Offering an analysis of oral poetry dueling performed at traditional Palestinian weddings this book addresses poetry dueling as a performative and compositional device, and explores the complex linkages between this tradition and other genres of Arabic poetry.
Palestinian cinema arose during the political cinema movements of the late 1960s and early 1970s, yet it was unique as an institutionalized, though modest, film effort within the national liberation campaign of a stateless people. Filmmakers working within the Palestinian Liberation Organization (PLO) and through other channels filmed the revolution as it unfolded, including the Israeli bombings of Palestinian refugee camps, the Jordanian and Lebanese civil wars, and Palestinian life under Israeli occupation, attempting to create a cinematic language consonant with the revolution and its needs. They experimented with form both to make effective use of limited material and to process violent events and loss as a means of sustaining active engagement in the Palestinian political project. Palestinian Cinema in the Days of Revolution presents an in-depth study of films made between 1968 and 1982, the filmmakers and their practices, the political and cultural contexts in which the films were created and seen, and their afterlives among Palestinian refugees and young filmmakers in the twenty-first century. Nadia Yaqub discusses how early Palestinian cinema operated within emerging public-sector cinema industries in the Arab world, as well as through coproductions and solidarity networks. Her findings aid in understanding the development of alternative cinema in the Arab world. Yaqub also demonstrates that Palestinian filmmaking, as a cinema movement created and sustained under conditions of extraordinary precarity, offers important lessons on the nature and possibilities of political filmmaking more generally.
The reign of al-Muqtadir (295-320/908-32) is a crucial and controversial epoch in the history of the Abbasid empire. Al-Muqtadir’s regime has traditionally been depicted as one of decline, when the political power of the caliphate and the lustre of its capital began to crumble. This book not only offers a substantial investigation of the idea and reality of decline, but also provides new interpretations of the inner workings of the court and the empire. The authors, four specialists of Abbasid history, explore the formal and informal power relationships that shaped politics at the court, involving bureaucrats, military, harem, courtiers and of course al-Muqtadir himself. A study of the topography of Baghdad completes this vivid picture of the court and its capital.
The Mongol invasion of Iran in the thirteenth century was a catastrophe for all its inhabitants. For the Persian Ismailis in particular, it put an end to their political aspirations and independent existence for many centuries. It has been held by many historians that subsequent to the fall of the central Ismaili fortress of Alamut to the Mongols, the community was virtually extirpated from the region and its institutional network dismantled until its revival in the sixteenth century under the Safavid dynasty. Such an expansive view of post-Alamut Ismailism is questioned by this study which examines the poetic writings of Nizari Quhistani, one of the few Ismaili authors who survived the Mongol invasion and whose works are accessible today. The evidence of Nizari's writings demonstrate that while the Ismaili community was seriously impaired, its organizational structure and internal coherence continued to operate in different forms through the Mongol period of Persian history.
Palestinian cinema arose during the political cinema movements of the late 1960s and early 1970s, yet it was unique as an institutionalized, though modest, film effort within the national liberation campaign of a stateless people. Filmmakers working within the Palestinian Liberation Organization (PLO) and through other channels filmed the revolution as it unfolded, including the Israeli bombings of Palestinian refugee camps, the Jordanian and Lebanese civil wars, and Palestinian life under Israeli occupation, attempting to create a cinematic language consonant with the revolution and its needs. They experimented with form both to make effective use of limited material and to process violent events and loss as a means of sustaining active engagement in the Palestinian political project. Palestinian Cinema in the Days of Revolution presents an in-depth study of films made between 1968 and 1982, the filmmakers and their practices, the political and cultural contexts in which the films were created and seen, and their afterlives among Palestinian refugees and young filmmakers in the twenty-first century. Nadia Yaqub discusses how early Palestinian cinema operated within emerging public-sector cinema industries in the Arab world, as well as through coproductions and solidarity networks. Her findings aid in understanding the development of alternative cinema in the Arab world. Yaqub also demonstrates that Palestinian filmmaking, as a cinema movement created and sustained under conditions of extraordinary precarity, offers important lessons on the nature and possibilities of political filmmaking more generally.
Offering an analysis of oral poetry dueling performed at traditional Palestinian weddings this book addresses poetry dueling as a performative and compositional device, and explores the complex linkages between this tradition and other genres of Arabic poetry.
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