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Underhill, Helen P. V. "Art school, art world, art circuit : an ethnography of contemporary visual art education and production in two Palestinian locations." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30303/.
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Makhoul, Bashir Wadia. "Contemporary Palestinian art : an analysis of cultural and political influences." Thesis, Manchester Metropolitan University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260076.
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Marshy, Mona C. "Visual art, exhibition, and musical performance : performing Palestinian identities in exile." Thesis, University of Edinburgh, 2004. http://hdl.handle.net/1842/24906.
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Both art and identity are constituted through institutional, transnational, transcultural, aesthetic, bodily, discursive and social processes. Individual subjectivities are given language, bodily expression, validation, and social force through artistic expression. Understanding aesthetic 'languages' and processes of art provides insight into the dislocation of Palestinians in the context of contested collective narratives and disrupted languages of signification. This thesis examines how works of visual art, musical performances, and exhibition contexts shape discourses of identity and experiences of belonging for artists and audiences. Dispossessed of their ancestral homes and land, and dispersed throughout the world, Palestinians are removed from the historical places of memory that are central to the Palestinian national narrative. This dissertation examines works of art and performances by selected Palestinian artists living in the West (five in Canada, one in the United States, and one in England). The artists reflect a wide range of diaspora experiences and negotiations, and the study provides insight into ways in which individuals and communities regenerate, recreate, and re-member themselves out-ofplace. I argue that the seven artists' works of visual art and musical performance enact memory, Palestinian national narratives, cultural politics, postmemory, and belongings. I also examine processes of exhibition, media representation, and cultural politics of a national museum exhibit in Canada, entitled The Lands Within Me: Artistic Expressions by Canadian Artists ofArab Origin, as a means of better understanding ways that institutional and representational contexts signify identities of art, artists, and audiences. The study demonstrates that art articulates as much with aesthetic styles and vocabularies as with transnational, transcultural, and historical forces. I argue that the works, performances, and exhibition processes enact identities and relations of power, and that at stake are boundaries of identity, as well as the geopolitics of multiculturalism and international relations.
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Baasch, Rachel Mary. "Visual narratives of division in contemporary Palestinian art and social space." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/41770.
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This study analyses artworks by contemporary Palestinian artists that respond to visual narratives of division in social space from a perspective grounded in a South African context. The state of Israel is built on Historic Palestine. Political Zionism has created an ideological narrative of division that positions people of the Jewish faith as the rightful heirs to the land on which Palestinians have lived for centuries. In order to execute their vision of an exclusively Jewish nation state, the founding pioneers of political Zionism colonised and ethnically cleansed Historic Palestine, establishing Israel in 1948. To sustain the exclusive claim to Palestinian land, Israel has divided the space and the people in it at every possible level. The greatest testament to these efforts is the Israeli apartheid wall and checkpoint security system that can be described as a monumental visual narrative of division. With each second that passes, Israel claims more Palestinian land and expands on existing fences, walls and barriers. It is no secret that the Occupied Palestinian Territories are rapidly transforming into open-air prisons. Israel has stolen the Palestinian horizon line and replaced it with a concrete wall that blocks out light, vision and optimism. Within the shadows of these conflicted, traumatised sites of division, Palestinian artists seek openings, cracks and loopholes that signal the possibility for physical and psychological transgression of these seemingly impenetrable structures of division. I have developed a creative methodology that can be understood through the metaphor of ‘looking with the skin’ as a way to identify and analyse visual narratives of division and artistic responses to sites of division in Palestinian social space. Looking with the skin combines aspects of participant observation (specifically the emphasis on engaged fieldwork) from the discipline of Anthropology with the method of visual analysis from the discipline of Art History. In my application of this method through primary fieldwork conducted within the Occupied Palestinian West Bank Territory from 2013 and 2014, I have learnt that Israel’s colonisation, military occupation and system of apartheid directly impacts the ability of Palestinian artists to make and disseminate their work as well as the choice of content within their artwork. The artworks analysed in this thesis by the artists Khaled Jarrar, Y ael Bartana, Larissa Sansour, Hasan Darahgmeh, Fareh Saleh and Emily Jacir can be positioned in relation to artworks by artists based within a South African context, namely Thando Mama, Serge Alain Nitegeka and Doung Anwar Jahangeer. In this thesis I present a combination of my own photographic documentation of sites of division with the West Bank OPT in relation to the specific artworks made by the artists mentioned above. In my analysis of the photographic documentation and the artists’ work I highlight similarities, parallels, threads and intersecting narratives that connect different artists to one another and to the sites of division they are responding to within their artistic practice. This study carves a small conceptual pathway through ideological and physical walls from South Africa to Palestine through the study of contemporary art and visual culture.
