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"Uprisings spread like wildfire across the Arab world from 2010 to 2012, fueled by a desire for popular sovereignty. In Tunisia, Egypt, Syria, and elsewhere, protesters flooded the streets and the media, voicing dissent through slogans, graffiti, puppetry, videos, and satire that called for the overthrow of dictators and the regimes that sustained them. Investigating what drives people to risk everything to express themselves in rebellious art, "The Naked Blogger of Cairo" uncovers the creative insurgency at the heart of the Arab uprisings. While commentators have stressed the role of social media, Marwan M. Kraidy shows that the essential medium of political expression was not cell phone texts or Twitter but something more fundamental: the human body. Brutal governments that coerced citizens through torture and rape found themselves confronted with the bodies of protesters, burning with defiance and boldly violating taboos. Activists challenged authority in brazen acts of self-immolation, nude activism, and hunger strikes. The bodies of dictators became a focus of ridicule. A Web series presented Syria's Bashar al-Assad as a pathetic finger puppet, while cartoons and videos spread a meme of Egypt's Hosni Mubarak as a regurgitating cow. The rise of digital culture complicates our understanding of the human body in revolutionary times. As Kraidy argues, technology publicizes defiance, but the body remains the vital nexus of physical struggle and digital communication, destabilizing distinctions between "the real world" and virtual reality, spurring revolutionary debates about the role of art, and anchoring Islamic State's attempted hijacking of creative insurgency."--Provided by publisher

Pt. 1. Ordering borders : the transnational management of subjectivity -- pt. 2. Branding nations : re-imagining communities in neo-liberal states -- pt. 3. Being modern : situating the grand narrative -- pt. 4. Destabilizing orders : resistance and socal transformation.

The intermingling of people and media from different cultures is a communication-based phenomenon known as hybridity. Drawing on original research from Lebanon to Mexico and analyzing the use of the term in cultural and postcolonial studies (as well as the popular and business media), Marwan Kraidy offers readers a history of the idea and a set of prescriptions for its future use.Kraidy analyzes the use of the concept of cultural mixture from the first century A.D. to its present application in the academy and the commercial press. The book's case studies build an argument for understanding th

Abstract
Founded in 2008 through a partnership between Northwestern University and Qatar Foundation for Education, Science and Community Development (QF), Northwestern University in Qatar (NU-Q) educates creative, ethical, and impactful communicators, and contributes both to Northwestern's excellence and the rise of Qatar as a knowledge-based society. NU-Q's vision is multidisciplinary, multimodal, multilingual, and focused on the Global South as an intellectual and creative space for research and teaching. NU-Q positions itself as an "embedded institution" in which U.S. higher education overlaps with regional and "Southern" circuits of academic exchange that catalyze critical debates on enduring and emerging issues, and enables a relationship between the university and the world that is globally competitive and locally resonant. NU-Q is a distinctive university dedicated to that vision.

This article mobilizes Jesus Martín Barbero's magnum opus, Communication, Culture, and Hegemony, towards a better understanding of the contemporary global success of Turkish television drama, known as dizi, in Latin America, the land of the once-mighty telenovela. Hilighting Martín-Barbero's centrality to my own intellectual project on the transnational connection and transcultural resonances between the Middle East and Latin America, I draw on preliminary fieldwork in Argentina and Mexico, where Turkish dizi have been hits, to revisit Martín-Barbero's pivotal conceptualization of mediaciones and accounts for forces of global media competition, aesthetic mimicry, and the fundamental problematic of South-to-South relations that got a new lease on life with the success of dizi in Latin America. Ultimately, I probe Martín-Barbero's "precious anachronism" to elaborate a notion of "coiled temporality" that emerges between different geocultural zones through the consumption of narrative television fiction.

Two recent books, one about violent Islamist networks and the other about the white power movement, find that they have some traits in common. The seeds for each were sown by US military interventions from Vietnam to Iraq, and they have both proved adept at adapting media formats for propaganda purposes.

Protests against a dysfunctional and corrupt political class have erupted nationwide, crossing sectarian divides. A frustrated younger generation, unscarred by the civil war, is in the vanguard.

Did the same pro-market economic policies that gave rise to the Arab Spring also doom the would-be revolutionaries by sapping their capacity for envisioning radical alternatives?

Islamic State's (IS) image-warfare presents an auspicious opportunity to grasp the growing role of digital images in emerging configurations of global conflict. To understand IS' image-warfare, this article explores the central role of digital images in the group's war spectacle and identifies a key modality of this new kind of warfare: global networked affect. To this end, the analysis focuses on three primary sources: two Arabic-language IS books, Management of Savagery (2004) and O' Media Worker, You Are a Mujahid!, 2nd Edition (2016), and a video, Healing the Believers' Chests (2015), featuring the spectacular burning of a Jordanian air force pilot captured by IS. It uses the method of 'iconology' within a case-study approach. I analyze IS' doctrine of image-warfare explained in the two books and, in turn, examine how this doctrine is executed in IS video production, conceptualizing digital video as a specific permutation of moving digital images uniquely able to enact, and via repetition, to maintain, visual and narrative tension between movement and stillness, speed and slowness, that diffuses global network affect. Using a theoretical framework combining spectacle, new media phenomenology, and affect theory, the article concludes that global networked affect is projectilic, mimicking fast, lethal, penetrative objects. IS visual warfare, I argue, is best understood through the notion of the 'projectilic image'.

During the summer of 2015, a garbage management crisis emerged in Beirut after Lebanon's main landfill was shut down without finding an alternative, and piles of trash grew bigger on the streets, triggering a wave of contentious politics. An activist movement emerged early during the ongoing crisis: called "You Stink," the movement is led by seasoned activists who display the usual social media savvy and artful protest tactics that echo activism in the Arab Uprisings. Based on a preliminary reading of the movement's actions and demands, and of the state's response, this article provides an exploratory analysis of the symbolic world of "You Stink," focusing on affect and the body, and proffers some initial observations on the extent to which "You Stink" may contribute insights into research on social movements.