Due to the diversity of perspectives and methodologies within the relative uniformity of the subject, this collection of papers offers a rich overview of the multidisciplinary research on Arabic literature. The book includes two thematic parts. The first of them pertains to studies on Arabic literature, more precisely, on historical chronicles concerning the First Crusade, one of al-Ğāḥiẓ's Treatise and also Modern Egyptian, Moroccan and Omani literary production. The second section of the volume contains papers on Semitic languages: Modern Hebrew, Maltese, Classical, Modern Standard, Egyptian and Lebanese Arabic. The volume is devoted to Elżbieta Gorska.

The ten Egyptian plays in this collection offer grassroots perspectives on the jubilation, terror, hope and heartbreak of mass uprising. Collectively, they sketch events unfolding in Egypt from the twilight of Hosni Mubarak's regime to Abdel Fattah el-Sisi's ascendance to the presidency. A comprehensive introduction situates the plays within their social, political, and economic context, an in-depth translator's note delves into the challenges of translating Arabic for English-speaking audiences. Yasmeen Emam Shghaf's The Mirror and Hany Abdel Naser and Mohamed Mu'iz's They Say Dancing is a Sin explore how stigma and poverty silence women's voices. Sondos Shabayek and the BuSSy Company's documentary storytelling piece Tahrir Monologues and Said Solaiman's drama with movement The Window consider how collective mobilization empowers individuals to overcome personal fears. Ibrahim El-Husseini's symbolic ensemble drama Comedy of Sorrows and Ahmed Hassan Albana's melodrama In Search of Said Abu-Naga warn of the powerful forces waiting to hijack the revolution. Magdy El Hamzawy's satirical tragedy Report on Revolutionary Circumstances and Muhammed Marros's naturalistic three-hander The Visit reflect on how and why the revolutionary forces failed to dislodge the entrenched power structures. Ashraf Abdu's Coptic Church drama Sorrowful City foretells of a post-revolutionary deterioration into sectarian violence, and a stage adaptation of Khaled Al Khamissi's novel Taxi asks what has changed, if anything, for poor and working Egyptians in the years since Mubarak's overthrow.

In this skillful analysis, Leslie Peirce delves into the life of a sixteenth-century Middle Eastern community, bringing to light the ways that women and men used their local law court to solve personal, family, and community problems. Examining one year's proceedings of the court of Aintab, an Anatolian city that had recently been conquered by the Ottoman sultanate, Peirce argues that local residents responded to new opportunities and new constraints by negotiating flexible legal practices. Their actions and the different compromises they reached in court influenced how society viewed gender and also created a dialogue with the ruling regime over mutual rights and obligations. Locating its discussion of gender and legal issues in the context of the changing administrative practices and shifting power relations of the period, Morality Tales argues that it was only in local interpretation that legal rules acquired vitality and meaning.

This study of Egyptian theatre and its narrative construction explores the ways representations of Egypt are created of and within theatrical means, from the 19th century to the present day. Essays address the narratives that structure theatrical, textual, and performative representations and the ways the rewriting process has varied in different contexts and at different times. Drawing on concepts from Theatre and Performance Studies, Translation Studies, Cultural Studies, Postcolonial Studies, and Diaspora Studies, scholars and practitioners from Egypt and the West enter into dialogue with one another, expanding understanding of the different fields. The articles focus on the ways theatre texts and performances change (are rewritten) when crossing borders between different worlds. The concept of rewriting is seen to include translation, transformation, and reconstruction, and the different borders may be cultural and national, between languages and dramaturgies, or borders that are present in people’s everyday lives. Essays consider how rewritings and performances cross borders from one culture, nation, country, and language to another. They also study the process of rewriting, the resulting representations of foreign plays on stage, and representations of the Egyptian revolution on stage and in Tahrir Square. This assessment of the relationship between theatre practices, exchanges, and rewritings in Egyptian theatre brings vital coverage to an undervisited area and will be of interest to developments in theatre translation and beyond.

Translation-related activities from and into Arabic have significantly increased in the last few years, in both scope and scale. The launch of a number of national translation projects, policies and awards in a number of Arab countries, together with the increasing translation from Arabic in a wide range of subject areas outside the Arab World – especially in the aftermath of the Arab Spring – have complicated and diversified the dynamics of the translation industry involving Arabic. The Routledge Handbook of Arabic Translation seeks to explicate Arabic translation practice, pedagogy and scholarship, with the aim of producing a state-of-the-art reference book that maps out these areas and meets the pedagogical and research needs of advanced undergraduate and postgraduate students, as well as active researchers.

