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How meme-ing on social media helped incite the Egyptian Revolution and why these creative images are still so effective in undermining tyranny.

This article is stating the obvious. ISIS is sending large numbers of terrorists into Libya to disrupt Libya's emerging oil market and hopes to dismantle it's soon to be UN backed unity government.

Throwing more chaos into an already chaos filled nation, Tripoli's unrecognized government refused to officially step aside and recognize the UN-back unity government.

There's been some backlash in the last few days against the idea that either Tunisia or Egypt were brought on by Twitter or a "Facebook Revolution." And certainly, it takes a lot more than the 21st century version of a communication system to persuade people to take to the streets and risk harm, imprisonment, or death.

Three Libyan oil ports that have been closed for over a year are set to reopen, now that a unity government has arrived in Tripoli, militia leaders said, a rare positive sign for an oil sector that has been under siege.

A record of Michael Christopher Brown's life both inside and outside Libya during 2011, this new photobook details is about a young man going to war for the first time and his experience of that age-old desire to get as close as possible to a conflict.

This article follows a cartoonist from Al-Masry Al-Youm a private newspaper in Egypt 

This article discusses the way the revolutionary uprisings from January 25th have shaped the art community. It focuses not just on street art (which is used as an act of defiance), but also on film, literature (mainly non-fiction works, but poetry as well). Lindsey discusses how the uprisings have shaped all of the art forms that "demonstrate a support for the uprising through cultural activism."

"The Poetry of Revolution" discusses the ideas behind the street chants shouted out by the Egyptian people in their times of revolution. It focuses on the history of Egypt's uprisings and how they have changed before. This article was written a few days after the initial January 25th uprisings and attempts to explain how the chants take on a greater meaning to the protesters. Because they are given words to yell and shout, they are able to bind together and announce the same goals. Colla discusses how if the people did not have these chants, they would be too afraid to stand for their revolutions.

This article discusses the issue of censorship. By talking with Egyptian novelist Khaled al-Berry, presented is the idea of a strong hope for less censorship because the January 25th revolutions had opened up a future of possibilities and challenges for Egyptian literature. While in previous years there had been no actual direct political censorship, publishers would attempt both religious and moral censorship as a means to protect people. While the article does discuss that there will always be censorship, they also look forward to a culture that values art and reading that will change the perspective of the culture.

This article gives a description of the state of Egypt's once thriving Tahrir Square, just two years after the revolution. The mood of Tahrir Square has changed dramatically and is now solemn rather than buzzing with enthusiasm. The young activists interviewed in the article expressed their regret for the revolution or how it turned out. The youth population is still struggling for economic revival after two years of revolution. Mass unemployment is hitting the large youth population the hardest, which is still a source of anger. The majority of this population does not have adequate skills for the available job market.

In this article Andy Young discusses the multiple ways poetry has shaped and formed itself in Egypt because of revolutions. Young brings up multiple poems that became the voice of the people in the 1952 revolutions and again in the 2011 revolutions.

This artifact is a reading of Ahmed Fouad Negm's poem, "Who Are They and Who Are We?" This poem was written in light of the Egyptian revolution and is used to compare and contrast the lives of the ruling class with the working class citizens in order to inspire a sense of hope that the working class can over throw the ruling class.

I'm proud to say I got to spend an evening with Negm and a group of mutual friends in Cairo before he passed away. He told legendary jokes in spontaneous verse.

This article describe how cartoonists are the first to depict the new president, Abdel Sisi, and the important role cartoonists have in society. The main cartoonists the article follows are Mohamed Anwar and Andeel who work for Al-Masry Al-Youm in Egypt.