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Handal, Alexandra Sophia. "Uncovering the hidden Palestinian city of Jerusalem : Disrupting power through art intervention." Thesis, University of the Arts London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533123.
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Sherwell, Tina. "Imaging the homeland : representations of Palestine in Palestinian art and popular culture." Thesis, University of Kent, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269144.
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Teissier, Beatrice. "Egyptian iconography on Syro-Palestinian cylinder seals of the Middle Bronze Age (c.1920-1550 B.C.)." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277889.
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Figueiredo, Carolina Ferreira de. "Traços de uma haifa vermelha : um estudo sobre a cultura visual da sociedade palestina/israelense através de charges e ilustrações do artista palestino Abed Abdi (1972-1982)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/142947.
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Este trabalho tem por objetivo analisar a cultura visual presente em Israel e na Palestina durante as décadas de 1970 e 1980, através da singular interação entre o universo das imagens e a luta política da Palestina. O estudo parte da preocupação em compreender territórios e alcances da visualidade palestina, especialmente em decorrência da ruptura ocasionada a partir de 1948 – ano de criação do Estado de Israel, conhecido Nakba - e seus diversos desdobramentos. Visando aprofundar a compreensão das reverberações visuais na experiência política de artistas (e) palestinos/as, serão exploradas imagens de apelo cotidiano e de grande alcance, em especial charges e ilustrações, produzidas pelo artista palestino Abed Abdi entre os anos de 1972 e 1982: as primeiras, publicadas no jornal Al-Ittihad (1972-1981), e as segundas produzidas para a revista literária Al-Jadid (1980-1982). O recorte temporal escolhido ambienta um momento de uma rica produção do artista, devido suas posições ideológicas de esquerda, a filiação ao Partido Comunista de Israel e os estudos formais realizados em Dresden, elementos fundamentais da biografia de Abdi. Sua produção crítica e marcadamente política proporcionam retratos de um cenário complexo das relações entre Israel, Palestina, outros países do Oriente Médio e do restante do mundo no período. Assim, no entremeio da história e arte, visualidade e política, são abordadas temáticas como a construção identitária e historiográfica do Nakba, as produções artísticas do Nakba, a construção da Nação, a inserção do Comunismo, a natureza dos periódicos, a presença de uma intelectualidade palestina, entre outros. O problema, enfim, consiste na hipótese de uma centralidade do visual no processo de afirmação, discussão, enfrentamento e expressão das causas palestinas no século XX. Nesse cenário, as imagens produzidas por Abed Abdi durante as décadas de 1970 e 1980 encontram relevância ao fornecer um repertório visual que discute a Palestina em termos políticos, não apenas em suas relações com Israel e com um Mundo Árabe, mas a partir de seus próprios termos.This work aims to analyze the visual culture presented in Israel and Palestine during the 1970s and 1980s, through the unique interaction between the images spectrum and the political struggle in Palestine. The study is concerned to understand territories and the scope of Palestinian visuality, especially due to the disruption caused since 1948 - the birthdate of the State of Israel, known as Nakba - and its various developments. To deepen the understanding of visual reverberations in the political experience of artists (and) Palestinians, it will be explored images of everyday appeal and far-reaching, specifically cartoons and illustrations produced by the Palestinian artist Abed Abdi between the years 1972 and 1982: the first ones published in the Al-Ittihad newspaper (1972-1981), and the second ones produced for the literary magazine Al-Jadid (1980-1982). The time frame chosen is set in a moment of a rich production of the artist, also due to his leftist ideological position, filiation to the Communist Party of Israel and the formal studies taken in Dresden, underlying elements to Abdi´s biography. His critical production, markedly political, provides pictures of a complex scenario of relations between Israel, Palestine, other Middle Eastern countries and the rest of the world in the period. Therefore, in between history and art, visuality and politics, it is addressed themes such as identity and historiographical construction of the Nakba, the artistic productions of the Nakba, the construction of the Nation, the insertion of Communism, the nature of the journals, the presence of Palestinian intellectuals, among others. The problem, finally, consists in the hypothesis of the centrality of the visual in the processes of afirmation, discussion, confrontation and expression of the Palestinian causes in the twentieth century. In this scenario, the images produced by Abed Abdi during the 1970s and 1980s are relevant because they provide a visual repertoire in discussing Palestine politically, not only in its relations with Israel and an Arab World, but from their own terms.
