Interrogating how Alexandria became enshrined as the exemplary cosmopolitan space in the Middle East, this book mounts a radical critique of Eurocentric conceptions of cosmopolitanism. The dominant account of Alexandrian cosmopolitanism elevates things European in the city’s culture and simultaneously places things Egyptian under the sign of decline. The book goes beyond this civilization/barbarism binary to trace other modes of intercultural solidarity. Halim presents a comparative study of literary representations, addressing poetry, fiction, guidebooks, and operettas, among other genres. She reappraises three writers—C. P. Cavafy, E. M. Forster, and Lawrence Durrell—who she maintains have been cast as the canon of Alexandria. Attending to issues of genre, gender, ethnicity, and class, she refutes the view that these writers’ representations are largely congruent and uncovers a variety of positions ranging from Orientalist to anticolonial. The book then turns to Bernard de Zogheb, a virtually unpublished writer, and elicits his camp parodies of elite Levantine mores in operettas, one of which centers on Cavafy. Drawing on Arabic critical and historical texts, as well as contemporary writers’ and filmmakers’ engagement with the canonical triumvirate, Halim orchestrates an Egyptian dialogue with the European representations.

Interrogating how Alexandria became enshrined as the exemplary cosmopolitan space in the Middle East, this book mounts a radical critique of Eurocentric conceptions of cosmopolitanism. The dominant account of Alexandrian cosmopolitanism elevates things European in the city's culture and simultaneously places things Egyptian under the sign of decline. The book goes beyond this civilization/barbarism binary to trace other modes of intercultural solidarity. Halim presents a comparative study of literary representations, addressing poetry, fiction, guidebooks, and operettas, among other genres. She reappraises three writers--C. P. Cavafy, E. M. Forster, and Lawrence Durrell--whom she maintains have been cast as the canon of Alexandria. Attending to issues of genre, gender, ethnicity, and class, she refutes the view that these writers' representations are largely congruent and uncovers a variety of positions ranging from Orientalist to anti-colonial. The book then turns to Bernard de Zogheb, a virtually unpublished writer, and elicits his Camp parodies of elite Levantine mores in operettas one of which centers on Cavafy. Drawing on Arabic critical and historical texts, as well as contemporary writers' and filmmakers' engagement with the canonical triumvirate, Halim orchestrates an Egyptian dialogue with the European representations.

This book argues that the narrative of Alexandria's cosmopolitanism was in tune with colonial modernity. The Alexandria Archive is a comparative study of representations of cosmopolitanism in texts by C.P. Cavafy, E.M. Forster, Lawrence Durrell, and Bernard de Zogheb from the late nineteenth century to the late twentieth century.

This book examines the link between cosmopolitanism in Egypt, from the nineteenth century through to the mid-twentieth century, and colonialism. It analyzes the ways in which literature and film have portrayed the period and the great cultural diversity in the country prior to Nasser.

The Bibliotheca Alexandrina was launched with great fanfare in the 1990s, a project of UNESCO and the Egyptian government to recreate the glory of the Alexandria Library and Museion of the ancient world. The project and its timing were curious—it coincided with scholarship moving away from the dominance of the western tradition; it privileged Alexandria’s Greek heritage over 1500 years of Islamic scholarship; and it established an island for the cultural elite in an urban slum. Beverley Butler’s ethnography of the project explores these contradictions, and the challenges faced by Egyptian and international scholars in overcoming them. Her critique of the underlying foundational concepts and values behind the Library is of equal importance, a nuanced postcolonial examination of memory, cultural revival, and homecoming. In this, she draws upon a wide array of thinkers: Freud, Derrida, Said, and Bernal, among others. Butler’s book will be of great value to museologists, historians, archaeologists, cultural scholars, and heritage professionals.

In 1960s Egypt a group of writers exploded onto the literary scene, transforming the aesthetic landscape. Space in Modern Egyptian Fiction explores how this literary generation presents a marked shift in the representation of rural, urban and exilic space, reflecting a disappointment with the project of the postcolonial nation-state in Egypt. Combining a sociological approach to literature with detailed close readings, Yasmine Ramadan explores the spatial representations that embodied this shift within the Egyptian literary scene and the disappearance of an idealized nation in the Egyptian novel. This study provides a robust examination of the emergence and establishment of some of the most significant writers in modern Egyptian literature, and their influence across six decades, while also tracing the social, economic, political and aesthetic changes that marked this period in Egypt's contemporary history.