Relevant bibliographies by topics / Tawfīq

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Academic literature on the topic 'Tawfīq'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Tawfīq"

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PRADINES, Stéphane, and Johannes DEN HEIJER. "Bāb al-Tawfīq." Le Muséon 121, no. 1 (June 30, 2008): 125–52. http://dx.doi.org/10.2143/mus.121.1.2120504.

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Denooz, Laurence. "La relativité du Temps et de l’Espace dans le théâtre lā-maqūl de Tawfīq al-akīm." Arabica 58, no. 5 (2011): 387–403. http://dx.doi.org/10.1163/157005811x575816.

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AbstractA comparison of The Tree Climber with other plays by Tawfīq al-Ḥakīm (1898-1987) tends to challenge claims that it is a pivotal text in the author’s literary career, and an emblem of Absurdism. Tawfīq al-Ḥakīm himself associates his play with a form of “intellectual popular irrealism” or “irrational theater”, which three distinct elements of his work come to confirm: a) the recurrence of the juxtaposition of two animated short scenes, distinct in both Time and Space; b) the invariability of his philosophical and political message throughout his work; c) the unending fight against spatio-temporal Determinism, coupled with the repeated affirmation of the relativity of the perception of Time and Space.
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ABBOUD, Saleh. "THE AESTHETICS OF CONTEMPORARY PALESTINIAN ZAJAL: DĪWĀN GHEMĀR AL FARAḤ BY TAWFĪQ ḤALABĪ AS A MODEL." RIMAK International Journal of Humanities and Social Sciences 4, no. 6 (November 1, 2022): 708–15. http://dx.doi.org/10.47832/2717-8293.20.41.

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Tawfīq Ḥalabī Palestinian Zajal poet (born in 1968) in the village of Dāliyat al-Karmel in northern Israel. He has contributed to the revival of the Zajal pulpit. He is the founder of the Al-Amal Choir and the Al-Bayāder Choir. This year 2022, the Dīwān of Ghemār Al Faraḥ was issued to him, and it contains a group of his poems and Zajal dialogues. Ghemār Al Faraḥ is a documentation of what Tawfīq Ḥalabī organized over the years in the field of spoken folk poetry and Zajal. This research relies on the material of Ghemār Al Faraḥ through reading it and examining the poetic, rhetorical and descriptive aesthetics and poetic images in it. The research acquires its importance by revealing the characteristics of what Al-Zajal excelled in Ghemār Al Faraḥ. The research also reflects a positive picture describing the poetic level spoken in Palestine in this era. Most of the research objectives lie in highlighting the descriptive and rhetorical aesthetics and poetic images in the contemporary Palestinian poetry of Zajal. The research monitors aesthetics related to social implications, human values, and emotional description on the one hand, and the artistic and rhetorical methods used in the subject of Zajal in the Ghemār Al Faraḥ, and then concludes the research with a conclusion presenting its most prominent conclusions. Keywords: Tawfīq Ḥalabī, Ghemār Al Faraḥ, Zajal, Palestinian Spoken Poetry
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Deheuvels, Luc-Willy. "Tawfīq Al-ḥakīm, Pygmalion et le «Théâtre de l'Esprit»." Arabica 42, no. 1 (1995): 1–55. http://dx.doi.org/10.1163/1570058952583426.

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Saad, Saad Mohamed. "La Democracia en el Teatro de Tawfīq Al-Ḥakīm." هرمس 4, no. 1 (2015): 9–30. http://dx.doi.org/10.12816/0031350.

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Parolin, Gianluca P. "‘Modern’ Law and Its Subjects in Tawfīq al-Ḥakīm’s Diary of a Country Prosecutor (1937)." Journal of Arabic and Islamic Studies 21 (September 2, 2021): 57–77. http://dx.doi.org/10.5617/jais.8998.

