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This study of Moroccan society explores the country's culture through its literature, journalism and film. It examines transitions from traditionalism to modernity within the conflicted polemics of the post-9/11 world. Addresses issues including feminism, sexuality, gender and human rights and how they are conveyed in Moroccan media.
Ideal for students and general readers, this single-volume work serves as a ready-reference guide to pop culture in countries in North Africa and the Middle East, covering subjects ranging from the latest young adult book craze in Egypt to the hottest movies in Saudi Arabia. Part of the new Pop Culture around the World series, this volume focuses on countries in North Africa and the Middle East, including Algeria, Egypt, Iran, Iraq, Israel, Jordan, Kuwait, Lebanon, Libya, Morocco, Saudi Arabia, Syria, the United Arab Emirates, and more. The book enables students to examine the stars, idols, and fads of other countries and provides them with an understanding of the globalization of pop culture. An introduction provides readers with important contextual information about pop culture in North Africa and the Middle East, such as how the United States has influenced movies, music, and the Internet; how Islamic traditions may clash with certain aspects of pop culture; and how pop culture has come to be over the years. Readers will learn about a breadth of topics, including music, contemporary literature, movies, television and radio, the Internet, sports, video games, and fashion. There are also entries examining topics like key musicians, songs, books, actors and actresses, movies and television shows, popular websites, top athletes, games, and clothing fads and designers, allowing readers to gain a broad understanding of each topic, supported by specific examples. An ideal resource for students, the book provides Further Readings at the end of each entry; sidebars that appear throughout the text, providing additional anecdotal information; appendices of Top Tens that look at the top-10 songs, movies, books, and much more in the region; and a bibliography.
Frieda Ekotto, Kenneth W. Harrow, and an international group of scholars set forth new understandings of the conditions of contemporary African cultural production in this forward-looking volume. Arguing that it is impossible to understand African cultural productions without knowledge of the structures of production, distribution, and reception that surround them, the essays grapple with the shifting notion of what "African" means when many African authors and filmmakers no longer live or work in Africa. While the arts continue to flourish in Africa, addressing questions about marginalization, what is center and what periphery, what traditional or conservative, and what progressive or modern requires an expansive view of creative production.
Women in the Mediterranean have helped constitute new meanings of knowledge whilst simultaneously providing a wealth of material that is now part of the knowledge archive of the area. The inception of types of knowledge that differ from the conventional necessitates a re-definition of the concept of ‘knowledge,’ an issue which is addressed in this volume. Employing a range of theories and methodologies, this book explores four main domains in which women’s knowledge is attested: women and written knowledge; women and oral knowledge; women and legal, religious, and economic knowledge; and women and media knowledge. By presenting untapped women’s expressions of knowledge in these domains, this book opens new avenues of research in fields such as sociology, history and literature, amongst others. This book will be an invaluable resource for students and scholars of the Middle East, Women and Gender studies and Mediterranean Studies.
Facing rising demands for human rights and the rule of law, the Moroccan state fostered new mass media and cultivated more positive images of the police, once the symbol of state repression, reinventing the relationship between citizen and state for a new era. Jonathan Smolin examines popular culture and mass media to understand the changing nature of authoritarianism in Morocco over the past two decades. Using neglected Arabic sources including crime tabloids, television movies, true-crime journalism, and police advertising, Smolin sheds new light on politics and popular culture in the Middle East and North Africa.
The writer Gabriel Audisio once called the Mediterranean a “liquid continent.” Taking up the challenge issued by Audisio’s phrase, Edwige Tamalet Talbayev insists that we understand the region on both sides of the Mediterranean through a “transcontinental” heuristic. Rather than merely read the Maghreb in the context of its European colonizers from across the Mediterranean, Talbayev compellingly argues for a transmaritime deployment of the Maghreb across the multiple Mediterranean sites to which it has been materially and culturally bound for millennia. The Transcontinental Maghreb reveals these Mediterranean imaginaries to intersect with Maghrebi claims to an inclusive, democratic national ideal yet to be realized. Through a sustained reflection on allegory and critical melancholia, the book shows how the Mediterranean decenters postcolonial nation-building projects and mediates the nomadic subject’s reinsertion into a national collective respectful of heterogeneity. In engaging the space of the sea, the hybridity it produces, and the way it has shaped such historical dynamics as globalization, imperialism, decolonization, and nationalism, the book rethinks the very nature of postcolonial histories and identities along its shores.
Arab Modernism as World Cinema explores the radically beautiful films of Moroccan filmmaker Moumen Smihi, demonstrating the importance of Moroccan and Arab film cultures in histories of world cinema. Addressing the legacy of the Nahda or “Arab Renaissance” of the nineteenth and early twentieth century—when Arab writers and artists reenergized Arab culture by engaging with other languages and societies—Peter Limbrick argues that Smihi’s films take up the spirit of the Nahda for a new age. Examining Smihi’s oeuvre, which enacts an exchange of images and ideas between Arab and non-Arab cultures, Limbrick rethinks the relation of Arab cinema to modernism and further engages debates about the use of modernist forms by filmmakers in the Global South. This original study offers new routes for thinking about world cinema and modernism in the Middle East and North Africa, and about Arab cinema in the world.
Dissident Writings of Arab Women: Voices Against Violence analyzes the links between creative dissidence and inscriptions of violence in the writings of a selected group of postcolonial Arab women. The female authors destabilize essentialist framings of Arab identity through a series of reflective interrogations and "contesting" literary genres that include novels, short stories, poetry, docudramas, interviews and testimonials. Rejecting a purist "literature for literature’s sake" ethic, they embrace a dissident poetics of feminist critique and creative resistance as they engage in multiple and intergenerational border crossings in terms of geography, subject matter, language and transnationality. This book thus examines the ways in which the women’s writings provide the blueprint for social justice by "voicing" protest and stimulating critical thought, particularly in instances of social oppression, structural violence, and political transition. Providing an interdisciplinary approach which goes beyond narrow definitions of literature as aesthetic praxis to include literature’s added value as a social, historical, political, and cultural palimpsest, this book will be a useful resource for students and scholars of North African Studies, Postcolonial Studies, Francophone Studies, and Feminist Studies.
A richly documented survey of modern Moroccan history that will enthral those searching for the background to present-day events in the region.
A historical reference work on Morocco must take as its subject al-maghrib al-aqsa (the far west) as the Arabic scholars have generally referred to the approximate region of present-day Morocco, roughly the north-west corner of Africa but at times including much of the Iberian peninsula, because the modern nation-state is a relatively recent creation owing much to events in the late 19th and early 20th centuries. External influences on Morocco tend to come across the narrow straits of Gibraltar to the north, from the east along the Mediterranean litoral, or up from the Sahara. In each case, access is constrained by geography and continued control from outside the region has been difficult to manage over the long term. Although many of the dynasties that came to power in Morocco conquered much broader regions, history and topology have so conspired that there is still more coherence to an historical focus on al-maghrib al-aqsa than is the case for most modern nation-states. This third edition of Historical Dictionary of Morocco contains a chronology, an introduction, a glossary, and an extensive bibliography. The dictionary section has over 600 cross-referenced entries on important personalities, politics, economy, foreign relations, religion, and culture. This book is an excellent access point for students, researchers, and anyone wanting to know more about Morocco.