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Field research is infinitely more difficult. If a researcher wants to conduct a field study or distribute a questionnaire or opinion survey, she needs the approval of the Central Agency for Public Mobilization and Statistics (CAPMAS). Its very name shows the perceived intimacy of the association between knowledge and the war effort.

The situation at the National Archives is reflected in all public institutions. Their mandate is not to serve the public, but to subject them to constant surveillance.

the security mentality in countries that respect the public is countered by a mentality that pushes back in the opposite direction, that respects the right to privacy, academic research and free expression. This mentality circumscribes the security mentality with numerous legal and administrative regulations.

In Egypt the security mentality runs amok. Just mentioning national security is enough to shut down a conversation instead of initiating it. Voices defending academic freedom and the freedom of research are few and far between (though brave and strong) — most importantly the March 9 Movement (a working group on university independence), the Association of Freedom of Thought and Expression, and the Egyptian Initiative for Personal Rights.

The responsible agency treats the National Archives like a state archive, not a national archive owned by and serving the public.

When I first saw Giulio Regeni’s photo on Facebook, when he was still missing, my heart skipped a beat. A foreign researcher who speaks Arabic fluently, living in Dokki and moving about the city at will, one who is working on the extremely sensitive topic of workers’ right to form independent unions, and one who is also a political activist who writes anti-regime articles for a communist paper under a pseudonym. If the security authorities knew of him, I thought, they would consider him a spy.But Giulio wasn’t a spy. He was a doctoral student. I never met or corresponded with him, but I know Giulio and know him well. He’s like the students I’ve taught for 20 years. Having now read and become familiar with his work, I can say that not only is he not a spy, he’s an exemplary student, one who loved Egypt and Egyptians and made efforts to help them.

we know that we’re living one of the worst moments of our modern history and that our rights, liberties and lives are under threat at all times by our own government.We know that our government, in the name of defending national security, has attacked universities and killed students demonstrating on campus. We know that our government, in the name of defending national security, has shut down the public sphere, appropriated political activity, and prevented people from expressing their opinion and peaceful demonstrating — unless the demonstration’s purpose is to give Abdel Fattah al-Sisi a mandate to do whatever he likes.

waging war on civil society organizations, accusing them of foreign collaboration, treason and getting rich off foreign funding. But it’s the government itself, specifically the army, that is the biggest beneficiary of foreign funding. No one dares make a peep about that.

arrested tens of thousands of members of Islamist groups and sentenced hundreds of them to death in trials lasting just a few minutes, trials that dealt a mortal blow to the integrity of the Egyptian judiciary and people’s faith in it

arrested hundreds of journalists, writers and political activists, and sentenced them to years in prison

we, the people, the true owners of this country, are insisting on knowing what happened to Guilio Regeni and are holding on to our right to be consulted about our own national security.

Within days of the bilingual first-grade classes opening last year, parents hit a crisis when school administrators refused to let the children take off the Muslim feast of Eid al-Adha.When the parents rebelled and kept their children home, the management “flipped out”, said Ronel. “Now the trust has gone and we are demanding that they make commitments in writing that things will be different.”

Ronel, an Israeli Jewish journalist, said he had long been pessimistic about the region’s future and had contemplated leaving Israel with his family, taking advantage of his wife’s German passport. But that changed once his daughter, Ruth, began at the bilingual kindergarten.“I have become evangelical about it,” he said. “I see how her knowledge of Palestinian identity and the Arabic language has made her own identity much stronger.”He said knowing the other side was essential to strengthening Israelis’ sense of security and reducing their fears. “This is the model for the Israeli-Palestinian conflict too. I am sure this is what a solution will look like.”

bilingual schools are proving particularly popular in Israel’s mixed cities. Next year Hand in Hand will open the first bilingual elementary school in Haifa, Israel’s third largest city, following the success of a bilingual kindergarten there

Far-right Jewish religious groups, ideologically close to the settlers, have set up seminaries and exclusive housing areas in Jaffa and other mixed cities. “They are going the other way: they want even deeper segregation,” said Dichter.Hassan Agbaria, principal of the only bilingual school in a Palestinian community in Israel, located in the northern town of Kafr Karia, said there were problems in more rural areas too. This month the gated Jewish community of Katzir, close to his school, refused to allow Hand in Hand organisers in for a parents’ registration meeting, accusing the group of “political activity”.“It is a big psychological hurdle for some of them,” he told MEE. “Some think you must be crazy to send your young children into an Arab community every day.”

