes, following Judith Butler, that “the people” who are the subject of history are essentially a performative event, rather than a pre-existing entity, and that to write about revolution therefore requires a performative and allegorical approach. The first section reviews the current academic notion of “vernacular video” in the light of Ivan Illich’s work of the early 1980s on vernacular language and values, and argues that a stronger, more political conception of the vernacular is necessary to do justice to these works. The second section offers a close reading of one particular video from the Libyan uprising, and argues that it offers less an example, than an allegory of the dialogical relationship between the individual and the collective that defines the moral economy of the vernacular. The article concludes by proposing that the right response to such videos is not (just) more theory or criticism, but rather to seek to emulate their radically egalitarian forms of practice.
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Ananda, Puteri Vebry, Syahrul Syah Sinaga, and Udi Utomo. "Bismillah song aesthetics in Kompang Music in Meskom Village, Bengkalis District, Bengkalis Regency, Riau Province." Edumaspul: Jurnal Pendidikan 7, no. 1 (March 1, 2023): 1746–51. http://dx.doi.org/10.33487/edumaspul.v7i1.6423.
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Kitab Al-Barzanji merupakan karya sastra Arab yang berisi cerita bernafaskan Islam berupa puji- pujian kepada Nabi Muhammad SAW beserta keluarganya dan puji-pujian kepada Allah SWT. Penelitian ini bertujuan untuk mengetahui estetika, makna dan bentuk lagu bismillah dalam musik kompang di Desa Meskom Kecamatan Bengkalis Kabupaten Bengkalis Provinsi Riau. Penelitian ini menggunakan metode penelitian deskriptif kualitatif dengan pendekatan interdisiplin yang menggunakan disiplin ilmu estetika dan semiotika. Disiplin ilmu estetika di gunakan untuk mengkaji keindahan pada lagu bismillah, sedangkan disiplin ilmu semiotika digunakan untuk mengkaji makna dan bentuk lagu bismillah. Hasil peneliti menjelaskan tentang estetika lagu bismillah dalam musik kompang di Desa Meskom Kabupaten Bengkalis Provinsi Riau, karena kesenian kompang ini memiliki keindahan dan makna yang mendalam pada setiap lirik lagu yang membuat beberapa dari kalangan masyarakat sangat menggemari kesenian tradisional kompang yang ada di Desa Meskom, sehingga kesenian Kompang ini dapat dinikmati dan di rasakan para penikmatnya.Kata kunci: estetika, al barzanji, kompang, bismillah.
Abstract Kitab Al-Barzanji is an Arabic literary work that contains stories with Islamic inspiration in the form of praises to the Prophet Muhammad and his family and praises to Allah SWT. This study aims to determine the aesthetics, meaning, and form of the bismillah song in Kompang music in Meskom Village, Bengkalis District, Bengkalis Regency, Riau Province. This study uses a qualitative descriptive research method with an interdisciplinary approach that uses the disciplines of aesthetics and semiotics. The discipline of aesthetics is used to study the beauty of the bismillah song, while the discipline of semiotics is used to study the meaning and form of the bismillah song. The researcher will examine the aesthetics of the bismillah song in Kompang music in Meskom Village, Bengkalis Regency, Riau Province, because this Kompang art has beauty and deep meaning in each song lyric, which makes some people really like the traditional Kompang art in Meskom Village, so Kompang arts can be enjoyed and felt by connoisseurs.