Hania A.M. Nashef – författare

In this volume, Nashef looks at J.M. Coetzee's concern with universal suffering and the inevitable humiliation of the human being as manifest in his novels. Though several theorists have referred to the theme of human degradation in Coetzee’s work, no detailed study has been made of this area of concern especially with respect to how pervasive it is across Coetzee’s literary output to date. This study examines what J.M. Coetzee's novels portray as the circumstances that contribute to the humiliation of the individual--namely the abuse of language, master and slave interplay, aging and senseless waiting--and how these conditions can lead to the alienation and marginalization of the individual.

In this volume, Nashef looks at J.M. Coetzee's concern with universal suffering and the inevitable humiliation of the human being as manifest in his novels. Though several theorists have referred to the theme of human degradation in Coetzee’s work, no detailed study has been made of this area of concern especially with respect to how pervasive it is across Coetzee’s literary output to date. This study examines what J.M. Coetzee's novels portray as the circumstances that contribute to the humiliation of the individual--namely the abuse of language, master and slave interplay, aging and senseless waiting--and how these conditions can lead to the alienation and marginalization of the individual.

Narratives of Cultural Identity in Contemporary Arab Cinema examines emerging cinema from the Gulf Cooperation Council (GCC) and recent diasporic/transnational productions from the Levant.Although several books have been written on Arab cinema, there remains a need to consider the role of emerging film industry in the GGC countries, or states in which cinema production is relatively scant. Academic studies on cinema in the Arab world have long concerned themselves with traditional film production centers, which is understandable as for decades the Arab film industry has been dominated by Egypt. The work also reflects on national agendas, role of government initiatives, and individuals who were instrumental in fostering cinema. It glimpses into vibrant cultures that have been at the mercy of stereotypical representations and demonstrates how recent films act as counter-narratives to dominant discourse.This book is intended primarily for scholars and researchers in Cultural, Film, Literature, and Media Studies who have a general interest in cinema from non-Western regions, with a particular focus on the Arab world. It is a valuable addition to existing scholarship through its focus on peripheral film centers, which have received limited academic attention.

Narratives of Cultural Identity in Contemporary Arab Cinema examines emerging cinema from the Gulf Cooperation Council (GCC) and recent diasporic/transnational productions from the Levant.Although several books have been written on Arab cinema, there remains a need to consider the role of emerging film industry in the GGC countries, or states in which cinema production is relatively scant. Academic studies on cinema in the Arab world have long concerned themselves with traditional film production centers, which is understandable as for decades the Arab film industry has been dominated by Egypt. The work also reflects on national agendas, role of government initiatives, and individuals who were instrumental in fostering cinema. It glimpses into vibrant cultures that have been at the mercy of stereotypical representations and demonstrates how recent films act as counter-narratives to dominant discourse.This book is intended primarily for scholars and researchers in Cultural, Film, Literature, and Media Studies who have a general interest in cinema from non-Western regions, with a particular focus on the Arab world. It is a valuable addition to existing scholarship through its focus on peripheral film centers, which have received limited academic attention.

Narratives of Cultural Identity in Contemporary Arab Cinema examines emerging cinema from the Gulf Cooperation Council (GCC) and recent diasporic/transnational productions from the Levant.Although several books have been written on Arab cinema, there remains a need to consider the role of emerging film industry in the GGC countries, or states in which cinema production is relatively scant. Academic studies on cinema in the Arab world have long concerned themselves with traditional film production centers, which is understandable as for decades the Arab film industry has been dominated by Egypt. The work also reflects on national agendas, role of government initiatives, and individuals who were instrumental in fostering cinema. It glimpses into vibrant cultures that have been at the mercy of stereotypical representations and demonstrates how recent films act as counter-narratives to dominant discourse.This book is intended primarily for scholars and researchers in Cultural, Film, Literature, and Media Studies who have a general interest in cinema from non-Western regions, with a particular focus on the Arab world. It is a valuable addition to existing scholarship through its focus on peripheral film centers, which have received limited academic attention.