"In the rest of this essay, we examine the consequences of the May 2013 massacre in Dhaka, Bangladesh. We collected written memories, reflections, poems, novellas, videos, other literary and non-literary artifacts in the aftermath of the massacre. These are some of the forms in which the massacre is memorialized within the Islamist counterpublic. These materials are the remaining traces — like dried blood — of the actual sets of events. It is a living archive that not only allows an immanent embodied critique of a secular society, but provides a marginal possibility for a realist speculation in retrospect."
"Malcolm’s leave to the Hajj is vital. A series of circumstantial instances placed him within a worldly, proximal corporeality, a rich hapticality of the flesh, with an illuminated, emphatic sense of fungibility more external than what reciprocity could provide. Where reciprocity, the vehicle for recognition, is, to its own freely detestable demise, non-exchangeable, the one who lives for recognition nullifies, in the end, from the start, the capacity to attain a freedom independent of the body. He frequents the times he was met with unconditional hospitality and appreciation on behalf of Muslims across complexion and convention."
"Syria's brutal repression of mass demonstrations across Syria in 2011 marked a decisive model of how authoritarian Arab regimes could avoid the fate of Ben Ali in Tunisia and Mubarak in Egypt (and later, Gaddafi in Libya), who were seemingly swept away by popular revolutions, led by a coalition of leftist youth, liberal, constitutionalist reformers, and moderate, democratic Islamists, such as Ennadha and the Muslim Brothers. Bashar al-Assad and his 'Alawi generals and security officials were determined to eradicate the possibility of mass popular participation in political life, which would have made Baathist and 'Alawi control of the Syrian state and economy impossible."
"A Separation focuses on the separation of Simin and Nader, an Iranian middle class couple. Simin wants to leave Iran with her daughter in order to pursue a better future, while Nader, who is a banker, wants to stay in Iran in order to take care of his senile father. It portrays the emotional struggles that arise from this separation as their daughter (played by Asghar Farhadi’s own daughter) and those around them are significantly affected by it. It also centers around a conflict that surfaces between Nader, and his working class caregiver, as the latter accuses Nader of being the cause of her miscarriage. It explores issues of morality and law, as well as class dynamic in modern day Iran."
"Drawing on an ethnography of oral traditions and an extensive archive of sacred texts from shrines across the Uyghur homeland, Rian Thum’s work seeks to amplify how Uyghurs themselves imagined their community prior to the state, prior to modernity, perhaps even prior to Islam. In essence, Thum is arguing that the identifications of the Uyghurs are not centered around a national imaginary or ethnic community, but rather it was articulated through the oral recitation and amendment of sacred texts during pilgrimages to the shrines of the “bringers of Islam” (wali)."
In particular, Michot intends to demonstrate the ways in which Ibn Taymiyyah’s Mardin fatwa has been misinterpreted by academics, orientalists, and Islamists alike. Over the course of his text, Michot provides an extensive introductory argument - wherein he explicates upon the concept of hijra, the distinction between a domain of peace and of war, and emphasizes the pragmatic and personalist nature of Ibn Taymiyyah’s writing - a translation of the Mardin fatwa with several complementary fatwas, and fragmented interpretations of the Mardin fatwa written by famous Islamists and academics.
"Yet despite these variations in the engineering project, capitalist secularism instead of Maoist socialism, much remains the same. As was the case during the Cultural Revolution, in our current moment thousands of mosques are being destroyed, Islamic teachers or mollas and their followers or talip are being imprisoned and placed in indefinite detention in political reeducation labor camps. Of course the rise of transnational communications that has accompanied the secular, colonization of the Uyghur homeland has also given rise to increased reception of global Islamic movements, and this, more than an intensification of indigenous Islamic traditions, is what is driving the Uyghur turn toward reformist Islam."
UAE-based artist Imranovi was born and raised in Damascus, though fled his country following the outbreak of conflict to avoid conscription into Bashar Al Assad's army. It was while studying English Literature at University in Syria that he found his passion for graphics and software: a talent he soon began to refine and develop.