1988
DOI: 10.1017/cbo9780511470417
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Modern Arabic Drama in Egypt

Abstract: This book is the first critical survey of modern Egyptian drama during the period of its maturity from the 1930s to the present day. A discussion of the work of Tawfiq al-Hakim is followed by an examination of the less experimental plays of his successors, Mahmud Taymur, Bakathir and Fathi Radwan.

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Cited by 95 publications
(18 citation statements)
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“…The descendant of Classical Arabic, MSA is not only the medium of writing in the Arab world, but also dominates the mass media (radio, television, and the press). It is the language of education throughout much of the Arab world and overrides the many vernaculars acquired as a first language by all native Arabs and used in informal settings, and which shares its fundamental properties with these vernaculars (Badawi, 1973 ; Holes, 1995 ; Versteegh, 1997 ). In this situation of linguistic diglossia, there are several reasons why we chose to focus on MSA rather than one of the dialects spoken in the Arab world.…”
Section: Arabic In Contextmentioning
confidence: 99%
See 1 more Smart Citation
“…The descendant of Classical Arabic, MSA is not only the medium of writing in the Arab world, but also dominates the mass media (radio, television, and the press). It is the language of education throughout much of the Arab world and overrides the many vernaculars acquired as a first language by all native Arabs and used in informal settings, and which shares its fundamental properties with these vernaculars (Badawi, 1973 ; Holes, 1995 ; Versteegh, 1997 ). In this situation of linguistic diglossia, there are several reasons why we chose to focus on MSA rather than one of the dialects spoken in the Arab world.…”
Section: Arabic In Contextmentioning
confidence: 99%
“…Third, there are major parallels between the structure of MSA and of any given dialect of Arabic. Where morphology is concerned, both MSA and dialectal Arabic are Semitic systems in which roots and word patterns dominate word formation (Badawi, 1973 ; Holes, 1995 ; Versteegh, 1997 ). In other research we have specifically addressed potential processing differences in the morphological domain between MSA and dialectal Arabic (as spoken in southern Tunisia).…”
Section: Arabic In Contextmentioning
confidence: 99%
“…Hence, in all regions in the Arabic-speaking world, once children enter school they are intensively and extensively exposed to Modern Standard Arabic as the language of reading and writing. Spoken interactions, even inside the classroom, remain to be conducted in Spoken Arabic, or in a semi-standard variety known as Educated Spoken Arabic (Badawi, 1973 ), except probably during Arabic lessons, where Standard Arabic is more dominant, at least in aspiration (Amara, 1995 ). The great majority of Arabic speaking Palestinian citizens of Israel are native speakers of Arabic and the great majority of them enroll in Arabic-medium schools (preschool throughout high-school).…”
Section: Introductionmentioning
confidence: 99%
“…Nel 1966 ha pubblicato al-Mahzala al-arḍiyya (La farsa del mondo), un'opera in cui la realtà e il sogno si mischiano, con un palese valore simbolico, e nella quale si ritrovano echi di al-Farāfīr: uno dei temi è, ancora una volta, la relatività della verità, anche se in questo lavoro è accompagnata da una riflessione sulla follia e sulla malvagità umana (Badawi [1987] 2005, 160-1). Con al-Mukhaṭṭaṭīn (Gli inquadrati), nel 1969, Idrīs ha proposto al suo pubblico un dramma dell'assurdo, nel quale un partito unico al potere controlla e reprime i propri cittadini.…”
Section: La Produzione Letteraria: Racconti Brevi Romanzi Drammiunclassified
“…Una grande famiglia umana che si è ritrovata e festeggia, per prima cosa, il fatto di essersi ritrovata, e poi che celebrerà attraverso il teatro, la filosofia e l'ironia, con grande franchezza, impertinenza e libertà. (59) Il personaggio dell'Autore, secondo Badawi, si pone come il Presentatore dei testi di teatro d'ombre di Ibn Dāniyāl, del XIII secolo, 10 che introduceva solitamente il personaggio principale dell'opera, Ṭayf al-Khayāl (Badawi [1987] 2005, 157). Dopo la dichiarazione d'intenti iniziale, egli comincia a cercare il coinvolgimento degli spettatori in una riflessione sul concetto di recitazione e di attorialità:…”
Section: Suriano Introduzione 27unclassified