Humanities Dept, History Program

This article traces some of the uses of photography on the Ottoman fronts during the Great War. It explores images by native photographers from the empire’s various national communities and by European photographers at the front. It highlights three different types of photography: studio portrait images of soldiers and of social life at the time a neglected theme of particular importance to social historians of war; the work of official, press, and resident photographers, often hired by the Ottoman armies to document notable events (e.g. visits of dignitaries); and, on the British side of the Egyptian-Palestinian front, images taken by soldier-photographers that documented war preparations and the activities of the officers.

This chapter briefly examines the photographic collection of the Jerusalem diarist Wasif Jawharriyeh (1897-1972), whose life in the city spanned the last two decades of Ottoman rule and the British Mandatory period in Palestine.1 In 1948, following the fall of his neighborhood in the western suburbs of Jerusalem to Israeli control, Jawharriyeh left Palestine and ended up in Lebanon, where he passed away in 1972. Although he was a well-known figure while living in Jerusalem, he fell into oblivion until his diaries were discovered and published some thirty years after his death.2 Although his reputation as the "storyteller of Jerusalem" spread after the publication of the diary, during his time in the city, his claim to fame was his musical career as an amateur oud player. A native of Jerusalem, Jawharriyeh came from a Christian family with deep roots in the city. He was the son of Girgis Jawharriyeh, a prominent notable in the Greek Orthodox Arab community during the last few decades of Ottoman rule, and a devout administrator of the property of the Husayni family, two of whom became mayors of Jerusalem during Wasif's life. His published memoirs span the years he spent living in Jerusalem, from as early as 1904 until his forced departure in 1948. Although he continued to record his life in diaries through the next two decades, the published version only includes his time in Jerusalem. Following publication, the Jerusalem diaries were hailed by historians as an invaluable source of insight into Jerusalem's

The state, as an idea, has been at the center of moral and political philosophy even before Plato tackled it in his Republic. Philosophers have theorized about it in various ways, and have reached a variety of conclusions. While G. W. F. Hegel considered the nation-state to be the end of history, Karl Marx theorized that its abolition is what constituted an end to history— the history of class struggle in this case. 2 The state as an idea took its legitimacy historically from various sources including, but not limited to, religion. Empires were formed in the name of progress, dynasty, God, colonial interests, justice, and natural order, to mention a few, and in our current times constitute themselves in the name of international law and national rights. Still, the question of whose national rights states represent, and what groups in fact deserve to be called “nations” remains an issue of contention to this day. Although the right to statehood appears to be universal in our times, t...

اهيفو ،ةثلاثلا ةيميهاربلإا نايدلأا روهظ نم نورق لبق لًاوهأمو انًوكسم اهعقوم ناك ،يننسلا فلاآ لىإ دوعي ،ديلت خيرات سدقلل ،ىبرك ةجرد لىإ ،عقولما /ةنيدلما ةيزكرم طبترت نكل .ةفلتخم ةينيدو ةيعامتجا سوقطو تاغلب تقطن ،بوعش تشاعو تاعمتجم تماق ةٌقباس ،اضًيأ ايًداصتقاو ايًفاقث ايًعامتجا ءًاضفو ةنيدم اهفصوب ،اهنكل .ملاسلإا مث ،ةيحيسلما مث ،لًاوأ ةيدوهيلا ؛ةثلاثلا نايدلأاب اهتلصِب .نامزلأا برع اهمسا يّرغت نإ ىتح ،ايًنيد اعًقوم نوكت نأ لبق ،لًاوأ ةًنيدم ةدوجوم اهنوك اهب ةنيدلما تطبترا يتلا نايدلأا هذهب اهتقلاع لىع

Camera Palæstina is a critical exploration of Jerusalemite chronicler Wasif Jawhariyyeh (1904–1972) and his seven photography albums titled The Illustrated History of Palestine. Jawhariyyeh’s nine hundred images narrate the rich cultural and political milieu of Ottoman and Mandate Palestine. Nassar, Sheehi, and Tamari locate this archive at the juncture between the history of photography in the Arab world and the social history of Palestine. Shedding new light on this foundational period, the authors explore not just major historical events and the development of an urban bourgeois lifestyle but a social field of vision of Palestinian life as exemplified in the Jerusalem community. Tracking the interplay between photographic images, the authors offer evidence of the unbroken field of material, historical, and collective experience from the living past to the living present of Arab Palestine.

