Jawdat R. Haydar (1905–2006) was a prominent Lebanese poet from Baalbek, who contributed to world literature in the English language, and was the author of several books of poetry, including Voices (1980), Echoes (1989), and Shadows (1998). In 2006, he published his last book of poems, 101 Selected Poems, at the age of 101. Haydar was the recipient of several awards, including the Lebanese Order of the Cedars, the Gold Medal of Lebanese Merit, the Croix de Grand Officier of France, and a papal medal from Pope John XXIII for his humanitarian work. This edited volume of the proceedings of the first Jawdat Haydar international conference held at the Lebanese American University on April 24 2013 comprises scholarly papers on the English-language poems of the Lebanese poet. It will appeal to both an academic and non-academic readership interested in the field of 20th century English-language world literature. It will also be of use to those specialising in the comparative literature of the Middle East and the literary history of Anglo-Arabic influences in terms of the English poetical movements of Romanticism and Modernism and their reception in the Anglophone literary circles of the Arab world. Also included is a valuable appendix of digitised images containing a selection of Jawdat Haydar’s handwritten poems from the collection of archived papers held at the Jawdat R. Haydar Memorial Study Room in the Riyad Nassar Library at the Lebanese American University, Beirut. Valuable for scholars and of interest to the general reader alike, it is the first time digitised images of Haydar’s handwritten poems have ever been published.

This publication examines art, the human sciences, science, philosophy, mysticism, language and literature. For this task, UNESCO has chosen scholars and experts from all over the world who belong to widely divergent cultural and religious backgrounds.--Publisher's description.

The first history of indigenous photography in the Middle East The birth of photography coincided with the expansion of European imperialism in the Middle East, and some of the medium's earliest images are Orientalist pictures taken by Europeans in such places as Cairo and Jerusalem—photographs that have long shaped and distorted the Western visual imagination of the region. But the Middle East had many of its own photographers, collectors, and patrons. In this book, Stephen Sheehi presents a groundbreaking new account of early photography in the Arab world. The Arab Imago concentrates primarily on studio portraits by Arab and Armenian photographers in the late Ottoman Empire. Examining previously known studios such as Abdullah Frères, Pascal Sébah, Garabed Krikorian, and Khalil Raad, the book also provides the first account of other pioneers such as Georges and Louis Saboungi, the Kova Brothers, Muhammad Sadiq Bey, and Ibrahim Rif'at Pasha—as well as the first detailed look at early photographs of the annual pilgrimage to Mecca. In addition, the book explores indigenous photography manuals and albums, newspapers, scientific journals, and fiction. Featuring extensive previously unpublished images, The Arab Imago shows how native photography played an essential role in the creation of modern Arab societies in Egypt, Palestine, Syria, and Lebanon before the First World War. At the same time, the book overturns Eurocentric and Orientalist understandings of indigenous photography and challenges previous histories of the medium.

At the beginning of the book (The Blessed) superiority of Ashâb of our prophet, Muhammad ´alayhissalâm, is explained along with how unjust and ignorant are those who defame Ashâb-ı-kirâm. Besides, the meaning of ijtihâd is explained. In the part of cautioning, an answer is given to the book (Hüsniyye) written by an enemy of Islam. In another part, biographies of great savants of Islam - hadrat Imâm-ı Rabbâni and hadrat Sayyed Abdülhakîm-ı Arvâsi - are explained. In the part Two Apples of the Eye of Muslims superiority of hadrat Abû Bakr and hadrat Omar is explained; in the part The First Fitna in Islam events between Ashâb-ı-kirâm are explained beautifully from the pen of hadrat Imâm-ı Rabbâni Ahmad Fârûkî Sarhandi who explains that to love all of Ashâb-ı-kirâm is a fundamental condition of being Ahl-i-sunnat.

The last couple of decades have witnessed a flourishing of Arab-American literature across multiple genres. Yet, increased interest in this literature is ironically paralleled by a prevalent bias against Arabs and Muslims that portrays their long presence in the US as a recent and unwelcome phenomenon. Spanning the 1990s to the present, Carol Fadda-Conrey takes in the sweep of literary and cultural texts by Arab-American writers in order to understand the ways in which their depictions of Arab homelands, whether actual or imagined, play a crucial role in shaping cultural articulations of US citizenship and belonging. By asserting themselves within a US framework while maintaining connections to their homelands, Arab-Americans contest the blanket representations of themselves as dictated by the US nation-state. Deploying a multidisciplinary framework at the intersection of Middle-Eastern studies, US ethnic studies, and diaspora studies, Fadda-Conrey argues for a transnational discourse that overturns the often rigid affiliations embedded in ethnic labels. Tracing the shifts in transnational perspectives, from the founders of Arab-American literature, like Gibran Kahlil Gibran and Ameen Rihani, to modern writers such as Naomi Shihab Nye, Joseph Geha, Randa Jarrar, and Suheir Hammad, Fadda-Conrey finds that contemporary Arab-American writers depict strong yet complex attachments to the US landscape. She explores how the idea of home is negotiated between immigrant parents and subsequent generations, alongside analyses of texts that work toward fostering more nuanced understandings of Arab and Muslim identities in the wake of post-9/11 anti-Arab sentiments.