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State law as the main transformative device to build a ‘modern’ Egypt has encountered tremendous resistance, yet legal scholars seem utterly uninterested in the matter while historians struggle to account for the reasons of the subjects’ resistance by using archival materials often produced by state officials themselves. In this article, I turn to literature to explore and interrogate literary representations of the rural subjects of ‘modern’ law, and their various forms of resistance to ‘modern’ law itself. In an effort to highlight the benefits of ‘turning to literature’ for legal scholars, I begin with one of the most acclaimed masterpieces and foundational works of the modern Egyptian literary canon: Tawfīq al-Ḥakīm’s Diary of a Country Prosecutor (1937). Listening to the awkward silences and garrulous voices of the Diary’s subjects opens a window onto the strained relations between ‘modern’ law and its subjects in which class, language, and centre/periphery dynamics all play a role. Considering what repertoire these subjects ‘spontaneously’ mobilise to challenge the ‘modern’ law further brings into view their alternative doxic understanding of law and justice. Keywords: ‘Modern’ law, hegemonic legal modernity, everyday resist­ance, extra-judicial justice, vocal dissent, rural subjects, rural courtroom, Egypt, 20th-century fiction, Tawfīq al-Ḥakīm, Diary of a Country Prosecutor.
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Fudge, Bruce. "The Men of the Cave: Tafsīr, Tragedy and Tawfīq al-Hakīm." Arabica 54, no. 1 (2007): 67–93. http://dx.doi.org/10.1163/157005807779575007.

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Nasr, Adel Mohamed Mohamed. "El reino de los insectos como una proyección social y política en "El grillo", de Carlos Muñiz, y "El sino de una cucaracha", de Tawfiq Al-Hakim." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 36 (August 14, 2021): 250–67. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2021365213.

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El objetivo de este estudio es analizar comparatísticamente el empeño compartido de Carlos Muñiz y Tawfīq Al-Ḥakīm en criticar el autoritarismo del régimen político que afectó la vida social y política de sus respectivos países. El protagonista en ambas obras está comparado con el insecto (grillo-cucaracha) debido a su mediocridad, ya que tanto al hombre como al insecto nadie les hace caso, a pesar de sus repetidos gritos. Esta estrategia de recurrir al reino de los insectos para proyectar sus críticas hacia las dimensiones política y social ha sido un recurso de camuflaje para escapar del aparto censor del régimen dictatorial.
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Denooz, Laurence. "Œdipe-Roi en trompe-l'œil. Étude d'al-Malik Œdipe de Tawfīq al-Ḥakīm." Kernos, no. 16 (January 1, 2003): 211–24. http://dx.doi.org/10.4000/kernos.827.

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Rosyid, Maskur. "MEMBINCANG KEMBALI HUBUNGAN SYARIAH DAN FILSAFAT." Journal ISTIGHNA 2, no. 1 (January 29, 2019): 114–41. http://dx.doi.org/10.33853/istighna.v2i1.13.

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Mempertentangan Filsafat dengan Agama (Syariah) sama dengan mempertentangkan akal dengan wahyu sebagai sumber kebenaran. Diskursus tersebut memuncak ketika al-Ghazālī memberikan kritik tajam atas filsafat. Kritik tersebut dikritik oleh Ibn Rushd. Lebih dari itu, upaya rekonsiliasi filsafat dan Syariah diberikan oleh Ibn Rushd. Epistemologinya dibangun atas tiga hal, metode al-Khaṭabiyah (Retorika), metode al-Jadaliyyah (dialektika), dan metode al-Burhāniyyah (demonstratif) yang dilakukan dengan metode takwil. Dalam Bahasa uṣūl al-fiqh, Ibn Rushd menggunakan metode al-jam’ wa al-tawfīq. Akal dan wahyu diposisikannya secara proporsional. Akal dan wahyu sama-sama digunakan sebagai alat untuk menemukan pengetahuan tanpa mengunggulkan yang satu di atas yang lainnya.
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Dissertations / Theses on the topic "Tawfīq"

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Sewilam, Mohamed. "La France dans l'oeuvre de Tawfīq al-Hakīm." Bordeaux 3, 2004. http://www.theses.fr/2005BOR30032.

