This thesis investigates the effects of participating in activism on the people who struggle for social change. Using a critical pedagogical framework, the study contributes to the theorisation of 'social movement learning' by drawing distinctions between processes, outcomes and implications of learning, and by developing the concepts '(un)learning'and 'pedagogical adversaries'. The research examines how activists who participate in social and political action develop different perspectives of social change. The conclusions draw on data collected throughout 2014, specifically interviews with, and observations of, UK-based Egyptian activists who engaged in social action during the continuing 25 January revolution between 2011-2014. As activists reflect on their understandings in the context of revolution and counter-revolution, coup d'etat, elections, strikes and various forms of social and political change, they reveal many 'pedagogical entry points'. The findings illustrate that social movements are continuous processes and sites of important, rich and potentially transformative learning because they generate pedagogical moments through which activists can engage with and develop critical perspectives of the way the world is and should be. Analysis of social movement learning as (un)learning exposes the cumulative and continuing nature of learning and unlearning, and generates important insights into how social movements challenge established 'knowledge' and 'truths' to create progressive alternatives. Drawing on critical and radical theories of social change, the thesis demonstrates the importance of continuing to question conceptualisations of social change and of a political imagination that understands the pedagogical potential of disjuncture and challenge.

This research report is concerned with translation in which culture plays a major role, and examines the issues involved in translating for a specific audience – in this case Arabic-speaking Moslem children in Egypt. Translation is firstly discussed in a broader context, demonstrating that translation needs to be understood either as “rewriting” or “cultural textualisation” (Snell-Hornby, 1997:123). Secondly, the translation of children’s literature is discussed as a type of translation operating through an encounter with both culture and linguistics. Overlaps between language and culture are located and the importance of contextual adaptation is emphasised in relation to solutions proposed for addressing the cultural problems raised in the translation of Peter Slingsby’s The Joining for Egyptian children. In conclusion, suggestions are made concerning translation as adaptation in the form of possible guidelines for future translators of children’s literature into Arabic.

Thesis (Ph. D.)--University of Toronto, 1998. / Description based on web page; title from title screen (viewed 8 Mar. 2004). Includes bibliographical references (p. [421]-[449]).

Whether as a distinct cultural form, or as a problem exaggerated and imagined by a paranoid interpretive bent, “rumor” (al-ishāʿa) claims a place in the writings of many Egyptian intellectuals, littérateurs, journalists, and politicians in the twentieth century that has yet to be adequately addressed and theorized. At the intersection of cultural studies and Arabic literature, this dissertation investigates rumor as a fiercely contested mode of reading and writing public culture in Egypt since 1952. Eschewing the legislative trend in the modern social and clinical sciences that has positioned rumor as an object to be combatted, or reduced it to the mechanisms and motives of mass psychology, I examine some of the many ways in which it generates, animates, or interferes with scenes in the lives of social actors as they move between the centers and peripheries of power. Rumor possesses both affirmative and destructive powers, often inseparably, and in order to theorize its complex imbrications with character, community, and culture beyond the urge to evaluative critique, I develop a host of concepts – such as noise, play, paranoia, and parody – capable of bringing this oft-neglected ambivalence into view. Notoriously resistant to analysis, whether due to is conceptual vagueness or ephemeral phenomenological status, rumor and the scenes it makes require a rethinking of the modes of scholarly writing that dominate the humanities and social sciences. A degree of mobility and eclecticism, drawn from the object itself in its flight across history and culture, imbues the organization and style of this dissertation: rumor is the object, and inspires the mode, of my investigation. Each of the three Parts of the dissertation investigates a different field of public culture in post-1952 Egypt. Part 1 analyzes the rhetoric and interpretive practices deployed by state actors in their confrontation with what they call “rumors.” Three historical events are taken as significant: the rhetorical and dramatic performances of the Free Officers in the early revolutionary period (1952-1954), the social scientific celebration of “planning” (takhṭīṭ) in 1964, and the Mubarak death rumors of 2007. While here rumor comes into view as the object of state discipline and paranoid interpretation, the remaining two Parts investigate its role in the performances of artists, littérateurs, and bloggers. Part 2 analyzes the literary texts of Gamal al-Ghitani, which are unique in their simultaneous recording and performing of rumors in Egyptian cultural politics at the turn of the millennium. Finally, Part 3 examines intersections between play, parody, and the paranoid style of interpretation in cyberspace, including an investigation into the blogging campaign “Mubarak Mat” (“Mubarak has Died,” 2008) and Ashraf Hamdi’s response to rumors spun by the counterrevolution (2011-2012). While rumor, across these many contexts, is deplored as a destructive force, it also, I contend, salvages possibility from necessity, explores alternatives to the status quo, and serves as an unexpected catalyst for innovative cultural and political forms. As noise, it creates disorder and generates a new order. It is at once in public culture, and making public culture. / text

