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Les articles des volumes suivants sont vendus sous forme de PDF à télécharger: BiEtud: numéros 110, 120, 138, 140, 165 (gratuit), EtudUrb: 9.
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Annales islamologiques 53
2020 IFAO
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Asmā’ Amāra
Qirā’a fī mafhūm «al-madīna al-amīriyya» fī Ifrīqiya min ḫilāl namūḏaǧ Raqqāda
What is interesting for us in this work is to understand the true meaning of the princely city through the Raqqāda model. In this context, we have conducted research using various Orientalist and Arab studies. It is clear from these studies that these royal or princely cities are divided into two categories, or possibly even three. Raqqāda, is one of the two princely cities that were founded in Ifrīqiya during the Aghlabid dynasty. The other is the city of al-ʿAbbāsiyya. The importance of Raqqāda lies in the fact that it constitutes a transitional point and a passage from the palace-villa to the palace-city, and from the open princely city to the closed princely city. This is what we have seen by navigating between historical texts and archaeological data. Raqqāda was not destroyed by the Normans, but by the severe vandalism of the Banū Hilāl. Nevertheless, there are still some archaeological traces that reflect the princely and royal character of this city, and show that its architecture has mixed the ancient heritage with the oriental influences.
إنّ الغاية التي نروم تحقيقها من خلال هذا العمل هو معرفة معنى المدينة الأميرية من خلال نموذج رقادة، ومن هذا المنطلق قمنا بالبحث عنه في مختلف البحوث والدراسات الاستشراقية والعربية. والواضح من خلال هذه الدراسات أنّ هذه المدن الملكية أو الأميرية هي على نوعين أو ثلاثة. ورقادة هي إحدى المدينتين الأميريتين اللّتين تأسّستا في إفريقية في العصر الأغلبي، والأخرى هي مدينة العبّاسيّة. إنّ أهمية رقادة تكمن في كونها تمثل نقطة عبور وتحوّل من القصر-فيلا (الضيعة) إلى القصر-المدينة، ومن المدينة الأميرية المفتوحة إلى المدينة الأميرية المغلقة. هذا ما توصلنا اليه من خلال المراوحة بين النصوص التاريخية والمعطيات الأثرية.
في النهاية تجدر الإشارة إلى أنّ رقادة لم تدمّر على يد النورمان بل دمّرها التخريب الشديد الذي قام به عرب بني هلال، لكن رغم ذلك لا تزال بعض آثارها قائمة وهي التي عكست طابعها الأميري والملكي، كما كشفت عن مقدرة في التأليف بين الموروث القديم والتأثير المشرقي.- Asmā’ Amāra ( : 231676891)
Maître assistante, faculté des Lettres et des Sciences humaines de Sousse ; Membre du laboratoire « Arabo-islamique médiéval », faculté des Sciences humaines et sociales de Tunis.
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Annales islamologiques 53
2020 IFAO
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Ahmad Kamal
Ǧawānib ǧadīda ʿan aṣḥāb ḫarāǧ Miṣr fī-l-qarnayn 2-3/8-9 min ḫilāl bardiyyāt al-Ušmūnayn
Despite the importance of the financial administrators of Egypt (aṣḥāb al-ḫarāǧ) and their basic role in the administration system in the early Islamic period, historical sources don’t provide sufficient information about them. On the other hand, hundreds of papyri from al-Ušmūnayn province still exist. These papyri, especially tax receipts, contain many names and some information about the financial directors of Egypt during the 2nd-3rd/8th-9th centuries. Some of the financial directors are not mentioned in other historical sources, but al-Ušmūnayn Arabic papyri provide some new information about known directors and introduce new ones.
- Ahmad Kamal ( : 100512410)
Directeur du département des documents, Centre de documentation des antiquités islamiques et coptes, ministère du Tourisme et des Antiquités
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Annales islamologiques 53
2020 IFAO
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Frédéric Lagrange
Umm Kulṯūm est-elle une interprète de musique savante ? Réflexions à partir de séquences de concert improvisées
While in the Arab world, the totality of Umm Kulṯūm’s repertoire is currently considered as being “classical” both in the sense of its highly regarded status in the artistic hierarchy as well as that of its propaedeutic value; to which extent does it actually qualify as “art music” and what traces of the Nahḍa school has it retained? Starting from the term waṣla, employed throughout her career to identify a song during a concert, the article presents an appraisal of our present knowledge of the singer’s performance policy, which has greatly increased since the internet diffusion of most of her concerts, in addition to the commercially distributed versions of her songs. It suggests that Umm Kulṯūm’s metric (muwaqqaʿ) and non-metric (mursal) improvisations are the forms in which a continuity between her art and the aesthetic principles of the former school of court musicians is best observed. Two renditions of Salū kuʾūs al-ṭilā illustrate the successive vicissitudes of the “traditional” learned form known as qaṣīda ʿalā al-waḥda.
