This third volume in the author's series Oral Poetry & Narratives from Central Arabia presents and analyses the work of four contemporary Bedouin poets of the Dawasir tribe in southern Najd. The introductory part discusses the poetry within the context of the Najdi oral tradition, the poets' role in tribal society, and their mirroring of this society's self-image against the background of its rapid economic, social and political transformation, and its relation with the Saudi State. It is followed by the Arabic Text of the poems in transcription, based on taped records, with the English translation on the facing page. This is complemented by a substantial glossary, cross-referenced to the Arabic Text, other glossaries and works on the Najdi dialect and poetic idiom, as well as corresponding Classical Arabic lexical materials.

The Story of a Desert Knight is the second volume of a trilogy entitled Oral Poetry and Narratives from Central Arabia. It is devoted to the narratives told about and the poems composed by Slewih al-'At awi and his brother Bxit, both famous desert knights in the middle and second half of the nineteenth century. The principal source of this book is Slewih 's great-grandson Xalid, a sheikh of the 'Utaybah tribe. The introduction discusses inter alia the general characteristics of Bedouin oral culture, the linguistic, prosodic and stylistic features of the text, and Xalid's use of his ancestors' oral legacy in order to enhance his position in the tribal hierarchy of prestige. In addition to the translation of the oral text this volume offers a complete transcription, based on taped records and including variants found in published Saudi sources, and a substantial glossary.

This work presents the complete collection of oral poetry by ad-Dindan, a bedouin poet of the Duwasir tribe in southern Najd, transcribed and translated on the basis of taped recordings. The text is representative of a poetic tradition which has remained remarkably close to the desert poetry of the early classical age. An extensive glossary, including detailed cross-references to the classical Arabic vocabulary, completes this edition. The introduction describes Dindan's somewhat anomalous position in local society as a result of his stubborn attachment to nomadism, his fierce artistic temper, and his unreconstructed bedouin ethos. It also discusses the composition of oral poetry, the diwan's themes and its place in the Najdi tradition, the impact of literacy on the poet's oral work, and the prosodic and linguistic features of the text.

By the early 1820s, British policy in the Eastern Mediterranean was at a crossroads. Historically shaped by the rivalry with France, the course of Britain's future role in the region was increasingly affected by concern about the future of the Ottoman Empire and fears over Russia's ambitions in the Balkans and the Middle East. The Regency of Tripoli was at this time establishing a new era in foreign and commercial relations with Europe and the United States. Among the most important of these relationships was that with Britain. Using the National Archive records of correspondence of the British consuls and diplomats from 1795 to 1832, and within the context of the wider Eastern Question, this book reconstructs the the Anglo-Tripolitanian relationship and argues that the Regency played a vital role in Britain's imperial strategy during and after the Napoleonic Wars. Including the perspective of Tripolitanian notables and British diplomats, it contends that the activities of British consuls in Tripoli, and the networks they fostered around themselves, reshaped the nature and extent of British imperial activity in the region.

1920s Cairo: singers were pressing hit records, dramatic troupes were springing up and cabarets were packed - a counterculture was on the rise. In bars, hash-dens and music halls, people of all backgrounds came together as a passionate group of artists captivated Egyptian society. Of these performers, Cairo's biggest stars were female, and they asserted themselves on the stage like never before. Two of the most famous troupes were run by women; Badia Masabni's dancehall became the hottest nightspot in town; pioneer of Egyptian cinema Aziza Amir made her stage debut; and legendary singer Oum Kalthoum first rose to fame. It is these women, who knew both the opportunities and prejudices that this world offered, who best reveal this cosmopolitan and raucous city's secrets. Midnight in Cairo tells the thrilling story of Egypt's interwar nightlife and entertainment industry through the lives of its pioneering women. Introducing an eccentric cast of characters, it brings to life a world of revolutionary ideas and provocative art - one which laid the foundations of Arab popular culture today. It is a story of modern Cairo as we have never heard it before.

In the past decades, the world has watched the rise of China as an economic and military power and the emergence of Chinese transnational elites. What may seem like an entirely new phenomenon marks the revival of a trend initiated at the end of the Qing. The redistribution of power, wealth and knowledge among the newly formed elites matured during the Republican period. This volume demonstrates both the difficulty and the value of re-thinking the elites in modern China. It establishes that the study of the dynamic tensions within the elite and among elite groups in this epochal era is within reach if we are prepared to embrace forms of historical inquiry that integrate the abundant and even limitless historical resources, and to engage with the rich repertoire of digital techniques/instruments available and question our previous research paradigms. This renewed approach brings historical research closer to an integrative data-rich history of modern China.

Today, teachers and performers of Turkish classical music intentionally cultivate melancholies, despite these affects being typically dismissed as remnants of the Ottoman Empire. Melancholic Modalities is the first in-depth historical and ethnographic study of the practices socialized by musicians who enthusiastically teach and perform a present-day genre substantially rooted in the musics of the Ottoman court and elite Mevlevi Sufi lodges. Author Denise Gill analyzes how melancholic music-making emerges as pleasurable, spiritually redeeming, and healing for both the listener and performer. Focusing on the diverse practices of musicians who deploy and circulate melancholy in sound, Gill interrogates the constitutive elements of these musicians' modalities in the context of emergent neoliberalism, secularism, political Islamism, Sufi devotionals, and the politics of psychological health in Turkey today. In an essential contribution to the study of ethnomusicology and psychology, Gill develops rhizomatic analyses to allow for musicians' multiple interpretations to be heard. Melancholic Modalities uncovers how emotion and musical meaning are connected, and how melancholy is articulated in the world of Turkish classical musicians. With her innovative concept of "bi-aurality," Gill's book forges new possibilities for the historical and ethnographic analyses of musics and ideologies of listening for music scholars.