Review of Middle East Studies最新文献_第2页

The Amazigh Novel, Mythology of Origins, and Return of the Repressed: A Titrological Approach 阿马齐格小说、起源神话和被压抑者的回归：Titrological 方法

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Review of Middle East Studies Pub Date : 2024-01-04 DOI: 10.1017/rms.2023.19

Mohamed Zahir

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The Onomastics of Characters in the Kabyle Tullist Genre 卡比尔图勒斯特流派中的人物构成

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Review of Middle East Studies Pub Date : 2023-12-27 DOI: 10.1017/rms.2023.10

Saida Mohand Saidi

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Lyrical Opponency in Amazigh Music: The Racial and Gender Question in Tanddamt 阿马齐格音乐中的对立抒情：Tanddamt 中的种族和性别问题

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Review of Middle East Studies Pub Date : 2023-12-27 DOI: 10.1017/rms.2023.15

Hassane Oudadene

{"title":"Lyrical Opponency in Amazigh Music: The Racial and Gender Question in Tanddamt","authors":"Hassane Oudadene","doi":"10.1017/rms.2023.15","DOIUrl":"https://doi.org/10.1017/rms.2023.15","url":null,"abstract":"A very significant sub-version that derives from Tirruyssa (ⵜⵉⵔⴻⵢⵙⴰ) is called Tanddamt (ⵜⴰⵏⴹⴰⵎⵜ), which refers to musical jousting between two seemingly opponent Rways and/or Raysat. Each singer attempts to address convincing and satirical chants to the opponent singer. Tanddamt is rich of social topoi such as race and gender. This chapter aims to deconstruct the discursive contexts that gave rise to the derivative form of tanddamt, and provide an in-depth analysis of the assorted images of eloquence and satire in the discourse of this melodious genre of contest. A close reading of the conversational poetics of tanddamt shall provide us with profound insight into individual as well as social worries and memories as expressed in the art of Tirruyssa. While the black-versus-white tanddamt triggers an historical debate of racial discourse, blackness, negritude, and slavery, the male-versus-female tanddamt revisits an everlasting discourse of gender discontentment. These binaries are an inherent subject in Amazigh music and constitute a source of acoustic pleasure for the audience. I argue that Tanddamt, as a refined art of lyrical opponency provides a considerable space for ‘subaltern’ expression in the public sphere, which sets it as a propitious canonical genre, amply instrumental in the enrichment of world literature.","PeriodicalId":21066,"journal":{"name":"Review of Middle East Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139053453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Narration and Representation of Space in Amar Mezdad's Novel Tettḍilli-d ur d-tkeččem Amar Mezdad 的小说《Tettḍilli-d ur d-tkeččem 》中的空间叙事与表述

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Review of Middle East Studies Pub Date : 2023-12-27 DOI: 10.1017/rms.2023.13

Mohand Akli Salhi, Samir Akli

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Report on Osark 2022: A Congress Dedicated to Ottoman Studies 奥萨克 2022：奥斯曼研究大会报告

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Review of Middle East Studies Pub Date : 2023-12-27 DOI: 10.1017/rms.2023.20

İrem Gündüz-Polat

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To Be or Not to Be A Nomad: The Limits of Iconoclasm in Si Mohand U'Mhand's Poetry 做还是不做游牧民族？Si Mohand U'Mhand 诗歌中偶像崇拜的界限

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Review of Middle East Studies Pub Date : 2023-12-27 DOI: 10.1017/rms.2023.21

Lynda Chouiten

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Review of Three Studies of Egyptian Cinema: Cinematic Cairo: Egyptian Modernity from Reel to Real; The National Imaginarium: A History of Egyptian Filmmaking; Making Film in Egypt: How Labor, Technology, and Mediation Shape the Industry 评论《埃及电影三项研究》：电影开罗：开罗电影：从胶片到现实的埃及现代性》；《国家意象》：埃及电影制作史》；《埃及电影制作》：劳动、技术和中介如何塑造电影业

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Review of Middle East Studies Pub Date : 2023-12-22 DOI: 10.1017/rms.2023.11

Samirah Alkassim

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Kabyle Literary History and Questions Related to its Periodization: The Case of Poetry 卡比尔文学史及其时期划分相关问题：诗歌案例

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Review of Middle East Studies Pub Date : 2023-12-21 DOI: 10.1017/rms.2023.16