- Frédéric Lagrange ( : 059320346)
Frédéric Lagrange, professeur de langue et littérature arabe à Sorbonne Université, travaille sur les productions culturelles arabes contemporaines. Sa thèse porte sur la musique en Égypte au tournant du XXe siècle, et il a participé à de nombreuses rééditions commentées de disques 78 tours de musiques savantes et populaires du Moyen-Orient.
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Annales islamologiques 53
2020 IFAO
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Pierre France
Archives sauvages et bootleggers des musiques arabes. Les formes du patrimoine musical arabe sur le web, 2000-2018
Today, for anyone attempting to establish and update a list of available Arab music archives, the task would not only require the standard work in libraries and archives (both public and especially private) but also taking a fresh look at digital resources. Recently, the web has been used by new heritage preservation entrepreneurs who share common practices, even though they deal with different kinds of music (modern and classical Arab music). This paper traces the history of a set of websites that digitized and spread Arab music which was rarely listened to before the 2000s, except within certain limited circles (on both the social and national levels). Similarly, these websites made a substantial contribution to increasing the availability of well-known songs, since at that time they were almost impossible to find through legal or official channels. This paper aims at identifying this social space (as well as its inner divisions), but also at putting forward tools to analyze the daily practices around these archives, including a type of “bootleg heritage preservation” that they reveal.
- Pierre France ( : 188111840)
Doctorant en Science Politique, CRPS-CESSP, Université Paris 1 – Panthéon Sorbonne
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Annales islamologiques 53
2020 IFAO
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Nicolas Puig
Recording Culture. Une figure égyptienne du XXe siècle : Halim El-Dabh, compositeur, collecteur et pionnier des musiques électroniques
Halim el-Dabh (1921-2017) is a collector of “traditional” music and a pioneer of electronic music. He is currently being rediscovered by a new generation of Egyptian musicians who see him as a national precursor. In 1944, El-Dabh composed one of the earliest electronic compositions in history, based on selected and transformed sounds from his own recordings, made in his hometown of Cairo. Such works, and the career of this eclectic musician, both a composer and an academic, shed new light on the production and restitution of anthropological knowledge, which is not so much developed from the act of “writing cultures” as from that of recording and restoring them in different forms, including artistic ones. This text focuses on Halim El-Dabh’s youth in order to retrace his path in a technological and cultural moment of Egypt’s history, while relating it to more global dynamics. Like other 20th century figures, Halim El-Dabh developed new ways of linking collection, research and creation. The practices and itineraries of these figures question the colonial and neo-colonial dynamics of collecting, preserving and restoring music and, more broadly, the production of knowledge.
- Nicolas Puig ( : 060410310)
Anthropologue à l’IRD, URMIS (Université Paris Diderot, Université Côte d’Azur, IRD, CNRS)
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Annales islamologiques 53
ISBN 9782724707809
2020 IFAO
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Salwa El-Shawan Castelo-Branco
Aziz El-Shawan. A Cosmopolitan and Nationalist Composer in 20th Century Egypt
This article proposes a politically and culturally situated preliminary reading of the biographical and artistic trajectory of Aziz El‑Shawan (1916–1993), a cosmopolitan and nationalist Egyptian composer. The article characterizes the two cosmopolitan cultural formations in Cairo in which he partook and their impact on his career and music: a «modernist capitalist» formation which developed within the framework of colonial rule and the Egyptian monarchy from the late nineteenth century up to the 1952 Egyptian revolution; and a «modernist socialist» formation, partly configured by Soviet political and cultural influence, from the late 1950s up to the early 1970s. The article describes how Aziz El‑Shawan became a composer, the phases of his artistic and professional career and his musical style.
- Salwa El-Shawan Castelo-Branco ( : 059319704)
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Annales islamologiques 53
2020 IFAO
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Rafik Al-Akouri
Patrimonialisation « sauvage » et archéologie industrielle de la musique yéménite : les premiers enregistrements commerciaux à Aden (1935-1960)
The first commercial recordings of Yemeni music were produced in Aden in the late 1930s, at the time of British colonization. These 78 RPM records were first published by a foreign company, Odeon, followed by several local companies, including Aden Crown, Jafferphon and Tahaphon. All of the urban musical traditions of Yemen—ṣanʿānī, laḥǧī, ḥaḍramī, etc.—soon gained recognition and were broadcasted throughout the country in the years between 1935 and 1960, in spite of the ban on music in the north. These first recordings, which are estimated to comprise several thousand records, are still largely unknown. Establishing a chronology has proven difficult, since the various documents that are available are never dated, and many other documents, such as articles from the press, are not currently accessible.
