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This study stands at the crossroads of folklorization, ethnicity, and curriculum. It seeks to criticize how the institutionalized production of knowledge about Amazigh folklore in Morocco has contributed to the creation and maintenance of a closed system of linguistic options for representing Amazigh ethnic groups through \"folklorizing\" their festivals, traditions, music, space, and marriage rituals. To investigate the micropolitics of folklorization in officially produced EFL textbooks in Morocco (1980-present), an integrated critical discourse analysis approach that oscillates between linguistic analysis and sociological analysis has been used. Results show that Amazighs have been mostly activated in relation to behavioral and relational processes and are therefore depicted as passive, deprived of sociological agency, with no effect(s) on others, or on the world. Excessive folklorization, results also indicate, commodifies Amazighs by reducing them to \"exotic\" commodities to be gazed upon. Amazigh females are caught in the realm of the \"physical\" and the \"sensual\" and are, hence, deprived of being represented as \"thinkers\" and \"sayers\" in mental and verbal processes. Non-Amazigh festivals and forms of folklore, on the other hand, are encoded primarily in material and transactive processes. Folklorization skews aspects of Amazigh identity to a flat set of criteria, such as \"entertainment\" and \"exoticism\", which would give students a partial view of who Amazighs are mainly by iconizing them in a \"celebratory\" way which lacks analytical depth, bypassing, thus, significant concepts and topics related to the discrimination and subjugation of minority groups and their symbolic fights for power and social equality.

La haquitía fue una lengua hablada por los judíos marroquíes en el norte de Marruecos. La novela El maẕal de los pobres, del tangerino Elie Benchetrit, aparecida en 2017, es el retrato más fiel que conservamos sobre el último periodo de la existencia de esta lengua en Tánger, los años 1950 y principios de i960. De los 18 000 judíos que había en Tánger en 1955, pasaron a ser 250 en 1970. Hemos contabilizado un total de 415 voces, de las que 171 proceden del castellano antiguo, 125 del árabe marroquí, 114 del hebreo, 3 del amazige y 2 del portugués. En este artículo presentamos un estudio lingüístico de estas voces que va acompañado de una presentación de la obra de Benchetrit y de la haquitía, especialmente de la variante que se habló en Tánger.

Power in the Portrayalunveils a fresh and vital perspective on power relations in eleventh- and twelfth-century Muslim Spain as reflected in historical and literary texts of the period. Employing the methods of the new historical literary study in looking at a range of texts, Ross Brann reveals the paradoxical relations between the Andalusi Muslim and Jewish elites in an era when long periods of tolerance and respect were punctuated by outbreaks of tension and hostility. The examined Arabic texts reveal a fragmented perception of the Jew in eleventh-century al-Andalus. They depict seemingly contradictory figures at whose poles are an intelligent, skilled, and noble Jew deserving of homage and a vile, stupid, and fiendish enemy of God and Islam. For their part, the Hebrew and Judeo-Arabic texts display a deep-seated reluctance to portray Muslims in any light at all. Brann cogently demonstrates that these representations of Jews and Muslims--each of which is concerned with issues of sovereignty and the exercise of power--reflect the shifting, fluctuating, and ambivalent relations between elite members of two of the ethno-religious communities of al-Andalus. Brann's accessible prose is enriched by his splendid translations; the original texts are also included. This book is the first to study the construction of social meaning in Andalusi Arabic, Judeo-Arabic, and Hebrew literary texts and historical chronicles. The novel approach illuminates nuances of respect, disinterest, contempt, and hatred reflected in the relationship between Muslims and Jews in medieval Spain.

