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Catastrophe and Exile in the Modern Palestinian Imagination explores the cultural memory of al-Nakba (1948 Israeli independence, or The Catastrophe as it is known in Palestine) and its significance to the modern Palestinian imagination. Ihab Saloul addresses central concepts to debates over identity such as nostalgia and trauma, notions of home and forced travel, and geopolitical continuity of loss of place. Through an integrated method of close narrative and discursive analysis of diverse literary texts, films, and personal narratives, this study offers an analytical account of the preservation of cultural optimism in the face of the ongoing catastrophe, as well as the ways in which aesthetics and politics intersect in contemporary Palestinian culture.
Catastrophe and Exile in the Modern Palestinian Imagination explores the cultural memory of al-Nakba (1948 Israeli independence, or The Catastrophe as it is known in Palestine) and its significance to the modern Palestinian imagination. Ihab Saloul addresses central concepts to debates over identity such as nostalgia and trauma, notions of home and forced travel, and geopolitical continuity of loss of place. Through an integrated method of close narrative and discursive analysis of diverse literary texts, films, and personal narratives, this study offers an analytical account of the preservation of cultural optimism in the face of the ongoing catastrophe, as well as the ways in which aesthetics and politics intersect in contemporary Palestinian culture.
Post-Millennial Palestine: Literature, Memory, Resistance confronts how Palestinians have recently felt obliged to re-think memory and resistance in response to dynamic political and regional changes in the twenty-first century; prolonged spatial and temporal dispossession; and the continued deterioration of the peace process. Insofar as the articulation of memory in (post)colonial contexts can be viewed as an integral component of a continuing anti-colonial struggle for self-determination, in tracing the dynamics of conveying the memory of ongoing, chronic trauma, this collection negotiates the urgency for Palestinians to reclaim and retain their heritage in a continually unstable and fretful present. The collection offers a distinctive contribution to the field of existing scholarship on Palestine, charting new ways of thinking about the critical paradigms of memory and resistance as they are produced and represented in literary works published within the post-millennial period. Reflecting on the potential for the Palestinian narrative to recreate reality in ways that both document it and resist its brutality, the critical essays in this collection show how Palestinian writers in the twenty-first century critically and creatively consider the possible future(s) of their nation.
Palestinian cinema arose during the political cinema movements of the late 1960s and early 1970s, yet it was unique as an institutionalized, though modest, film effort within the national liberation campaign of a stateless people. Filmmakers working within the Palestinian Liberation Organization (PLO) and through other channels filmed the revolution as it unfolded, including the Israeli bombings of Palestinian refugee camps, the Jordanian and Lebanese civil wars, and Palestinian life under Israeli occupation, attempting to create a cinematic language consonant with the revolution and its needs. They experimented with form both to make effective use of limited material and to process violent events and loss as a means of sustaining active engagement in the Palestinian political project. Palestinian Cinema in the Days of Revolution presents an in-depth study of films made between 1968 and 1982, the filmmakers and their practices, the political and cultural contexts in which the films were created and seen, and their afterlives among Palestinian refugees and young filmmakers in the twenty-first century. Nadia Yaqub discusses how early Palestinian cinema operated within emerging public-sector cinema industries in the Arab world, as well as through coproductions and solidarity networks. Her findings aid in understanding the development of alternative cinema in the Arab world. Yaqub also demonstrates that Palestinian filmmaking, as a cinema movement created and sustained under conditions of extraordinary precarity, offers important lessons on the nature and possibilities of political filmmaking more generally.
The Holocaust and the Nakba are foundational traumas in Israeli-Jewish and Palestinian societies and form key parts of each respective collective identity. This book offers a parallel analysis of the transmission of these foundational pasts in Israeli-Jewish and Palestinian societies by exploring how the Holocaust and the Nakba have been narrated since the signing of the 1993 Oslo Accords. The work exposes the existence and perpetuation of ethnocentric victimhood narratives that serve as the theoretical foundations for an ensuing minimization – or even denial – of the other's past. Three established realms of societal memory transmission provide the analytical framework for this study: official state education, commemorative acts, and mass mediation. Through this analysis, the work demonstrates the interrelated nature of the Israeli–Palestinian conflict and the contextualization of the primary historical events, while also highlighting the universal malleability of mnemonic practices.
This book places long overdue focus on the Palestine solidarity films of two important Arab women directors whose cinematic works have never received due attention within the scholarly literature or the cultural public sphere. Through an analysis that situates these largely overlooked films within the matrix of an anti-Zionist critique of cinematic ontology, this book offers a materialist feminist appreciation of their political aesthetics while critiquing the ideological enabling conditions of their academic absenting. The study of these daring films fosters a much-needed, sustained understanding of the meaning and significance of Palestine solidarity filmmaking for and within the Arab world.