The cyber-repression was made easier by the physical structure of Tunisia’s data flow, which runs through just a few choke points. In broad terms, the system has two distinct parts: one for intercepting phone-related traffic and one for the Internet, Saadaoui says.

In each of the three telecom rooms, which are about half the size of a tennis court, a handful of computers known as “boxes” straddle the data pipelines, Chakchouk says. Their function is to siphon off communications, mostly by searching for key words, according to Saadaoui. “You get all the traffic going through these boxes,” Saadaoui says. Once the system flagged a suspect e-mail, a fiber optic network under the streets of Tunis carried it from the telecom offices to the Interior Ministry’s operator room, Saadaoui says. Moez Ben Mahmoud Hassen, a spokesman for Tunisie Telecom, said the company “denies any possible relation with such practices.” He stressed that it follows the law and respects the confidentiality of communications. Asked about the company’s activities during Ben Ali’s government, he said it was a matter for the courts and declined to elaborate. Communications through mobile operator Orascom Telecom Tunisie, also known as Tunisiana, were not monitored, according to a statement released by company spokeswoman Fatma Ben Hadj Ali. The country’s other mobile operator, Orange Tunisia, didn’t respond to requests for comment.

By 2010, it became a contest as Tunisians increasingly employed encryption the packet inspection couldn’t crack. Communications on Facebook boomed, and the regime demanded better tools, Saadaoui says. The same European contractor that provided e-mail surveillance signed a deal to add monitoring of social networks, he says. It was too late. The supplier hadn’t yet delivered the solution when the “Facebook revolution” crested in January. The government’s last-ditch attempts to quell online organizing included hacking and password-stealing attacks by Ben Ali’s regime, outside the purview of the Internet agency, Saadaoui says. Slim Amamou, a blogger who was arrested during the uprising and briefly became a minister for youth and sport after the revolution, says the presidential palace and ruling party orchestrated the final cyber attacks.

Today, Chakchouk, the new head of Tunisia’s Internet authority says he’s working to dismantle Ammar 404, and turned off the mass filtering, he says. Now he’s locked in legal battles over court orders to block specific Web pages. On Saturday, May 7, he and his team pulled an all-nighter to set the filtering equipment to block a single Web page to comply with a military court’s demand related to a defamation complaint. The following Tuesday, still looking tired, Chakchouk says it took so long because they were figuring out how to replace the page with a message explaining the blockage -- rather than the customary Error 404. Since the revolution, Chakchouk has spoken at conferences around the world, decrying censorship. Yet he won’t say much about surveillance. For now, the packet inspection boxes are still on the network. “We tried to understand the equipment and we’re still doing that,” he says. “We’re waiting for the new government to decide what to do with it.”

Visitors to Huffington's website last May could have seen  this page (preserved here by the Wayback Machine) which lists Narwani's articles. Look at the same page today and they have all been deleted except for one which she co-authored with someone else. It's as if the other articles never existed.

concern about Facebook's deletion of various pages connected with the Syrian opposition, possibly at the behest of pro-Assad elements. Some of them have been listed by Felim McMahon of Storyful and the blogger, Brown Moses. McMahon points out that some of these have helped Storyful to corroborate (or not) various claims about the Syrian conflict, while Brown Moses notes that "nearly every Facebook page" reporting on the chemical attacks in Damascus last August has now gone. Alongside the fighting on the ground, there's also a propaganda war being fought over Syria – mostly via the internet. At first sight this might seem like a sideshow but, as in all wars, it's an integral part of the conflict. One individual heavily involved in the Syrian propaganda war on the pro-Assad side, through Twitter and various websites, is Sharmine Narwani (who I have written about previously, here,  here, here, and here). Among other things, Narwani wrote a dozen highly contentious articles for Huffington Post, some of them about Syria. Whether you like them or agree with them is beside the point. Whatever their merits or de-merits, they were examples of the sort of arguments being used by Assad supporters and the fact that Huffington, a major American website, saw fit to publish them at the time is also interesting and relevant. 

I'm not suggesting that articles on the internet should never be deleted or changed but that it should not be done lightly, and when it does happen, publishers should be prepared to justify their decisions in public.