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Cette thèse a pour objectif principal l'étude des représentations, des sentiments et des jugements élaborés par le dramaturge égyptien Tawfīq al-Hakīm (1898--1987) à partir de ses contacts avec la France. Notre programme de recherches peut se résumer ainsi : situer, inventorier et expliquer les représentations de la France avec lesquelles Tawfīq al-Hakīm a écrit , pensé et aussi vécu. Notre étude aboutit aux conclusions suivantes : à partir de débuts difficiles et peu applaudis, Tawfīq al-Hakīm acquiert progressivement une immense notoriété, car son écriture évolue et gagne en originalité. Cette évolution est dûe, pour une large part, à une fréquentation des idées françaises. Sa longue familiarité avec la France et les Français, à travers ses amitiés, ses émotions, ses expériences, ses lectures se traduit par une influence qui s'exerce dans les domaines littéraire, artistique, scientifique et philosophique
This thesis as a principal objective the study of the representations, the feelings and the judgements orked out by the Egyptian playwright Tawfīq al-Hakīm (1898-1987) to start from its intellectual or effective contacts with France. Our research program can be summarized as follows : to locate, inventory and explain the representations of the France, it with which Tawfīq al-Hakīm wrote, thought and thus lived. Our study arrives at the following conclusions : starting from difficult and little applauded beginnings : Tawfīq al-Hakīm acquires an immense notoriety gradually because its writing evolves/moves and gains in originality. This evolution is due, to a large extent, with a frequentation of French ideas. His long familiarity with France and Frenches, through his friendships, his emotions, his experiments, his readings results in an influence which is exerted in the literay fields, artistic, scientific and philosophical
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Afkir, Fatima. "L'image de l’Égypte dans l’oeuvre de Tawfīq al-Ḥakīm." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30059/document.

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Si on contemple l’abondante production du dramaturge, on réalise à quel point l’Égypte est omniprésente dans ses écrits et dans sa vie. Elle couronne l’ensemble de son oeuvre littéraire qui met en lumière chacun des différents aspects de ce pays : social, historique, culturel et politique. Cependant, dans cette étude, nous allons essayer de limiter notre sujet de l’Image de l’Égypte dans l’oeuvre de T. al-Ḥakīm à deux époques celle de la révolution de 1919, et celle de 1952. Ses écrits retracent clairement ces deux évènements importants. Sa façon de penser, d’écrire, de critiquer et d’analyser avant et après la révolution de 1919 n’est plus la même après la révolution de 1952. D’un écrivain rêveur, idéaliste, il en devient un autre plus réaliste et engagé littérairement. Notre problématique globale s’articulera autour des questions suivantes : quelle représentation l’oeuvre de Tawfīq al-Ḥakīm donne-t-elle de l’Égypte ? Peut-on considérer son retour aux mythes anciens comme une continuité entre l’Égypte moderne etl’Égypte ancienne ? Dans une première partie nous traitons les deux révolutions qui ont eu des répercussions sur ses écrits et sa vision politique. La deuxième partie, abordera la société de son roman ‛Awdat al-rūḥ, (l’Âme retrouvée), 1933, dans lequel il décrit une Égypte vue par un égyptien de souche et les liens forts qui unissent ce peuple à sa nation. La troisième partie sera réservée à la femme et au fallāḥ qui ont énormément inspiré l’écrivain. La quatrième partie sera consacrée à l’Égypte pharaonique. On va voir comment il a pu être influencé par l’Égypte ancienne pour décrire l’Égypte moderne. Nous nous appuyons aussi sur plusieurs lectures de différents auteurs afin de trouver une authenticité entre ce qu’il écrit et ce qu’il pense, entre la réalité et l’imagination dans ces oeuvres. Nous analyserons comment il voit, observe et critique son pays natal
If we contemplate the playwright's rich production, we realise to what extent Egypt plays a prominent part in his work and life. It is the crowning achievement of his literary work which highlights all the aspects of this country, social, historical, cultural and political However, in this study, we will try to limit our subject of The image of Egypt in T.al-Hakim's work to two particular eras, the revolutions of 1919 and 1952. His writings clearly relate those major events. The way he thinks, writes, criticizes and analyses before and after the 1919 revolution is no longer the same after the 1952 revolution. He started being a dreamy idealistic writer, and turned into another one, more realistic and committed in his literary work. Our global problematics will hinge on the following issues: what representation of Egypt does Tawfiq al-Hakim's work give? Can we regard his return to ancient myths as a continuity between modern Egypt and ancient Egypt? In a first part, we deal with the two revolutions which have had repercussions on his writings and political vision. The second part will tackle the society of his novel, in which he describes a country seen through a native Egyptian, and the strong ties which link the Egyptian people to their nation. The third part will focus on women and on the fallah, which greatly inspired the writer. The fourth part will be dedicated to the Pharaonic Egypt. We will see how far he has been influenced by ancient Egypt to descibe the modern one. We have relied on a few works of different writers so as to find an authentic link between what he writes and thinks reality and imagination in his works. We will analyse the way he sees, observes and criticizes his own country
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PUGLIESI, GIROLAMO GIUSEPPE MARIA. "Un canone per il teatro arabo. Una lettura de Qālabu-nā al-masraḥī di Tawfīq al-Ḥakīm." Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/747.

