Theatrical manifestations like puppet plays, Shadow plays and the Qarakoz, with the exception of the art of story-telling, were probably brought to the Arab world from the Far East. While storytelling was probably the...Theatrical manifestations like puppet plays, Shadow plays and the Qarakoz, with the exception of the art of story-telling, were probably brought to the Arab world from the Far East. While storytelling was probably the primal theatrical form in that part of the world, shadow theatre and the qarakoz were a developed popular theatrical stage. The only difference between the qarakoz and the shadow theatre is that the former depends on presenting the puppets live on stage, while the latter displays the shadow of puppets on a lighted white screen. The puppet art and the shadow play performers spread throughout the Arab world, especially in Egypt, Lebanon and Syria. The performances traditionally took place in plazas, public gardens and public cafes. This paper attempts to explore the history of this art and the role it played in spreading such an entertainment in the public life of the concerned societies, as well as portraying its importance as a tool for social and political criticism.展开更多
From the end of the 19th to the dawn of the 20th century, technological development rendered the use of horse as source of energy and power progressively obsolete, promoting the displacement of its age-old utilitarian...From the end of the 19th to the dawn of the 20th century, technological development rendered the use of horse as source of energy and power progressively obsolete, promoting the displacement of its age-old utilitarian functions （transportation, work and war） as well as its social functions as a marker of distinction. Nonetheless, the advent of leisure society encouraged a redefinition of the horse and its social representations, a process spearheaded by the popular arts, especially those meant for child and youth audiences. The purpose of this article is two-fold. The first is to promote an understanding of the historical role of popular arts （literature, movies） in the evolution of the conceptualization of human-horse relationship and the concomitant entrance of horse riding into leisure society, marked by dual processes turning it into an ever-more female and youth-oriented practice. The second is to examine the actual influence of the popular equine arts and the alter ego horse paradigm that they have created on riders＇ current practices. The latter are examined in relation to diverse criteria such as age, gender, type of riding, length of experience, social status and nationality.展开更多
文摘Theatrical manifestations like puppet plays, Shadow plays and the Qarakoz, with the exception of the art of story-telling, were probably brought to the Arab world from the Far East. While storytelling was probably the primal theatrical form in that part of the world, shadow theatre and the qarakoz were a developed popular theatrical stage. The only difference between the qarakoz and the shadow theatre is that the former depends on presenting the puppets live on stage, while the latter displays the shadow of puppets on a lighted white screen. The puppet art and the shadow play performers spread throughout the Arab world, especially in Egypt, Lebanon and Syria. The performances traditionally took place in plazas, public gardens and public cafes. This paper attempts to explore the history of this art and the role it played in spreading such an entertainment in the public life of the concerned societies, as well as portraying its importance as a tool for social and political criticism.
文摘From the end of the 19th to the dawn of the 20th century, technological development rendered the use of horse as source of energy and power progressively obsolete, promoting the displacement of its age-old utilitarian functions （transportation, work and war） as well as its social functions as a marker of distinction. Nonetheless, the advent of leisure society encouraged a redefinition of the horse and its social representations, a process spearheaded by the popular arts, especially those meant for child and youth audiences. The purpose of this article is two-fold. The first is to promote an understanding of the historical role of popular arts （literature, movies） in the evolution of the conceptualization of human-horse relationship and the concomitant entrance of horse riding into leisure society, marked by dual processes turning it into an ever-more female and youth-oriented practice. The second is to examine the actual influence of the popular equine arts and the alter ego horse paradigm that they have created on riders＇ current practices. The latter are examined in relation to diverse criteria such as age, gender, type of riding, length of experience, social status and nationality.
