A still from In the Last Days of the City, a proud requiem to Cairo which cannot be viewed there Tamer El Said’s In the Last Days of the City documents life in the Egyptian capital over 10 years, but authorities have refused him a permit to show it Ruth Michaelson, Wednesday 12 July 2017
Ask a Cairo resident to describe the most frustrating thing about living in the Egyptian capital, and they will likely tell you about the noise, the chaotic streets and the proselytising taxi drivers.
by Omar Robert Hamilton A debut novel that captures the experience of the Egyptian revolution like no news report could Sam's review History changes as invisibly as the future, though more painfully in having tasted what is lost. The City Always Wins is astonishing, intelligent throughout and alternately inspiring and saddening, a novel of the Egyptian Arab Spring that covers the macro tides and currents of the movement's development while also painting a beautiful micro narrative of two young people swept up in the wave.
Dalia Mostafa, Palsgrave Macmillan, 2017 ebook £52.99, ISBN 978-1-137-59372-6 Hardcover £66.99, ISBN 978-1-137-59371-9 This book examines a key question through the lens of popular culture: Why did the Egyptian people opt to elect in June 2014 a new president (Abdel Fattah al-Sisi), who hails from the military establishment, after toppling a previous military dictator (Hosni Mubarak) with the breakout of the 25 January 2011 Revolution? In order to dissect this question, the author considers the complexity of the relationship between the Egyptian people and their national army, and how popular cultural products play a pivotal role in reinforcing or subverting this relationship.
Translation, Performance, Politics Edited by Sirkku Aaltonen and Areeg Ibrahim 2016 – Routledge, 288 pages Hardback. ISBN: 978-1-13-894644-6, £85 This study of Egyptian theatre and its narrative construction explores the ways representations of Egypt are created of and within theatrical means, from the 19th century to the present day. Essays address the narratives that structure theatrical, textual, and performative representations and the ways the rewriting process has varied in different contexts and at different times.
12 October 2015, Mada Masr
By Jonathan Guyer
“All comics are political,” wrote Allen Douglas and Fedwa Malti-Douglas in their seminal 1994 study Arab Comic Strips. But whether for children or adults, the forms of political expression in comics are never straightforward.
Translated editions of Superman project cultural imperialism as well as the human need for heroes and villains. A comic advertising Stella beer from a 1957 newspaper presents a snapshot of Cairo’s cosmopolitan past.
[/caption]By Soraya Morayef Jadaliyya, 29 May 2012 In the heated den of the Greek Club on Emad el-Din Street in downtown Cairo, sweating bodies heave and move to the infectious reggaeton fused with a tabla beat, as Amr Haha, DJ Figo, and Sadat swing their mics back and forth, bantering, ad-libbing, and cheering. One takes a swig out of his Stella, another dips the mic into the sea of eager hands as the jolly crowd sings along to the simple, lewd lyrics of “Aha el shibshib daa’!
By Hoda Elsadda Edinburgh University Press Publication Date: Jul 2012 Dimensions: 234 x 156 mm Extent: 304 pages Series: Edinburgh Studies in Modern Arabic Literature A nuanced understanding of literary imaginings of masculinity and femininity in the Egyptian novel Gender studies in Arabic literature have become equated with women's writing, leaving aside the possibility of a radical rethinking of the Arabic literary canon and Arab cultural history.
Hoda Elsadda From: Journal of Middle East Women's Studies Volume 3, Number 2, Spring 2007 pp. 31-55 Abstract The emergence of the New Woman in Egypt as a central trope in the nationalist narrative of nation-building and modernity has been the subject of scholarly interest for more than a decade, yet there has been little research on her logical counterpart: the New Man. Although representations of the New Man have always been a subtext in representations of the New Woman, the manifestations and implications of these constructed imaginings within the Egyptian nationalist narrative have yet to be explored.
Guernica, 15 May 2014 By Jonathan Guyer The country’s cartoonists find creative ways to defy censors. His face is almost everywhere. With a stoic gaze and a stately uniform, Field Marshal Abdul-Fattah Al-Sisi looks out from magazine covers displayed at Cairo’s corner newsstands and posters decorating gas stations in sleepy Red Sea towns. Following the military’s ouster of the Muslim Brotherhood-affiliated Mohammed Morsi last July, a nationalistic fervor has gripped Egypt, and media outlets have widely lionized the retired general.
