Academic literature on the topic 'Syria – Fiction'
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Journal articles on the topic "Syria – Fiction"
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Kadavan, Abdul Samad. "The Journey to Death: Fictionalizing the Syrian Refugee Crisis in Khaled Hosseini’s Sea Prayer." International Journal of English and Comparative Literary Studies 2, no. 5 (October 14, 2021): 1–11. http://dx.doi.org/10.47631/ijecls.v2i5.283.
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This paper explores the fictional representation of the Syrian refugee crisis in Khaled Hosseini's novel Sea Prayer (2018). The novel is considered a refugee narrative, examining the question of home, displacement, and the fateful journeys of the Syrian refugees. The novel depicts the heart-wrenching experiences of the refugee community in war-torn Syrian city Homs before and after the outbreak of the civil war in the country. Evoking the tragic death of Alan Kurdi, Hosseini vividly illustrates the various dimensions of the Syrian refugee crisis, including the outbreak of the civil war in Syria and the eventual birth of refugees, their homelessness/statelessness, perilous journey to escape the persecution, xenophobic attitudes towards them, and post-war trauma. This paper draws on postcolonial refugee narratives, concept of journeys of non-arrival, memory, and trauma studies to elucidate its argument. The contention here is that the current crisis in Syria is also accounted for by analyzing the fictional refugee narratives. The unspeakable trauma is communicated through fiction, and Hosseini’s novel depicts the dangers engulfed and the hope entrusted in the refugees’ journeys.
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Kadavan, Abdul Samad. "The Journey to Death: Fictionalizing the Syrian Refugee Crisis in Khaled Hosseini’s Sea Prayer." International Journal of English and Comparative Literary Studies 2, no. 5 (October 14, 2021): 1–11. http://dx.doi.org/10.47631/ijecls.v2i5.283.
Full textAbstract:
This paper explores the fictional representation of the Syrian refugee crisis in Khaled Hosseini's novel Sea Prayer (2018). The novel is considered a refugee narrative, examining the question of home, displacement, and the fateful journeys of the Syrian refugees. The novel depicts the heart-wrenching experiences of the refugee community in war-torn Syrian city Homs before and after the outbreak of the civil war in the country. Evoking the tragic death of Alan Kurdi, Hosseini vividly illustrates the various dimensions of the Syrian refugee crisis, including the outbreak of the civil war in Syria and the eventual birth of refugees, their homelessness/statelessness, perilous journey to escape the persecution, xenophobic attitudes towards them, and post-war trauma. This paper draws on postcolonial refugee narratives, concept of journeys of non-arrival, memory, and trauma studies to elucidate its argument. The contention here is that the current crisis in Syria is also accounted for by analyzing the fictional refugee narratives. The unspeakable trauma is communicated through fiction, and Hosseini’s novel depicts the dangers engulfed and the hope entrusted in the refugees’ journeys.
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Shahid, Hamas. "Tracing Death as a Political Instrument: A Study of Osama Alomar’s Selected Collections of Flash Fiction." NUML journal of critical inquiry 21, no. II (December 31, 2023): 20–33. http://dx.doi.org/10.52015/numljci.v21iii.262.
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This research article analyzes two collections of flash fiction including Fullblood Arabian (2014) and The Teeth of the Comb and Other Stories (2017) written by Osama Alomar, a Syrian refugee author. Guided by the theoretical framework of necropolitics as proposed by Achille Mbembe, this article investigates the constant presence of death and its multifaceted role in the wake of the Syrian civil war as portrayed in Alomar’s selected collections of flash fiction. The article attempts to study how death becomes an instrument in the civil war, widely used, manipulated, and exploited by various actors during the conflict-ridden period, each employing it differently. Although the selected collections of flash fiction demonstrate that death takes on many forms and performs multiple functions in the backdrop of the Syrian civil war, this research article narrows its scope to the analysis of how death is used as a political pawn and a political statement. At the outset of this research, it is postulated that the ruling Syrian regime transforms death and its fear into an instrument to intimidate and subdue Syrian civilian characters, thereby downplaying death as merely a political pawn. On the contrary, death also emerges as a political statement of the Syrian civilian characters as they begin to embrace death as a form of political activism to bring about social and political change in Syria. Invoking Catherine Belsey’s textual analysis method, some flash fiction stories from the selected collections are analyzed to study how the ruling Syrian regime and civilian characters reconfigure death in the wake of the Syrian civil war.
