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The degeneration of everyday material conditions
Mona Abaza

intelligent female singers, modern dancers, film directors, musicians, and actors. It seems to me that all these endeavours constitute distinct evidence that women’s demands have led to a certain improvement. Ironically, it might also be that since 2011 the heightened gender awareness has been paired with a growing tendency to inflict hardship on women (and men too). My personal observations suggest that blatant misogyny and overt aggression – from which, perhaps, middle- and upper-class women might have been partly sheltered in earlier times – is today overtly in the air

in Cairo collages
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Al-‘imaara (the building) as topos
Mona Abaza

numerous interactions 24 Cairo collages with the residents of the building, until a Japanese newcomer, Mr Ozu (who carries the same name as the famous Japanese director, but is not related to him), appears on the scene. He has just purchased the flat of the deceased, long-term resident Pierre Arthens. Mr Ozu discovers the beauty, intelligence, and erudism of Madame Renée. They share an affinity and appreciation of the aesthetics of the Japanese film director Ozu, and together they watch films in Mr Ozu’s refined Japanse-style flat (with sliding doors). A bonding

in Cairo collages