lower-level officials self-censor dealings with critics of the administration abroad

“The reality in which political decisions or presidential pettiness directs top U.S. diplomats’ choices over whose human rights work is mentioned in the public sphere and whose is not is a really scary reality.”

She often debunks misinformation spread online and comments on major news events related to propaganda and election interference, including Brexit and the ongoing investigation by special counsel Robert Mueller into links between the Russian government and Trump’s campaign. She has regularly tweeted criticism about Trump’s sharp political rhetoric and attacks on the press

After first being notified she would get the award, Aro filled out forms and questionnaires at the request of officials and cancelled paid speaking engagements to travel to Washington to attend the March 7 ceremony in Washington. The State Department also sent her an official invitation to accept the award and planned an itinerary for a corresponding tour of the United States, complete with flights and high-profile visits to newspapers and universities across the country.

In 2014, Aro pursued reporting on a Russian troll factory in St. Petersburg that aimed to alter western public opinions. Long before the U.S. elections in 2016, which propelled Russian disinformation campaigns to the spotlight, she unearthed evidence of a state-sanctioned propaganda machine trying to shape online discourse and spread disinformation. After she published her investigation, Russian nationalist websites and pro-Moscow outlets in Finland coordinated smear campaigns against her, accusing her at times of being a Western intelligence agent and drug dealer, and bombarding her with anonymous abusive messages. She also received death threats.

reserved the right to seek damages, due to Aro having to cancel paid speaking events

Royal appointments are almost always announced in the name of the king, but the 23 February decrees were signed by the “deputy king”. One expert said the title of deputy king had not been used in this way for decades.

the king and his team learned about the reshuffle via television

Supporters of the king have been pushing him to get more involved in decision-making, to prevent the crown prince from taking more power.

Prince Mohammed angered people last month when he walked on top of the Kaaba in Mecca, the holiest site in Islam, provoking complaints to the king by some religious scholars that the move had been inappropriate

The prince and king have also been at odds on significant foreign policy matters, the source said, including the handling of prisoners of war in Yemen, and the Saudi response to protests in Sudan and Algeria.

While the king is not a reformer, he is said to have supported freer coverage of the protests in Algeria in the Saudi press.

In his book, al-Jazari explained the construction of his devices and automatons, from water-raising machines to fountains, complete with illustrations and instructions that gave engineers the opportunity to reuse them. 

“The impact of al-Jazari's inventions is still felt in modern contemporary mechanical engineering,” wrote 20th-century English engineer and historian Donald Hill in his book Studies in Medieval Islamic Technology.

The Book of Knowledge of Ingenious Mechanical Devices,  was the most important work of engineering written before the Renaissance centuries later. 

“The idea of having robots to do humans work - or simply automation - was developed by al-Jazari 250 years before Leonardo Da Vinci, with some excellent examples."

in the 21st century Muslim countries see relatively less scientific activity. According to the World Bank, in 2016 the United States and the European Union respectively published 426,165 and 613,774 articles in scientific and technical journals. That compares to 40,974 in Iran and 33,902 in Turkey, although the number of articles is rising.

Ziada was previously arrested by Egyptian authorities in December 2013 while filming arbitrary arrests prior to protests at al-Azhar University in Cairo. He was held in pre-trial detention for 16 months, where he was subjected to physical violence and torture. He was finally released in May 2015 after being acquitted of all charges. Later that year, Ziada was severely wounded when two unidentified individuals stabbed him repeatedly near the Cairo University metro station in an attack that Egyptian human rights groups widely believe was connected to his journalism.

Hajar Harb was tried in her absence, while she was in Jordan receiving treatment for breast cancer. On 4 June 2017 she was convicted and sentenced to six months in prison and a fine of 1,000 ILS (276 USD). She appealed against the court’s decision.

As political in-fighting between Fatah and Hamas continues, authorities in the West Bank and Gaza have used threats and intimidation against activists and journalists to suppress peaceful expression, including reporting and criticism. 

