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In Lebanon during the war, the lives of five strangers brought together by a communal taxi ride. The protagonists include a woman who gives up teaching in a convent to become a man's mistress, an unemployed individual who becomes a thief, and a fisherman who wants his son to stop studying and enter the family business.
Ghada Samman’s first full-length novel, originally published in Arabic in 1974, is a creative and daring work prophetically depicting the social and political causes of the Lebanese civil war in 1975. The story opens in a taxi in which we meet the five central characters, each seeking something to give life meaning: security, fame, wealth, dignity, recognition, freedom from fear and from tradition-sanctioned, dehumanizing practices. Once they reach the capital city of Beirut, on which they’ve pinned their hopes, they all discover, man and woman alike, that they are victims of forces either partially or completely beyond their control, such as political corruption, class discrimination, economic and sexual exploitation, destruction of the natural environment, and blind allegiance to tradition. Beirut ’75 addresses struggles of Arab society, particularly the Lebanese, but the message is one of the universal human condition. Thus, in addition to this superb English-language presentation, Samman’s novel has already appeared in German (two editions), French, and Italian versions. Winner of The University of Arkansas Press Award for Arabic Literature in Translation.
Sexual desire has long played a key role in Western judgments about the value of Arab civilization. In the past, Westerners viewed the Arab world as licentious, and Western intolerance of sex led them to brand Arabs as decadent; but as Western society became more sexually open, the supposedly prudish Arabs soon became viewed as backward. Rather than focusing exclusively on how these views developed in the West, in Desiring Arabs Joseph A. Massad reveals the history of how Arabs represented their own sexual desires. To this aim, he assembles a massive and diverse compendium of Arabic writing from the nineteenth century to the present in order to chart the changes in Arab sexual attitudes and their links to Arab notions of cultural heritage and civilization. A work of impressive scope and erudition, Massad’s chronicle of both the history and modern permutations of the debate over representations of sexual desires and practices in the Arab world is a crucial addition to our understanding of a frequently oversimplified and vilified culture. “A pioneering work on a very timely yet frustratingly neglected topic. . . . I know of no other study that can even begin to compare with the detail and scope of [this] work.”—Khaled El-Rouayheb, Middle East Report “In Desiring Arabs, [Edward] Said’s disciple Joseph A. Massad corroborates his mentor’s thesis that orientalist writing was racist and dehumanizing. . . . [Massad] brilliantly goes on to trace the legacy of this racist, internalized, orientalist discourse up to the present.”—Financial Times
Traces the development of the modern Arabic novel from the 1960s to the present.
Beirut is a tour de force that takes the reader from the ancient to the modern world, offering a dazzling panorama of the city's Seleucid, Roman, Arab, Ottoman, and French incarnations. Kassir vividly describes Beirut's spectacular growth in the nineteenth and twentieth centuries, concentrating on its emergence after the Second World War as a cosmopolitan capital until its near destruction during the devastating Lebanese civil war of 1975-1990. --from publisher description.
Writing in response to war and national crisis, al-Samm?n, Khal?feh, Barak?t, and others introduced into the Arabic literary canon aesthetic forms capable of carrying Levantine women's experiences. By assessing their feminism in such a way, this book aims to revive a critical emphasis on aesthetics in Arab women's writing.
The book explores the affairs of Mount Lebanon and its surrounds through fourteen centuries, beginning with the emergence of its Christian, Muslim and Islamic-derived communities between the sixth and eleventh centuries. Against this backdrop, it interprets the modern republic of Lebanon from Ottoman antecedents to present day crises.
Eduardo Wassim Aboultaif critically analyzes civil–military relations and the way armies are constructed in divided societies. To achieve that, the book looks at four case studies with deep divisions and whose armed forces have been reconstructed after civil wars. Lebanon and Bosnia-Herzegovina represent two examples of consociational power-sharing arrangements with functioning armed forces that enjoy wide popular support and neutral in internal affairs. Iraq and Burundi, however, have semi-consociational provisions that have politicized the army and made it a partisan military that has either led to disintegration (as in the case of Iraq) or politicization and loss of legitimacy (as in Burundi).
Since the mid-1970s, Lebanon has been at the center of the worldwide rise in sectarian extremism. Its cultural output has both mediated and resisted this rise. Standing by the Ruins reviews the role of culture in supporting sectarianism, yet argues for the emergence of a distinctive aesthetic of resistance to it. Focusing on contemporary Lebanese fiction, film, and popular culture, this book shows how artists reappropriated the twin legacies of commitment literature and the ancient topos of "standing by the ruins" to form a new "elegiac humanism" during the tumultuous period of 1975 to 2005. It redirects attention to the critical role of culture in conditioning attitudes throughout society and is therefore relevant to other societies facing sectarian extremism. Standing by the Ruins is also a strong intervention in the burgeoning field of World Literature. Elaborating on the great Arabist Hilary Kilpatrick's crucial insight that ancient Arabic forms and topoi filter into modern literature, the author details how the "standing by the ruins" topos--and the structure of feeling it conditions--has migrated over time. Modern Arabic novels, feature films, and popular culture, far from being simply cultural imports, are hybrid forms deployed to respond to the challenges of contemporary Arab society. As such, they can take their place within a World Literature paradigm: they are cultural products that travel and intervene in the world.
This book challenges the assumption that men write of war, women of the hearth. The Lebanese war has seen the publication of many more works of fiction by women than by men. Miriam Cooke has termed these women the Beirut Decentrists, as they are decentered or excluded from both literary canon and social discourse. Although they may not share religious or political affiliation, they do share a perspective which holds them together. Cooke traces the transformation in consciousness that has taken place among women who observed and recorded the progress towards chaos in Lebanon. During the so-called "two year" war of 1975-76 little comment was made about those (usually men in search of economic security) who left the saturnalia of violence, but with time attitudes changed. Women became aware that they had remained out of a sense of responsibility for others and that they had survived. Consciousness of survival was catalytic: the Beirut Decentrists began to describe a society that had gone beyond the masculinization normal in most wars and achieved an almost unprecedented feminization. Emigration, the expected behavior for men before 1975, became the sin qua non for Lebanese citizenship. The writings of the Beirut Decentists offer hope of an escape from the anarchy. If men and women could espouse the Lebanese women's sense of responsibility, the energy that had fueled the unrelenting savagery could be turned to reconstruction. But that was before the invasion of 1982.