Spaces of Truth: Palestinian Refugee Women Reframe Concerns of Jerusalem and Resist Judaisation

2018 ◽  
Vol 17 (2) ◽  
pp. 169-192
Author(s):  
Laura Khoury
Keyword(s):  
Driving Force ◽  
Visual Memory ◽  
Refugee Camp ◽  
Creative Collaboration ◽  
Refugee Women ◽  
The Third ◽  
The Past ◽  
Palestinian Refugee ◽  
Relational Solidarity ◽  
Living Present

Since the third Intifada (2014–2015) onward, refugee Nakba-generation women reframed concerns over Shu'fat refugee camp space in response to newer settler-colonial and spatial Judaisation practices in Al-Quds/Jerusalem; created a different relationality of space/time; gave accounts that are closer to the present, made the present a driving force for their action; transformed the courtyard (hosh) experience into a community bonding function; and created a new layer of resistance. The Nakba narratives were conveyed as part of the present, their belonging to Jerusalem became the ‘truth of space’, and their visual memory overcame the ‘true now space’. Ultimately, their memory was a potential for creative collaboration between present consciousness and experiences of the past creating a ‘relational solidarity in the living present’.

scholarly journals Kapturing Kakuma : the commodification of refugees and participatory communication alternatives

2021 ◽  
Author(s):  
Jacqueline Strecker
Keyword(s):  
Comparative Analysis ◽  
Third World ◽  
Refugee Camp ◽  
The Political ◽  
Participatory Communication ◽  
The Third ◽  
The Past ◽  
High Commissioner ◽  
The Third World ◽  
Historical Photographs

Over the past 50 years, the image of statelessness has shifted from heroic European refugees to depictions of nameless, impoverished refugees from the 'Third World'. Although this shift apparently stems from noble intentions, the image of the 'vulnerable refugee' has stripped refugees of agency and expressive rights. The photographs published by The United Nations High Commissioner for Refugees (UNHCR) has employed this vulnerability frame in order to lobby for western aid by presenting an easily digestible discourse, congruent with Western ideology. The UNHCR has thus commodified refugees in order to ensure funding from western donors. This paper challenges this commodification by presenting a comparative analysis of the UNHCR's historical photographs, and images produced through a participatory photography project conducted in the Kenyan Kakuma Refugee Camp. This project shifts the conventional illustrative refugee discourse by identifying and rejecting the political and economic frameworks that have institutionalized the voiceless and commodified refugee.

scholarly journals Kapturing Kakuma : the commodification of refugees and participatory communication alternatives

2021 ◽  
Author(s):  
Jacqueline Strecker
Keyword(s):  
Comparative Analysis ◽  
Third World ◽  
Refugee Camp ◽  
The Political ◽  
Participatory Communication ◽  
The Third ◽  
The Past ◽  
High Commissioner ◽  
The Third World ◽  
Historical Photographs

Over the past 50 years, the image of statelessness has shifted from heroic European refugees to depictions of nameless, impoverished refugees from the 'Third World'. Although this shift apparently stems from noble intentions, the image of the 'vulnerable refugee' has stripped refugees of agency and expressive rights. The photographs published by The United Nations High Commissioner for Refugees (UNHCR) has employed this vulnerability frame in order to lobby for western aid by presenting an easily digestible discourse, congruent with Western ideology. The UNHCR has thus commodified refugees in order to ensure funding from western donors. This paper challenges this commodification by presenting a comparative analysis of the UNHCR's historical photographs, and images produced through a participatory photography project conducted in the Kenyan Kakuma Refugee Camp. This project shifts the conventional illustrative refugee discourse by identifying and rejecting the political and economic frameworks that have institutionalized the voiceless and commodified refugee.