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Un'analisi della teoria teatrale di Tawfīq al-Ḥakīm a partire dal suo Qālabu-nā l-masraḥī. Lo studio intende dimostrare come in tutta l’opera di Tawfīq al-Ḥakīm sia presente, seppure in modalità diverse, una teleologia performativa della scrittura teatrale.
An analysis of Tawfiq al-Hakim's theatrical theory in the light of his Qālabu-nā al-masraḥī. The study aims at showing how in Tawfīq al-Ḥakīm's whole work is present, although in different ways, a performative teleology of playwriting.
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Barhoumi, Mohamed Akremi. "Analyse de Yā Tāli al Sǎgǎra : "o toi qui montes à l'arbre" : pièce de Tawfīq al-Hakīm." Paris 3, 1988. http://www.theses.fr/1989PA030066.

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Ya tali al-sagara, "o toi qui montes a l'arbre", appartient au registre de l'irrationnel. La piece revele le drame de l'incommunicabilite du couple, les epoux vivant, sur le mode de l'illusion, deux existences paralleles (reve obsessionnel d'un arbre fabuleux pour bahadir, d'une enfant imaginaire pour bahana). Une lecture semiotique met en evidence la fuite du sens. Deux parcours narratifs apparaissent : l'enqueteur recherche vainement les causes de la disparition de l'epouse et commet une erreur judiciaire en accusant bahadir (acte un) puis l'epoux entreprend une quete du grand art, symbolise par l'arbre merveilleux (acte deux). Le discours tend a prouver la faillite du langage. Les personnages se trouvent reduits a des signes exprimant des relations conflictuelles. Dans cet univers absurde, tout lien de causalite disparait, temps et espace s'interpenetrent. Des unites de sens peuvent finalement etre degagees : la solitude qui entraine la fossilisation de l'humain, l'angoisse liee aux conflits psychiques, la condition humaine vouee a l'ennui et a l'absurde, l'echec de la connaissance, l'evasion dans l'imaginaire et la fatalite de la mort. Seul art represente une victoire sur le temps. Tawfiq al-hakim montre le tragique de l'homme moderne. .
Ya tali al-sagara, "you are climbing the tree", belongs to the repertory of the irrationnal. The play reveals the drama of the couple's lack of communication. The husband and the wife live, in illusion, two parallel existence (it's an obessional dream of a fabulous tree for bahadir, of an imaginar for bahana). A semiotical reading underlines the lack of the meaning. Two narrative directions appear : the officer in charge of the investigation searches for the causes of the wife's disappearance and commits a miscarriage of justice accusing bahadir (act one) then the husband goes in search of the great art, symbolized by the wonderful tree (act two). The speech proves the failure of the language. The characters are reduced to signs expressing conflictual relationships. In this absurde universe, there is no logical connection. Time and space intermingle. Significants can finally be revealed : loneliness, bringing about human being's fossilization, anguish connected with psychological conflicts, human condition devoted to the boredom and the absurd, impossible knowledge, escape in the imaginar world and fatality of death. It's only the art that represents victory over time. Tawfiq al-hakim shows the tragedy of the modern. .
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Profeti, Barbara. "Le théâtre de Bsisû : essai d'analyse narrative et figurative suivi de la traduction des pièces." Aix-Marseille 1, 1998. http://www.theses.fr/1998AIX10061.

