The Egyptians are well known for having a propensity for irony and sarcasm, and, indeed, it is no accident that they are also known as awlad al-nuktah (children of jokes). But Egyptian humour, displayed in magazines, comics and popular stories, is never without significance. It offers an important occasion for reflection and criticism. It comes to create – through irony – a moment of sympathy amongst people afflicted by the same sufferings. Humour takes on almost a therapeutic function. This accounts for the abundance of jokes circulating after periods of crisis, and it is in this sense that al-nuktah (intended as a time for irony) is an indicator of the halah (situation) of the country. An Arab saying goes, more or less, like this: “Situations of great suffering call for laughter”. Thus, irony seems to be the psychological unlocking of repressed anxieties. It makes it possible to exploit whatever amount of ridicule there is in the enemy that is the object of humour. But humour can never become a remedy. It is an ephemeral escape from a no way out situation. In the conviction that revolutions, very much like irony, speak the language of the people, i.e. ‘ammiyyah, we believe that the Egyptian riots which began on January 25th, 2011 are no exception. In this sense, “Tuk Tuk”, the comic by Muḥammad al-Šinnawi, certainly stands out amid other satiric publications. Issued every three months, it was first published on January 9, 2011, precisely on the eve of the Egyptian uprising. Does this publication confirm the theory, already advanced on other occasions, that movements immediately preceding or following popular riots are characterised by a proliferation of publications in dialect and with ironic overtones? Could “Tuk Tuk” represent a display of the fears of common people, like some of the satirical magazines that were published in the late 19th and early 20th century? Does “Tuk Tuk” reflect a new perception of reality surrounding Egypt’s less privileged social classes?

Graphic Novel and Comic Books in Post-Revolutionary Egypt : Some Remarks / F. De Angelis. - In: LA RIVISTA DI ARABLIT. - ISSN 2239-4168. - 5:9-10(2015 Dec), pp. 23-37. ((Intervento presentato al 12. convegno SeSaMO Conference : Beyond the Arab Uprisings : Rediscovering the MENA Region tenutosi a Venezia nel 2015.

Graphic Novel and Comic Books in Post-Revolutionary Egypt : Some Remarks

F. De Angelis
2015

Abstract

The Egyptians are well known for having a propensity for irony and sarcasm, and, indeed, it is no accident that they are also known as awlad al-nuktah (children of jokes). But Egyptian humour, displayed in magazines, comics and popular stories, is never without significance. It offers an important occasion for reflection and criticism. It comes to create – through irony – a moment of sympathy amongst people afflicted by the same sufferings. Humour takes on almost a therapeutic function. This accounts for the abundance of jokes circulating after periods of crisis, and it is in this sense that al-nuktah (intended as a time for irony) is an indicator of the halah (situation) of the country. An Arab saying goes, more or less, like this: “Situations of great suffering call for laughter”. Thus, irony seems to be the psychological unlocking of repressed anxieties. It makes it possible to exploit whatever amount of ridicule there is in the enemy that is the object of humour. But humour can never become a remedy. It is an ephemeral escape from a no way out situation. In the conviction that revolutions, very much like irony, speak the language of the people, i.e. ‘ammiyyah, we believe that the Egyptian riots which began on January 25th, 2011 are no exception. In this sense, “Tuk Tuk”, the comic by Muḥammad al-Šinnawi, certainly stands out amid other satiric publications. Issued every three months, it was first published on January 9, 2011, precisely on the eve of the Egyptian uprising. Does this publication confirm the theory, already advanced on other occasions, that movements immediately preceding or following popular riots are characterised by a proliferation of publications in dialect and with ironic overtones? Could “Tuk Tuk” represent a display of the fears of common people, like some of the satirical magazines that were published in the late 19th and early 20th century? Does “Tuk Tuk” reflect a new perception of reality surrounding Egypt’s less privileged social classes?
Tuk Tuk; Comic books in Egypt; Egyptian dialect and comic books
Settore L-OR/12 - Lingua e Letteratura Araba
dic-2015
Università Ca' Foscari Venezia
Italian Society for Middle Eastern Studies
Article (author)
File in questo prodotto:
File Dimensione Formato  
Graphic Novel and Comic Books in Post-Revolutionary Egypt Some Remarks.pdf

accesso riservato

Descrizione: Aricolo principale
Tipologia: Publisher's version/PDF
Dimensione 806.19 kB
Formato Adobe PDF
806.19 kB Adobe PDF   Visualizza/Apri   Richiedi una copia
Pubblicazioni consigliate

I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.

Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/2434/483914
Citazioni
  • ???jsp.display-item.citation.pmc??? ND
  • Scopus ND
  • ???jsp.display-item.citation.isi??? ND
social impact