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Zachs, Fruma, and Yuval Ben-Bassat. "WOMEN'S VISIBILITY IN PETITIONS FROM GREATER SYRIA DURING THE LATE OTTOMAN PERIOD." International Journal of Middle East Studies 47, no. 4 (October 14, 2015): 765–81. http://dx.doi.org/10.1017/s0020743815000975.
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AbstractThis article focuses on petitions by Ottoman women from Greater Syria during the late Ottoman era. After offering a general overview of women's petitions in the Ottoman Empire, it explores changes in women's petitions between 1865 and 1919 through several case studies. The article then discusses women's “double-voiced” petitions following the empire's defeat in World War I, particularly those submitted to the King-Crane Commission. The concept of “double-voiced” petitions, or speaking in a voice that reflects both a dominant and a muted discourse, is extended here from the genre of literary fiction to Ottoman women's petitions. We argue that in Greater Syria double-voiced petitions only began to appear with the empire's collapse, when women both participated in national struggles and strove to protect their rights as women in their own societies.
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Mohammadpur, Ahmad, Norbert Otto Ross, and Nariman Mohammadi. "The fiction of nationalism: Newroz TV representations of Kurdish nationalism." European Journal of Cultural Studies 20, no. 2 (May 4, 2016): 167–79. http://dx.doi.org/10.1177/1367549416638524.
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Benedict Anderson’s seminal work on imagined communities has opened a multitude of explorations in how mass media construct and represent social identities in relation to nationalism. Depicting and at the same time creating social groups, media representations are permeated by questions of inclusion and exclusion. As a result, it is important to study media representations of social identities as strategic ideologies that debilitate or stabilize, support or condemn a specific identity discourse. In this study, we explore how Kurdish identity has been represented in Newroz TV, one of the most popular satellite TV channels among Iranian Kurds. Findings show that Kurdish nationalism is first defined in opposition to Persian, Arabic (as in Syria and Iraq) and Turkish national identity. However, the resulting images are permeated by partisan ideological divisions among Kurdish political groups.
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Priyadarshini, Arya, and Suman Sigroha. "The ‘Gentle Recitation’: Writing Trauma in Contemporary Children's and Young Adult Literature." International Research in Children's Literature 17, no. 2 (June 2024): 115–28. http://dx.doi.org/10.3366/ircl.2024.0558.
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Trauma signifies the collapse of personal, social, and cultural meaning systems that causes a rupture to the bond that unifies the individual and the society. While narration of such devastation has been deemed impossible, and its presence in children's and young adult (YA) literature has been debated at great length, writers have attempted, nevertheless, to narrate the ‘unspeakable’ and ‘unrepresentable’ through memoirs and fiction for adults as well as children. Through the study of a select list of titles for children and young adults on the contemporary suffering and displaced populations of Syria and Palestine, this article aims to study the narration of trauma for young readers. It evinces the narrative strategies employed by authors to strike a balance between the two extremes of suffering and optimism. In doing so, it establishes that YA fiction authors construct a niche narrative that offers the realism of trauma through a safe distance.
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Summers, Nicole Marie, and Falak Saffaf. "Fact or Fiction: Children’s Acquired Knowledge of Islam through Mothers’ Testimony." Journal of Cognition and Culture 19, no. 1-2 (May 2, 2019): 195–215. http://dx.doi.org/10.1163/15685373-12340054.
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AbstractOne way in which information about the unknown is socialized to children is through adult testimony. Sharing false testimony about others with children may foster inaccurate perceptions and may result in prejudicially based divisions amongst children. As part of a larger study, mothers were instructed to read and discuss an illustrated story about Arab-Muslim refugees from Syria with their 6- to 8-year-olds (n = 31). Parent-child discourse during two pages of this book was examined for how mothers used Islam as a talking point. Results indicated that only 50% of mothers and 13% of children shared accurate testimony about Islam. However, while 35% of children admitted uncertainty in their knowledge, only 3% of mothers admitted uncertainty. These results highlight the importance of parents sharing the confidence in their knowledge. If parents teach inaccurate information about other religions, it may create a greater divide between children of different religious backgrounds.
