لم ترحل كيف ترحل و بصماتك هنا ترسم لمساتكم تفوح بعبق أنفاسك و أحساسك لا تغيب أبدا من كانت أحلامها تزين إطار الإبداع You didn’t leave How can you just leave with the influence you have? Drawing light from your torch Smelling your breath and feel Never ever leave Who was her dream? Adorned with creativity

A free open access ebook is available upon publication. Learn more at www.luminosoa.org. In this book, Deborah A. Starr recuperates the work of Togo Mizrahi, a pioneer of Egyptian cinema. Mizrahi, an Egyptian Jew with Italian nationality, established himself as a prolific director of popular comedies and musicals in the 1930s and 1940s. As a studio owner and producer, Mizrahi promoted the idea that developing a local cinema industry was a project of national importance. Togo Mizrahi and the Making of Egyptian Cinema integrates film analysis with film history to tease out the cultural and political implications of Mizrahi’s work. His movies, Starr argues, subvert dominant notions of race, gender, and nationality through their playful—and queer—use of masquerade and mistaken identity. Taken together, Mizrahi’s films offer a hopeful vision of a pluralist Egypt. By reevaluating Mizrahi’s contributions to Egyptian culture, Starr challenges readers to reconsider the debates over who is Egyptian and what constitutes national cinema.

This book aims to offer a broad history of theatre in Africa. The roots of African theatre are ancient and complex and lie in areas of community festival, seasonal rhythm and religious ritual, as well as in the work of popular entertainers and storytellers. Since the 1950s, in a movement that has paralleled the political emancipation of so much of the continent, there has also grown a theatre that comments back from the colonized world to the world of the colonists and explores its own cultural, political and linguistic identity. A History of Theatre in Africa offers a comprehensive, yet accessible, account of this long and varied chronicle, written by a team of scholars in the field. Chapters include an examination of the concepts of 'history' and 'theatre'; North Africa; Francophone theatre; Anglophone West Africa; East Africa; Southern Africa; Lusophone African theatre; Mauritius and Reunion; and the African diaspora.

All the teachings of Islam are based on the principle of peace.... It is no exaggeration to say that Islam and violence are contradictory to each other. The concept of Islamic violence is so obviously unfounded that prima facie it stands rejected. The fact that violence is not sustainable in the present world is sufficient indication that violence as a principle is quite alien to the scheme of things in Islam. Islam claims to be an eternal religion and, as such, could never afford to uphold any principle which could not stand up to the test of time. Any attempt to bracket violence with Islam amounts therefore, to casting doubt upon the very eternity of the Islamic religion. Islamic terrorism is a contradiction in terms, much like pacifist terrorism. And the truth of the matter is that, all the teachings of Islam are based directly or indirectly on the principle of peace.

This biography and military history of Islamic resistance to the French occupation of Algeria lends valuable insight into current US/Muslim relations.

"This is the colorful and dramatic biography of two of America's most controversial entrepreneurs: Moses Louis Annenberg, 'the racing wire king, ' who built his fortune in racketeering, invested it in publishing, and lost much of it in the biggest tax evasion case in United States history; and his son, Walter, launcher of TV Guide and Seventeen magazines and former ambassador to Great Britain."--Jacket.