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Scott, Ian W. "Among God's people Palestinian Jewish symbols of community membership in the Gospel of Matthew /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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El-Herfi, Lina. "La frontière : un espace conflictuel dans l'art contemporain palestinien : la mémoire collective expulsée et l'identité-résilience comme expressions de la Nakba." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010509.
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Cette thèse en arts plastiques s'appuie sur les œuvres d'artistes palestiniens contemporains (Mona Hatoum, Taysir Batnijl, Ruia Halawani, Emily Jacir, Laila Shawa), ainsi que sur une pratique personnelle, pour interroger le concept de frontière. Une telle lecture se fait à travers un événement historique majeur : la Nakba. Elle démontre l'hypothèse selon laquelle l'expulsion des Palestiniens de leurs terres a fait émerger, dans les travaux des artistes, une nouvelle forme de frontière. La première partie présente les différents dispositifs de la frontière (vidéosurveillance. miradors, mur, checkpoints) qui imprègnent la création contemporaine et témoignent d'une souffrance qui laisse sa trace dans le paysage, par l'intermédiaire de la mémoire conçue comme un point d'ancrage dans le passé pour mieux comprendre le présent. La deuxième partie, axée sur la mémoire de la Nakba, que nous appelons « mémoire collective expulsée », permet une relecture de cette frontière du point de vue de l'art - grâce auquel la douleur de l'exilé se transforme en force créatrice. Nous aboutissons ainsi, dans un troisième temps, à l'« identité-résilience» qui traduit, chez les artistes palestiniens, leur survie par l'art à l'issue d'une prise de conscience du déracinement originel lié à la e; noyade» de leur patrie et de ses frontières. La frontière devient une blessure inscrite dans le passé sous laquelle l'histoire, la mémoire et l'identité se stratifient, dessinant les contours de nos propres travaux et des œuvres étudiées. Notre thèse, c'est que la Nakba est une fissure qui s'enracine viscéralement dans l'artiste et évolue avec son œuvre pour donner naissance à la « frontière-diaclase »This PhD dissertation in the field of visual arts builds on the artworks of contemporary Palestinian artists (Mona Hatoum, Taysir Batniji, Ruia Halawani, Emily Jacir, Laila Shawa) as well as on a personal practice, in order to question the border as a concept. The approach chosen draws upon a major historical event: the Nakba. It alms to demonstrate the hypothesis according to which the eviction of Palestinians from their land has allowed their different arts to express a new form of border. Part l exposes the multiple dimensions of the border (video monitoring, watchtowers, wall, checkpoints) which nurture the contemporary creation, while unveiling the trace of a suffering left in the landscape through memory. Memory is conceived as an anchor in the past, for a better understanding of the present. Part II of the dissertation centers on the Nakba as an "expelled collective memory" and provides a retrospective reading of borders, seen through art. By the medium of art, the pain of the exiled becomes his creative power. Hence part III focuses on the "resilience-identity" which expresses the survival of Palestinian artists after a realization of the original uprooting due to the "drowning" of their homeland and its borders. Borders become a wound in the past under which can be found memory, history and identity, which serve the understanding of both my personal work and the pieces studied. The thesis purports to show that the Nakba appears as a fissure deeply rooted in the artist's being and evolving with his work, eventually giving birth to "joint border"
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Shaheen, Basima. "The Palestinian Archipelago and the Construction of Palestinian Identity After Sixty-five Years of Diaspora: the Rebirth of the Nation." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801889/.