The theme of the golem, after all, has been explored several times before, from the silent film era of Paul Wegener’s expressionist Der Golem (1916) until today, including in The X-Files and The Simpsons’ annual “Tree House of Horror” Halloween episodes. There have also been a small number of horror films that explore Jewish folklore, such as Ole Bornedal’s The Possession (2012), which in lieu of The Exorcist’s Pazuzu features the malicious spirit of legend known as a dybbuk, an entity which also appears in David Goyer’s The Unborn (2009), and even in the Coen brothers’ A Serious Man (2009). Yet despite a preponderance of Jewish horror directors from Curt Siodmak, creator of The Wolf Man (1941) to Polanski, Hollywood has tended not to explore explicitly Jewish themes in horror.

the sense of the terrors of the real world is fundamental to monotheistic horror, for it asks what the ultimate origin of evil is.

The Franco-Bulgarian philosopher Tzvetan Todorov in The Fantastic: A Structural Approach to a Literary Genre distinguished between what he called the “uncanny,” whereby the supernaturalism of a story can be ultimately explained by rational recourse, and the “marvelous” in what’s been depicted is to be understood as genuinely supernatural. For Todorov, that which is fantastic in literature exists in the ambiguity between the uncanny and the marvelous, where the characters in a story (and the reader) are unsure as to whether events witnessed are genuinely supernatural or not. Todorov writes: “The fantastic is that hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event.”

what I’ve termed “monotheistic horror” in contrast to “dualistic horror.” The latter is any work which posits supernatural evil as somehow separate in agency from God, while the former steadfastly holds to all things—even evil things—as having their origin in the Lord. I’d argue that Jewish horror fiction, for all of its diversity, must be resolutely defined by an overpowering sense of monotheism, and that it is that sense of the fundamental unity of reality that makes those works terrifying. Ghosts, goblins, and ghouls can exist in both types of horror, but in dualistic horror God is either configured as explicitly separate from those evil things, or mention of Him is passed over.

The Paz brothers’ film is an example of Jewish horror not because it takes place in a 17th-century shtetl, or because its story deals with that most Jewish of monsters, but rather because there is no sense that anything that happens doesn’t occur due to the power and sovereignty of God.

in The Golem the creature is fashioned in adherence to God’s reality. Hanna’s creation is not demonic, but rather divine—if still capable of malevolence.

Any fiction that presents the malevolence experienced in reality as integral to the unity of that very same reality is monotheistic horror. In this way, I’d argue that Franz Kafka is one of the greatest horror writers of the 20th century, with a dark perspective that rivals that of H.P. Lovecraft. The latter thought the world meaningless, but Kafka never fell into that error. The result is paradoxically a horror all the more disturbing for what it implies about evil’s derivation.

For Kafka the deep wisdom of reality is even darker than Lovecraft’s nihilism, for his horror is based on the type of irony that can only be born from the most radical of monotheisms. The author could tell his friend Max Brod that here is “Plenty of hope—for God—no end of hope—only not for us,” a succinct summation of the major themes of Jewish horror, where what is fully externalized is a theodicy that recognizes evil exists in the world while also acknowledging that God must be its author.

The ur-text of Jewish horror, and what I would argue is perhaps the most terrifying story every told, is the biblical Book of Job. Few narratives can match Job in the sheer awful implications of what’s been recounted, of the upstanding man of Uz who “was perfect and upright, and one that feared God,” but who nevertheless was struck down by the Lord with a deluge of afflictions. So many details of Job’s story, often associated with the fatalism of Greek tragedy to which it bears some similarity, have a gothic sensibility. There is Satan who talks of “roving about in the earth and … walking about in it,” and of Job cursing himself by asking, “Why did I not perish at birth, and die as I came from the womb?” Then there is the pyrotechnic impressiveness of God himself, who “answered Job out of the whirlwind, and said who is this that darkeneth counsel by words without knowledge?”

