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The important study offers a revolutionary new perspective on the political phenomenon of Hizbullah whose evolution has frequently confounded scholars and politicians. Drawing on his unparalleled access to primary sources, Alagha has produced a unique work which traces all the shifts in Hizbullah's construction and reconstruction of its identity.

Hizbullah in Lebanon has succeeded in employing Imām Khūmaynī's theory of wilāyat al-faqīh ('the guardianship of the jurisprudent') as a cornerstone in its politico-religious ideology from 1978, molding, interpreting and adapting the original theory to suit Lebanese social and political conditions. In order to negotiate successive changes in the political system, Hizbullah has shifted its ideology to become a key player affecting the dynamic changes taking place in the Lebanese public sphere. However, it is assumed in many circles that Hizbullah is the proxy of Syria and Iran. Concentrating on the presumed Iranian influence, this article argues that Hizbullah has instead pursued an independent course of action in its attempt to influence the political system of Lebanon.

This article discusses the concept of purposeful art (al-fann al-hadif), which is ideologically motivated art that caters to Muslim religious sensibilities, in opposition to lowbrow art (al-fann al-habit) that does not. It compares Gamal al-Banna's attempt in Egypt to include dance into the concept with the views of the Lebanese Ayatullah Fadlallah, the late ideologue and early mentor of the Shi'ite resistance movement Hizbullah. The main question is how purposeful art – particularly dancing as an illustration of the sensitivity of body in public space – is legitimized by the jurisprudential notion ofhasanat(good deeds) in the Sunni tradition by al-Banna andmaslaha(interest, advantage) in the Shi'ite tradition by Fadlallah and Hizbullah. By promoting resistance art (al-fann al-muqawim), Hizbullah reveals its new face. It contests public space through artistic cultural productions, including dancing, which leave room for the female body to perform on a stage characterized by gender mixing, for a mixed audience. Hizbullah believes that art is humanity and it promotes democracy. al-Banna, Fadlallah, and Hizbullah concur that "Islam", as it is lived out by its followers, finds a necessary expression in social practices; it is the art form of dancing that is more controversial.

The Lebanese resistance movement and political party, Hezbollah, benefited from the Arab Spring to spread its hegemony over Lebanon through democratic means. In January 2011, the party and its allies forged a majority in the parliament and formed a cabinet. The cabinet collapsed two months before Hezbollah's overt acknowledgement of involvement in the Syrian quagmire. Since March 22, 2013, a power vacuum has been reigning in Lebanon: there is no cabinet; no functioning parliament; and no properly running institutions. This situation increased sectarian tensions, especially the Sunni–Shia divide or discord ( fitna). In spite of the relative stability of Lebanon, like the Arab uprisings, the country lacks a clear ideological vision, unified leadership, and has serious problems with institutionalization and constitutionalism.