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This dissertation conceptualizes a Palestinian archipelago based on Mikhail Bakhtin’s theory of the chronotope, and uses the archipelago model to illustrate the situation and development of Palestinian consciousness in diaspora. To gain insight into the personal lives of Palestinians in diaspora, This project highlights several islands of Palestinian identities as represented in the novels: Dancing Arabs, A Compass for the Sunflower, and The Inheritance. The identities of the characters in these works are organized according to the archipelago model, which illustrates how the characters rediscover, repress, or change their identities in order to accommodate life in diaspora. Analysis reveals that a major goal of Palestinian existence in diaspora is the maintenance of an authentic Palestinian identity. Therefore, my description of the characters’ identities and locations in the archipelago model are informed by various scholars and theories of nationalism. Moreover, this dissertation illustrates how different Palestinian identities coalesce into a single national consciousness that has been created and sustained by a collective experience of suffering and thirst for sense of belonging and community among Palestinians. Foremost in the memories of all Palestinians is the memory of the land of Palestine and the dream of national restoration; these are the main uniting factors between Palestinians revealed in my analysis. Furthermore, this project presents an argument that developing a Palestinian exceptionalism as both a response and a solution to the problems Palestine faced in the 20th century has already occurred among diasporic Palestinians as well as those settled in the West Bank. In addition, a significant finding of this dissertation is the generation clash in regarding to the methods of modernization of the West Bank society between the settled Palestinian and those returning from diaspora. Nevertheless, a Palestinian homecoming will require a renegotiation of Palestinian identities in which generation gaps and other disagreements will be resolved and transcended in favor of nation-state building.
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Karpefors, Max. "”We are not free here…” : Palestinian IT Students’ Intentions to Migrate or to Stay." Thesis, Uppsala universitet, Kulturgeografiska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-353851.
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The Palestinian information technology (IT) sector is growing, yet an ongoing migration of IT professionals and graduates is taking place – both in shape of student migration and labour migration. Through group, pair and individual interviews, this thesis investigates highly skilled IT students’ intentions to stay in or to leave Palestine after graduation. The study puts the individual in the center of the analysis focusing on a micro-level perspective while examining professional outlooks and factors affecting migratory and stay decisions. The findings highlight the impact of the university, the IT sector, the Israeli occupation and gender norms. Moreover, the study reveals a clash between aspirations and reality in professional outlooks, a lack of freedoms, and show significant support for the impact of macro-level factors in migratory decision-making. This thesis also addresses the call for a human face in skilled migration, and provides insights to an under-researched region in the skilled-migration literature.
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Abudaya, Bahaaeldin. "Art palestinien contemporain : la question de l'exil et les enjeux politiques dans la scène artistique palestinienne de la fin du XIXe siècle aux accords d'Oslo." Paris 8, 2012. http://www.theses.fr/2012PA083484.
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Cette étude porte sur la présentation historique du mouvement artistique palestinien de la fin du XIXe siècle aux accords d’Oslo de 1993. Il s’agissait de dresser un panorama de cette production qui s’est caractérisée par sa politisation et l’exil de ses artistes (dans le monde arabe, en Occident, mais aussi à l’intérieur même des Territoires palestiniens et d’Israël). Ce mouvement s’est illustré à travers les différentes politiques culturelles et artistiques entreprises par les institutions officielles et non officielles qui ont contribué à le diffuserThis study deals with the historical presentation of Palestinian art movement from the late nineteenth century to the Oslo Agreements of 1993. It relates to a panorama of this production which is characterized by its politization and the exile of its artists (in the Arab world, in the West, but even within the Palestinian Territories and Israel). This movement is illustrated through the various artistic and cultural policies undertaken by the formal and informal institutions that contributed to its spread. A
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Teissier, Beatrice. "Egyptian iconography on Syro-Palestinian cylinder seals of the middle bronze age /." Fribourg (Suisse) : Göttingen : University press ; Vandenhoeck & Ruprecht, 1996. http://catalogue.bnf.fr/ark:/12148/cb358189649.
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Korp, Elvira. "“Our souls are there, we are returning someday” – Young Palestinians in Sweden reflecting on ethnicity as an aspect of identity." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23156.
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This thesis examines how Palestinian ethnicity is negotiated and embodied in different contexts by young people with Palestinian background in Sweden. It is based on semi-structured interviews and uses Social Identity and Self Categorization theory. A main result is that the Palestinian ethnicity of the respondents play an essential role for their identity building, regardless of context. While being “Palestinian” is fore-fronted by all the interviewees as central to their identities, they ascribe somewhat different meanings to the concept of Palestinian-ness - what actually makes them “feel Palestinian” or can claim a Palestinian identity. Further, the interviewees’ perception of how Palestinian-ness is generally regarded in different contexts matter. Lastly, their notion of Palestinian ethnicity is strongly connected to the Palestinian territory and the historical-political situation and conflict with Israel. Together, these themes show the complexity of identity and ethnicity, however, the interviewees relation to their Palestinian background is solid.