Monotheistic horror should not be interpreted as the logical culmination of monotheism itself, rather it should be seen as the dark undercurrent, the nagging anxiety, of what it means if there is only one Lord but we’re uncertain as to if He is always benevolent, for as Miles observes “all of God’s actions could actually have been the devil’s.” There is the upsetting ambiguity of monotheistic horror—not that God’s actions are the devil’s, but that they could be.

one of the most potent lessons of Jewish horror fiction: that there is a permeable membrane between civilization and anarchy, where those who claim to protect us one day can cast us aside the next. The “friends” of Job are among the most callous of monsters in the book. What makes Jewish horror so frightening is its entirely accurate understanding that all evil ultimately must have its origin not in devils, but in the two most frightening things in our sublime universe: God and his creations.

the May release of Te’rafy Teskoty by Medhat Saleh. It translates to Do You Know How to Shut Up? and the veteran Egyptian singer released a complementary video where he and partner get into a heated argument in an elevator. The reason behind the row is that she became jealous of Saleh taking selfies with young female fans. Saleh’s face is full of controlled rage throughout the elevator scene. He almost spits out the lyrics, which begin from the relatively benign – “Do you know how to shut up, stop getting ideas” – to the more unpleasant – “Do you know how to shut up or should I shut you up?”

“This is something new. Arabic songs never really had songs with such hurtful meanings,” stated the Jordanian novelist Fadi Zaghmout on his popular Arabic popular-culture blog The Arab Observer.

“This only popped up in the past few years, where men seem to feel they have the right to be vocal about women’s behaviour, stating what seems to them be social criticism and disapproval on how modern women are claiming their independence and equal status.”

a growing list of patriarchal pop songs – let’s call it pat-pop

Mohamed Eskander’s 2010 hit Joumhoureyet Alby, in which he scuttles the notion of his wife (or daughter) getting a job: “Your work is my heart and my emotions/ You’re not going to have time for anything else/ It’s enough that you are the president of my heart.”

Lebanese bad-boy pop star Fares Karem has always had a more-direct approach. His testosterone-filled brand of thumping Lebanese folk is best exemplified in his 2005 hit El Tanoura (The Skirt), with lyrics that border on verbal stalking: “Her skirt is very short, a hand span and a half/ And her blouse is see-through.” Karam, who is no stranger to criticism regarding a body of work that includes other alpha-male anthems Neswanji (Player) and Shefta (I Saw Her), says that his songs merely reflect the conversations being conducted in society. “It is because I am talking about daring issues,” he told The National in May. “With respect to my peers, none of them are as direct as me. I talk about real-life situations that people face, but in a way they identify with.”

Ghazi is not surprised by the seeming glut of misogynist Arabic pop songs. The notions expressed in these songs were always there, she says, but the explosion of privately owned television and radio stations have allowed these songs to find a home.

“You are seeing such misogyny also in western songs from pop to hip-hop music. But what happened in the region [is] before you only had access to state-run media. Now there are so many privately owned channels. “The fact that these songs are shown on these channels, which are for profit and with no regulation, points that there is a whole industry regarding these songs.”

the latest salvo in an ongoing struggle for gender equality in the region that came to the fore during the demonstrations

“What we seen from the Arab Spring is that when women are on the streets calling for change, they don’t just talk about politics. Everything is out in the open, from systemic privileges, marginalisations and all kinds of challenges. That’s because social diseases and politics are a reflection of each other,”

an added responsibility that Arab songwriters must now bring to their work, says Lebanese artist Tania Saleh. The indie singer-songwriter is one of the small contingent of female lyricists working in the Arabic music industry; her list of collaborations includes songs for Egyptian-Belgian singer Natacha Atlas and the soundtrack to Lebanese films Caramel (2007) and Where Do We Go Now (2011). Her five albums of Oriental folk have evocative lyrics dealing with societal issues from a female perspective, in songs such as Hal Ouyoun, Lezim and Reda.

the lack of artistic integrity caused by the demands of a profit-driven Arabic pop industry

decades ago during the apogee of the Arabic song, the 50s and 60s – you would never think about writing such things. Think of the classic songs of Umm Kalthoum and Mohammed Abdel Wahab. They sang about deep and sensitive emotions. And who wrote those songs: men.

Before pouring all that ugliness into society, artists should think about what they are producing and to whom.

A fund of 5 million dinars will be created at the Prime Ministry to support the State's communication effort in terms of awareness campaigns. A sum of 5 million dinars from the State budget will also be mobilised to finance the programme to upgrade the sector and support it for better integration in the digital transition.

A former military intelligence officer, who was also an armed forces spokesman, took charge of Al Asema TV in January.