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Bastan, Ajda. "The Hagia Sophia and the Other Turkish Locations in Agatha Christie’s “Murder On the Orient Express”." International Journal of Social, Political and Economic Research 8, no. 1 (April 3, 2021): 37–46. http://dx.doi.org/10.46291/ijospervol8iss1pp37-46.
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British author Agatha Christie, who is one of the best-selling novelists in world literature, is the pioneering figure of detective fiction. Christie, the queen of mystery, wrote about eighty novels during her life. A great number of the author’s books were also adapted into movies. Viewed as one of Agatha Christie's most noteworthy accomplishments, the novel Murder on the Orient Express was released in 1934. It is highly believed that Agatha Christie wrote this novel during her long stays in Istanbul. The story is about a Belgian detective investigating a crime that occurred on the train. In Murder on the Orient Express many places and locations related to Turkey are mentioned. These are the Sainte Sophie (Hagia Sophia), the Orient Express, the Taurus Express, Nissibin, the Cilician Gates, Istanbul, Konya, The Bosporus, the Galata Bridge, The Tokatlian Hotel, Smyrna, Taurus and Hayda-passar. The novel starts with the completion of Hercule Poirot's investigation in Syria at the Aleppo train station. Poirot goes to Istanbul via the Taurus Express, where he wants to take the Orient Express to London. In fact, Poirot wants to make a few days’ holiday in Istanbul and visit Hagia Sophia.
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Weiss, Max. "Sight, Sound, and Surveillance in Baʿthist Syria: The Fiction of Politics in Rūzā Yāsīn Ḥasan’s Rough Draft and Samar Yazbik’s In Her Mirrors." Journal of Arabic Literature 48, no. 3 (November 27, 2017): 211–44. http://dx.doi.org/10.1163/1570064x-12341347.
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Jamili, Marzia, Brittany Nugent, and Dove Barbanel. "Unimaginable Dreams." Journal of Anthropological Films 3, no. 02 (October 21, 2019): e2823. http://dx.doi.org/10.15845/jaf.v3i02.2823.
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Written and directed by Marzia Jamili, a Hazara refugee now living in Sweden, Unimaginable Dreams is an auto-ethnographic essay film that traces Marzia’s last days in Athens, Greece. Blending documentary and fiction, Marzia casts her best friends to recreate magically real versions of her dearest memories of Athens as she delivers a cutting address to Afghanistan, in which she tells the sea about her broken homeland.
This film project seeks to demonstrate the possibilities of collaborative filmmaking as a methodology, particularly in response to the limitations of etic observational approaches in migration research and the lack of refugee voices in public discourse. Through reenactment and Marzia’s epistolary narrative, Unimaginable Dreams resurfaces notions of belonging and citizenship within the imagination, weaving together oneiric and real geographies situated in the past and future. Facing perpetual displacement and public erasure, the film medium offers a declarative space of visibility in Athens, where its maker articulates rights and desires denied by the state.
Unimaginable Dreams is the first production by the Melissa Network's Film Club, a collaborative program cofounded by Brittany Nugent and Dove Barbanel that challenges hegemonic representations of migrant women by empowering members to reclaim the gaze and create narratives of their own. A creative group of women from Afghanistan, Iran, Syria, Iraq, Kenya, Nigeria and Ethiopia share diverse perspectives to analyze their favorite movies, learn filmmaking skills and collaborate on original productions that add urgent personal nuance and depth to migration storytelling.
Dissertations / Theses on the topic "Syria – Fiction"
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Ajamane, Nayla. "La fiction (forme et contenus) dans les textes de lecture à l'usage de l'enseignement préparatoire et secondaire en Syrie (pertinence des modèles littéraires utilisés)." Paris 3, 1991. http://www.theses.fr/1992PA030001.