\"A Sick Archive: Reproductive Flesh in American Modernity\" traces the revolutionary potentiality of the sick femme in literary and filmic narratives of failure, suffering, and confinement from pre-Civil War U.S. to the present. I use the phrase \"reproductive flesh\" in this project to both index female conscription to biological reproduction and to signify for the viscerally abused and politically excluded racialized bodies that fuel the political and material economy of American modernity. In conceptualizing a \"sick archive,\" I riff on the lived material trace denoted by \"[sic],\" which suggests the reproducing scribe's textual eruption onto the page. My dissertation develops \"[sic]k\" reproductive flesh as an analytic for reading crip embodiments and performative practices as a dynamic archive that registers, reproduces, and critically disrupts the textual fabric of the American cultural imaginary. In my primary texts, passing, autobiographical writing practice, self-harm and domestic violence, and instances of infant morbidity are all instantiations of embodied sick speech-acts of reproductive flesh. My readings of this sick archive show how the depersonalized and commodified femme qua reproductive flesh exerts critical agency from within a social script that would simultaneously objectify, pathologize, and consume her. This femme practice is revolutionary in the sense that her refused subject of modernity disrupts idealized structures of white heteropatriarchal domesticity and political economies. The revolution here begins with a close reading practice of attunement that these texts invite, toward a potential unraveling of lived time and space \"as we know it.\" My readings track hybrid aesthetic production and communicative acts between reproductive flesh, the world of objects and commodities, and pathologizing discourses. I argue that such hybrid methodologies subvert and circumvent hierarchical political grammars, and gesture toward a \"crip,\" non-normative \"something else to be.\" My first two chapters read pre-Civil War and early 20th century U.S. literary texts. Later chapters include contemporary South American and African diasporic films alongside U.S. literary texts from the late 20th century. I begin my dissertation with a consideration of the political work of haunting, and the difficult questions of the stakes of witnessing and transmission, as presented in Toni Morrison's Beloved . In chapter one, \"A Study in [Sic] Passing: Birthing the Spectral Object,\" I read the fatally failed racial and social passing of Joe Christmas and Lily Bart in William Faulkner's Light in August and Edith Wharton's The House of Mirth as a willful citational critique of the sentence of social death. My second chapter, \"The Shape of Her Hand: Revolutionary Textuality and [Sic] Autobiographical Praxis\" explores hybrid tactics in autobiographical writing as embryonic articulations of resistant non-normative domesticities in Harriet Jacobs's Incidents in the Life of a Slave Girl: Written by Herself, Charlotte Perkins Gilman's The Yellow Wallpaper, and Gertrude Stein's Tender Buttons . Chapter three, \"Diagnostic Violence and Disavowal: Cutting Reproductive Flesh in Vita and Corregidora,\" tracks private, familial trauma working in concert with biopolitical medical practice. I read discursively hybrid resulting sickness and injury in the stories of Ursa in Gayl Jones's Corregidora and Catarina in João Biehl's Vita: Life in a Zone of Social Abandonment and I argue that these stories reveal a targeted political and economic eugenic violence, which these women tactically subvert through poetry and the Blues. Chapter four, \"Disorganizing American Grammars: Cultural Seeing, Toxic Consumption, and Revolutionary Aesthetics\" examines morbid illustrations of consumption and materializations of the toxic effects of antiblackness in Toni Morrison's The Bluest Eye and Wangechi Mutu's The End of eating Everything. I argue that both texts deploy intentionally disorienting aesthetics, and embody what I call a \"toxic futurity\" that articulates a not-quite-articulate horizon of hope through visceral witnessing. I close my dissertation with an reading of \"Meat Patties,\" a YouTube video circulated by the Free Alabama Movement in connection with a prison labor strike. I connect the film's aesthetic invocation of the hunger strike to potent imaginative aspiration toward a crip political practice.

Stoppard was transferring his trilogy about nineteenth-century Russian idealists, The Coast of Utopia, from London to New York, and David Hare was premiering a new play, The Vertical Hour, a dinner party debate about the Iraq War as seen through the emotional triangle of a British father and son and the son's American girlfriend. In his masterpiece about math and landscape design set in early nineteenth-century and modern-day England, Arcadia, in his play about the classicist and poet A. E. Housman, in youth and life after death, The Invention of Love, in his riff on Oscar Wilde, James Joyce, and Vladimir Lenin, Travesties, and in Indian Ink, his meditation on diaries and paintings from decades ago in India reinterpreted by Western scholars, Stoppard takes pains to show how present-day historians misinterpret the documents and artifacts of the past. At their best, Stoppard's heady dramatic designs impress us not as deliberately sophisticated variations on the reality we know but as simplified models of a greater reality-the inhuman cosmos which contains the human world, the amoral vastness in which morality is a local accident, the totality from whose perimeter we look like-Zero.

James Ellroy doesn’t do technology, so the crime fiction writer and self-described “demon dog of American literature” is on the phone—a landline—from his apartment in downtown Denver. “I’ve never used a computer for anything,” he says. “I don’t have a cell phone. I don’t know how to text message. I write my books by hand, and I write historical novels, and it all works.”