This thesis studies the formulation and expression of Egyptian nationalism in the period 1882-1919. In particular, it argues that Egyptian nationalism, rather than having the territorial nation-state as the highest form of nationalist expression, was composed of multiple overlapping and contingent identities. Furthermore, this thesis will draw attention to inter-and intra- elite rivalries between power bases within Egypt, including the office of the Khedive, the urban elite, landowners, European powers, and Ottoman representatives; and the way in which these vying groups affected the growth and composition of the Egyptian nationalist movement. This thesis also contends that the policies and ideologies of Egyptian nationalists were both contingent and fluid, as were the self-identities of the Egyptian population. Egyptian nationalism in the late-nineteenth and early-twentieth centuries took many of its characteristics and methodologies from the global context of competing imperialisms as well as trans-national anti-colonial movements. Therefore, this thesis seeks to locate Egyptian nationalism in the period 1882-1919 within the global and local context of competing power bases and popular expectations. / text

The purpose of this monograph is to introduce Tatar national music to the Western world by focusing on the influence of Tatar folklore on the first national ballet, quite possibly the most beloved and popular musical work of Tatars to this day. The monograph will include a brief discussion of the history of Tatars, as well as historical background of Tatar folk music and its importance to the development of concert music in Tatarstan. An analysis of characteristic elements of the folk music of Tatars and their influences on the music of the first Tatar national ballet will also be discussed. In my study, I rely on available sources, including books, articles, reviews, dissertations, recordings, and musical scores. I hope my monograph will help to promote Tatar national music and spark the interest of English-speaking scholars and musicians. / Music Performance

My dissertation critically assesses the evolution of Beur productions (1980s - 21st century) with reference to the socio-cultural and economic conditions of their development. I am interested in identity (re)construction in the work of three Algerian origin artists in France: Mehdi Charef, Tony Gatlif and Farid Boudjellal. I examine texts and films like Le thé au Harem d’Archi Ahmed (1983), Petit Polio (1999), Je suis né d’une cigogne (1999) and Exils (2004). My interest lies in analyzing the impact that these “minor” artists and their chosen art genres have on mainstream cultural productions. Besides focusing on the second generation immigrants in France (the Beurs), the authors challenge also the canonical “Frenchness” or “Europeanness” beyond borders, thus promoting the concept of cultural hybridity. I argue that constant displacement, change of political, social and cultural contexts have significantly transformed the dynamics between the center and the periphery. Furthermore, I provide evidence that “French” identity has undergone a continuous transformation over time and has become a substantially diverse and lively construct. I stand for a new approach to the fixed French identities, one that includes a pluriethnic and multilingual francophone body, and for a redefinition of cultural boundaries reshaping the relationship between self and otherness. My thesis has two major sections (language and space) divided respectively into four chapters. The first two chapters look at different ways in which the Franco-Maghrebi literature and cinema forge new ways of expression within French language and culture. The first chapter is mainly focused on the importance of mastering French by the Beur artists, while in the second chapter I insist on more elaborate stylistic dimensions such as postcolonial irony in the given texts. The last two chapters critically analyze how the artistic productions of Charef, Gatlif and Boudjellal situate themselves in the French socio-cultural context by trespassing borders of a cultural, literary, linguistic and geographical order. This multiple border crossing leads to a movement of these texts to different locations within the main culture. At the esthetic level, this movement between different borders promotes the innovation and the creativity that the Beur artists bring to France.

My dissertation critically assesses the evolution of Beur productions (1980s - 21st century) with reference to the socio-cultural and economic conditions of their development. I am interested in identity (re)construction in the work of three Algerian origin artists in France: Mehdi Charef, Tony Gatlif and Farid Boudjellal. I examine texts and films like Le thé au Harem d’Archi Ahmed (1983), Petit Polio (1999), Je suis né d’une cigogne (1999) and Exils (2004). My interest lies in analyzing the impact that these “minor” artists and their chosen art genres have on mainstream cultural productions. Besides focusing on the second generation immigrants in France (the Beurs), the authors challenge also the canonical “Frenchness” or “Europeanness” beyond borders, thus promoting the concept of cultural hybridity. I argue that constant displacement, change of political, social and cultural contexts have significantly transformed the dynamics between the center and the periphery. Furthermore, I provide evidence that “French” identity has undergone a continuous transformation over time and has become a substantially diverse and lively construct. I stand for a new approach to the fixed French identities, one that includes a pluriethnic and multilingual francophone body, and for a redefinition of cultural boundaries reshaping the relationship between self and otherness. My thesis has two major sections (language and space) divided respectively into four chapters. The first two chapters look at different ways in which the Franco-Maghrebi literature and cinema forge new ways of expression within French language and culture. The first chapter is mainly focused on the importance of mastering French by the Beur artists, while in the second chapter I insist on more elaborate stylistic dimensions such as postcolonial irony in the given texts. The last two chapters critically analyze how the artistic productions of Charef, Gatlif and Boudjellal situate themselves in the French socio-cultural context by trespassing borders of a cultural, literary, linguistic and geographical order. This multiple border crossing leads to a movement of these texts to different locations within the main culture. At the esthetic level, this movement between different borders promotes the innovation and the creativity that the Beur artists bring to France.

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Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2010-2011 / Depuis les années 80, les artistes du spectacle vivant convient leur public à franchir les chemins transverses du théâtre pour s'aventurer dans des lieux où coexistent et prolifèrent différents langages : tantôt le dispositif scénique prend l'allure d'une installation, tantôt la représentation s'approche du happening ou de la performance, tantôt écrans et technologie de pointe montent sur les planches aux côtés d'acteurs devenus musiciens, chanteurs, danseurs ou acrobates. Dans le cadre de cette thèse, nous nous penchons sur le processus de création de la Compagnie du Lierre, une équipe parisienne qui compte plusieurs artistes fascinés par la tragédie grecque et qui forge son identité artistique autour de l'interaction du théâtre et de la musique. Depuis la fin des années 70, Farid Paya et ses acteurs ont mis sur pied une forme d'anthropologie théâtrale tour à tour éclairée par la Grèce antique, par les lumières de l'Orient et par des chants venus des quatre coins du monde. Semblable praxis convoque tant l'idée de théâtre musical, un concept ici pensé comme un lieu syncrétique où interagissent différents langages, différentes conventions et différentes mémoires, que celle d'éthique du réseau. Afin de bien cerner ce territoire aussi vaste que multidimensionnel, notre réflexion s'articule autour d'un paradigme, celui de l'entre-deux, lequel nous a menée à étudier les recherches du Lierre en deçà de leur finalité artistique. À ce titre, nous adoptons une approche poïétique, voire une méthode à la fois reflexive et empirique au sein de laquelle se chevauchent vision de l'acte théâtral (théôria) et pratique artistique (praxis). Pour ce faire, nous avons recours à trois postures à la fois différentes mais étroitement reliées : celles de lectrice, de spectatrice et d'actrice-musicienne. C'est grâce à ce triple lorgnon de théoricienne-praticienne que nous conduisons le lecteur vers une poétique de l'entre-deux, c'est-à-dire au cœur des utopies et des apories d'une pensée théâtrale inspirée par la voie et par les voix de la tragédie : celles de Paya et de ses alliés qui, s'ils ne prennent pas la plume pour décrire les principes de la compagnie, y jouent pourtant un rôle déterminant.

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