What it was like and how it felt to be an Egyptian woman revolutionary during the eighteen days that changed Egypt forever Mona Prince’s humorous and insightful memoir tells of one woman’s journey as a hesitant revolutionary through the eighteen days of the Egyptian uprising that toppled Hosni Mubarak in 2011. Alongside the brutal violence of the security forces, the daily battles of resistance, and the author’s own abduction and beating at the hands of the police, this is a story of exceptional solidarity, perseverance, and humanity. Juggling humor and horror, hope and fear, certitude and anxiety, Prince immerses us in the details of each unpredictable and fateful day. She mixes the political and the personal, the public and the private to expose and confront divisions within her family, as well as her own social prejudices, which she discovers through encounters with diverse sectors of society, from police conscripts to street children. Revolution Is My Name is a testimony not only of women’s participation in the Egyptian uprising and their courage in confronting constrictive gender divides at home and on the street, but equally of their important contribution as chroniclers of the momentous events of January and February 2011.

Provides an alphabetical listing of artists of the "New Wave of American Heavy Metal" (NWoAHM), including name, official World Wide Web site address, and band member line-up, followed by a biography and discography. Additional information available via the Rock & Metal database at www.rockdetector.com.

In memoirs, Arab writers have invoked solitude in moments of deep public involvement. Focusing on Taha Hussein, Sonallah Ibrahim, Assia Djebar, Latifa al-Zayyat, Mahmoud Darwish, Mourid Barghouti, Edward Said, Haifa Zangana, and Radwa Ashour, this book reads a range of autobiographical forms, sources, and affinities with other literatures.Taking a comparative approach, Nasser shows the local sources of contemporary Arab autobiography, adaptations of a global genre, and cultural exchange. She also examines different aspects of the contemporary autobiography as it has evolved in the Arab world during the past half-century, focusing on the particularity of the genre written in different languages but pertaining to one overarching Arab culture. Drawing on memoirs, testimonies, autobiographical novels, poetic autobiography, journals, and diaries, she examines solitude and national struggles in contemporary Arab autobiography.

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Ideal for students and general readers, this single-volume work serves as a ready-reference guide to pop culture in countries in North Africa and the Middle East, covering subjects ranging from the latest young adult book craze in Egypt to the hottest movies in Saudi Arabia. Part of the new Pop Culture around the World series, this volume focuses on countries in North Africa and the Middle East, including Algeria, Egypt, Iran, Iraq, Israel, Jordan, Kuwait, Lebanon, Libya, Morocco, Saudi Arabia, Syria, the United Arab Emirates, and more. The book enables students to examine the stars, idols, and fads of other countries and provides them with an understanding of the globalization of pop culture. An introduction provides readers with important contextual information about pop culture in North Africa and the Middle East, such as how the United States has influenced movies, music, and the Internet; how Islamic traditions may clash with certain aspects of pop culture; and how pop culture has come to be over the years. Readers will learn about a breadth of topics, including music, contemporary literature, movies, television and radio, the Internet, sports, video games, and fashion. There are also entries examining topics like key musicians, songs, books, actors and actresses, movies and television shows, popular websites, top athletes, games, and clothing fads and designers, allowing readers to gain a broad understanding of each topic, supported by specific examples. An ideal resource for students, the book provides Further Readings at the end of each entry; sidebars that appear throughout the text, providing additional anecdotal information; appendices of Top Tens that look at the top-10 songs, movies, books, and much more in the region; and a bibliography.

The 25 January 2011 uprising and the unprecedented dissent and discord to which it gave rise shattered the notion of homogeneity that had characterized state representations of Egypt and Egyptians since 1952. It allowed for the eruption of identities along multiple lines, including class, ideology, culture, and religion, long suppressed by state control. Concomitantly a profusion of women's voices arose to further challenge the state-managed feminism that had sought to define and carefully circumscribe women's social and civic roles in Egypt. Women in Revolutionary Egypt takes the uprising as the point of departure for an exploration of how gender in post-Mubarak Egypt came to be rethought, reimagined, and contested. It examines key areas of tension between national and gender identities, including gender empowerment through art and literature, particularly graffiti and poetry, the disciplining of the body, and the politics of history and memory. Shereen Abouelnaga argues that this new cartography of women's struggle has to be read in a context that takes into consideration the micropolitics of everyday life as well as the larger processes that work to separate the personal from the political. She shows how a new generation of women is resisting, both discursively and visually, the notion of a fixed or 'authentic' notion of Egyptian womanhood in spite of prevailing social structures and in face of all gendered politics of imagined nation.

This book examines the ways in which women in the contemporary Middle East and North Africa have re-imagined revolutionary discourses through creativity and collective action as a means of resistance. Encompassing a stunning array of forms and genres, such as graffiti, street performance, photography, phototexts, novels, and comics, the book draws from a vast spectrum of artistic production in revolutionary periods between 2011 and 2022 in Egypt, Tunisia, Morocco, and Algeria. El Nossery sheds light on women’s postrevolutionary artistic output by engaging an interdisciplinary approach: the book is divided into three sections which foreground the unique relationship between textual, visual, and performative modes as they intertwine with art and politics. Arab Women’s Revolutionary Art thereby aims to demonstrate how art, as always oriented towards an open future, can preserve the revolutionary spirit that was sparked in 2011 by documenting what happened and determining which stories would be told. The revolution, therefore, continues.