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1. |
Record Nr. |
UNINA9910790674403321 |
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Autore |
Halim Hala |
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Titolo |
Alexandrian cosmopolitanism [[electronic resource] ] : an archive / / Hala Halim |
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Pubbl/distr/stampa |
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New York, : Fordham University Press, 2013 |
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ISBN |
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0-8232-5177-2 |
0-8232-5299-X |
0-8232-5227-2 |
0-8232-5228-0 |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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Disciplina |
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Soggetti |
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Cosmopolitanism in literature |
European literature - 19th century - History and criticism |
European literature - 20th century - History and criticism |
Alexandria (Egypt) In literature |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Frontmatter -- Contents -- Figures -- Acknowledgments -- Abbreviations -- Introduction -- Chapter One. Of Greeks, Barbarians, Philhellenes, Hellenophones, and Egyptiotes -- Chapter Two. Of Hellenized Cosmopolitanism and Colonial Subalternity -- Chapter Three. Uncanny Hybridity into Neocolonialism -- Chapter Four. “Polypolis” and Levantine Camp -- Epilogue/Prologue -- Notes -- Works Cited -- Index |
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Sommario/riassunto |
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Interrogating how Alexandria became enshrined as the exemplary cosmopolitan space in the Middle East, this book mounts a radical critique of Eurocentric conceptions of cosmopolitanism. The dominant account of Alexandrian cosmopolitanism elevates things European in the city’s culture and simultaneously places things Egyptian under the sign of decline. The book goes beyond this civilization/barbarism binary to trace other modes of intercultural solidarity.Halim presents a comparative study of literary representations, addressing poetry, fiction, guidebooks, and operettas, among other genres. She reappraises three writers—C. P. Cavafy, E. M. Forster, and Lawrence |
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Durrell—who she maintains have been cast as the canon of Alexandria. Attending to issues of genre, gender, ethnicity, and class, she refutes the view that these writers’ representations are largely congruent and uncovers a variety of positions ranging from Orientalist to anticolonial. The book then turns to Bernard de Zogheb, a virtually unpublished writer, and elicits his camp parodies of elite Levantine mores in operettas, one of which centers on Cavafy. Drawing on Arabic critical and historical texts, as well as contemporary writers’ and filmmakers’ engagement with the canonical triumvirate, Halim orchestrates an Egyptian dialogue with theEuropean representations. |
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2. |
Record Nr. |
UNINA9910814962603321 |
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Autore |
Levine Nina S. <1950-> |
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Titolo |
Practicing the city : early modern London on stage / / Nina Levine |
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Pubbl/distr/stampa |
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New York : , : Fordham University Press, , 2016 |
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2016 |
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ISBN |
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Edizione |
[First edition.] |
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Descrizione fisica |
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1 online resource (209 p.) |
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Disciplina |
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Soggetti |
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English drama - Early modern and Elizabethan, 1500-1600 - History and criticism |
English drama - 17th century - History and criticism |
City and town life in literature |
Theater and society - England - London - History |
Theater - England - London - History - 16th century |
Theater - England - London - History - 17th century |
London (England) In literature |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Nota di contenuto |
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Front matter -- Contents -- Acknowledgments -- Introduction: Presupposing the Stage -- 1. Extending Credit and the Henry IV Plays -- 2. Differentiating Collaboration: Protest and Playwriting and Sir Thomas More -- 3. Trading in Tongues: Language Lessons and |
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Englishmen for My Money -- 4. The Place of the Present: Making Time and The Roaring Girl -- Epilogue: The Place of the Spectator -- Notes -- Index |
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Sommario/riassunto |
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In late-sixteenth-century London, the commercial theaters undertook a novel experiment, fueling a fashion for plays that trafficked in the contemporary urban scene. But beyond the stage’s representing the everyday activities of the expanding metropolis, its unprecedented urban turn introduced a new dimension into theatrical experience, opening up a reflexive space within which an increasingly diverse population might begin to “practice” the city. In this, the London stage began to operate as a medium as well as a model for urban understanding. Practicing the City traces a range of local engagements, onstage and off, in which the city’s population came to practice new forms of urban sociability and belonging. With this practice, Levine suggests, city residents became more self-conscious about their place within the expanding metropolis and, in the process, began to experiment in new forms of collective association. Reading an array of materials, from Shakespeare and Middleton to plague bills and French-language manuals, Levine explores urban practices that push against the exclusions of civic tradition and look instead to the more fluid relations playing out in the disruptive encounters of urban plurality. |
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