ONTV, a popular TV channel that supported the government while occasionally broadcasting critical comments, was taken over in May 2016 by Ahmed Abu Hashima, a powerful multi-millionaire steel magnate said to be close to military intelligence and to President Abdel- Fattah al-Sisi. A month after the acquisition, the authorities expelled Liliane Daoud, a well-known ONTV programme presenter with a reputation for journalistic integrity. She was deportable because she has British and Lebanese dual nationality.

Hashima bought two other TV channels, Al Nahar and CBC, and four newspapers, Sout Al Omma, Ain, Dot Masr and Al Youm al Sabea, in 2016.

the editor had told that that “President Sisi is the newspaper’s new owner” and that it could therefore not continue to employ critical journalists

the government’s influence over the broadcast media landscape was also significantly enhanced in 2016 by the creation of a DMC, a major new TV network with a range of news, sports and entertainment channels. Dubbed “the mouthpiece of the intelligence services” by some journalists and launched with a patriotic anthem and Koranic chants, DMC gets permission to film where other privately-owned TV channels are denied access. It is also known to broadcast interviews that are presented as exclusives but just reiterate the regime’s pro-security, anti-Muslim Brotherhood dogma

Salahi and countless non-Western others have long known and written about torture at Guantánamo or Bagram or any of the many places where it occurred. But it only becomes a literary, notable, and prize-worthy truth when it flows from the pen of a foreign correspondent at a prestige publication like The New Yorker.

“If you say that you are angry,” Salahi tells the two white men, “it is understood as an emotion. If I say that I am angry, it is seen as a threat to national security.”

Salahi’s words underscore the truth Taub has not told: that writing an article about torture that does nothing to disrupt a worldview that has left brown men forever suspect is not getting anywhere at all.

in 2007 he founded Mosaic, which provides mentoring programs for young Muslims across the U.K. He also became patron of the Oxford Centre for Islamic Studies, where he gave his most famous speech, “Islam and the West” in 1993

If there is much misunderstanding in the West about the nature of Islam, there is also much ignorance about the debt our own culture and civilization owed to the Islamic world

“Islam can teach us today a way of understanding and living in the world which Christianity itself is the poorer for having lost. At the heart of Islam is its preservation of an integral view of the Universe.”

he also argues that the West needs Islam in the here and now. There does not seem to be a parallel in any other Western political figure.

the world will also get used to a Western head of state who sees Islam in quite a different light than the waves of populism across Europe and North America

climate change is a systemic challenge, but most news organizations are still treating it only as a topic

It is always a good start to build a climate desk, and news organizations need climate specialists. But they are no substitute for increasing the climate literacy, or climate fluency, of all desks.

many editors think of climate journalism as crisis reporting.  And while it is important to cover extreme weather events, they are still only the breaking news surface of something much more profound and systemic

There are so many important and interesting stories just on climate adaptation alone that you would overlook as an editor when you reduce climate journalism only to breaking news and crisis reporting.      

Public broadcasters in Europe have an unrivalled responsibility to get it right, because they are comparatively well-funded. In addition, they tend to be their country's most-trusted news organization. Especially when it comes to climate journalism, an audience’s trust in a news organization is a hugely important ingredient.  Sometimes I have been struck by the timidity of public service media. Yes, they are under growing political pressure in many countries. But to preemptively capitulate is not a strategy.

All it took for the last IPCC report to be washed out of the news cycle within hours was an actor misbehaving at the Oscars. It had taken seven years to produce that report.

energy literacy is a core aspect of climate journalism and it seems the war in Ukraine has also heightened the world’s awareness for just how integral energy is to our societies and economies. A next phase in this realization may be that the much-needed shift to renewable energies will come with its own new set of geopolitical dependencies

The location of the denial has shifted. It has shifted from denying climate science, and specifically that climate change since the pre-industrial age is human-made to denying how urgent our situation is and how little time we have left to avoid a much more dramatic course of events. The willingness to embrace the time pressure we are under is part of climate literacy. 

I have never heard a young journalist say ‘I am somehow glad I won’t live long enough to see the worst effects of climate change’ while I have seen quite a few older colleagues express such sentiments. Some of them were even middle-aged, which makes me think they never looked at an IPCC report.      

I have met the CEOs of very large global companies who had deep knowledge of the climate crisis while I have yet to meet just one chief editor with a similar degree of climate knowledge

It is the nature of the climate crisis, though, to move faster than most of us think. I wouldn’t be surprised to soon see a major news organization re-organize itself around the climate crisis as their organizational axis.