The Persistence of the Image: Dhākira Hurra in Dia Azzawi's Drawings on the Massacre of Tel al-Zaatar

ARTMargins ◽  
2013 ◽  
Vol 2 (2) ◽  
pp. 71-97 ◽  
Author(s):  
Saleem Al-Bahloly
Keyword(s):  
Political Violence ◽  
Modern Art ◽  
Refugee Camp ◽  
Philosophy Of History ◽  
Poetic Tradition ◽  
Lebanese Civil War ◽  
Memory Image ◽  
The Past ◽  
Palestinian Refugee ◽  
The 1960S

This article examines the memory-image in a set of drawings produced by the Iraqi artist Dia Azzawi on the massacre of the Palestinian refugee camp, Tel al-Zaatar, during the Lebanese civil war. It traces the development of this memory-image in Iraq in the 1960s, within a paradigm of the modern artwork established by the work of the artist Kadhim Haidar. Generalizing in modern art a mode of allegory from the poetic tradition of the husayniyyat, that paradigm introduced a philosophy of history in which the past was interpreted as a tradition of tragic forms that could be revived in painting as allegories for articulating the experience of contemporary political violence. Within that philosophy of history, Azzawi drew from the epic, Gilgamesh, a formula for representing injustice, one where a victim is emplotted in a narrative of struggle, such that the forms of the victim double as forms of the aggression from which he suffers. This formula comprised the method of representation in Azzawi's drawings on the massacre at Tel al-Zaatar and in his work throughout the 1970s.

Palestinian refugee women and the Jenin refugee camp: Reflections on urbicide and the dilemmas of home in exile

Urban Studies ◽  
2019 ◽  
Vol 56 (14) ◽  
pp. 2897-2916 ◽  
Author(s):  
Sahera Bleibleh ◽  
Michael Vicente Perez ◽  
Thaira Bleibleh
Keyword(s):  
West Bank ◽  
Refugee Camp ◽  
The West ◽  
Palestinian Women ◽  
Refugee Women ◽  
Right Of Return ◽  
The Future ◽  
Palestinian Refugee ◽  
The Right

In March 2002, the Israeli military launched its most lethal attack on the West Bank since 1967. In the Jenin refugee camp, the assault included the deliberate destruction of homes and infrastructure including the entire Hawashin neighbourhood. This article considers the memories of Palestinian women who survived the urbicidal war on Jenin and confronted the difficulties of reconstruction. It shows how women enacted particular forms of agency during the siege that do not fit into discussions of urbicide or national resistance. Our analysis also examines the reconstruction of the Jenin camp to understand how its transformation reveals its significance for Palestinian women at both the levels of the home and the urban camp. We argue that the meaning of the camp is inseparable from the different ways it is inhabited. Thus for Palestinian women, the spatial reconfiguration of homes during the reconstruction of the camp permanently erased the experience of sociality once lived by women before the attack. This not only reproduced the effects of the urbicide but also disturbed the ways women inhabited the camp and provoked fears that it could be transformed into a permanent space and thus preclude the possibility of the right of return in the future.

The Palestinian Refugee Camps In Jordan: Between National Identity and Socio-economic Integration

2004 ◽  
Vol 2 (2) ◽  
pp. 198-221 ◽  
Author(s):  
Ala Al-Hamarneh
Keyword(s):  
United Nations ◽  
Collective Memory ◽  
Economic Integration ◽  
Refugee Camps ◽  
Spatial Integration ◽  
Political Activities ◽  
Cultural Traditions ◽  
The Past ◽  
Distinct Character ◽  
Palestinian Refugee

At least 50 per cent of the population of Jordan is of Palestinian origin. Some 20 per cent of the registered refugees live in ten internationally organized camps, and another 20 per cent in four locally organized camps and numerous informal camps. The camps organized by the United Nations Relief and Works Agency for Palestine Refugees in the Near East (UNRWA) play a major role in keeping Palestinian identity alive. That identity reflects the refugees' rich cultural traditions, political activities, as well as their collective memory, and the distinct character of each camp. Over the past two decades integration of the refugees within Jordanian society has increased. This paper analyses the transformation of the identity of the camp dwellers, as well as their spatial integration in Jordan, and other historical and contemporary factors contributing to this transformation.