This research must therefore resort to a kind of “industrial and musical archaeology” which attempts to define approximate ranges of dates, periods and temporal correlations. At the same time, the current “wild patrimonialization” on the Internet of these music styles as a cultural heritage allows easy access to many sound recordings on mainstream platforms, particularly YouTube. While this represents great progress in the inventory process, it also implies a very haphazard storage solution for which researchers must try to compensate through increased efforts in documentation, in particular by the development of a database. The reception of the records by the Yemeni society during these twenty-five prolific years shows us that they had an important influence on the musical practice, as well as on a more subtle aspect of Yemeni music: the definition of regional genres which was of great importance in building the cultural identity of the Yemeni people, even until more recent times.
- Rafik Al-Akouri ( : 257319352)
Directeur du Centre du patrimoine musical du Yémen (Markaz al-Turāṯ al-mūsīqī al-yamanī), ministère de la Culture, Sanaa, rafiksaad@gmail.com
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Annales islamologiques 53
2020 IFAO
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Anis Fariji
Le disque, agent d’une subversion intégrale de la musique de tradition orale. Exemple du monde arabe
The introduction of the record album in the field of the oral music tradition brings about a break that is as abrupt as it is complete. On the one hand, as an example of objectification, the act of recording undermines the ontological status of the oral musical form; the latter, being fixed on the technical support, acquires a specific material reality and can, therefore, be freed from the traditional environment in which it had remained enclosed. On the other hand, record albums, as commodities, carry ontological reversal to a universal dimension, as a result of which the musical form incorporates the effects of mass commercialization. Hence, such a subversion results in an aesthetic phenomenon of disenchantment. This article analyzes this phenomenon in the cultural context of the Arab world through three symptomatic aspects: 1. increased aesthetic rationality; 2. the intrusion of heterogeneity into musical form; 3. aesthetic reification. In this regard, I refer to the thought of Critical Theory, and more particularly to certain categories developed by Walter Benjamin and Theodor Adorno.
- Anis Fariji ( : 164335307)
Post-doctorant.
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Annales islamologiques 53
2020 IFAO
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Séverine Gabry-Thienpont, Frédéric Lagrange
Introduction. Composition et archivage des musiques du monde arabe à l'aune des procédés d'amplification sonore
- Séverine Gabry-Thienpont ( : 174603096)
Séverine Gabry-Thienpont est ethnomusicologue, chargée de recherche au CNRS (Idemec) et ancienne membre scientifique de l’Ifao. Une part de ses recherches porte sur la fabrique des musiques égyptiennes en tant que fait esthétique, historique et religieux, à l’aune des procédés d’amplification sonore auxquels elles sont soumises. - Frédéric Lagrange ( : 059320346)
Frédéric Lagrange, professeur de langue et littérature arabe à Sorbonne Université, travaille sur les productions culturelles arabes contemporaines. Sa thèse porte sur la musique en Égypte au tournant du XXe siècle, et il a participé à de nombreuses rééditions commentées de disques 78 tours de musiques savantes et populaires du Moyen-Orient.
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Annales islamologiques 52
2019 IFAO
38 p.
gratuit - free of charge
Manuel Sartori
Kāna sa-yaf ʿalu et kāna sa-yakūnu qad faʿala. Les équivalents logiques du conditionnel français en arabe écrit contemporain
This article extends the results of a first study devoted to the Arabic verb combination kāna sa‑yaf ʿalu, and presents another and new combination, kāna sa‑yakūnu qad faʿala. It shows in particular how these two combinations are to be understood as the “logical” equivalents (from a linguistic point of view) of present and past conditionals of languages such as French and English, whether in the temporal uses of the conditional as well as in its modal uses. It ensures once again that kāna sa‑yaf ʿalu, if it can have a hypothetical counterfactual modal reading that French and English render by a past conditional to say what has not happened, has not, far from there, only this meaning and that it mainly expresses, in particular in its temporal and non-modal use, a present conditional reading such as the future of historians. The second combination, kāna sa‑yakūnu qad faʿala, allows to logically express the past conditional, which is the case in its modal uses as well as in its temporal use where it is then the equivalent of the future perfect of historians. Above all, these two combinations present themselves as immediately recognizable for what they are, unlike more classical forms that often risk exposing them to a first reading in the past of form AND of meaning and then to a second in order to restore the intended conditional meaning.
- Manuel Sartori ( : 081920164)
Aix-Marseille Université, CNRS, IEP, Iremam