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Segel, Neil Elliot. "The 'Arc': A Solution for Peace, Finding a Two-State Solution Through Infrastructure Strategies in the Israeli/Palestinian Conflict." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/244778.
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The Israeli/Palestinian conflict is one of the longest-standing discords in modern history. International actors have attempted innumerable approaches to create a decisive and lasting peace, to little avail. This thesis investigates the realistic potential of a large-scale infrastructure project to alter the conflict status quo and lay the foundations for a peaceful two-state solution. Operating on the premise that a two-state solution is the only feasible outcome, this thesis investigates the potential of 'The Arc' - a corridor of infrastructure linking the physically separate halves of Palestine (the West Bank and the Gaza Strip) - to create the necessary preconditions for a unified Palestinian Authority. This in turn could be the tipping point towards a lasting two-state solution. Building on previous research from the RAND Corporation, this dissertation analyzes the degree of the total project potential, the necessary components, the outcomes, and what success could mean for all parties involved. Through case studies of similar projects it is possible to extrapolate theory applicable to conjoining the Gaza Strip and the West Bank. This analysis will also determine the extent of monetary risk any third-party will endure. The conclusion highlights the findings of this investigation as well as strategic policy suggestions.
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Huneidi, Sahar. "A broken trust : Herbert Samuel, zionism and the Palestinians, 1920-1925 /." London ; New York : I.B. Tauris, 2001. http://catalogue.bnf.fr/ark:/12148/cb37714589p.
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Maalouf, Monneau May. "Les Palestiniens de Jérusalem : l'action de Fayçal Husseini /." Paris : l'Harmattan, 2009. http://catalogue.bnf.fr/ark:/12148/cb41447066r.
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Bseiso, Hiyam. "La famille palestinienne dans les camps palestiniens au Liban, 1948-1970." Lille : Atelier national de reproduction des thèses, 1989. http://catalogue.bnf.fr/ark:/12148/cb35539525f.
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Dall'Arche, Chiara <1988>. "L'arte nelle zone ad alta tensione. Israele e Palestina attraverso gli occhi di due artiste contemporanee: Sigalit Landau e Emily Jacir." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4022.
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Questa tesi mostra, analizza e confronta le opere di due artiste contemporanee mediorientali: l'israeliana Sigalit Landau e la palestinese Emily Jacir, per capire fino a che punto la situazione dei loro Paesi influenzi la loro attività artistica.
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Welchman, Lynn. "Beyond the code Muslim family law and the shariʼa judiciary in the Palestinian West Bank /." The Hague ; London ; Boston : Kluwer Law International, 2000. http://catalogue.bnf.fr/ark:/12148/cb37739801w.
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Al, Majdalawi Mazen. "Human resource development in Palestinian higher education, with special reference to evaluation of employee development and training at the Al-Aqsa University, Gaza, Palestinian Authority." Thesis, University of South Wales, 2015. https://pure.southwales.ac.uk/en/studentthesis/human-resource-development-in-palestinian-higher-education-with-special-reference-to-evaluation-of-employee-development-and-training-at-the-alaqsa-university-gaza-palestinian-authority(be3c766a-50f7-44c4-8775-6394a7a6f0bd).html.
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Nakhlé-Cerruti, Najla. "La Palestine sur scène. Une approche géocritique du théâtre palestinien (2006-2016)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCF037/document.
