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Whereas most studies of Islamism focus on politics and religious ideology, this book analyses the ways in which Islamism in the Arab world is defined, reflected, transmitted and contested in a variety of creative and other cultural forms. It covers a range of contexts of production and reception, from the early twentieth century to the present, and with reference to cultural production in and/or about Morocco, Algeria, Tunisia, Egypt, Yemen, the Gulf, Lebanon and Israel/Palestine. The material engaged with is produced in Arabic, English and French and includes fiction, autobiography, feature films, television series, television reportage, the press, rap music and video games. Throughout, the book highlights the multiple forms and contested interpretations of Islamism in the Arab world, exploring trends and tensions in the ways Islamism is represented to (primarily) Arab audiences and complicating simplistic perspectives on this phenomenon. The book considers repeated and idiosyncratic themes, modes of characterisation, motifs, structures of feeling and forms of engagement, in the context of an ongoing struggle for symbolic power in the region.
The South Lebanon conflict saw two decades of sustained resistance by the Lebanese to the Israeli occupation. The Lebanese media's role in achieving liberation over this period is significant, through campaigns conducted to unify the Lebanese people against their foreign occupier and in support of the Lebanese resistance in South Lebanon. This book investigates the culture and performance of Lebanese journalism in this setting. It is a story about journalism told by a journalist who is also using tools of scholarship and research to narrate her story and the story of her fellow journalists. Zahera Harb is also presenting here an alternative interpretation of propaganda under conditions of foreign occupation and the struggle against that occupation. She identifies the characteristics of 'liberation propaganda' through the coverage and experience of the two Lebanese TV stations Tele Liban and Al Manar within the historical, cultural, organisational and religious contexts in which they operated, and how these elements shaped their professional practice and their news values.
How do the media cover the Middle East? Through a country-by-country approach, this book provides detailed analysis of the complexities of reporting from the Arab World. Each chapter provides an overview of a country, including the political context, relationships to international politics and the key elements relating to the place as covered in Western media. The authors explore how the media can be used to serve particular political agendas on both a regional and international level. They also consider the changes to the media landscape following the growth of digital and social media, showing how access to the media is no longer restricted to state or elite actors. By studying coverage of the Middle East from a whole range of news providers, this book shows how news formats and practices may be defined and shaped differently by different nations. It will be essential reading for scholars and practitioners of journalism, especially those focusing on the Arab World.
This book offers a much-needed focus on Palestine solidarity films, supplying a critical theoretical framework whose intellectual thrust is rooted in the challenges facing scholars censored for attempting to rectify and reverse the silencing of a subject matter about which much of the world would remain uninformed without cinematic and televisual mediation. Its innovative focus on Palestine solidarity films spans a selected array of works which began to emerge during the 1970s, made by directors located outside Palestine/Israel who professed support for Palestinian liberation. Visualizing the Palestinian Struggle analyzes Palestine solidarity films hailing from countries such as Canada, the United Kingdom, Egypt, Iran, Palestine/Israel, Mexico, and the United States. Visualizing the Palestinian Struggle is an effort to insist, constructively, upon a rectification and reversal of the glaring and disproportionate minimization and distortion of discourse critical of Zionism and Israeli policy in the cinematic and televisual public sphere.
"Hizbullah's management of its image and identity are scrutinised by the authors alongside analysis of the movement's communication strategy, political behaviour and performance"--Provided by publisher.
This Handbook maps the contours of an exciting and burgeoning interdisciplinary field concerned with the role of language and languages in situations of conflict. It explores conceptual approaches, sources of information that are available, and the institutions and actors that mediate language encounters. It examines case studies of the role that languages have played in specific conflicts, from colonial times through to the Middle East and Africa today. The contributors provide vibrant evidence to challenge the monolingual assumptions that have affected traditional views of war and conflict. They show that languages are woven into every aspect of the making of war and peace, and demonstrate...
Although there is a history of rich, complex, and variegated representations of female illness in Western literature over the last two centuries, the sick female body has traditionally remained outside the Arab literary imagination. Hamdar takes on this historical absence in The Female Suffering Body by exploring how both literary and cultural perspectives on female physical illness and disability in the Arab world have transformed in the modern period. In doing so, she examines a range of both canonical and hitherto marginalized Arab writers, including Mahmoud Taymur, Yusuf al-Sibai, Ghassan Kanafani, Naguib Mahfouz, Ziyad Qassim, Colette Khoury, Hanan al-Shaykh, Alia Mamdouh, Salwa Bakr, Hassan Daoud, and Betool Khedair. Hamdar finds that, over the course of sixty years, female physical illness and disability has moved from the margins of Arabic literature—where it was largely the subject of shame, disgust, or revulsion—to the center, as a new wave of female writers have sought to give voice to the “female suffering body.”
This book springs from the Bristol–Sheffield Hallam Colloquium on Contemporary Antisemitism at the University of Bristol in September 2015. International experts in Religious Studies, Law, Politics, Sociology, Psychology, and History came together to examine the complexities of contemporary antisemitism. Recent attacks on Jews in European cities have increased awareness of antisemitism and, as this collection shows, such attacks cannot be separated from wider geopolitical and ideological factors. One distinct feature of antisemitism today is its demonization of the State of Israel. Older ideas also feature Jews being blamed for all the world’s ills, thought to possess almost supernatural levels of power and wealth, and conspiring to harm the non-Jewish other. These and other ideas forming the background to antisemitism in Europe and North America are unpacked in this book with a view to understanding—and thereby combating—contemporary antisemitism. A key concern is how unifying features might be isolated amid the diverse manifestations of this oldest of hatreds.
A lively, incisive view of what citizenship means today.
The term conflict has often been used broadly and uncritically to talk about diverse situations ranging from street protests to war, though the many factors that give rise to any conflict and its continuation over a period of time vary greatly. The starting point of this innovative book is that it is unsatisfactory either to consider conflict within a singular concept or alternatively to consider each conflict as entirely distinct and unique; Narrating Conflict in the Middle East explores another path to addressing long-term conflict. The contributors set out to examine the ways in which such conflicts in Palestine and Lebanon have been and are narrated, imagined and remembered in diverse spaces, including that of the media. They examine discourses and representations of the conflicts as well as practices of memory and performance in narratives of suffering and conflict, all of which suggest an embodied investment in narrating or communicating conflict. In so doing, they engage with local, global, and regional realities in Lebanon and in Palestine and they respond dynamically to these realities.