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Introduction:The starting point of female criticism coincides with liberation from the linear stereotypes of men's literary history. Feminist literary criticism does not mean to eliminate the differences in the way of writing between women and men, and in this type of criticism, gender differences do not become meaningless, but the purpose of this criticism is to understand women's writing in order to reach a broader perspective of women's reality. In the 19th century, novel writing was considered a purely masculine practice, and mentioning a female novelist caused suspicion, shame, surprise, and misogyny towards the author. The intellectual endeavors of women in less than two hundred years, has opened up new perspectives on human knowledge and raised many important questions. But the astonishing variety and conflict of ideas themselves has become a barrier to understanding how and why they are. Feminist critique examines the role of women in the two axes of the creator of the work (the woman as the writer) and the created personality (the face presented by the woman in the works of the authors). The experience of writing a novel is considered one of the modern literary experiences in the Sultanate of Oman, and its history does not exceed a few decades. The Al-Tawaf Haith Al-Jamar is considered the first women's novel in Oman and its protagonist in life is a kind of victim of patriarchy. The first appearance of women in the field of Omani novel writing took place in 1999 with the novel Al-Tawaf Hayat al-Jamar by Badria Al-Shihhi. Methodology:In this study, the authors try to use the feminist approach and descriptive analytical method to examine the characters of the story and put their actions according to the characteristics of each of the stages of imitation, protest and self-discovery in the classification of feminist criticism and the evolution Identify and analyze them in each of these stages and seek to find answers to these questions: What are the most obvious feminist components in Al-Tawaf Haith Al-Jamar’s novel? Results:Omani novelist Badria Al Shهhhi, in her novel “Al-Tawaf Hayat al-Jamar,” shed light on an important historical stage in the history of her country, which was characterized by the Omani presence in Zanzibar, Africa, and how rebellious movements were raging in several hotspots there, warning of the occurrence of disasters that would cause historical tragedies. In parallel, it monitors a number of social, commercial and economic transformations that interacted and exploded in ways that were not devoid of cruelty and brutality through its characters, which are decorated with contradictions and contradictions. It does not philosophize much in trying to understand the changes that are sweeping it, but rather goes with the waves as if it were part of the movement of the scene with its confusions, strangeness and madness. Badria Al-Shihhi is the first Omani female novelist, and ironically, her first novel is also a feminist novel that, after forty years of silence, steps into the field of literature not to imitate men, but to shout and protest. Widowed at a young age, Zahra finds herself being forced into a hasty marriage to her cousin. Having been conditioned by her family and society to perennially obey society’s diktats, taking destiny into her own hands seems nigh impossible. Her radical decision to do so takes her on the journey of discovery from an Omani village perched atop a mountain to the East African coast. But of more importance than her physical journey through space is her internal one: of how far Zahra has to go to be free from the shackles of discrimination to finally find her place in the world, and what that search for independence holds for her. The findings of the research show that components such as protest, self-expression, violence, suppression of female instinct, taboo breaking have the most contribution in this novel and make it a part of feminist works. Although traces of self-awareness can be seen in this novel, by choosing to isolate the hero, the author has deprived him of reaching the stage of turning inward and self-discovery to find an individual identity and away from any imitation and protest.Conclusion:Al-Tawaf Haith Al-Jamar presents a model of a woman's efforts to liberate herself and not accept outdated patriarchal traditions. The revolution of this woman against the patriarchal society was parallel to the revolution of the African people against the Arabs who invaded their country and took over their lives and property. The author depicts the hardships that this woman endured on the way to achieving her dreams, as well as the financial and life losses that the African people suffered to realize their freedom; It seeks to prove that no freedom comes without a cost. The name he chose for this novel also indicates its content, because tawaf means an endless cycle and sequence that shows the continuation of this struggle. This novel was written in protest against male writing standards and the presentation of a stereotypical image of women, and it prioritized the defense of women's rights and women's idealism. Badria al-Shihhi shows the emergence of self-hiding in a woman named Zohra after enduring the sufferings that have been imposed on her for three decades in her life; shows. A woman whose whole life is described as endless service. Now looking for a range to be heard and seen and discovered; becomes Badria al-Shihhi has used this character as a model for a better and ideal being. In this novel, there is only one woman who is on a ship as a small community and on a path whose limits and end are unclear and all the passengers are men; is in motion The plurality of men in the novel shows the majority of their determining presence in the real society and the fact that there is only one woman among them has a directional and appropriate link with the reality of women being in the minority and describes the society's inferior view of women. Badria al-Shihhi did not accept the silence and description compatible with the environment and used literature as a means to depict the oppression and oppression of women. He leads his protagonist towards self-awareness, but at the end of the novel, by dragging him into isolation and transsexuality, he has deprived him of reaching the stage of turning inward and self-discovery to find an individual identity and away from any imitation and protest.

