902 resultados para Arab theater


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From the Introduction. Arab revolutions have sparked real hopes for democracy, but the situation varies from one state to another and change has taken various directions, with unpredictable outcomes in the future. In light of current events, most of these countries seem to have failed in their democratic transition and also face the dissolution of their state apparatus in bloody civil wars. This leaves the door open to interpretations associating democracy with chaos. In this view, preserving post-colonial states – authoritarian in most cases – is better than having no state at all. This partially justified the coup that took place in Egypt, where the ‘Deep State’ has recovered its capabilities in a dictatorial manner. The Arab world thus faced an impasse: the state is either stable but authoritarian or democratic yet threatened with dissolution. The dilemma results in an impossible choice between stable dictatorship or freedom ending in chaos.

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The collapse of the authoritarian regime in Tunisia in 2011 has given women new opportunities to participate in political life and in civil society activities, standing for elections (2011 and 2014) or becoming members of political parties and associations. Nevertheless, despite these advances and the already positive point of de- parture thanks to the legacy of Bourguiba, the “liberator of the country and the women”, participation of women remains unsatisfactory. While Tunisian women have enjoyed extended individual rights, especially compared to Arab women in general, since the country became independent in 1956, their political participation has remained controlled by the state.T he challenge of increasing the political participation of women, even in a democratic phase of the country’s political life, remains.The new electoral laws from 2011 and 2014 endorse parity and women rights, now guaranteed by the Constitution. However, the implementation of these rights is still at stake.

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In Morocco, the new Constitution promised by King Mohammed VI in 2011 has raised high expectations regarding the improvement of socio-economic standards in the country and the possible redistribution of national wealth in a more transparent and democratic way. Just like Tunisia and Egypt, Moroccan demonstrators of the 20 February Movement had taken to the streets to ask for more freedom and democracy, but also to call for social equality and an end to corruption. Many of the grievances and the claims raised by demonstrators fell within the domain of socio-economic rights. Even though it might still be early to take stock, five years down the road, it is possible to provide a fist assessment of the major changes in Morocco in the socio-economic area. The attempt is to analyse whether the improvements introduced by the new Constitution have met the expectations of the people standing up for their rights in the wake of the Arab Spring, or whether the Kingdom of Morocco has fallen short on its promise to undertake structural change.

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The most recent official statistics reveal that over a quarter of Egypt’s population still live in poverty, a third of its youth are unemployed and three out of five children are malnourished. Much of the criticism of Egypt’s human rights record, particularly after the Arab Spring, remains focused on the country’s civil and political rights, and freedoms with an intentional (or unintentional) disregard to socioeconomic rights, fuelling widespread poverty, deteriorating living standards, socioeconomic exclusion and unequal and/or degrading treatment. This paper examines the socioeconomic policies of exclusion that are still undermining the enjoyment of basic citizenship rights in Egypt.

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Theater berührt, Theater bewegt. Theater regt an: Wie ist es möglich, dass wir uns mit Figuren - seien es Schauspieler aus Fleisch und Blut, Puppen oder abstrakte Körper - auf der Bühne identifizieren. Das Gespräch dreht sich um Wahrnehmung und Vorstellung im Theater. Es fragt danach, wie das Publikum fähig ist, für Figuren Empathie zu entwickeln, Figuren zu lieben, zu hassen, mit Figuren zu leiden und sich Handlungen anzueignen, als ob sie real wären. Es will wissen, was im Menschen vorgeht, wenn er das tut, und was umgekehrt mit diesem Menschen passiert, wenn er sich einlenkt und einfühlt in das Geschehen auf der Bühne.

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"Bibliographical notes": p. 445-460.

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Includes glossary.

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Utagawa Toyoharu; woodcut, oban

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Mode of access: Internet.