Suchergebnisse

Cover -- Title -- Copyright -- Contents -- Introduction: The Past Is a Set of Old Clothes -- Part I: Setting the Scene -- Chapter I: 'Pardon Me, I'm Drunk' -- Chapter II: From Queen of Tarab to Prima Donna -- Chapter III: 'Come on Sisters, Let's Go Hand in Hand to Demand Our Freedom' -- Chapter IV: Dance of Freedom -- Part II: The Leading Ladies -- Chapter V: 'If I Were Not a Woman, I'd Want to Be One' -- Chapter VI: Sarah Bernhardt of the East -- Chapter VII: The Singer, the Baby and the Bey -- Chapter VIII: Star of the East -- Chapter IX: Come on, Tough Guy, Play the Game -- Chapter X: Isis Films -- Chapter XI: Madame Badia's Casino -- Part III: Curtain Call -- Chapter XII: The Second Revolution -- Conclusion: How to End a Story -- Acknowledgements -- Notes -- Sources and Further Reading -- Credits -- Index.

What was popular entertainment like for everyday Arab societies in Middle Eastern cities during the long nineteenth century? In what ways did café culture, theatre, illustrated periodicals, cinema, cabarets, and festivals serve as key forms of popular entertainment for Arabic-speaking audiences, many of whom were uneducated and striving to contend with modernity s anxiety-inducing realities? Studies on the 19th to mid-20th century s transformative cultural movement known as the Arab nahda (renaissance), have largely focussed on concerns with nationalism, secularism, and language, often told from the perspective of privileged groups. Highlighting overlooked aspects of this movement, this book shifts the focus away from elite circles to quotidian audiences. Its ten contributions range in scope, from music and visual media to theatre and popular fiction. Paying special attention to networks of movement and exchange across Arab societies in Lebanon, Syria, Egypt, Iraq, and Morocco, this book heeds the call for translocal/transnational cultural histories, while contributing to timely global studies on gender, sexuality, and morality. Focusing on the often-marginalized frequenters of cafés, artist studios, cinemas, nightclubs, and the streets, it expands the remit of who participated in the nahda and how they did