This research represents an initial attempt at a linguistic analysis of the grammar of Egyptian Sign Language (LIM). The paper addresses verbal agreement, negation, and aspectual marking in LIM and frames these grammatical features in a typological context. Particular attention is paid to the class of directional verbs, which spatially inflect to agree with their arguments, and the sub-class of backward directional verbs. The agreement structures of these verbs, as well as suppletive imperative verbal forms, generally pattern with directional verbs in other signed languages; this paper analyzes apparent exceptions in relation to similar irregularities in other signed languages. There is an unusually large inventory of negative-marking strategies and an average-sized set of aspectual markers in LIM. Among them are crosslinguistically uncommon patterns such as frustrative (non-success/non-achievement) aspectual marking, a negative imperative, and possibly also morphological negation via either handshape change or palm-orientation reversal. The analyses and questions presented here lay the groundwork for future research in LIM and other signed languages. / text

The negation system in Modern Egyptian Colloquial Arabic does not follow an obvious set of rules. The particle that negates most verbal predicates also negates nominal predicates, and the particle that negates most nominal predicates also negates verbal predicates. By examining the behavior of these particles over time and comparing them to negation systems in other languages, it is possible to see the reasons for this complicated negation system. / text

No description available.

Note: / Muhammad 'Abduh (1849-1905) is known throughout the Arab and Muslim worlds, and to Western scholars, as the greatest religious thinker and reformer of Islam in the nineteenth century. His efforts to reconcile the fundamental beliefs of Islam with the modern scientific thought of the Wset have been of the utmost importance in the Islamic revival of recent times. [...]

The originality of this study stems primarily from its comparative nature, with its substantive focus on the Egyptian playwright Salāḥ 'Abd al-Sabūr who wrote in Arabic and the Nigerian dramatist, Wole Soyinka (1934), writing in English. It thus attempts to address a gap in comparative research which has so far been largely confined to comparative studies of either Western writers and African counterparts or Western writers and Arab counterparts, but rarely combined Arab and African writers. This thesis investigates selected dramatic works of the two playwrights seeking to reveal the various manifestations of poetics and politics in their drama. The aim is to find the theatrical connection between the two dramatists, a connection that could shed more light on the aesthetics of their drama and the sources of influence on them. My main concern has been, firstly, to explore Nietzsche’s influence on their drama; secondly, to analyse the dynamic relationship between their dramatic content and the local cultural and political environment of Egypt and Nigeria; and thirdly, to examine the use of history as a means of addressing contemporary issues. The first chapter is a discussion of Soyink ’s The Bacchae of Euripides. It investigates the impact of Nietzsche’s ideas, particularly those voiced in The Birth of Tragedy (1872), on Soyink ’s critic and dramatic perspectives. In the second chapter 'Abd al-Sabūr' Night Traveller is discussed. In this chapter I attempt to explore how the Egyptian playwright presente Nietzsche’s theological ideas in dramatic form. I also attempt to show how ʻAbd al-Sabūr adapted Nietzsche’s concepts to fit in with the aesthetics of modern drama in Egyptian culture. Chapter Three examines the use of religion in their drama. Religion features as an important source which afforded both ʻAbd al-Sabūr and Soyinka sufficient material for rituals, symbols, allusions, metaphors and language. In Chapter Four, the dramatists’ views and use of history is explored. The value of history and its intricate relationship to aesthetics in drama is discussed within the frame of modernism and in the light of Nietzsche’s controversial ideas of history. Chapter Five examines the interrelation between politics and poetics in the theatre of the two dramatists. It presents an attempt at a postcolonial reading of selected plays. Chapter Six explores the image, role and dilemma of the intellectual. The role assigned to this figure is important in understanding their view of theatre and its function in society. The thesis finally argues that both 'Abd al-Sabūr and Soyinka established a theatre that was based on syncretism of indigenous traditions and foreign influence. Their dramatic works tackle local issues in theatrical forms that are not necessarily indigenous. While ʻAbd al-Sabūr' drama was highly literary and its theatricality was not obviously compelling, Soyink ’s possessed theatrical elements that made their performance vividly interesting for audiences.

This dissertation explores the experiences of Egyptian peasants from the Delta province of Minufiyya who were tried for murder by newly created "native" or "national" courts between 1884 and 1914. Through the study of 2,000 pages of criminal files, I deconstruct how the colonial state used the modern techniques of judicial orality, writing, and performance, both to justify a series of reforms that turned the entire legal process into a parody of justice, and to develop a grand narrative that essentialized peasants as revengeful, greedy, and passionate and ultimately linked their alleged immorality to their illiteracy. Furthermore, my work sheds light on how peasants reacted to this process of moralization of the law by promoting the "honor of the brigand" through violence and poetry. Finally, by focusing on the many petitions contained in the judicial files, my dissertation provides new insight into the development of a "vernacular" culture of the law that betrays the peasants' awareness of the highly political nature of the legal process. By presenting and analyzing an untapped wealth of Egyptian archives produced by the native courts, this research not only sheds invaluable light on the workings and hence the very nature of British colonial justice in Egypt, but also represents a significant advance in the knowledge of the origins of Egypt's current legal system. On a more theoretical level, this study also constitutes an important contribution to the reflection on the subaltern subject initiated by Rosalind O'Hanlon and Talal Asad, by showing how the peasants' agency paradoxically lies in their "disempowerment."