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Nazli Zainab Hanim (Arabic: نازلی زینب هانم; 1853 – 28 December 1913) was an Egyptian princess from the dynasty of Muhammad Ali Pasha and one of the first women to revive the tradition of the literary salon in the Arab world, at her palace in Cairo from the 1880s until her death.
Princess Nazli Fazil. PRINCESS NAZIL, CIRCA 1880. Born in 1853, Princess Nazli Zeinab Fazil grew up in a Ottoman-Egyptian elite family. She was the granddaughter of Egyptian ruler Muhammad Ali Pasha. Princess Nazli was highly educated, and was the first Egyptian women to run a cultural salon in 19th century Egypt.
Nazlı Fazıl (arabe : نازلي فاضل), Nazli Fadhel, Nazli Fazl ou Zainab Nazlı Khanum Effendi, née en 1853 à Constantinople et morte le 12 décembre 1913 au Caire, est une princesse égyptienne de la dynastie de Méhémet Ali et l'une des premières femmes à avoir tenu un salon littéraire dans le monde arabe moderne, ce ...
31. März 2022 · By Farah Rafik. From a life of silver spoons to a life enfettered: the story of queen Nazli, Egypt’s first queen consort, is a story of love and power. A tragic character, Nazli’s background exposed her to power and luxury from a young age.
This article analyses an interview given by Princess Nazlı Fazıl (1856–1913) on 3 June 1899 to the British journal The Gentlewoman . Examining this rare instance of the representation of an elite Ottoman woman in the British media, this article demonstrates how Princess Nazlı used the foreign press to advance her own interests both abroad ...
28. Juli 2021 · The Egyptian feminist leader Hoda Sha’rawi in the early 1900s (a); Princess Nazli Fazil (b), one of the first women to revive the tradition of the literary salon in the Arab world in 1880s; Dr. Hilana Sedarous (c) the first female medical doctor in modern Egypt in 1930; Dr. Sameera Moussa (d), the first Egyptian nuclear scientist ...
In my book, I consider a fascinating double portrait of Nazli in which she crosses gender, sexuality, ethnicity, and religious boundaries by dressing as a religious Egyptian man (Fig. 2). The pair of photographs exhibit a burgeoning visual culture that harnessed and toyed with colonial imagery for political ends.
