The political theatre in the Arab world emerged from rough seas of opposition and state monitoring schemes. Some critics may claim that political tendencies in Arab theatre can be traced to the early contributors to A...The political theatre in the Arab world emerged from rough seas of opposition and state monitoring schemes. Some critics may claim that political tendencies in Arab theatre can be traced to the early contributors to Arab theatre Others attribute the emergence of this theatre to the revolution of Egypt＇s Nasir. However, the Syrian playwright Sa＇d Allah Wannus may be viewed as the true representative of this kind of theatre in the Arab world. Shocked by the defeat of the Arabs by Israel in 1967, he began what he coined ＂theatre of politicization＂, aiming to attack Arab governments and blaming them for the defeat, and at the same time, insighting his audience to revolt against existing political ideas. In this kind of theatre, the audience assumed ever-increasing importance. Wannus wrote several plays, the aim of which was to develop a mentality and strengthen a collective consciousness in an Arab historical context. This article aims to exploring the concept of theatre of politicization and the impact of that on Arab political theatre展开更多
Youth in Africa must be put in context： from colonialism to post-colonial politics underpinned by ethnic rivalry, tribalism, dictatorship, or the rule of strongmen. The context also included the more than one generat...Youth in Africa must be put in context： from colonialism to post-colonial politics underpinned by ethnic rivalry, tribalism, dictatorship, or the rule of strongmen. The context also included the more than one generation of perverse military rule. In each of the historical epochs, no African leadership built the youth; there was no ideology or a value system transmitted to the youth. Accordingly it becomes increasingly difficult in the twenty-first century attempting to mobilize the African youth as meaningful change agents. The possible exception to these failures was the Ghana Young Pioneers. The manifestation of this neglect in most parts of sub-Saharan Africa is the hoard of jobless youth involved in crime and other deviant behaviors. Thus to build the youth who will develop the society, African states will necessarily have to invest in the youth, evolve an ideology and an African world view, which will be transmitted to the youth, and which will constitute a driving force for their mobilization as critical agents of change.展开更多
British-American historian Bernard Lewis famously condemned Arab and Islamic civilization for not having a polyphonic sense of music,even accusing them of accepting totalitarian ideologies and regimes because of their...British-American historian Bernard Lewis famously condemned Arab and Islamic civilization for not having a polyphonic sense of music,even accusing them of accepting totalitarian ideologies and regimes because of their taste for"monophonic"music.That is,having one single singer with all the music following the ups and downs of his or her voice.Polyphonic music,by contrast,is when a piece of music has two or more independent melodies in it.As for the related notion of counterpoint,this is from many voices present in the chorus of a classical Greek drama and a reference to the coordination evident in choir singing.展开更多
文摘The political theatre in the Arab world emerged from rough seas of opposition and state monitoring schemes. Some critics may claim that political tendencies in Arab theatre can be traced to the early contributors to Arab theatre Others attribute the emergence of this theatre to the revolution of Egypt＇s Nasir. However, the Syrian playwright Sa＇d Allah Wannus may be viewed as the true representative of this kind of theatre in the Arab world. Shocked by the defeat of the Arabs by Israel in 1967, he began what he coined ＂theatre of politicization＂, aiming to attack Arab governments and blaming them for the defeat, and at the same time, insighting his audience to revolt against existing political ideas. In this kind of theatre, the audience assumed ever-increasing importance. Wannus wrote several plays, the aim of which was to develop a mentality and strengthen a collective consciousness in an Arab historical context. This article aims to exploring the concept of theatre of politicization and the impact of that on Arab political theatre
文摘Youth in Africa must be put in context： from colonialism to post-colonial politics underpinned by ethnic rivalry, tribalism, dictatorship, or the rule of strongmen. The context also included the more than one generation of perverse military rule. In each of the historical epochs, no African leadership built the youth; there was no ideology or a value system transmitted to the youth. Accordingly it becomes increasingly difficult in the twenty-first century attempting to mobilize the African youth as meaningful change agents. The possible exception to these failures was the Ghana Young Pioneers. The manifestation of this neglect in most parts of sub-Saharan Africa is the hoard of jobless youth involved in crime and other deviant behaviors. Thus to build the youth who will develop the society, African states will necessarily have to invest in the youth, evolve an ideology and an African world view, which will be transmitted to the youth, and which will constitute a driving force for their mobilization as critical agents of change.
文摘British-American historian Bernard Lewis famously condemned Arab and Islamic civilization for not having a polyphonic sense of music,even accusing them of accepting totalitarian ideologies and regimes because of their taste for"monophonic"music.That is,having one single singer with all the music following the ups and downs of his or her voice.Polyphonic music,by contrast,is when a piece of music has two or more independent melodies in it.As for the related notion of counterpoint,this is from many voices present in the chorus of a classical Greek drama and a reference to the coordination evident in choir singing.