Hakima Bellal

{"title":"Kabyle Literary History and Questions Related to its Periodization: The Case of Poetry","authors":"Hakima Bellal","doi":"10.1017/rms.2023.16","DOIUrl":"https://doi.org/10.1017/rms.2023.16","url":null,"abstract":"Writing about Kabyle literary history today is a difficult task, considering the very nature of this literature. It is fundamentally oral and did not take its first steps toward a written form until the mid-1940s. There is a considerable lack of works dedicated to Kabyle literature, and those that do exist have primarily focused on poetry, due to the characteristics inherent to this genre. Indeed, unlike prose, poetry includes temporal markers since it accompanies or relays easily identifiable historical events, whereas the narrative genres (legends, fables, and tales) are difficult to date, at least in the case of these last two. For this reason, undertaking more work in this area seems to be a matter of urgency. It is therefore necessary, as required by any work on literary history, to start with periodization; this consists of dividing the historical continuum into linear segments. This work should be based on the establishment of literary facts (e.g., authors, publication dates, etc.) as relevant elements, as well as on the socio-historical events that have marked literary production. By examining the textuality of some poetic works produced at different times by different Kabyle poets (e.g., Youcef Oukaci, Si Mohand Ou Mohand, Ben Mohammed, Idir, Matoub, Ferhat, etc.), I will attempt to propose a historical periodization that will account for the development of the theme of identity in Kabyle poetry.","PeriodicalId":21066,"journal":{"name":"Review of Middle East Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138825949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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The Amazigh Musical Style of Rouicha: Transcending Linguistic and Cultural Boundaries 阿马齐格的鲁伊查音乐风格：超越语言和文化的界限

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Review of Middle East Studies Pub Date : 2023-12-21 DOI: 10.1017/rms.2023.12

Mounia Mnouer

{"title":"The Amazigh Musical Style of Rouicha: Transcending Linguistic and Cultural Boundaries","authors":"Mounia Mnouer","doi":"10.1017/rms.2023.12","DOIUrl":"https://doi.org/10.1017/rms.2023.12","url":null,"abstract":"Mohammed Rouicha is an Amazigh musical legend. Rouicha came to prominence in his teenage years in the mid-sixties in Morocco and continued to evolve and rise internationally until his death in 2012. An artist and a musician, he was ahead of his time in that he believed that people and communities should connect with one another through music, regardless of ethnicity or language. Rouicha appreciated art in all its shapes and forms and was fascinated by Amazigh, Arab, and Hindi Music. He sang in both Tamazight (the language of the Indigenous Amazigh) and Arabic, winning him accolades among listeners in both languages. In this article, I draw on Rouicha's biography and artistic repertoire in Tamazight to analyze his lyrical and musical style. Rouicha's songs revolved around three primary themes: love, struggle, and resistance, and he painted his lyrics with the beauty and imagery of Tamazgha (Amazigh lands), giving a voice to Moroccans’ embodied experiences. His songs represent an imagined Morocco: a place where Amazigh identity is an integral part of the national identity. I argue that Rouicha represented the hope that an imagined linguistic and cross-cultural interconnectedness would unite all of Morocco within their differences.","PeriodicalId":21066,"journal":{"name":"Review of Middle East Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138825867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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The Proverb and its Function in Abdellah Mohia's Play “Menttif akka wala seddaw uẓekka” Abdellah Mohia 的剧本 "Menttif akka wala seddaw uẓekka" 中的谚语及其作用

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Review of Middle East Studies Pub Date : 2023-12-21 DOI: 10.1017/rms.2023.17

Farida Hacid

{"title":"The Proverb and its Function in Abdellah Mohia's Play “Menttif akka wala seddaw uẓekka”","authors":"Farida Hacid","doi":"10.1017/rms.2023.17","DOIUrl":"https://doi.org/10.1017/rms.2023.17","url":null,"abstract":"Until the nineteenth century, Kabyle literature was primarily oral, passed down through word of mouth and limited to various genres such as poetry, proverbs, riddles, tales, myths, and legends. The nineteenth century marked the beginning of the transition to writing in the Kabyle language through the transcription of oral literature. However, the true departure from orality occurred in the twentieth century with the emergence of an intellectual movement within the Kabyle community that started to write in Kabyle to develop it as a written language. These writers introduced new universal literary genres such as novels, short stories, and theater.The transition to writing in a language long confined to orality was not without its challenges. Writers often drew upon the rich oral expressions of the Kabyle language to overcome the difficulties of expressing new ideas, which became a hallmark of the writing of that era. Mohia Abdellah (1950-2004), faced the particular challenge of promoting his language by translating and adapting universal theater texts. Nevertheless, his translations and adaptations found great success by leveraging the Kabyle language's rich lexicon, especially its proverbs, which contributed to elevating the status of the Kabyle language as a written medium. This article examines some of these Kabyle proverbs reinvested by the dramatist Mohia Abdellah in his play titled “Menttif akka wala seddaw uẓekka” (literally, “better this than being in the grave”), an adaptation of the Russian playwright Nicolai Erdman's work “The Suicide.” Through an intertextual approach, the article highlights the significance of proverbial expressions in Kabyle writing due to their exceptional ability to convey complex ideas from another world. To achieve this, the article initially defines the traditional functions of Kabyle proverbs and subsequently compares them with their counterparts in the source text to better appreciate Mohia's efforts in translating and adapting foreign texts.","PeriodicalId":21066,"journal":{"name":"Review of Middle East Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138826887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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