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The Paranoid Style in American Diplomacy
A new history of Middle East oil and the deep roots of American violence in Iraq. Iraq has been the site of some of the United States' longest and most sustained military campaigns since the Vietnam War. Yet the origins of US involvement in the country remain deeply obscured—cloaked behind platitudes about advancing democracy or vague notions of American national interests. With this book, Brandon Wolfe-Hunnicutt exposes the origins and deep history of US intervention in Iraq. The Paranoid Style in American Diplomacy weaves together histories of Arab nationalists, US diplomats, and Western oil execs to tell the parallel stories of the Iraq Petroleum Company and the resilience of Iraqi soci...
On Photography in Lebanon
We are transitioning towards a new and different culture, a digital one in which the medium of photography becomes dangerously diluted in an image world produced moment by moment and consumed at a rapid pace. Photographic images and their reception inevitably converge with the symbolic, cultural, social, and political implications of the act of looking. Here, 40 contributors share their perspectives on photography in Lebanon, evoking its numerous forms of existence. Examining techniques, practices, uses, objects, images, histories, and artistic approaches, the book presents a fascinating collection of 380 photographs produced between the end of the 19th century and today.
A Medium Seen Otherwise
"Having undergone profound material, aesthetic, and institutional transformations since the arrival of digital technologies, photography and film frequently intersect in the processes of convergence (the shared technological basis of diverse media in digital code) and remediation (the mutual reshaping of old and new media). However, the foundational relations between film and photography have a long history extending well back into the nineteenth century. This history includes many acclaimed practitioners who have worked in both media, such as Albert Kahn, Helen Levitt, Agnès Varda, Chris Marker, Robert Frank, Wim Wenders, Abbas Kiarostami, and Fiona Tan, but it also involves a range of intermedial forms that combine elements of both media, such as the film still, the film photonovel, and the photofilm. These hybrid forms were long neglected critically because they were considered marginal forms of paratextuality or deviations from medium specificity-the idea that a medium must be deployed according to its own specific capacities compared to other media"--
A Bibliography for After Jews and Arabs
"A Bibliography for After Jews and Arabs presents the original bibliography, as completed in 1992, without changes, as a glimpse into the historical record of a unique scholarly, political, poetic, and cultural journey. The bibliography itself had roots in research begun in the late 1970s and demonstrates a very wide arc. In addition to the bibliography, we include three accompanying texts here. In "Behind the Scenes: Before After Jews and Arabs," Alcalay takes us behind the closed doors of the academic process, reprinting the original reader reports and his detailed rebuttals, and in "A Bibliography for After Jews and Arabs: A Brief Introduction," Alcalay contextualizes his own path to the work he undertook, in methodological, historical, and political terms. Also included is "A Poetics of Bibliography""--Publisher's description
Post-Traumatic Art in the City
Setting the (Art) Scenes: A Comparative Approach to Site-Specific Discourses in Post-Conflict Cities -- Past/Present/Here/There: Voicing Loss and Dislocating Subjectivity in Danica Dakić's video installation Autoportrait (1999) -- Witnessing Besides the Forgotten: Maja Bajević's Performances Women at Work (1999-2001) -- Journeys in Time: Traversing Generational Memories with the Moving Image in Lamia Joreige's video A Journey (2006) -- Wounded Places: Architecture and Landscape in the Photographic Work of Paola Yacoub.
Picturing the Ottoman Armenian World
The Armenian contribution to Ottoman photography is supposedly well known, with histories documenting the famous Ottoman Armenian-run studios of the imperial capital that produced Orientalist visions for tourists and images of modernity for a domestic elite. Neglected, however, have been the practitioners of the eastern provinces where the majority of Ottoman Armenians were to be found, with the result that their role in the medium has been obscured and wider Armenian history and experience distorted. Photography in the Ottoman East was grounded in very different concerns, with the work of studios rooted in the seismic social, political and cultural shifts that reshaped the region and Armeni...
Reading Marie al-Khazen’s Photographs
The Lebanese photographer Marie al-Khazen seized every opportunity to use her camera during the years that she was active between 1920 and 1940. She not only documented her travels around tourist sites in Lebanon but also sought creative experimentation with her camera by staging scenes, manipulating shadows, and superimposing negatives to produce different effects in her prints. Within her photographs, bedouins and European friends, peasants and landlords, men and women comfortably share the same space. Her photographs include an intriguing collection portraying her family and friends living their everyday lives in 1920s and '30s Zgharta, a village in the north of Lebanon. Yasmine Nachabe Taan explores these photographs, emphasizing the ways in which notions of gender and class are inscribed within them and revealing how they are charged with symbols of women's emancipation to today's viewers, through women's presence as individuals, separate from family restrictions of that time. Images in which women are depicted smoking cigarettes, driving cars, riding horses, and accompanying men on hunting trips counteract the common ways in which women were portrayed in contemporary Lebanon.
The Europa International Foundation Directory 2020
Now in its 29th edition, the Europa International Foundation Directory 2020 provides an unparalleled guide to the foundations, trusts, charitable and grantmaking NGOs, and other similar not-for-profit organizations of the world. It provides a comprehensive picture of third sector activity on a global scale. Users will find names and contact details for some 2,690 institutions worldwide. This new edition has been revised and expanded to include the most comprehensive and up-to-date information on this growing sector. Indexes allow the reader to find organizations by area of activity (including conservation and the environment, science and technology, education and social welfare) and geographical region of operations (e.g. South America, Central America and the Caribbean, Australasia, Western Europe and North America). Contents include: A comprehensive directory section organized by country or territory; Details of co-ordinating bodies, and of foundations, trusts and non-profit organizations; A full index of organizations, and indexes by main activity and by geographical area of activity.
Laure Ghorayeb
Cette monographie retrace l'évolution de la pratique de l'artiste libanaise Laure Ghorayeb, de l'écriture au dessin et à la peinture. Seconde publication dans la série de la Saradar Collection, l'ouvrage inclut des textes de Venetia Porter, Maha Azizé Sultan, un entretien avec l'artiste et une sélection de dessins, peintures et poèmes de l'artiste de 1960 à 2017. Reconnue pour ses dessins complexes et détaillés à l'encre, son œuvre représente des chroniques de sa vie, ainsi que des événements et des personnes qui ont eu un impact sur celle-ci, tels que les guerres civiles libanaises et les membres de sa famille.
Message from the Exterior
Message from the Exterior explores the ruins and remains of failed attempts to live in the desert's harsh environments, depicting abandoned houses--small, often eccentric huts, both humorous and a little forlorn. Ruwedel examines the desert regions east of Los Angeles as a palimpsest of cultural and natural histories, presenting an inventory of a particular, and poignant, form of vernacular architecture; each structure might be read as a clue to the lives of anonymous individuals, and the impulse to create a home in the wilderness, however transitory. The first section, 'Desert Houses', comprises 68 desert structures, while the second section "Dusk" presents houses photographed after the sun had disappeared over the horizon, now rendered in subdued, dusky tones that suggest both present and absence, and the weight of isolation.