The photographic oeuvre of Wasif Jawhariyyeh (1897-1968), if one may call it that, is no longer unknown. His albums, ostensibly titled Tarikh Filistin al-musawwar or the "Illustrated History of Palestine, " have been explored by a number of different scholars in an array of venues, largely focusing on representing historic Palestine "before the diaspora. " 1 With a large handful of notable exceptions, most of the images themselves, as we will see in this book, were produced by marquee indigenous and expatriate studios and, therefore, can be found elsewhere. As such, the photographic bricolage that structures these albums (individually and if approached as an oeuvre or an archive) makes us ponder both the "history of photography in Palestine" and "the history of Palestine through the photograph. " Whether an oeuvre, an archive, or an individual enunciation, we are compelled to consider photographic collection and visual narration as an act, as a document and as a testimony. Rather than consider the "history of photography in Palestine" and "the history of Palestine through the photograph" as separate fields of inquiry, we posit that Wasif Jawhariyyeh's albums allow us to seek the confluence, overlaps, departures, tensions, and interplay between the two. The most fundamental assertion of this book is that the juncture between the history of photography in Palestine and the history of Palestine through photography offers us evidence of the unbroken field of material, historical, and collective experience that constitutes an uncontestable continuum of what is Arab Palestine, from its living past to its living present. Here, we would argue against a nostalgic reading of Jawhariyyeh's photographs, a reading that suggests the loss and erasure of Palestine as a historical and present fact. Certainly, as Tamari's contribution shows, particular forms of melancholy may haunt these images or play a role in organizing their selection. "Haunting" is relational, however. Therefore, we indubitably acknowledge that the Zionist settler-colonial ethos is built on the erasure of

The selection of photographs in this section come from the albums of Wasif Jawhariyyeh that are in discussion in this book. While we are mindful that they are only a small fraction of the images, we present them in order to illustrate a number of different dimensions of the visual narrative that Jawhariyyeh unfolds for his viewership. Few images in his albums are self-generated, and none of the photographs in this Visual Interlude were taken by him personally, although he appears in one (see fig. 3.17). These images represent the photographs that he collected through different means, over different periods in his life, and ones he valued enough to carefully place within the narrative of his albums. Many of these images are easily found, especially those produced by the American Colony's Department of Photography, which can all be located in the Library of Congress in Washington, DC. Yet, for us, the value of the images lies not in their "originality" but in the ways they are located in relation to one another and in relation to the historical experiences that Jawhariyyeh was registering. Moreover, the value and coherence of the images emerge from meaning produced precisely through their deployment within a visual compendium of an "illustrated history of Palestine. " We also need to recognize that the Visual Interlude makes stark the gender imbalance in Jawhariyyeh's albums and, therefore, in his visual narrative. It is true that women have a considerably more prominent place, even if they are still underrepresented, in his written narrative. Images of women are found throughout the seven albums. The largest cluster of named, known women is the intervention by Arab Women's Executive Committee (see chapter 5 and fig. 3.1). Women are often named as members of families, described in relation to their male counterparts (as wives, sisters, aunts, etc.), and in relation to their social networks, geographies, and communities. Palestinian women appear often in family, school, and institutional

The age of a historical manuscript can be an invaluable source of information for paleographers and historians. The process of automatic manuscript age detection has inherent complexities, which are compounded by the lack of suitable datasets for algorithm testing. This paper presents a dataset of historical handwritten Arabic manuscripts designed specifically to test state-of-the-art authorship and age detection algorithms. Qatar National Library has been the main source of manuscripts for this dataset while the remaining manuscripts are open source. The dataset consists of over 2000 images taken from various handwritten Arabic manuscripts spanning fourteen centuries. In addition, a sparse representation-based approach for dating historical Arabic manuscript is also proposed. There is lack of existing datasets that provide reliable writing date and author identity as metadata. KERTAS is a new dataset of historical documents that can help researchers, historians and paleographers to automatically date Arabic manuscripts more accurately and efficiently.