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À partir d’un corpus de six pièces de théâtre produites entre 2006 et 2016 par des Palestiniens, ce travail étudie l’élaboration de la spatialité dans les textes et ses interactions avec l’espace réel dans lequel ils se déploient. En raison des fortes contraintes imposées aux Palestiniens dans leurs mobilités, la pratique du territoire représente d’abord une expérience identitaire quimarque les conditions de création et les choix dramaturgiques. Le théâtre offre un espace pour raconter cette expérience et c’est le témoignage qui occupe la scène, dans diverses formes d’autobiographie scénique. Le texte, support de mémoire devient un objet littéraire où le récit de soi monologué permet aux Palestiniens d’exprimer l’exil qu’ils vivent, dans sa doublenature : géographique et psychologique. Dans ces récits scéniques, les personnages finissent par se confondre avec l’espace qu’ils décrivent ; s’élaborent alors des figures littéraires spécifiques à ce rapport à l’espace. Ainsi, l’image de l’enfermement manifeste les liens entre le texte et la réalité vécue et décrite. Cette poétique de l’espace participe aussi à la remise enquestion du mythe de la Palestine qui occupe les textes de cette décennie, et fournit ainsi un angle privilégié pour analyser les dynamiques identitaires des PalestiniensThis work studies how the spatial dimension is elaborated in six theatre plays produced between 2006 and 2016 by Palestinians and how these texts interact with the real space within which they unfold. Because of the strong constraints imposed on Palestinians’ mobility, the practice of territory embodies an experience. This alters the conditions and choices of production and theatre offers a space to tell this experience. In this body of texts, testimony takes center stage in the form of staged autobiography. The text therefore becomes a literary object, rather than a medium for memory. Self-narrative allows Palestinians to express their exiles in both geographic and psychological terms, by using the form of the monologue. In their stories, the characters are so affected by this experience of territory that they end up being conflated with the space they describe. The spatial dimension in the texts is elaborated from literary figures. The image of imprisonment expresses in a direct manner the links between text and reality. It participates in the questioning of the myth of Palestine that fills the texts of this decade. It is indeed in real and textual space that the identity dynamics of Palestinians are being built
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Embalo, Birgit. "Palästinenser im arabischem Roman : Syrien, Libanon, Jordanien, Palästina 1948-1988 /." Berlin : L. Reichert, 2000. http://catalogue.bnf.fr/ark:/12148/cb39223077p.
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Bseiso, Hiyam. "La Famille palestinienne dans les camps palestiniens au Liban, 1948-1970." Lille 3 : ANRT, 1990. http://catalogue.bnf.fr/ark:/12148/cb37612443f.
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Nabhan, Inshirah Nimer. "Correlates of Post-Traumatic Stress Disorder and Disorder of Extreme Stress Not Otherwise Specified among Palestinian Child Ex-Detainees." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84259/.
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The objective of this study is to investigate the variations in the type of trauma (post-traumatic stress disorder (PTSD) and disorder of extreme stress not otherwise specified (DESNOS) resulting first from group membership, and second from variations in socioeconomic status, and last, from exposure to physical and psychological methods of interrogation due to imprisonment. I use a diverse sample of 202 child ex-detainees who served sentences in Israeli prisons and were 17 years of age or less at the time of arrest. Various regression techniques were utilized to determine the most parsimonious way to distinguish between the three groups in their trauma responses. The key finding in this study is that child refugee ex-detainees living in refugee camps, in general, did not report PTSD or DESNOS reactions compared to their counterparts. Continuing PTSD and DESNOS symptoms were more prevalent among the group of refugees living outside the camps. However, there is at least one finding that supported what I hypothesized: refugees living in camps were more likely to experience elevated levels of alterations in attention or consciousness (DESNOS2). For refugees in camps, the DESNOS absence tells us that the volatile childhood these children experienced was not associated with severe pathological reactions or heightened sensitization to trauma. In contrast, refugees living outside camps suffer from alterations in self-perception DESNOS4 symptomology, in addition, to elevated levels of complex trauma DESNOS and they qualified for the DESNOS diagnosis more than the other two groups of children. Refugees living outside camps were the only group subjected to interpersonal stressors.
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Oliveira, Fernanda Fonseca Cruvinel de. "O olhar do outro: a arte rupestre de Palestina de Goiás e a comunidade local." Pontifícia Universidade Católica de Goiás, 2016. http://tede2.pucgoias.edu.br:8080/handle/tede/3527.
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This research work understanding the rural community of Palestina de Goiás about the local rock art, drawing a parallel between scientific interpretation and the interpretation of the community , in order to relativize the concept of cultural heritage and archaeological as well as the social impact scientific constructions. Therefore interviews were conducted , following semi-structured methodology and qualitative analysis . The analysis of the different narratives confronts the unilateral view of science , as well as other knowledge values and interpretations .
A presente pesquisa trabalha o entendimento da comunidade rural de Palestina de Goiás a respeito da arte rupestre local, traçando um paralelo entre a interpretação científica e a interpretação da comunidade, com o intuito de relativizar o conceito de patrimônio cultural e arqueológico assim como o alcance social das construções científicas. Para tanto foram realizadas entrevistas, seguindo metodologia semiestruturada e análise qualitativa dos dados. A análise das diferentes narrativas confronta a visão unilateral da ciência, assim como valoriza outros saberes e interpretações.