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Cette etude cherche a explorer le theatre poetique de mu'in bsisu. La premiere section est consacree a la composante narrative et discursive. L'auteur essaie de retrouver le contexte historique auquel chaque piece (dont la traduction figure en annexe) fait reference ; de mettre a jour les relations entre les actants de facon a faire ressortir les programmes narratifs et le schema narratif sous-jacent ; d'eclaircir la structure actorielle ainsi que l'espace et le temps dans lesquels s'inscrivent les programmes narratifs. Ces pages se proposent aussi une reflexion. Sur le discours mythique que le dramaturge exploite pour revisiter et reinterpreter en termes contemporains et palestiniens certains mythes ;. Sur le fonctionnement antiphrastique qui caracterise son discours poetique ;. Sur la manipulation du discours historique et sur son interpretation ;. Sur l'investissement pluri-isotope du discours poetique et les figures qui engendrent plusieurs parcours figuratif ;. Sur le chevauchement entre isotopies figuratives et thematiques dans le discours parabolique ;. Sur le parallelisme entre les figures du revolutionnaire et de la revolution et celles de certains phenomenes cosmologiques. La deuxieme section est, en revanche, entierement consacree a la composante figurative. L'auteur commence par definir le langage de bsisu, puis par en eclaircir le fonctionnement. Le poete vise a frapper le lecteur par un langage qui se caracterise par des antiphrases ironiques, des synecdoques en cascade, des associations et des metaphores inusuelles. Nul lexeme n'echappe a la recategorisation et a la resemantisation chez bsisu. Celui-ci percoit les figures dans leurs qualites sensibles et les resemantise, en jouant souvent sur les cinq sens et, en particulier, sur le toucher et la vue. Par ailleurs, c'est la dimension plastique des figures qu'il semble surtout interesser cet auteur. Il exploite tout specialement la dimension eidetique et chromatique des figures.
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Houssay, Martine. "Problématique identitaire et vérité singulière : étude de trois autobiographies arabes : Ḥayātī de Aḥmad Amīn, Tarbiyyat Salāmā Mūsā de Salāmā Mūsā, Siǧn al-ʿumr de Tawfīq al-Ḥakīm." Bordeaux 3, 2001. http://www.theses.fr/2001BOR30010.

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Comment l'autobiographie articule-t-elle identité et vérité? c'est à travers l'étude de trois autobiographies arabes, menée au plus près des textes, que l'on a tenté de répondre à cette question, en dégageant la problématique qui fonde et sous-tend chacune de ces "enquêtes" autobiographiques, en repérant les processus de vérité dont elles restituent et constituent la trace singulière, et en montrant comment la narration rétrospective impose sa propre logique au questionnement subjectif. La thèse comprend trois parties, correspondant aux trois œuvres (Hayati: ma vie, Tarbiya t-Salama Musa: l'éducation de Salama Musa et Sign-al-umr: la prison de la vie). Celles-ci ont été écrites au milieu du vingtième siècle par des intellectuels égyptiens -Ahmad Amin, Salama Musa et Tawfiq al-Hakim- dont les noms sont respectivement associés au réformisme musulman, au socialisme évolutionniste et au théâtre arabe. En annexe figurent les résumés détaillés des trois autobiographies.
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Loulidi, Younes. "Le Langage théâtral de Tawfiq al-Hakim." Aix-Marseille 1, 1986. http://www.theses.fr/1986AIX10057.