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La pratique de la langue francaise en syrie a connu plusieurs niveaux et evolutions selon les epoques et les conditions socio-culturelles, economiques et politiques du pays. La methode audio-orale est appliquee dans les trente dernieres annees dans les ecoles publiques syriennes. La methodologie est-elle adaptee de nos jours?, repond-elle aux motivations et aux besoins des eleves?, comment les textes litteraires sont-ils presentes?, comment sont-ils etudies?, quel est leur but pedagogiques?, les reponses a ces questions sont etudiees dans cet ouvrage sur la base des reflexions actuelles en s'appuyant sur les resultats des enquetes effectuees par l'auteur dans les ecoles damascenesThe practice of the french language in syria has experienced various levels and evolutions in accordance with the ages and socio-cultural, economical and political conditions of the country. The audio-oral method has been in use for the past thrity years in syrian public schools. Has this methodology been adopted to our present demands?, does it meet the pupil's motivations and needs?, how are the literar texts presented?, how are they studied?, what's their pedagogic aim?. The answers of these questions are examined in this work on the basis of present theories ans with the help of the results of surveys carried out by the author in damascan schools
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El, Hajj Sleiman Y. "I am not naked : a fictional and theoretical exploration of home and the flâneuse in 21st-century Lebanon and Syria." Thesis, University of Gloucestershire, 2017. http://eprints.glos.ac.uk/4805/.
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This thesis mainly consists of two artifacts: a creative text followed by literary criticism. The research draws on the theoretical intervention of the flâneuse I have posited as a way of reading home in fiction. Not withstanding commentaries on the flâneur in the social sciences and cultural studies, no literary study yet has posited the connection between flânerie and home, let alone theorized the notion of the flâneuse as a subversive figure that can be deployed in creative, and then critical, writing to make intelligible the possible variants of home in the present-day fictions of Lebanon and Syria. I thus propose a redefinition of the term in a way that may also apply to readings of the trope in a literary text: I read the flâneuse as a determined woman whose acts of street-walking, or of movement from one place to another, are enacted on two levels in such a way that her physical journeys – in search of, or as a return to, her own conceived notion of home – intersect with an emotional itinerary that traces her development against, and resistance to, a backdrop of patriarchy and conflict. My PhD novel, I Am Not Naked, is a first in marrying the Lebanese and Syrian contexts and in appraising the subversive quests for home of their fictional female characters, both heterosexual and non-heterosexual, from the theoretical lens of the “flâneuse,” against the setting of two civil wars, the Lebanese Civil War (1975—1990) and the Syrian Civil War (2011—present). In the second section of the thesis, I shift rhetorical gear from creative to critical discourse in order to situate the novel, and henceforth its analysis of home and patriarchy that I read through the different theoretical imports that attach to the flâneuse, in relation to new creative narratives from Lebanon and Syria. Hence, in reference to three novels in which the trope can be culled – I Am Not Naked (Sleiman El Hajj, 2016, Lebanon and Syria), Cinnamon (Samar Yazbek, Syria, 2012), and An Unnecessary Woman (Rabih Alameddine, Lebanon, 2013) – I argue that the notion of the flâneuse I have postulated is reified in characters who defy patriarchy by employing flânerie as a multilayered vector for fulfilling the homing desire that drives their respective journeys. Necessarily, I hyphenate the intervention with relevant strands of criticism to better invigorate my reading of home-as-emotional-space, as opposed to a fixed place, in the three novels, hence the feminist flâneuse, the postcolonial flâneuse, and the queer flâneuse, terms unused in previous scholarship. My thesis also contributes to the nascent body of creative writing on the Syrian Civil War and the refugee crisis, and supplements the growing interdisciplinary corpus of research on (mostly male) homosexuality from a queer-female literary angle, given my novel’s focus, in part, on same-sex female affects through its characterization of Teta – a queer Arab grandmother figure – a representation still unexplored in extant Lebanese and Syrian literature of the 21st century.
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Al, Jarrah Soumaya. "Romanciers ou historiens ? L'histoire contemporaine du Proche-Orient saisie par la fiction." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL094.
