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            <title xml:lang="en">Love, Shame and Prestige in Cairo</title>
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            <title xml:lang="en" type="sub">: Musicians on Mohamed Ali Avenue, between Urban Intimacy and Estrangement.</title>
            <title xml:lang="fr" type="sub">Les musiciens de l'avenue Mohamed Ali entre intimité urbaine et mise à distance sociale</title>
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                <title xml:lang="en">Love, Shame and Prestige in Cairo</title>
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                <title xml:lang="en" type="sub">: Musicians on Mohamed Ali Avenue, between Urban Intimacy and Estrangement.</title>
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                <term xml:lang="fr">Le Caire (Égypte)</term>
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                <term xml:lang="fr">distance</term>
                <term xml:lang="fr">proximité</term>
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              <p>In the talk of Cairo musicians who play for marriages, the frequency of the theme of a descent from love to shame is evidence of a longing for social recognition and respectability that contrasts with their status, which is associated with a feeling of discomfort shared within the profession. Recurrently suspected of moral deviancy, these musicians are held at a social distance, a factor reinforcing their different lifestyle. The professional practice of music leads to situations that are alien to the urban circles where musicians perform. Although they are outsiders not belonging to the neighborhood, family or public, these musicians gain access to the intimacy of private places on major social occasions. This presence is ambivalent. In an «appropriated », « privatized » space, musicians are both a source of « subjectivation » and a potential source of trouble. The apparent paradox of their marginal status corresponds to an estrangement in urban society. In this respect, they are an emblem of urban living conditions.</p>
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              <p>La fréquence de la thématique du déclin (de l'amour à la honte) dans les discours des musiciens de mariage au Caire révèle une forte aspiration à la reconnaissance sociale et à la respectabilité. Cela renvoie à leur condition sociale, source d'un malaise partagé au sein de la profession. Soupçonnés de façon récurrente de déviance morale, ils font l'objet d'une mise à distance sociale qui s'ajoute à la spécificité de leur mode de vie. Surtout, les pratiques professionnelles de la musique entraînent des situations d'extranéités par rapport aux mondes urbains dans lesquels les artistes interviennent. Étrangers au quartier, à la famille, au public, ils pénètrent pourtant au cœur de l'intimité des lieux à l'occasion de moments forts de la vie sociale. Cette présence est ambivalente : ils sont, au sein d'un espace approprié et privatisé, source de subjectivation en même temps que facteur de roubles potentiels. C'est là l'apparent paradoxe de leur marginalité : elle est une figure de l'éloignement au cœur de la société citadine. En cela, ils représentent un emblème de la condition citadine.</p>
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