"The Kanem and Borno Sultanates (11th–19th Centuries)" published on by Oxford University Press.

At a time of rapid international change and marked regional dynamism, the Sultanate of Oman is emerging as a nation of surprising significance. Oman is a unique case of a Gulf state strategically and culturally located at a crossroads between the Indian Ocean, the Arabian Sea and the Persian Gulf. From this position, the Sultanate has developed its own political identity and pursued a unique foreign policy in the turbulent Middle East region, enabling the country to survive and overcome the challenges of the region. Over the years, the Sultanate has earned the title "Switzerland of the Middle East" due to its political neutrality and its prominent role as a regional mediator and peacekeeper. Renowned local and international authors as well as promising younger scholars present studies on the history, politics, economy and culture of Oman.

Cet article traite de l’esclavage et du genre dans la fiction contemporaine omanaise écrite par des femmes. Face au vide historiographique et anthropologique sur l’esclavage légal dans la péninsule Arabique, la littérature nourrie par la mémoire permet d’aborder cette question. Elle rend visible des subjectivités d’esclavisé·es ou de leurs descendant·es absentes des récits dominants. Dépassant les polémiques sur l’usage de la production littéraire dans les sciences sociales, l’article considère la littérature comme un point d’entrée anthropologique, politique et économique apte à éclairer les situations concrètes de l’esclavage et du post-esclavage dans la société contemporaine omanaise. Il souligne tout particulièrement les tensions entre l’écriture mémorielle de l’esclavage et les positions de pouvoir et de genre des écrivaines. Il analyse ainsi une double subjectivité : celle des protagonistes femmes dans le roman et celle des romancières. Deux principaux romans omanais examinent l’esclavage dans la sphère intime et privée de la famille, du mariage et de la sexualité : Sayyidāt al Qamar (Les Corps célestes) de Jokha Alharthi et Al ashyā’ layssat fi amākiniha (Things are not in their place) de Huda Hamed (Al Jahouri). Le premier roman aborde frontalement l’esclavage et la traite omanaise qui s’étendait des côtes d’Afrique orientale jusqu’au Baloutchistan ; la concubine Zarifa étant l’un des principaux personnages. Le second roman raconte l’évitement matrimonial entre Amal, une baysara (métissée) et Mohsin, un « Arabe » issu d’une tribu « noble » et « pure ». Dans les deux romans, la question de la race, du genre et de l’origine généalogique s’inscrit au cœur des pratiques matrimoniales, sexuelles et familiales.L’article s’appuie sur une enquête de terrain menée au sultanat d’Oman en février 2023. Des entretiens en langue arabe ont été conduits avec les deux romancières Jokha Alharthi et Huda Hamed, afin de recueillir leurs discours et leurs perceptions sur le passé colonial, sur l’esclavage et son héritage, sur le rôle de la littérature, sur la réception de leur œuvre par le public local et international ainsi que sur les sources utilisées dans leur production littéraire. D’autres entretiens ont été menés avec des personnalités littéraires, académiques, et des représentants officiels.Dans la première partie de cet article, le roman contemporain est traité comme un matériau permettant de saisir les transformations sociétales dans le sultanat d’Oman en contexte d’esclavage et de post-esclavage, dans une perspective intersectionnelle. En premier lieu, cette partie met en lumière les multiples formes de domination au sein de l’institution du concubinage, soulignant la notion de propriété légale de l’esclave (milk) dans la loi musulmane. Elle montre le cycle de violences sexuelles exercées sur le corps de l’esclave-femme ainsi que les relations complexes entre maître et concubine où se mêlent abus, affection et domination. Elle témoigne aussi des relations prohibées entre la maîtresse et son esclave. Cette première partie indique également comment le roman permet d’évoquer les expériences de genre différenciées parmi les esclaves eux-mêmes, entre les esclaves né·es dans la maison du maître et les esclaves capturé·es qui se remémorent le « voyage ». Une telle distinction informe sur le sentiment d’appartenance à la nation : la loyauté nationale semble plus forte parmi les esclaves né·es dans la maison du maître, notamment les femmes, qu’au sein de la génération capturée, surtout masculine, bien plus rebelle. Le roman contemporain omanais donne l’opportunité, en troisième lieu, de décrire les pratiques post-esclavagistes au sein du mariage, un lieu de reproduction des hiérarchies sociales et raciales. Il évoque le thème des évitements matrimoniaux qui exprime des subjectivités féminines où s’entrecroisent race, genre et lignée. Prenant le cas des bayāsir (métissé.es), le roman omanais révèle que la discrimination ne relève pas de la couleur de peau mais de la généalogie. Si ces romans rendent visibles des trajectoires et des expériences d’esclavisé·es, le positionnement des romancières peut sembler paternaliste, les femmes noires étant souvent associées aux stéréotypes liés à la prostitution et à l’impossibilité pour elles de former une famille stable.La deuxième partie de l’article aborde les modes de narration, les positionnements des romancières omanaises, et la réception controversée de l’œuvre littéraire évoquant l’esclavage. Elle traite des subjectivités et des sources utilisées par les romancières. La place attribuée à l’histoire orale et aux archives dans la construction romanesque est centrale dans l’écriture féminine et mémorielle sur l’esclavage. Des subjectivités racialisées sont également évoquées. À l’inverse des black feminists afro-américaines qui ont écrit des neo-slave narratives, les romancières omanaises ne sont pas issues de communautés afro-arabes descendantes d’esclaves ; elles appartiennent à la classe dominante et « blanche ». Si ces romancières sont accusées de faire le jeu du colonialisme, on leur reproche également d’être son relais. Des attaques féroces ont fusé après l’attribution de prix littéraires (comme celui du Man Booker International Prize 2019 pour Sayyidāt al Qamar de Jokha Alharthi) et la traduction de leur œuvre. Pour les « conservateurs », ces romans montraient les Omanais sous l’angle des colonisateurs ou des esclavagistes. Ainsi, la traduction de ces œuvres a produit des discours locaux autour de l’esclavage et a soulevé de nombreuses polémiques à propos de la mémoire coloniale. Cette fictionnalité vient combler un silence institutionnel, les autorités évitant d’engager un débat national sur l’esclavage qui pourrait nuire à l’image internationale du pays. Au-delà d’un récit national homogène, la fiction contemporaine, essentiellement écrite par des femmes, permet donc de rendre visible l’esclavage dans la péninsule Arabique. Dépassant des visions sur l’esclavage oriental « doux » et « bienveillant », cet article cherche à inscrire celui-ci dans les études sur les histoires globales de l’esclavage.

