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Marios Chatziprokopiou and Panos Hatziprokopiou

and decapitations, as well as the spectacle of “absolute terror” 21 circulated by online videos of such acts. In a world of increasing Islamophobia, our Shiite interlocutors denounced the Sunni extremists as “contemporary Yazids”, thus clearly differentiating themselves from a caricature of Islam

Farid Laroussi

land border they share has been closed since 1994, and respective ambassadors are recalled once in a while. Yet, soccer games between the two nations tell us another story which is not based on the spectacle of performance but rather on the public dramatization of national pride: soccer is not the

Al-Qaida in Iraq Beyond Rhetoric

Visualizing an ‘Islamic State of Iraq’

Christoph Guenther

years of the Islamic State ). ( https://www.youtube.com/watch?v=ciJw2Rz_qGM ). 5 Conclusion Jihadist imagery is intended to act as visual clarification and amplification of textual accounts. As I have shown above, it is not developed from within itself. A spectacle such as the televisual

Hadas Hirsch

-Schwartz Howard . 1995 . Introduction: The Spectacle of the Female Head . In Howard Eilberg-Schwartz and Wendy Doniger (eds.), Off With Her Head , pp. 1 – 14 . Berkeley : University of California Press . Geertz Clifford . 1990 . Parshanut shel Tarbuyot . Jerusalem

The Dynamic and Theatrical Worlds of the ‘Midan’

Tahrir Square as a Liminal Space between Art and Reality

Amina ElHalawani

‘All the world’s a stage …’ tells us the Bard of Avon. Goffman’s application of Shakespeare’s age-old metaphor to our everyday practices helps us understand the complexity of social interaction. His dramaturgical sociology allows us to engage better with the frames of repeated behaviors that we ‘perform’ in social contexts. However, emphasizing the theatricality of action and interaction, especially for problems at the macro-level like acts of revolution, is crucial to make sense of the form of spectacle that results in popular demonstrations, sit-ins etc., in which everyone contributes as actors/spectators to imagine and/or negotiate a different way of being or governance. This paper aims to study the active dynamics of turning an everyday locale such as Midan al-Tahrir into a liminal space in which staged performances on political and artistic levels take place in an attempt to shed light on the inseparability of the political and the aesthetic, the event and the performance. The Egyptian revolution of 2011 highlights the public’s awareness of the symbolic and performative importance of occupying a space, and the creative power that both nurtures and feeds on this liminal experience. In this very example, the Arabic word midan is helpful because of its dynamic connotations as opposed to the static English ‘square’, as this paper examines the experience of Tahrir as a ‘Midan’ where the real, the ritualistic and the playful actively coexist.

Death on Display

Mirza Riza Kirmani, Prison Portraiture and the Depiction of Public Executions in Qajar Iran

Mira Xenia Schwerda

—was captured by several photographers and circulated widely. As the execution of the Shah’s assassin became a photographic spectacle, so did the assassin himself. A number of photographers visited Mirza Riza Kirmani in prison to take his portrait. These photographs were frequently published, especially during

Hamid Dabashi

—civilized—spectator and what is the subservient–violent–spectacle. 3 Ibid: 1. 4 Ibid: 1. 5 Ibid: 1–2. 26 H. Dabashi / Middle East Journal of Culture and Communication 1 (2008) 24–29 Th ere is a Mohammad Atta standing (transparently) between every work of art exhibited in post-9/11 New York—carrying (‘Carrying, I say

Reinhard Schulze

einfach deshalb, weil das einheimische Theater zunachst Volkstheater war, also eine Art agyptisches Volksschauspiel, das dem franzbsischen spectacle oder dem osmanischen ortaoyunu7 ahnelte, und das daher nicht in die Welt der Gelehrten intervenierte. Schauspiel im weitesten Sinne wurde in frfheren

Beirut by Night

A Century of Nightlife Photography

Gregory Buchakjian

also supremely conducive to social performance—but in the right circumstances, also to commercialization. Ritual manages and contains the dangers of liminality; commercialization markets it as vulgarized spectacle, even as the need for more ‘product’ erodes the very boundaries that define liminality in

Sonja Mejcher-Atassi

precisely these narratives that have been overwritten by the spectacle of war, war journalism and increasingly also war literature written by ‘embedded’ Western authors (see Sinan Antoon’s and Elliott Colla’s articles on the topic in www.jadaliyya.com, 11 June 2014 and 30 June 2014). Their stories tell of