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Depuis le jour ou le dramaturge egyptien tawfiq al-hakim a reussi a integrer le theatre comme genre litteraire a la litterature arabe contemporaine, il a continuellement recherche un style et un langage propres qui lui permettront de developper les genres et les formes artistiques. Les recherches hakimiennes ont abouti a un langage qui a trois aspects, mais qui ne se contredisent pas, bien au contraire, ils s'incorporent et se completent. Le langage hakimien se constitue donc d'un aspect realiste, d'un aspect symboliste et d'un aspect theatral. Grace a l'aspect realiste de son langage, al-hakim projette sur scene les malheurs et les angoisses profondes de la societe egyptienne, les dialogue et les incarne, ce qui nous permet de dire qu'al-hakim parle le langage de chaque periode qu'il vit. A travers l'aspect symboliste de son langage, al-hakim est essentiellement tragique, parce que, justement, chez lui, c'est la totalite de la condition humaine qui entre en jeu et non l'homme de telle ou telle societe. Ce langage symboliste, qui se trouve a mi-chemin entre la fiction et la realite, evolue selon une methode mathematique, c'est pour cela qu'il demande une certaine souplesse d'esprit de la part du spectateur et du lecteur. L'aspect theatral du langage hakimien prouve qu'al-hakim est capable de parler au public un langage ou le tout n'est pas seulement dit mais aussi represente; d'ailleurs, le langage scenique dont se sert, avec habilete, al-hakim, prouve qu'il est tout-a-fait conscient que son oeuvre n'aura sa raison d'etre et ne sera realisee que si elle aboutit a un spectacle, meme si parfois il essaie de nous faire croire que son oeuvre n'est pas concue en vue d'etre representee
Since the time when the egyptian dramatist taoufiq-al-hakim succeeded in integrating drama as a litrary type in the contemporary arab litrature, he continually looked for a pure style and a pure language that would allow him to develop the artistic types and forms. Al-hakim's researches led to a language which has three aspects which do not contradict themselves; on the contrary they incorporate and complete each other. Al-hakim's language, then, has a realistic aspect, a symbolic aspect and a theatrical aspect. Thanks to the realistic aspect of his language, al-hakim projects the unhapiness and deep anguish of egyptian society, puts them into dialogues and incarnates them, that allow us to say that al-hakim speaks the language of each period he lives in. Through the symbolic aspect of al-hakim's language, he is mainly dramatic because he takes into account the human condition and not the individual of a society. This symbolic language, which is in half-way between fiction and reality, evolues according to a mathematical method, that is why it requires a certain flexibility of mind from both the reader and the spectator. The theatrical aspect of al-hakim's language proves that he is able to speak to the public a language in which everything is not only said but performed. Thus the stage language he skilfully uses proves that he is really aware that his work is aimed at being performed on stage, though sometimes he tries to prove the contrary
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Shaw, Shereen. "A study of Tawfiq al-Hakim's Equilibrium doctrine and philosophical narratives." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2034659/.

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Tawfiq al-Hakim is known across the Arab world as a pioneer dramatist. He is one of many misunderstood writers and philosophers. My aim is to introduce him to the English-speaking public in order to shed some light on a specific period known to be one of the best in Egypt intellectually and culturally. Former President Nasser’s ideologies, and those of former President Sadat such as his “open-door” policy to the West, have contributed positively to the forming of an intellectual renaissance in Egypt. This rich period in Egyptian history is one that can directly shed light on the literary and philosophical contributions of al-Hakim, and on the social and cultural issues that should be revisited in order to gain an understanding of the problems that face Egyptians today. With this said, it is my hope that by reviving al-Hakim’s philosophical doctrines and by examining the major issues he addresses in his texts, I will be able to explain and clarify some misconceptions about this author, his philosophy and his work. I would also like to show ways in which his distinctive doctrine of equilibrium can be of use to us both in the East and the West. The objectives, accordingly, are twofold: (1) To introduce and critically examine al-Hakim’s equilibrium doctrine; and, (2) To identify the philosophical traits and Western influences that had an impact on his character and philosophy. The core problem that this work will indirectly address is the problem of how philosophy in the Arab world, according to Sari Nusseibeh’s article “The Arab World: What role for philosophy?” has been blatantly used as a tool in order to defend one version or another of the religious beliefs of those who pursued it. I ask what specific role a philosopher or intellectual can play in his or her society and how his philosophy can be put to use. This question is one that has been long forgotten in the Arab world. Freeing the Arab world from the colonizer, back in the 1930s, was clearly a goal for many intellectuals. Today, freeing the Arab mind by introducing a philosophy or an ideology that can be of use to the Muslim world as well as to the West would be a great task to accomplish.
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Mohamed, Hassan Youssef Hassan. "Mythes grecs et influences françaises dans le théâtre de Tawfiq Al-Hakim." Grenoble 3, 2004. http://www.theses.fr/2004GRE39009.