According to the Palestinian Center for Development and Media Freedoms, a Ramallah-based NGO, in 2018 the Palestinian authorities in the West Bank were responsible for 77 attacks on media freedom during the year. These included arbitrary arrests, ill-treatment during interrogation, confiscation of equipment, physical assaults and bans on reporting. The Hamas authorities in Gaza were responsible for 37 such attacks.

the activists’ 2012 campaign: Askar Kazeebon (Lying Military) whose modus operandi was to broadcast videos and documentaries to pedestrians that falsify the military’s accounts of various events and expose the soldiers’ crimes and human rights violations that official and regime-friendly media ignored

the military, Egypt’s central power, endeavoured to restrict the public space and erase the memory of the January 25 revolution. For this power knows that while memories are linked to the past, they determine how many Egyptians will perceive the future. The military pursued 1984’s Orwellian prophecy: ‘he who controls the past controls the future’.

the walls of revolutionary graffiti were repainted, CCTV cameras were installed in central spaces, and governmental offices were relocated away from the heart of Cairo

in dismantling the revolutionary symbols, the regime intended to construct a collective memory that excludes rival interpretations of events to its own. That is reminiscent to the Bahraini government’s destruction of Pearl Roundabout, the rallying point of the 2011 mass anti-government protests.

In November 2013, a few hours after Prime Minister Beblawi inaugurated it, protesters vandalised a memorial that the government built for ‘the martyrs of the revolution’. In his inaugurating speech, Beblawi referred to January 25 and June 30 ‘revolutions’ as well as the martyrs of the police and the army. That was interpreted by the protesters as another attempt to conflate the meanings and disrupt the image and the perceptions of the January 25 Revolution in the Egyptians’ collective consciousness

The unprecedented crackdown on dissent and the draconian laws that reportedly imprisoned tens of thousands of activists had prompted many to surrender the public space. Some are silent out of fear or disappointment. Others tried to put the memory of the revolution aside, so that they can go on with their own personal lives

Since the 2013 military coup, state and private media outlets – mostly controlled by the regime’s clientele – have kept glorifying the military’s role in recent years as well as defaming the revolution and activists as tools of the west to destroy Egypt

tech-savvy young activists already utilised memorialisation to foment the democratic uprising. We Are All Khalid Said, a Facebook page created to commemorate the 28-year old Khalid Said who was brutally tortured and killed by police, in 2010, became the January 25 protests’ virtual rallying point and main coordinator.

there are many initiatives to resist forgetting the revolution and silencing its voices. The most recent of which is Mosireen Collective’s 858 archive of resistance. In the Collective’s own words, the archive includes raw photographs, videos and documents that ‘present thousands of histories of revolt told from hundreds of perspectives. While the regime is using every resource to clamp down on public space and public memory the time has come to excavate and remember and re-present our histories.’

Wiki-Thawra whose slogan is ‘so we don’t forget’; UCLA’s Tahrir Documents; AUC’s University on the Square; and MIT’s 18 Days in Egypt.

After the 2013 military takeover, thousands involuntarily left the country to live in exile abroad. A minority among the exiled are still engaged in telling stories of the revolution and protesting al-Sisi government’s human rights violations and destruction of Egypt’s democratic hopes. Using art and satire, they continue to disturb the regime’s hegemonic revolution-defaming narratives.

it is still uncertain whether the regime has successfully dominated the Egyptian collective memory of the January 25 Revolution. That is because collective memory is not a static realm but rather a fluid construct that shapes – and is shaped by – current conditions and future aspirations.

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.

Eissa is no stranger to controversy. Before El-Daif, he caused a stir with his first screenplay, for Mawlana (Our Grand Sheikh), about modern Muslim televangelists as well as the relationship between religion and the state.

"El-Daif has very well depicted taboos never discussed before in Egyptian cinema, showing how Islam is misinterpreted as a religion that forces a woman to cover herself from head to toe," said Nagwa Ali, 40, an accountant, as she was leaving a Cairo cinema.

other critics say the film is long-winded and static, although praising it for tackling taboo subjects otherwise ignored in Egyptian cinema

In the film, Yahia faces blasphemy charges due to his views about his interpretation of Islam and its teachings that have appeared in his books and articles. His life is at risk, which leads the government to assign policemen to protect him and his family against extremists. Ironically, the fierce debates and controversy portrayed in El-Daif are mirrored in real-life arguments around the film, leading to calls for it to be banned.

it also angered Islamic scholars, including Khalid El-Gindi, a prominent preacher and member of the Supreme Council for Islamic Affairs. "Six religious institutions including Al-Azhar [the highest Islamic authority in Egypt and the region] have stipulated that hijab is a heavenly order. Nevertheless, Eissa comes with his film to simply try to convince people otherwise," El-Gindi said angrily in a telephone interview with TV host Sayed Ali broadcast on Egyptian Al-Hadath Al-Youm satellite channel.