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Le sujet central de cette thèse se concentre sur la relation entre la littérature et plus précisément le roman et l’Histoire. Elle examine de manière approfondie une problématique composée de deux axes distincts, d'une part, le rôle du roman dans la représentation du passé, et d'autre part, sa distinction par rapport à la représentation de l'Histoire dans des œuvres historiques. Elle vise à démontrer que l'Histoire et le roman ne sont pas fondamentalement différentes dans la représentation du passé et que l'objectivité de l'historien est mise en question. Dans cette optique, l’approche consiste à analyser des romans traitant de l’histoire contemporaine du Liban et de la Syrie, en les confrontant aux œuvres historiques qui traitent du même sujet. Cela permet de répondre à la question posée dans le titre du travail. L’étude parvient à démontrer que toute perception des faits est empreinte, en définitive, d’une certaine subjectivité, elle-même tributaire de facteurs idéologiques, culturels, politiques et sociaux. La spécificité de ce travail redise dans la variation des perspectives représentés ainsi que dans la variation des œuvres analysés. Les corpus historique et littéraire qui sont constitués par des récits historique, romanesque, mémoriel, photographique, bande dessiné, écrits par des historiens et auteurs orientaux et occidentaux font que le travail a pu englober l’histoire contemporaine de cette région dans tous ses aspects et a révélé différents points de vue. Reste alors à considérer le rôle du lecteur dans sa conception des faits et sa construction de l’HistoireThe central subject of this thesis focuses on the relationship between literature, specifically the novel, and History. It thoroughly examines an issue composed of two distinct dimensions: firstly, the role of the novel in representing the past, and secondly, its distinction from the representation of History in historical works. The aim is to demonstrate that History and the novel are not fundamentally different in their representation of the past, and that the objectivity of the historian is called into question. In this perspective, the approach involves analyzing novels dealing with the contemporary history of Lebanon and Syria, comparing them to historical works that address the same subject. This helps answer the question posed in the title of the work. The study manages to show that any perception of events is ultimately marked by a certain subjectivity, which is itself influenced by ideological, cultural, political, and social factors. The uniqueness of this work lies in the variation of perspectives represented as well as in the variety of analysed works. The historical and literary corpus, consisting of historical, fictional, memorial, photographic, and comic narratives, written by both Eastern and Western historians and authors, allowed the research to encompass the contemporary history of this region in all its aspects and revealed different points of view. It remains to consider the role of the reader in their perception of facts and their construction of History
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Happe, Rosalin. "The Limits of Transnationalism in Olga Grjasnowa's "Gott ist nicht schüchtern"." 2019. https://scholarworks.umass.edu/masters_theses_2/742.
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The terms “refugees” and “refugee crisis” have been prominent in media discourse all over the world – especially since the beginning of the Syrian civil war in 2011 and large incoming numbers of refugees into Europe since 2015. Germany, whose media initially celebrated its “Willkommenskultur”, has become increasingly critical of refugees; political and civic exclusion has intensified, and emphasis has been placed on belonging based on peoples’ passports and hence nationalities, which determine whether or not someone belongs in a country. The author Olga Grjasnow, born 1984 in Baku, Azerbaijan and who is of Russian-Jewish descent, took on the task of describing the horrific circumstances in Syria in the midst of its ongoing civil war in her latest novel, entitled Gott ist nicht schüchtern (2017). Moreover, she depicts individuals’ flight across the ocean and their eventual arrival and life in Germany. In her book, Olga Grjasnowa describes the lives of three young Syrian individuals and their extremely limited possibilities of leading a free, peaceful life due to their nationality and the resulting closing of diverse borders for them.Based on the scholarly discourse on transnational fiction and how this work may or may not fit into this notion, especially with regard to globalization and powerful nations’ economic interests, this thesis seeks to analyze how nationalist and capitalist policy makings affect people in drastic ways, as they find themselves uprooted and persecuted.By excluding a Western narrative voice, Olga Grjasnowa zooms in on the lives of Syrians and their hopeless circumstances, while showing how a “wrong” passport makes life for people difficult to navigate in Syria, Germany and beyond. By means of close reading, I analyze the novel pertaining to the war in Syria and the resulting politics, media coverage and individual “fate”, which is tied to limitations for people to escape these circumstances based on documents and national borders.
