The women’s movement in Egypt has been heralded as improving the lives of women in Egypt and paving the way for women throughout the Arab world. As seen through the eyes of the university educated elite and middle class, this is no doubt true, yet such a narrow view fails to account for the diversity of women’s experience. In Changing Perspectives, Cathlyn Mariscotti provides a critical re-examination of the women’s movement, framing it within the broader economic and political movements occurring in Egypt and abroad. Her nuanced account unveils a rich, differentiated, and complex history of Egyptian women. Drawing upon published journal reports and newspaper articles, Mariscotti explores the tensions between upper class harem women and lower class women. Rather than a unified movement, the author describes the way in which elite feminism created a concept of womanhood that fed into the nationalist cultural ideal, one that was not necessarily progressive for all Egyptian women. Demonstrating active resistance, the non-elite women constructed a model of feminism in line with their own class position and political interests. Mariscotti’s reveals the tension in the movement through the profiles of From this class struggle, a unique, synthesized form of feminism emerged, infused with the politics and culture of Egypt at that time. Humanizing her analysis, the author profiles two outspoken and prominent women who symbolize the conflict: the university educated and wealthy Huda Sha’rawi and Munira Thabit who represented the working class women. The first book to emphasize the class conflict among women, this book makes an invaluable contribution to the fields of women’s studies and Middle East studies.

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.

Global Women, Colonial Ports is a transnational history of state-regulated prostitution in the Middle East and North Africa between the two world wars. Beginning with international efforts to eradicate traffic in women and children, Liat Kozma examines French and British policies regarding local and foreign prostitutes in the region and shows how these policies affected and interacted with global migration routes of prostitutes and procurers. In so doing, she reveals how colonial domination mediated global mobility of people, practices, and ideas. Kozma weaves together the perspectives of colonial and local feminists with those of medical doctors, demonstrating that debates on prostitution were globalized and that transnational networks of knowledge and activism existed. She also explores the League of Nations' involvement in this social issue. As a history of the Middle East, the book joins recent scholarship on modern globalization and the integration of the region in global economic, activist, social, and religious interconnectedness.

A history of elite women who were concubines and wives of powerful slave-soldiers, known as Mamluks, who dominated Egypt both politically and militarily in the eighteenth century.

The Nahda (lit. 'the Awakening') was one of the most significant cultural movements in modern Arab history. By focusing on the neglected role of women in the intellectual Islamic renaissance of the late Ottoman Period, Fruma Zachs and Sharon Halevi provide a refreshingly interdisciplinary exploration of gender and culture in the Arab World. Focusing mainly on Greater Syria, this book re-examines the cultural by-products of the Nahda - such as scientific debates, journal articles, essays, short stories and novels - and provides a new framework for rethinking the dynamics of cultural and social change in what today we know as Syria and Lebanon. The lasting impact of the Nahda is given an innovative and thoroughly unique interpretation, providing an indispensable perspective to studying the nuanced roles of the construction and development of gender ideologies in the nineteenth century Middle East. The authors explore contemporary ideas concerning modern gender roles in the Middle East, and the extent to which these emerged in nineteenth-century Greater Syria. How were these ideas incorporated into daily lives, consumer patterns and cultural activities? Was class a determining factor in the creation of gender relations in the Muslim world? How were the subjectivities of gender moulded and articulated in fictional and non-fictional texts? The authors delineate both the evolution of a discourse on gender as well the "real-life" activities of men and women as writers, readers and participants in philanthropic and cultural societies, literary salons and educational enterprises. This book reemphasizes the position of the Nahda in the worlds of Damascus, Aleppo and Beirut as an innovative, deeply influential, and significant socio-cultural and political movement in its own right, which played a major role in shaping modern Arab culture, worldviews and self-perception. Zachs and Halevi here provide a new framework for rethinking the dynamics of cultural and social change, and present a groundbreaking new interpretation of the cumulative impact of the Nahda on gender perception in the late Ottoman Period.

The Lebanese photographer Marie al-Khazen seized every opportunity to use her camera during the years that she was active between 1920 and 1940. She not only documented her travels around tourist sites in Lebanon but also sought creative experimentation with her camera by staging scenes, manipulating shadows, and superimposing negatives to produce different effects in her prints. Within her photographs, bedouins and European friends, peasants and landlords, men and women comfortably share the same space. Her photographs include an intriguing collection portraying her family and friends living their everyday lives in 1920s and '30s Zgharta, a village in the north of Lebanon. Yasmine Nachabe Taan explores these photographs, emphasizing the ways in which notions of gender and class are inscribed within them and revealing how they are charged with symbols of women's emancipation to today's viewers, through women's presence as individuals, separate from family restrictions of that time. Images in which women are depicted smoking cigarettes, driving cars, riding horses, and accompanying men on hunting trips counteract the common ways in which women were portrayed in contemporary Lebanon.

Little has been written about the economic history of Egypt prior to its incorporation into the European capitalist economy. While historians have mined archives and court documents to create a picture of the commercial activities, networks, and infrastructure of merchants during this time, few have documented a similar picture of the artisans and craftspeople. Artisans outnumbered merchants, and their economic weight was considerable, yet details about their lives, the way they carried out their work, and their role or position in the economy are largely unknown. Hanna seeks to redress this gap with Artisan Entrepreneurs in Cairo and Early Modern Capitalism (1600–1800) by locating and exploring the role of artisans in the historical process. Offering richly detailed portraits as well as an overview of the Ottoman Empire’s economic landscape, Hanna incorporates artisans into the historical development of the period, portraying them in the context of their work, their families, and their social relations. These artisans developed a variety of capitalist practices, both as individuals and collectively in their guilds. Responding to the demands of expanding commercial environments in Egypt and Europe, artisans found ways to adapt both production techniques and the organization of production. Hanna details the ways in which artisans defied the constraints of the guilds and actively engaged in the markets of Europe, demonstrating how Egyptian artisan production was able to compete and survive in a landscape of growing European trade. Deftly synthesizing a wide range of economic and historical theory, Hanna reinvigorates the current scholarship on early Ottoman history and provides a persuasive challenge to the largely shallow perception of artisans’ role in Egypt’s economy.