This paper aims to assess the sustainability potential of Algerian desert Ksour's architectural and urban heritage. It identifies systems aligning with the 17 sustainable development goals (SDGs), categorized into formal, spatial organization, and architectonic aspects. The approach correlates Ksour's architectural features with SDGs defined by the International Union of Architects, yielding 40 passive features applicable for achieving SDGs. Notably, features like high windows (architectural) and strategic siting (urban) remain relevant for energy efficiency and carbon footprint reduction. This research gives us the opportunity to improve our strategies for rehabilitating and adapting built heritage so that it can meet current environmental challenges, but also opens up the possibility in the future of continuing to identify more sustainable systems by extending the study of heritage examples, but also and above all of developing a reflection on the adaptation of these passive systems in the design of contemporary architectural and urban projects.

تهدف هذه الدراسة إلى كشف النقاب عن وثيقة تاريخية مهمة عثرنا عليها ضمن (دفتر نامه همايون رقم 9-110)، المحفوظ في أرشيف رئاسة الوزراء باستانبول.وهذه الوثيقة هي رسالة همايونية جاءت في إطار المراسلات الثنائية بين السلطان العثماني عبد الحميد الأوَّل (1187-1203ه/ 1774-1789م) وحاكم عُمان الإمام أحمد بن سعيد (1157-1197ه/1744-1783م)؛ لمناقشة الوضع الخطير الناجم عن الاحتلال الإيراني لمدينة البصرة الذي دام ثلاث سنوات، وسُبُل التنسيق المشترك بين عُمان والدولة العثمانية عيشة الانسحاب الإيراني من مدينة البصرةإثر موت كريم خان الزند، وما تلا ذلك من نزاع داخلي على السلطة.