Books on the topic "Syria – Fiction"
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ʻAbbās, ʻAlī ʻAbd al-Majīd. Kharīf Dimashq: Mashhadīyāt taḥkī al-wāqiʻ. Bayrūt, Lubnān: Dār al-Fārābī, 2015.
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Matine, Azzeddine El. Slimane le jardinier des mots: Roman. Casablanca: Editions La Croisée des Chemins, 2017.
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Wahbah, Asmāʼ. Rāqiṣat Dāʼish: Riwāyah. [Beirut]: al-ʻAlyāʼ lil-Nashr wa-al-Tawzīʻ, 2016.
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Copyright Paperback Collection (Library of Congress), ed. Sleeper cell. New York: Berkley Books, 2005.
Find full textBook chapters on the topic "Syria – Fiction"
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Rolls, Alistair. "Murder on the Orient Express and/or The Mysterious Affair in Syria." In Agatha Christie and New Directions in Reading Detective Fiction, 27–44. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003288527-3.
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Yiğit, Ali. "Paralyzed Lives, Unfulfilled Dreams: Syrian Refugee Portrayals in Contemporary Fiction." In Refugees and the Media, 237–63. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-46514-7_13.
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Cuder-Domínguez, Pilar. "Crime Fiction’s Disobedient Gaze: Refugees’ Vulnerability in Ausma Zehanat Khan’s A Dangerous Crossing (2018)." In Cultural Representations of Gender Vulnerability and Resistance, 91–109. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95508-3_6.
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AbstractThis chapter explores Ausma Zehanat Khan’s fourth police procedural, A Dangerous Crossing (2018), as an example of human rights fiction that casts a “disobedient gaze” on the current global refugee situation. Using the conventions of the crime genre, the novel manages to provide a detailed analysis of the gender vulnerability of Syrian refugees stranded in Greek camps and mobilises a transformative kind of empathy by drawing alternative affective economies that help readers expand the limit of our imagination. The chapter argues that Khan’s refugee advocacy rests on envisioning the human within those who are depicted as nonhuman in media and political descriptions of forced migration in the context of increased border securitisation.
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Gaba-van Dongen, Alexandra. "alma, where Art meets Artefacts: A case study of a Syrian jar inThe Three Marys at the Tombby Jan van Eyck." In Medieval and Post-Medieval Ceramics in the Eastern Mediterranean - Fact and Fiction, 117–30. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.mpmas-eb.5.108560.
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Litvin, Margaret. "“The Intellectual Is a Hybrid Creature”." In Russian-Arab Worlds, 341—C34P70. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197605769.003.0035.
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Abstract This chapter presents an interview with exiled Syrian-born novelist Khalil Alrez (b. 1956) and an excerpt from his novel The Russian Quarter (2019), shortlisted for the 2020 International Prize for Arabic Fiction. In the interview, Alrez reflects on his literary influences and his experiences living and working in the USSR, then Russia, from 1984 to 1993. He also discusses his return to Syria amid the economic chaos that followed the Soviet Union’s collapse. The excerpt from Alrez’s novel, set in a zoo in a fictional Damascus neighborhood called “The Russian Quarter,” shows a motley menagerie of Russian- and Syrian-born characters, humans and animals alike, struggling to maintain an oasis of peace on the edge of the Russian-fueled Syrian civil war.
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Fahrenthold, Stacy D. "New Syrians Abroad." In Between the Ottomans and the Entente, 85–111. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190872137.003.0005.