As an archaeological heritage, valuable heritage settlements entail preservation to avoid destruction and eventual extinction. Intending to propose a study for revitalising heritage villages, Tinbak is selected as a case study. It is an old abandoned village in Qatar identifiable by its distinct yet straightforward local architecture features. This article applies the concept of sustainable tourism to architectural heritage with consideration to social, cultural, and economic factors. The study employs qualitative research methods, grand and mini-tours, interviews and SWOT analysis with attention to three objectives, 1. Maintain the domestic identity of Tinbak; 2. Shift the value of space from residential to an attractive, sustainable touristic place; and 3. Highlight the connectivity to adjacent communities and open lands as a means of enhancing accessibility and ecotourism. To implement tourism sustainability, the study suggested the guidelines of the albergo diffuso model that promote local culture, stimulate the local economy and considering environmental sustainability. Recommendations suggested protecting and conserving the existing heritage, considering the surrounding rural area as part of revitalising the village, engaging the ABOUT THE AUTHORS

The word DAdw has a determinative that represents a columned hall. Betro argues that ‘the shape of the columns, with a tenon on top fixed to the room’s covering, suggests that at first the structure must have been light, a sort of pavilion with wooden columns’. 20 In contrast, Uphill describes it as a columned granite hall. 21 Faulkner and Meeks translate the term as ‘audience hall’. 22 Erman and Grapow describe it as a hall for the king to sit in, which could be a room in a temple. 23 Ward and others suggest that it is ‘the pavilion of a temple’. 24 This room could also be located inside a palace, however, as a text describing the royal audience of queen Hatshepsut mentions the

The aim of this paper is to discuss the requirements for effective guiding and the attributes for establishing effective rapport in tourist guiding. The paper will suggest an "interpretation of themes," using a thematically oriented approach in order to help tourist construct meaning, by giving an example of manicure and pedicure scenes in Ancient Egypt. This will be followed by arguments on the importance of interpretation of themes as part of the art and creativity of guiding, which should be added to the tourist guiding profession, and which will assumingly influence the tourists' construction of meaning for their experiences.

Camels from ancient times as early as 1200 BC were used as military vehicle and have been associated with the Near East and the Arabian Peninsula. In modern times they remain an important element of Bedouin life and culture (animal protein, dairy products and raw materials, an effective desert vehicle of transport and an indication of wealth). As such, camels are an integral component of heritage and society, essential to the development of Bedouin economies in many regions in the Middle East, North Africa, and Asian regions. Here it is investigated the viability of addressing the topic of the impact on camels by the blockade that has affected Qatar since 5th June 2017 as a theme of historical memory in the Qatari heritage in the National Museum of Qatar (NMoQ). The topic addresses the value and significance of camels in the Qatar peninsula up until the 21st century, and the tragic impact of the blockade on camels.

Qatar possesses numerous cultural tourist attractions such as museums, archaeological sites and heritage attractions. The question posed by this paper: How to boost Qatar Rock Art sites through reconsideration of the current cultural tourism map?. These Rock Art sites provide audience with a great opportunity to interact with values, rituals and symbols of one of the oldest communities who lived on this area of the Arabian peninsula. The paper provides a historical overview of Jabal al-Jusāsiyyah Rock Art site, and examines how representative is Qatar Rock Art on Qatar Tourism Authority media, digital and printed media. Support is given by a first undertaken questionnaire presented to Qatar University students about this Rock Art. It concludes that Rock Art sites are neither presented nor advertized on Qatar tourist map and there is lack of statistics and analysis of tourists types, practices and motivations to visit Rock Art sites in Qatar. Here we propose that Rock Art sites is a chance to include them in cultural tourism, which would lead to the diversification of income sources, therefore, be compatible with the sustainable development in the State of Qatar.