Al-Rasm al-ʿUthmānī: Towards Correct Pronunciation and the Preclusion of Ambiguity

2011 ◽  
Vol 13 (2) ◽  
pp. 201-171
Author(s):  
Nāṣir Al-Dīn Abū Khaḍīr
Keyword(s):  
Specific Pattern ◽  
Writing Style ◽  
The Third ◽  
The Past ◽  
Different Ages ◽  
Correct Pronunciation ◽  
The One ◽  
The Mind

The ʿUthmānic way of writing (al-rasm al-ʿUthmānī) is a science that specialises in the writing of Qur'anic words in accordance with a specific ‘pattern’. It follows the writing style of the Companions at the time of the third caliph, ʿUthmān b. ʿAffān, and was attributed to ʿUthmān on the basis that he was the one who ordered the collection and copying of the Qur'an into the actual muṣḥaf. This article aims to expound on the two fundamental functions of al-rasm al-ʿUthmānī: that of paying regard to the ‘correct’ pronunciation of the words in the muṣḥaf, and the pursuit of the preclusion of ambiguity which may arise in the mind of the reader and his auditor. There is a further practical aim for this study: to show the connection between modern orthography and the ʿUthmānic rasm in order that we, nowadays, are thereby able to overcome the problems faced by calligraphers and writers of the past in their different ages and cultures.

Lot's Offer of his Daughters to his People in the Torah and the Qur'an: A Comparative Study in Two Parts (Part One)

2016 ◽  
Vol 18 (3) ◽  
pp. 161-224
Author(s):  
ʿĀʾiḍ B. Sad Al-Dawsarī
Keyword(s):  
Comparative Study ◽  
Comparative Studies ◽  
The Third ◽  
The Past ◽  
The Status ◽  
Moral Problems ◽  
Moral Dimensions ◽  
Similarities And Differences

The story of Lot is one of many shared by the Qur'an and the Torah, and Lot's offer of his two daughters to his people is presented in a similar way in the two books. This article compares the status of Lot in the Qur'an and Torah, and explores the moral dimensions of his character, and what scholars of the two religions make of this story. The significance of the episodes in which Lot offers his daughters to his people lies in the similarities and differences of the accounts given in the two books and the fact that, in both the past and the present, this story has presented moral problems and criticism has been leveled at Lot. Context is crucial in understanding this story, and exploration of the ways in which Lot and his people are presented is also useful in terms of comparative studies of the two scriptures. This article is divided into three sections: the first explores the depiction of Lot in the two texts, the second explores his moral limitations, and the third discusses the interpretations of various exegetes and scholars of the two books. Although there are similarities between the Qur'anic and Talmudic accounts of this episode, it is read differently by scholars from the two religions because of the different contexts of the respective accounts.

Negotiating Tripartite Philosophy (Strategy–tactics–technique)

2019 ◽  
Vol 1 (1) ◽  
pp. 53
Author(s):  
Hazem Hamad Mousa Al Janabi
Keyword(s):  
Bottom Line ◽  
Negotiation Strategy ◽  
The Third ◽  
The Past

Tripartite Negotiating philosophy: (strategy - tactics - technique) At the beginning , the research consists of four sections as follows: The first axis titled: "what negotiation", and the second axis: "philosophy of negotiation," The third axis titled: "negotiation strategy". Down to the fourth axis which included titled: "negotiating tactic", Sajama with the past and as a supplement came fifth axis titled: "negotiating technique", to be the bottom line in the form of a set of conclusions. Negotiation consists of a base triple hierarchical strategy - tactics - technique. The philosophy of negotiating interactive basis of rationality. Negotiable three parties are the position and the case and the parties involved. Is the process of negotiating strategic recruitment capacity and capabilities to achieve the desired goal of the crisis prematurely. Negotiating tactic is the process of hiring capacity and capabilities to achieve the desired goal at the negotiating table. •The technique is the process of negotiating employment capacity and capabilities to achieve the desired goal at the negotiating table to contain thesudden things check response and renewed flexibility.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

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