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This chapter focuses on Syrian migrant activists who lobbied for American intervention and a US Mandate in Syria after the 1918 armistice. Calling themselves the “New Syrian” parties, activists in New York City, Boston, Buenos Aires, and Cairo petitioned for the United States to take guardianship of Syria as a bulwark against French colonialism in the region. The New Syrians were rejected by the 1919 Paris Peace Conference, which led them to promote their ideas through petitioning and mass meetings held in the mahjar. Examining a history of the Wilsonian moment from beyond the Paris petitions, the chapter argues that the conference engaged in the construction of a legal fiction: that the Syrian mahjar favored the French Mandate. Far from partners in empire, the diaspora Syrians and Lebanese presented the French with the difficult task of pacifying an extraterritorial subject population that could not be controlled through blunt military suppression.
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"2 The Rise of the Arab Drama in Syria and Egypt." In The Origins of Modern Arabic Fiction, 21–40. Lynne Rienner Publishers, 1997. http://dx.doi.org/10.1515/9781685858186-003.
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Van de Peer, Stefanie. "Hala Alabdallah Yakoub: Documentary as Poetic Subjective Experience in Syria." In Negotiating Dissidence. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696062.003.0008.
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Against all the odds, and within a highly restrictive production context, women have been and continue to be the most politically engaged filmmakers in Syria. While feature‐length fiction films by women are rare or non‐existent, documentary maker Halla Alabdallah is working across different genres with obvious degrees of resistance. Trained by Omar Amiralay (Syria’s foremost documentary maker), her style is singular and experimental in nature. Her first film, I am the One Who Brings Flowers to her Grave (2006) was the first documentary made by a woman in Syria. It is a lyrical portrait of solidarity between women across the ages that experiments with ‘representation’. In As if We Were Catching a Cobra (2012) she looks at the art of cartoon and other politically inspired art forms, in Egypt and Syria, immediately before the start of the revolution in Cairo. She uses documentary as a weapon, she says, because it is necessary to negotiate the oppression and taboos in order to find an avenue for self-expression and dissidence. Women’s identity struggle and self-expression are addressed directly in her films, and there is an immense trust in her global spectators’ ability to empathise, as vocal and aural communication methods are explicitly used to express dissent.
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"Female Masculinity and Male Femininity – the Exploration of Gender Formulation." In Masculinity and Syrian Fiction. I.B. Tauris, 2022. http://dx.doi.org/10.5040/9780755637652.ch-005.
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"Masculinity – a Demanding Role to Play." In Masculinity and Syrian Fiction. I.B. Tauris, 2022. http://dx.doi.org/10.5040/9780755637652.ch-004.
Full textConference papers on the topic "Syria – Fiction"
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PRELIPCEANU, Cosmin. "Image and Post-Truth." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0024.
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Nowadays, under the non-stop assault of over-information and the multitude of sources and media, the consumers of information (related to non-fiction audio-visual content) suffer from an overflow. They are oversaturated, blasé, disinterested, they have the feeling they know everything and are entitled to jump straight to conclusion (their own or ready-made conclusions). The content they cannot process is rejected. With such an audience, content creators diversify their arsenal of stimuli: shocking images and sound, partisan speech that confirms the viewer's own perceptions and beliefs. But mostly, emotions. Emotion is the most powerful stimulus applied to the viewer and has an enviable effect among content creators. The emotionally connected viewer will develop trust, dependence on the source of information and, in conjunction with other stimuli, will become susceptible to mobilization. It is a key effect in the study of disinformation and propaganda, which makes it possible to manipulate the viewer into acting in a certain way. In other words, emotion becomes a tool. It is used intentionally to trigger a certain reaction from the audience. Our research analyses the extent to which the need for emotion in the news shapes reality, that is the events as they happened, and how we would expect them to be covered on screen. We follow the methods that journalists use to give viewers as much of this stimulus as possible, once considered a foreign body in the news bulletin. And in the analysis of the media content (image and sound) we notice how two fields that once seemed utterly opposed by reference to objective reality (physical truth), journalism and artistic creation (fiction), ended up sharing a common ground, that of emotion. The corpus of our analysis consists of CNN, BBC and RT television reports on the war in Syria during two of its key moments, the WMD attacks of 2013 and 2018. The study method we will apply is rhetorical analysis, proposed by Professor Guillaume Soulez from the University of Sorbonne. This is how we reach a second junction, because the French professor proposes discursive analysis for any kind of media content, whether fictional or not.