شهدت العاصمة البريطانية الاثنين 4 يوليو/تموز عرضا مسرحيا سوريا يحمل اسم "ملكات سوريا"، وهو يعد أول إنتاج عربي "مترجم" يعرض على الجمهور البريطاني قصص لاجئات سوريات.
ويجمع العمل المسرحي المقتبس من مسرحية نساء طروادة، 13 لاجئة سورية مزجن تجاربهن في النزاع السوري ونسجن منها خيوط قصة المسرحية.
وكان العرض الأول لـ "ملكات سوريا" في العاصمة الأردنية عمان عام 2013، وتم تحويل قصة العرض إلى فيلم وثائقي فازت من خلاله المخرجة ياسمين فدا بجائزة أفضل وثائقي في مهرجان أبو ظبي السينمائي في عام 2014.
Shariah High Court judges, Kenney Shuhaidah Shamsuddin and Noor Huda Roslan (left) celebrating after receiving their appointment credentials at Istana Bukit Kayangan, June 27, 2016. - Bernama picSHAH ALAM, June 27 — Two women judges from Selangor have been appointed to the Shariah High Court, a first in Malaysia, the Star Online reported
Noor Huda Roslan, 40, and Nenney Shuhaidah Shamsuddin, 41, received their appointment letters from the Sultan of Selangor Sultan Sharafuddin Idris Shah during a ceremony at the Istana Bukit Kayangan.
According to the news portal, the Shariah chief judge Datuk Dr Mohd Na'im Mokhtar said the appointments showed the Sultan's concern about Shariah Court matters.
Dr Mohd Na'im added that the appointments had nothing to do with gender, and the two women were qualified for the job.
Seven other women were made Shariah Lower Court judges.
In the London of the early 1980s, when Zaha Hadid, who has died aged 65 after a heart attack, first opened her own office in a small room in a redundant Victorian school in Clerkenwell, the idea that she might one day become one of the world’s most celebrated and successful architects would have seemed far-fetched. At a time when most architects were still under the lash of the Prince of Wales, camouflaging their work with a constipated brick and tile skin, or decorating their facades with fragments of postmodern confectionery, Hadid was not building anything. She was working night after night, essentially living in the drawings that flowed from her pen in an apparently unstoppable flood. They conjured up glimpses of a world she had imagined but which did not, as yet, exist. For those who didn’t get it, her work was seen as just too difficult. And she wasn’t going to try to ingratiate herself with those who did not understand her.
The most visible results of that period are a series of huge paintings that hinted at what she might build if she had the chance. They did not depict anything that could be conventionally identified as a building, but instead showed jagged landscapes in which walls and roofs, inside and outside, ground plan and cross section, merged seamlessly one into another. They were more like Piranesi dreamscapes than rational proposals for orthogonal buildings. But these were not abstractions or fantasies: they were the product of Hadid’s exploration of new ways to imagine how space might work, inspired in part by the drawings of the Russian artist Kazimir Malevich, whom she discovered when she was still a student.
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The most famous of them were made for the competition she won in 1983 to design a resort complex in Hong Kong, known as The Peak. A series of overlapping cantilevers jutted out into space, providing layers of accommodation, bars and restaurants, as well as hotel rooms. The eminent engineer Peter Rice, who had worked on the Pompidou Centre in Paris, endorsed them as entirely buildable, but the client turned out not to have the cash. It was a failure to launch that is common in most architectural careers, where unbuilt schemes outnumber built projects by a large margin. But in Hadid’s case it was the start of what became a persistent theme for her critics. Hong Kong was not built; neither, 10 years later, was the Cardiff Bay Opera House. Most recently, her competition-winning design for Tokyo’s Olympic stadium was scrapped. She was blamed for all these, unfairly attacked for her personality as well as her competence.
The ideas that she was working through in the 1980s were most convincingly realised in the Heydar Aliyev centre, the cultural complex that she built in Baku, Azerbaijan, 30 years later. It resembles a gravity-defying snow-white iceberg that erupts from the ground like a twisting rollercoaster. And unlike some of her projects in which corners have been cut by builders in a hurry, Baku was beautifully finished, inside and out. Her critics saw this building as the glorification of a repressive and sinisterly authoritarian regime. For Hadid, it was the product of the negotiation with power that has always been part of the practice of architecture.