Digital practices in social and political landscapes: Why two researchers can look at the same feature and see different things. Maps are widely believed to be objective, and data-rich computer-made maps are iconic examples of digital knowledge. It is often claimed that digital maps, and rational boundaries, can solve political conflict. But in Mapping Israel, Mapping Palestine, Jess Bier challenges the view that digital maps are universal and value-free. She examines the ways that maps are made in Palestine and Israel to show how social and political landscapes shape the practice of science and technology. How can two scientific cartographers look at the same geographic feature and see fundamentally different things? In part, Bier argues, because knowledge about the Israeli military occupation is shaped by the occupation itself. Ongoing injustices—including checkpoints, roadblocks, and summary arrests—mean that Palestinian and Israeli cartographers have different experiences of the landscape. Palestinian forms of empirical knowledge, including maps, continue to be discounted. Bier examines three representative cases of population, governance, and urban maps. She analyzes Israeli population maps from 1967 to 1995, when Palestinian areas were left blank; Palestinian state maps of the late 1990s and early 2000s, which were influenced by Israeli raids on Palestinian offices and the legacy of British colonial maps; and urban maps after the Second Intifada, which show how segregated observers produce dramatically different maps of the same area. The geographic production of knowledge, including what and who are considered scientifically legitimate, can change across space and time. Bier argues that greater attention to these changes, and to related issues of power, will open up more heterogeneous ways of engaging with the world.
Israeli Culture and Emergency Routine: Normalizing Stress explores the ways stress associated with a prolonged state of war, traumas, and emergency routine produces Israeli culture. Israeli Culture and Emergency Routine exposes the ways Israeli “emergency routine” leads to perpetual stress and trauma that are overwhelmingly present in the cultural production of Israeli art and literature. The nine chapters engage with a variety of Israeli cultural artifacts, including poetry, prose, film and graphic novels, and cast a wide temporal net, reaching from as early as the 1960s to 2019. In doing so, the collection sheds light upon the ramifications of the constant stress of the Israeli emergency routine on academic and cultural discourses and alerts us to be attentive to the effects of the physical world on the formulation of our world view within our social and political reality.
Discusses how contemporary Iranian and Middle Eastern thinkers and artists are forging a new postmodern vision. The insurgent, the poet, the mystic, the sectarian: these are four modes of subjectivity that have emerged amid Middle Eastern thought’s attempt to reverse, dethrone, or supersede modernity. Providing a theoretical overview of each of these existential stances, Jason Bahbak Mohaghegh engages the views of thinkers and artists of the last several decades, primarily from Iran, but also from Arab, Turkish, North African, Armenian, Afghani, Chechen, and Kurdish backgrounds. He explores various dimensions of the Middle Eastern experience at the threshold of the postmodern moment, including revolutionary ideology, avant-garde literature, new-wave cinema, and radical-extremist thought. The profound reinvention of concepts characteristic of such work—fatalism, insurrection, disappearance, siege—provide unique interpretations and confrontations with the modern period and its relationship to those who presumably fall outside its boundaries of self-consciousness. Expanding the conversation, Mohaghegh contrasts the impressions of the Middle Eastern figures considered with those of the most incisive Western thinkers of modernity, such as Nietzsche, Heidegger, and Baudrillard, to offer an original global vision that crosses the East-West divide. “This is a fascinating book that accomplishes something absolutely unique: it weaves together several theories, it is historically attuned to the region, and it engages politics (local and international). Mohaghegh’s work is a genuinely novel contribution.” — Farhang Erfani, American University
This book forms part of the scholarly rejection of the ‘experts’ of empire and calls for us to centre our understanding of colonial praxis upon the lives of the colonised peoples of the past and the present. Western publics are constantly being told by ‘experts’ that they ought to rethink the history of empire. They are told that their (presumed) guilt regarding their countries’ imperial pasts can be assuaged: if people were only able to deploy a ‘balanced scorecard’ they would then recognise that imperialists brought roads as well as death, schools as well as national borders, and hospitals as well as racialised forms of ethnic conflict. Building around an essay by the Algerian writer Hosni Kitouni (here translated into English for the first time), this book shows how the genre and forms of imperial history mirror the actions of colonists and the documents they left behind, erasing the suffering of indigenous people and the after-effects of empire, which last into the present and will continue into the future. This book was originally published as a special issue of Rethinking History.