This study highlights the connections between power, cultural products, resistance, and the artistic strategies through which that resistance is voiced in the Middle East. Exploring cultural displays of dissent in the form of literary works, films, and music, the collection uses the concept of 'cultural resistance' to describe the way culture and cultural creations are used to resist or even change the dominant political, social, economic, and cultural discourses and structures either consciously or unconsciously. The contributors do not claim that these cultural products constitute organized resistance movements, but rather that they reflect instances of defiance that stem from their peculiar contexts. If culture can be used to consolidate and perpetuate power relations in societies, it can also be used as the site of resistance to oppression in its various forms: gender, class, ethnicity, and sexuality, subverting existing dominant social and political hegemonies in the Middle East.

During the uprisings of the Arab Spring between 2010 and 2012, oppositional movements used political humor to criticize political leaders or to expose the absurdities of the socio-political conditions. These humorous expressions in various art forms such as poetry, stand-up comedy, street art, music, caricatures, cartoons, comics and puppet shows were further distributed in the social media. This first comprehensive study of political humor in the uprisings explores the varieties and functions of political humor as a creative tool for resistance. It analyzes humorous forms of cultural expression and their impact on socio-political developments in different countries of the Middle East and North Africa with a special focus on the changing modes of humor.

In his latest book of interviews, Edward W. Said discusses the centrality of popular resistance to his understanding of culture, history, and social change. He reveals his latest thoughts on the war on terrorism, the war in Afghanistan, and the Israeli-Palestinian conflict, and lays out a compelling vision for a secular, democratic future in the Middle East--and globally. Edward W. Said, a renowned cultural and literary critic, was born in Jerusalem, Palestine, and was educated there, in Egypt, and in the United States. His books include Orientalism, The Question of Palestine, Covering Islam, Culture and Imperialism, and The Politics of Dispossession. He has also published a memoir, Out of Place. Mr. Said is University Professor of English and Comparative Lit-erature at Columbia University. In October 2001, he received the $200,000 Lannan Literary Award for Lifetime Achievement. David Barsamian's interview books feature conversations with luminaries such as Noam Chomsky, Howard Zinn, and Edward W. Said. A regular contributor to The Progressive and Z Magazine, Barsamian's most recent interview books include Propaganda and the Public Mind and Eqbal Ahmad: Confronting Empire, available from South End Press. He is also the author of The Decline and Fall of Public Broadcasting. Barsamian is the producer of the critically acclaimed program Alternative Radio.

Situated in the fields of contemporary literary and cultural studies, the ten essays collected in Generations of Dissent shed light on the artistic creativity, cultural production, intellectual movements, and acts of political dissidence across the Middle East and North Africa. Born of the contributors’ research on dissidence and state co-option in a variety of artistic and creative fields, the volume’s core themes reflect the notion that the recent Arab uprisings did not appear in a cultural, political, or historical vacuum. Rather than focus on how protestors "finally" broke the walls of fear created by authoritarian regimes in the region, these essays show that the uprisings were rooted in multiple generations and various acts of resistance decades prior to 2010–11. Firat and Taleghani’s volume maps the complicated trajectories of artistic and creative dissent across time and space, showing how artists have challenged institutions and governments over the past six decades.

This edited book explores the development and reconfiguration of Middle Eastern diasporic communities in the West in the context of increased political turmoil, civil war, new authoritarianism, and severe constraints on media in the Middle East. Taking an interdisciplinary approach, incorporating political and intercultural communication, the contributors investigate the rationale for diasporic politics, as well as the role of the transnational media in shaping diasporic political mobilization. This analysis of the media, situated within specific case studies, encompassing Afghani, Armenian, Bahraini, Egyptian, Lebanese, Syrian, Tunisian, and Turkish diasporic communities, reveals the variegated ways it influences diasporic politics and facilitates political action, as well as its influence on democratic actors residing in the Middle East. These new insights into Middle Eastern diasporas, political communication, and political mobilization are based on developments in the Middle East since 2011, and ultimately highlight how diaspora groups in the West relate to the situation in the Middle East, particularly in their countries of origin. The book is important reading for students and researchers working in political/intercultural communication and diasporic politics, as well as those with a general interest in the Middle East.

This book is about power. The power wielded over others - by absolute monarchs, tyrannical totalitarian regimes and military occupiers - and the power of the people who resist and deny their rulers' claims to that authority by whatever means. The extraordinary events in the Middle East in 2011 offered a vivid example of how non-violent demonstration can topple seemingly invincible rulers. Drawing on these dramatic events and parallel moments in the modern history of the Middle East, from the violent uprisings in Algeria against the French in the early twentieth century, to revolution in Iran in 1979, and the Palestinian intifada, the book considers the ways in which the people have united to unseat their oppressors and fight against the status quo to shape a better future. The book also probes the relationship between power and forms of resistance and how common experiences of violence and repression create new collective identities. Nowhere is this more strikingly exemplified than in the art of the Middle East, its posters and graffiti, and its provocative installations which are discussed in the concluding chapter. This brilliant, yet unsettling book affords a panoramic view of the twentieth and twenty-first century Middle East through occupation, oppression, and political resistance.

Comic books for adults have become one of the most novel and colourful forms of cultural expression in the Arab world today. During the last ten years, young Arabs have crafted stories explaining issues such as authoritarianism, resistance, war, sex, gender relations and youth culture. These are distributed through informal channels as well as independent bookstores and websites. Events like the annual Cairocomix festival in Egypt and the Mahmoud Kahil Award in Lebanon evidence the importance of this cultural phenomenon. Comics in Contemporary Arab Culture focuses on the production of these comics in Egypt and Lebanon, countries at the forefront of the development of the genre for adults. Jacob Hoigilt guides the reader through the emergence of independent comics, explores their social and political critique, and analyses their visual and verbal rhetoric. Analysing more than 50 illustrations, included here, he shows that Arab comics are revealing of the changing attitudes towards politics, social relations and even language. While political analysts often paint a bleak picture of the Arab world after 2011, this book suggests that art and storytelling continue to nourish a spirit of liberty and freedom despite political setbacks. Comics in Contemporary Arab Culture provides a fresh and original insight into the politics of the Middle East and cultural expression in the Arab World.