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L'étude a cherché et analysé les sources grecques et l'influence française dans Pygmalion et Le Roi Œdipe de l'écrivain égyptien Tawfiq Al-Hakim. Elle a également évalué la nouveauté de ces deux pièces et dégagé ce qu'elles apportent à la construction littéraire des mythes de Pygmalion et d'Œdipe. Nous avons divisé notre étude en trois parties. La première a traité de la naissance et de l'évolution du théâtre égyptien contemporain. Elle a également rapproché l'utilisation du mythe que fait T. Al-Hakim dans ces deux pièces de celle faite par les dramaturges français de l'entre-deux-guerres et défini la méthode que nous avons employée tout au long de cette étude. La deuxième et la troisième, consacrées respectivement au mythe de Pygmalion et à celui d'Œdipe, ont examiné les textes anciens et les versions françaises du mythe qui nous semblent avoir pu exercer une influence sur celle de T. Al-Hakim, réfléchi sur la version de l'auteur égyptien et cerné ses emprunts au mythe ancien, l'influence des textes français et les modifications qu'elle opère dans le mythe. L'étude a prouvé que lorsque T. Al-Hakim s'inspire des mythes et des sujets antiques, il applique toujours sur ceux-ci le principe de la dualité imitation-innovation. Il a donné des mythes de Pygmalion et d'Œdipe un traitement nouveau qui était en parfaite harmonie avec ses valeurs spirituelles orientales d'une part et avec sa propre vision de la vie d'autre part. Tout en s'inspirant de la mythologie grecque, l'auteur a rendu celle-ci conforme à ses pensées et l'a repensée en fonctions des valeurs du milieu dans lequel il vivait.
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Dhanidina, Adil S. "Experiencing Tawḥīd : ibn 'Arabī and the power of imagination." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82699.

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This thesis will examine how the Islamic concept of tawḥid ("monotheism") was understood, and perhaps more importantly, experienced by the 12th/13th Sufi, Ibn 'Arabi (1165-1240), also known as al-Shaykh al-Akbar ("The Greatest Master"). It has been argued that tawḥid is not simply a belief but also an operation, that is to say, a continual process whereby the literal meaning of tawḥid ("asserting oneness") is upheld. This understanding of tawḥid implies a certain dualism which for Ibn 'Arabi is a reflection of the two perspectives which express God's oneness, namely, tanzih ("transcendence"), which literally means "declaring something to be pure and free of something else," and tashbih ("immanence"), of which the literal meaning is "declaring something to be similar to something else." As can be seen, tanzih and tashbih are mutually contradictory and thus present tawḥid as a paradox. However, for Ibn 'Arabi, it is essential to not ignore any one perspective in favor of the other. For him, the paradox can and must be reconciled through the power of khayal, or imagination, which alone has the ability to combine opposites and thus, bridge the gap between tanzih and tashbih , thereby allowing for the experience of tawḥid .
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Books on the topic "Tawfīq"

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Tawfīq, ʻAbbās. Tawfīq chigūnah “Tawfīq” shud? Tihrān: Farhang-i Nashr-i Naw, 2018.

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Tawfīq, ʻAbbās. Chirā Tawfīq rā tawqīf kardand? Tihrān: Intishārāt-i Hirmis, 2017.

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Rūznāmah-ʾi Tawfīq va Kākā Tawfīq. Tihrān: Nashr-i Ābī, 2004.

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ʻAlī, Muḥammad Tawfīq. Dīwān Tawfīq. [Cairo]: al-Hayʾah al-Miṣrīyah al-ʻĀmmah lil-Kitāb, 1996.

