![]() The purpose of this study is to examine how the influential state and non-state stakeholders interact, conflict and collectively shape the urban transformation of downtown Cairo. This revision throws new light on a crucial moment of social change in the history of modern Egypt, when the ruler was expected to preside over the plural cultural bodies of the nation. Yet his form of contemporary satire was incompatible with elite cultural patriotism, which employed historicization as its dominant technique. My historical reconstruction and my analysis of the content of Sanua's comedies show loyalism toward the Khedive Ismail. But the troupe was not an expression of subversive nationalism, as has been claimed by scholars. It shows that the realization of this idea was the theater group led by James Sanua between 18, which also performed ʿAbd al-Fattah al-Misri's tragedy. It analyzes the discourse about theater in the Arabic press, including the journalist Muhammad Unsi's call for performances in Arabic in 1870. ![]() Based on archival research, it aims at a recalibration of recent scholarship by showing khedivial culture as a complex framework of competing patriotisms. ✅ From a technical perspective, the stage area, or stage cage, is the most impressive and is even bigger than the Arc de Triomphe with its 70 m height, 53 m width and 26 m depth.This article revisits the official culture of the early khedivate through a microhistory of the first modern Egyptian theater in Arabic. ✅ This assessment, modelling and calculation were carried out with #SCIAEngineer from SCIA | A Nemetschek Company ![]() ✅ At the request of the Paris Opera, the French engineering office BUREAU D'ETUDES DUBERSEUIL ET CIE set out on a mission to carry out a diagnosis of the stage cage in order to evaluate the operating overloads that may be applicable to it. ✅ Whoever says Paris, says Eiffel tower, Arc de Triomphe and… Opera Garnier. ![]()
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