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This is a personal reminiscence (as well as part-imaginative reconstruction, part-historical document and a part-ethical investigation) on the war in Beirut, Lebanon.
A twelve-year-old girl writes an essay that extols revenge to impress her teacher, and is surprised to receive criticism rather than praise. 'Revenge', Mrs Nomy insists, is 'the most cowardly' human behaviour. Years later, having fled Beirut, she reflects upon the devastating role revenge has played in her country. Might she have found it so easy to forgive if she had stayed? Or might she, too, have contemplated retribution? A compelling and humane book, which abounds in courage and compassion. 'One of those rare books that leaves its readers able to breathe more deeply, with a renewed sense that life, for all its cruelties, is beautiful.' Maggie Gee 'A writer, artist and publisher who took her passion for life, controversy and feminism to the streets of Beirut and London.' Malu Halasa, Guardian 'A tangled and creative mix of memoir, fiction, recollection, old-fashioned yarn-spinning, postmodern pastiche, literary criticism and methodically plotted political essay.' Daily Star, Lebanon 'One of the most poignant testimonies to the Lebanese civil war' Moris Farhi
A twelve-year-old girl writes an essay that extols revenge to impress her teacher, and is surprised to receive criticism rather than praise. 'Revenge', Mrs Nomy insists, is 'the most cowardly' human behaviour. Years later, having fled Beirut, she reflects upon the devastating role revenge has played in her country. Might she have found it so easy to forgive if she had stayed? Or might she, too, have contemplated retribution? A compelling and humane book, which abounds in courage and compassion. Book jacket.
Once the cosmopolitan center of the Middle East, Beirut was devastated by the civil war that ran from 1975 to 1991, which dislocated many residents, disrupted normal municipal functions, and destroyed the vibrant downtown district. The aftermath of the war was an unstable situation Sawalha considers "a postwar state of emergency," even as the state strove to restore normalcy. This ethnography centers on various groups' responses to Beirut's large, privatized urban-renewal project that unfolded during this turbulent moment. At the core of the study is the theme of remembering space. The official process of rebuilding the city as a node in the global economy collided with local day-to-day concerns, and all arguments invariably inspired narratives of what happened before and during the war. Sawalha explains how Beirutis invoked their past experiences of specific sites to vie for the power to shape those sites in the future. Rather than focus on a single site, the ethnography crosses multiple urban sites and social groups, to survey varied groups with interests in particular spaces. The book contextualizes these spatial conflicts within the discourses of the city's historical accounts and the much-debated concept of heritage, voiced in academic writing, politics, and journalism. In the afterword, Sawalha links these conflicts to the social and political crises of early twenty-first-century Beirut.
Gender and sexual identity formation is an ongoing anthropological conversation in both Middle Eastern studies and urban studies, but the story of gay and lesbian identity in the Middle East is only just beginning to be told. Queer Beirut is the first ethnographic study of queer lives in the Arab Middle East. Drawing on anthropology, urban studies, gender studies, queer studies, and sociocultural theory, Sofian Merabet's compelling ethnography suggests a critical theory of gender and religious identity formations that will disrupt conventional anthropological premises about the contingent role that society and particular urban spaces have in facilitating the emergence of various subcultures within the city. From 1995 to 2014, Merabet made a series of ethnographic journeys to Lebanon, during which he interviewed numerous gay men in Beirut. Through their life stories, Merabet crafts moving ethnographic narratives and explores how Lebanese gays inhabit and perform their gender as they formulate their sense of identity. He also examines the notion of "queer space" in Beirut and the role that this city, its class and sectarian structure, its colonial history, and religion have played in these people's discovery and exploration of their sexualities. In using Beirut as a microcosm for the complexities of homosexual relationships in contemporary Lebanon, Queer Beirut provides a critical standpoint from which to deepen our understandings of gender rights and citizenship in the structuring of social inequality within the larger context of the Middle East.
In this latest, completely revised Women Travel anthology, Rough Guides present a whole new crew of writers, journalists, travellers, dreamers and escapists, each with a journey to share and a tale to inspire. Featuring more than 80 adventures around the world, Women Travel tells you what it's like to: backpack around India with your mother in tow; hitch up with a shepherd in Spain; set up the ultimate writers' retreat on the icefields of Antarctica; hang out with hippies in the Australian rainforest; be crowned Queen Mother of an African village; have a girls' night out in the Kalahari Desert; and sweat behind the scenes at a Caribbean carnival.
This book deals with the history of the Druze community using an interdisciplinary approach to describe, analyze, and explain historical events and processes.
This study is about experimental forms of cultural production that situate and work through personal experiences of the civil war in Lebanon. It addresses selected works of literature, autobiography and memoir by Jean Said Makdisi, Rashid al-Daif, Elias Khoury and Mai Ghoussoub, and the civil war trilogy of documentary films by Mohamed Soueid. From a phenomenological hermeneutic perspective, the book is concerned with how they give accounts of themselves as remnants, leftovers and undigested remains of the civil war, and of related trajectories of ideological attachment to symbolic mandates. Constrained to reposition their sense of self from an agent of history to a casualty of history, their acutely personal works of cultural production initiate an unraveling of both self and circumstance through the fragmenting force of memory. Drawing on a broad range of phenomenological critical theory (within the research fields of postcolonial, memory, psychoanalytic, gender and literary studies) attuned to subjectivity as a field of social production and exchange, emphasis is given to how the writers and filmmaker employ a non-presentist, anachronic or paratactic register of memory to excavate both a historical understanding of self and related modalities of social viability. This concerns how the symptomatic style of their work embodies, and creatively and critically situates, a refusal to package and normailze any idealized account of the war, related assemblages of temporal succession, or a presentation of self as discrete and omniscient.