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Tawfīq-i adab. Tihrān: Nashr-i ʻIlm, 2018.

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Ḥakīm, Tawfīq. Tawfīq al-Ḥakīm yatadhakkar. [Cairo]: al-Majlis al-Aʻlá lil-Thaqāfah, 1998.

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Dawwārah, Fuʾād. Masraḥ Tawfīq al-Ḥakīm. [Cairo]: al-Hayʾah al-Miṣrīyah al-ʻĀmmah lil-Kitāb, 1985.

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Shiʻr Tawfīq Ṣāyigh: Dirāsah fannīyah. Baghdād: Dār al-Shuʼūn al-Thaqāfīyah al-ʻĀmmah, 2009.

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ʻĀlim, Maḥmūd Amīn. Tawfīq al-Ḥakīm, mufakkiran-- fannānan. Misr: Dar Qadaya Fikriyah lil-Nashr wa-al-Tawziʾ, 1994.

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Thaʻālibī, ʻAbd al-Malik ibn Muḥammad. Kitāb al-Tawfīq lil-talfīq. Bayrūt, Lubnān: ʻĀlam al-Kutub, 1996.

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Book chapters on the topic "Tawfīq"

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Paniconi, Maria Elena. "National allegory and Bildungsnarrative in ‘Awdat al-rūḥ (Return of the Spirit) by Tawfīq al-Ḥakīm." In Bildungsroman and the Arab Novel, 65–86. London: Routledge, 2022. http://dx.doi.org/10.4324/9780203710074-4.

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Dastagir, Golam, and Ismath Ramzy. "Tawḥīd." In Islam, Judaism, and Zoroastrianism, 687–90. Dordrecht: Springer Netherlands, 2018. http://dx.doi.org/10.1007/978-94-024-1267-3_2015.

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Ismat, Riad. "Tawfiq al-Hakim: A Pyramid of Arabic Drama." In Artists, Writers and The Arab Spring, 31–37. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-02668-4_3.

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Achrati, Ahmed. "Tawḥīd, God, the Qur'ān, and being." In An Anthropology of the Qur'an, 67–81. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003200321-5.

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Gershoni. "An Intellectual Source for the Revolution: Tawfiq al-Hakim's Influence on Nasser and His Generation." In Egypt from Monarchy to Republic, 213–49. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429040962-16.

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Sivaji, Mathivanan, Muthuraman Yuvaraj, Eman Tawfik Hussien, Thangaraj Thilagavathi, and Pachamuthu Ayyadurai. "Nano-Biosensing for Detection of Food Contaminants Mathivanan Sivaji, Muthuraman Yuvaraj, Eman Tawfik Hussien, Thangaraj Thilagavathi, and Pachamuthu Ayyadurai." In Nanotechnology Horizons in Food Process Engineering, 45–72. New York: Apple Academic Press, 2023. http://dx.doi.org/10.1201/9781003305408-3.

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"Tawfīq al-Ḥakīm." In Modern Arabic Drama in Egypt, 8–87. Cambridge University Press, 1988. http://dx.doi.org/10.1017/cbo9780511470417.003.

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Denooz, Laurence. "Le regard regardant/regardé chez Tawfīq Al-Ḥakīm." In L’œil littéraire, 25–35. Presses universitaires de Rennes, 2015. http://dx.doi.org/10.4000/books.pur.52091.

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"Tawfīq al-Ḥākīm as the Representative Egyptian Dramatist in the West." In Rewriting Narratives in Egyptian Theatre, 109–18. New York; London: Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315670829-10.

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"The Art of Polemics: Tawfīq Ṣ̣idqī’s Contributions to al-Manār and Riḍ̣ā’s Use Of Them." In Islamic Reformism and Christianity, 243–76. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004179110.i-390.40.

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Conference papers on the topic "Tawfīq"

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Karman, Karman, and Ibnu Hamad. "Representation of Indonesian Democratic Leaders by Jamā’ah Anṣāru Tawḥīd and Ḥizbut Taḥrīr as Radical Muslim Groups." In Proceedings of the Social and Humaniora Research Symposium (SoRes 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/sores-18.2019.74.

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