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Daughter of Mohammad Hadid and Wajiha al-Sabunji, she was born in Baghdad. Her father was a liberal politician who sent Zaha to a convent school despite being a Muslim. One of her brothers, Foulath, became an Oxford academic – Zaha later built a library for his college, St Antony’s. She grew up in a secular, modernising Baghdad at a time when Le Corbusier had been commissioned to build a sports complex, Frank Lloyd Wright was working on a cultural centre, and Walter Gropius had built a university campus. These were projects that she acknowleged might have inspired her choice of career, and certainly gave her a sense of the transformative power of architecture.
Later she went to an English boarding school, gained a maths degree at the American University of Beirut, and then, most importantly, studied at the Architectural Association school in London. The AA had become a hothouse, a licensed opposition in which dissidents and dreamers created an architecture, mainly on paper, that had nothing to do with the bleak architectural climate of the time.
The school in those days was led by Alvin Boyarsky, whom Hadid always cited as one of her most important influences. Her two most important teachers, apparently at the opposite ends of the architectural spectrum, were Leon Krier, who went on to become a close adviser to the Prince of Wales, and Rem Koolhaas, who uses the world brutal as a compliment. For many years, both Krier and Koolhaas presented building as a kind of sell-out. Hadid matched their reluctance to compromise but was always determined to build.
ويأتي تعيين أزولاي 43 عاما، التي كانت مستشارة للرئيس الفرنسي في الشؤون الثقافية لتخلف فلور بيلران.
وبهذا التعيين تصبح أودري أزولاي ثالث فرنسية من أصل مغربي تتقلد حقيبة وزارية في حكومة مانويل فالس، بعد نجاة فالو ومريم الخمري.
كما عرفت حكومة فالس تعديلات أخرى، حيث عين هولاند، أيضا، رئيس الوزراء
السابق جان مارك إيرو وزيرا للخارجية خلفا للوران فابيوس الذي ترك المنصب
ليرأس المجلس الدستوري الأعلى لفرنسا.
http://www.alalam.ir/news/1788496
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أعلنت الرئاسة
الفرنسية، اليوم الخميس، عن تعيين السيدة أودري ازولاي، ابنة المستشار
الملكي اندري ازولاي، على رأس وزارة الثقافة والإعلام، وذلك خلفا لفلور
بيلران.. وجاء تعيين أودري ازولاي في إطار التعديل
الوزارى بفرنسا، الذي أعلنت عنه الرئاسة الفرنسية في حكومة مانويل فالس،
حيث تم تعيين رئيس الوزراء الأسبق جون مارك ايرو وزيرا للخارجية، خلفا
للوران فابيوس الذي ينتظر تعينه رئيسا للمجلس الدستورى.
وأوضح الأليزيه، فى بيان اليوم، أنه تم
تعيين إيمانويل كوس، الأمينة العامة لحزب "أوروبا البيئة-الخضر"، وزيرة
للإسكان، فيما خلفت السيدة أودري ازولاي الوزيرة السابقة فلور بيلران على
رأس وزارة الثقافة والإعلام، بينما تم تعيين جون فانسون بلاسي وزيرا للدولة
للإصلاحات .
وتغادر آنيك جيراردان منصبها كوزيرة
للدولة للتنمية والفرنكوفونية لتتولى وزارة الوظيفة العمومية، كما تم تعيين
جولييت مياديل المتحدثة باسم الحزب الأشتراكي وزيرة للدولة المعنية
بمساعدة الضحايا، فيما تم تعيين باربرا بومبيلي فى منصب وزيرة الدولة
المسؤولة عن العلاقات الدولية حول المناخ.
واودري هي فرنسية من أصول مغربية، وهي ابنة اندري أزولاي مستشار جلالة الملك محمد السادس..
وعملت أودري ازولاي مستشارة ثقافية
للرئيس الفرنسي فرنسوا هولاند، منذ يوليو 2014. وكانت اودري قاضية بادارة
المحاسبات الفرنسية ومسؤولة سابقة بالمركز الوطني الفرنسي للسينما، قبل
تعيينها مستشارة ثقافية للرئيس فرنسوا هولاند ووزيرة للثقافة.
وبهذا التعيين تكون أودري أزولاي ثالث
فرنسية من أصل مغربي، تتقلّد حقيبة وزارية في الحكومة الفرنسية الحالية بعد
نجاة فالو بلقاسم وزيرة التربية، ومريم الخمري، وزيرة العمل.
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