El Gindi also upbraided the Egyptian censorship authority which, although it took a few months to approve the film, surprisingly did not cut any scenes.

El-Daif avoids the stereotypical image of a religious fanatic, introducing a handsome light-bearded young man dressed in an elegant outfit who comes from a well-bred family and who has studied engineering in the USA.  He has managed to influence the intellectual's daughter to the extent that she agrees to wear the hijab despite her liberal upbringing. Many women in Egypt wear the hijab for social rather than religious reasons, submitting to social and family pressures while also seeking to avoid sexual harassment. However, the attire does not protect women from unwanted attention and abuse, as women who have spoken to MEE confirm.

Egyptian feminists and liberal thinkers have their own explanation of the hijab as being often associated with the rise of the conservative Saudi Wahhabi doctrine that emerged in Egyptian society in the mid-1970s.

In the first six weeks of screening, El Daif took around seven million Egyptian pounds (about $400,000) and remained in third place at the Egyptian box office. It is still showing at most Egyptian cinemas. "Deals are underway to screen the film in a number of Arab and European countries," said an official at the film's production company, iProduction.

certain passages in the novel some Muslims had found blasphemous

In many significant ways, the "Salman Rushdie Affair" marked the start of the rise of Islamophobia in the US and Europe, affecting millions of Muslim communities and particularly, the refugees forced to flee their homelands. Rushdie himself became a key culprit in fomenting that hatred against Islam and Muslims. As Ayatollah Khomeini led the militant Muslim fanatics, Rushdie did the same with Islamophobe liberal imperialists like Bill Maher, Christopher Hitchens and Sam Harris, with Muslim communities inadvertently getting caught in between.

Satanic Verses was the first casualty of the Salman Rushdie affair and the last novel that Salman Rushdie would write - no matter how many more he published. After February 1989, it ceased to be read on its own merits or maladies. It became an allegory, an icon, a dead certainty - non-Muslims used it to explain or to camouflage their anti-Muslim hatred, and Muslims - to denounce "the West" and its plots against the Muslim world.

"Ironically, government supporters themselves don’t read pro-government newspapers. Best-selling newspapers lost their circulation after they were seized by government-friendly businesspeople."

Ismail Caglar, an analyst at Ankara-based conservative think tank SETA, says Turkey’s rising profile in the region attracts foreign interest. Foreign companies make media investments in Turkey to propagate their point of view and take part in domestic political debates, he said

A report by US government-funded think tank the Rand Corporation said last year that Sputnik Turkiye and other Russian media outlets were trying to undermine NATO by fomenting mutual suspicion between Turkey and its Western allies, enlisting Ankara’s support and impeding its opposition to Russian actions in the Middle East.

Sputnik Turkiye published an article on 2 December 2015 with the headline “Russia: Erdogan and His Family Directly Involved in ISIS’s Illegal Oil Shipment in Syria”. Turkey later banned Sputnik Turkiye’s website and revoked its bureau chief’s work permit and visa, but Sputnik Turkiye radio continued to broadcast. Following the rapprochement between two countries in 2016, Sputnik Turkiye’s website began to freely operate again. Its Twitter account has roughly 600,000 followers.

"As Turks look for fresh perspectives and alternate sources of information in a tightly controlled media environment, Sputnik Turkiye draws readers in through its shockingly open coverage on domestic issues,"

Other outlets, such as Germany's Deutsche Welle Turkce, have also taken a generally critical line. Prominent journalist Nevsin Mengu, whose newscasts on YouTube are watched by thousands of Turks, has recently joined its ranks.

BBC Turkce, which has been broadcasting since 1939, is known for an editorial style perceived to be critical of the current Turkish government. 

“There is this sense that stories edging on activist journalism have been regularly published because they think it will generate traffic,” 

BBC Turkce has more than 3 million followers on Twitter.

Caglar, the SETA analyst who is also preparing a report on the subject, criticised BBC Turkce for being opaque about its staffing and operational information. “They didn’t even want to acknowledge with how many people they have in their staff.”

Ali Duran Topuz, the editor-in-chief of independent news portal Gazete Duvar, told MEE that the current media structure in Turkey made it easier for foreign-owned outlets to operate. “It could be also financially profitable for the investors. Fox, for example, is mildly criticising the government and it posts profit. Because of large numbers of unemployed journalists, the labour cost is also very low,"