Public Theatres and Theatre Publics presents sixteen focused investigations that connect theatre and performance studies with public sphere theory. The organizing critical lens of publics and publicness allows for the chapters to speak to one another other across time periods and geographies, inviting readers to think about how performing in public shapes and circulates concepts of identity, notions of taste or belonging, markers of class, and possibilities for political agency. Each essay presents a theorized case study that grapples with fundamental questions of how individuals perform in public contexts. The essays, written by a cross-section of prominent and emerging theatre and performance scholars, contribute new discussions and understandings of how theatre and performance work, as well as how publics, publicity, and modes of publicness have been constructed and contested over the last three centuries and in multiple national contexts including the US, Britain, France, Germany, Argentina and Egypt.

This book examines the transformations Egyptian theatre has undergone since 1967. Through detailed analyses of the plays, the book investigates the ways Egyptian theatre represents, formulates, and imagines political and cultural leadership and, by implication, enacts its own leadership. Alongside the work of established playwrights, such as Yusuf Idris, Abul-ʿEla El-Salamouny, Fathia El-ʿAssal and Lenin El-Ramly, it also discusses the input in theatre of a younger generation, reflecting the new transformations in Egyptian theatre following the 2011 revolution. Relating the theoretical underpinnings of its analyses to theoretical discussions by Egyptian playwrights, the book contributes to current English-language scholarship in theatre studies, by providing a discourse largely absent from it. Considering the growing sense in English-language academia on the need for research and education beyond the Western canon this book offers an important addition to the study resources. This book will interest both scholars and students who study the Arab world, and researchers and students with an interest in cultural studies, more specifically twentieth- and twenty-first-century theatre, and literature studies. The book’s specific focus on political theatre and its gender perspective make it also of interest to the fields of political and gender studies.

The Twenty-First Century Performance Reader combines extracts from over 70 international practitioners, companies, collectives and makers from the fields of Dance, Theatre, Music, Live and Performance Art, and Activism to form an essential sourcebook for students, researchers and practitioners. This is the follow-on text from The Twentieth-Century Performance Reader, which has been the key introductory text to all kinds of performance for over 20 years since it was first published in 1996. Contributions from new and emerging practitioners are placed alongside those of long-established individual artists and companies, representing the work of this century’s leading practitioners through the voices of over 140 individuals. The contributors in this volume reflect the diverse and eclectic culture of practices that now make up the expanded field of performance, and their stories, reflections and working processes collectively offer a snapshot of contemporary artistic concerns. Many of the pieces have been specially commissioned for this edition and comprise a range of written forms – scholarly, academic, creative, interviews, diary entries, autobiographical, polemical and visual. Ideal for university students and instructors, this volume’s structure and global span invites readers to compare and cross-reference significant approaches outside of the constraints and simplifications of genre, encouraging cross-disciplinary understandings. For those who engage with new, live and innovative approaches to performance and the interplay of radical ideas, The Twenty-First Century Performance Reader is invaluable.

This book examines the ways in which women in the contemporary Middle East and North Africa have re-imagined revolutionary discourses through creativity and collective action as a means of resistance. Encompassing a stunning array of forms and genres, such as graffiti, street performance, photography, phototexts, novels, and comics, the book draws from a vast spectrum of artistic production in revolutionary periods between 2011 and 2022 in Egypt, Tunisia, Morocco, and Algeria. El Nossery sheds light on women’s postrevolutionary artistic output by engaging an interdisciplinary approach: the book is divided into three sections which foreground the unique relationship between textual, visual, and performative modes as they intertwine with art and politics. Arab Women’s Revolutionary Art thereby aims to demonstrate how art, as always oriented towards an open future, can preserve the revolutionary spirit that was sparked in 2011 by documenting what happened and determining which stories would be told. The revolution, therefore, continues.

The Arab uprisings that swept the Middle East and North Africa in the period from 2011- 2012 left an indelible mark on the socio-political landscape of the region. But that mark was not consistent across the region: while some countries underwent dramatic popular social and political changes, others teetered on the brink, or were left with the status quo intact. Street revolutions toppled despotic regimes in Tunisia, Libya, and momentarily in Egypt, while mounting serious challenges to authoritarian regimes in Syria and Yemen. Algeria’s entrenched bureaucratic-cum-military authoritarian system proved resilient until the recent events of early 2019 which forced the resignation of President Abdelaziz Bouteflika before the end of his term on 28 April 2019. As in Algeria, protestors in Sudan succeeded, after months of demonstrations, in overthrowing the government of Omar al-Bashir. Several Arab monarchies still appear stable and have managed to weather the tempest of the Arab revolutions, albeit not without fissures showing in the edifice of their states, accompanied by some minor constitutional changes. Where Tunisians, Egyptians, Yemenis, Syrians, and Libyans demanded regime changes in their political systems, protesters in the Arab monarchies have called on the kings and emirs to reform their political system from the top down, indicating the sizeable monarchical advantage. Historical Dictionary of the Arab Uprisings contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on the terms, persons and events that shaped the Arab Spring uprisings. This book is an excellent resource for students, researchers, and anyone wanting to know more about the Arab Uprisings.