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Mahjoub, Abdelwahab Leyens Jacques-Philippe. "Approche psychosociale des traumatismes de guerre chez les enfants et adolescents palestiniens /." Tunis : Faculté des sciences humaines et sociales : Alif, les Éd. de la Méditerranée, 1995. http://catalogue.bnf.fr/ark:/12148/cb36969500j.
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Th.--Faculté de psychologie et des sciences de l'éducation--Louvain-la-Neuve, Belgique--Université catholique.Trois chapitres en français, deux en anglais, et en annexe la version arabe des questionnaires utilisés. Bibliogr. p. 217-237.
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Lähteenmäki, Maija. "The Palestine Liberation Organization and its international position : until the Palestine National Council of Algiers in November 1988 /." Turku : Turun yliopisto, 1994. http://catalogue.bnf.fr/ark:/12148/cb37619788x.
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Laurent, Annie Basbous Antoine. "Le Liban et son voisinage les Palestiniens, la Syrie, Israël, de 1943 à 1984 /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376005195.
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Ortlieb, Sylvia. "Palästinensische Identität und Ethnizität : Genese und Entwicklung des Selbstverständnisses der Palästinenser /." Köln : Neuer ISP Verl, 1995. http://catalogue.bnf.fr/ark:/12148/cb37520199s.
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Diss.--Universität des Landes Hessen--Bassel--Gesamthochschule, 1995. Titre de soutenance : Palästinensische Identität und Ethnizität - sociokulturelle und politische Determinanten des Identitätssystems.Bibliogr. p. 233-260.
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Gulde, Stefanie Ulrike. "Der Tod als Herrscher in Ugarit und Israel /." Tübingen : Mohr Siebeck, 2007. http://catalogue.bnf.fr/ark:/12148/cb410947293.
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Zonozy, Nassrullah Y. (Nassrullah Yeganeh). "A Comparative Study of Terrorism in Southwest Asia 1968-1982." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331211/.
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This study assumes that political terrorism results from conscious decision-making by groups opposing a governing system, policy or process. The kinds of terrorist activity employed depend upon such factors as the philosophy, goals, objectives, and needs of the terrorist group. This presents a comparative analysis of three types of terrorists in southwest Asia: Palestinians, Marxist-Leninists, and Muslims. The first section summarizes and compares the three groups' motivational causes, philosophies, histories and sources of inspiration. The second section compares their behavior from four perspectives: trends and patterns, level of violence, tactical preferences, and lethality. The third section identifies and categorizes socioeconomic, political and military variables associated with tactic selection and acts of terrorism.
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Yilmaz, Ismail. "A Historical Analysis of the Failures of Camp David 2000 Summit." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4799/.
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This research seeks to understand the reasons for failures of Bill Clinton, Yasser Arafat, and Ehud Barak's Camp David Summit that was held in July, 2000. The Summit was arranged to complete the last phase of Oslo Peace Process. Numerous researches have attempted to reveal the facts of the summit but, so far, they have failed to present the complete details of what happened before, during, and after the summit. This research explores all aspects of the problem including the various variables that would have had effected the breakdown of the Middle East peace process. Finally, the researcher determines the parameters needed to maintain a substantial peace in the Middle East and what proposed strategies might be followed in order to avoid the previous mistakes in future peace negotiations.
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Letchford, Roderick R., and rletchford@csu edu au. "Pharisees, Jesus and the kingdom : Divine Royal Presence as exegetical key to Luke 17:20-21." The Australian National University. Faculty of Arts, 2002. http://thesis.anu.edu.au./public/adt-ANU20030917.151913.
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The quest for the historical Jesus can be advanced by a consideration of disagreement scenarios recorded in the gospels. Such conflicts afford the opportunity not only to analyse the positions of the protagonists, but by comparing them, to better appreciate their relative stances. ¶
One area of disagreement that has remained largely unexplored is that between Jesus and the Pharisees over the kingdom of God. Indeed, kingdom of God formed the very foundation of Jesus preaching and thus ought to be the place where fundamental disagreements are to be found. As Luke 17:20-21 represents the only passage in the Gospels where the Pharisees show any interest in the kingdom of God, it forms the central hub of the thesis around which an account of the disparate beliefs of Jesus and the Pharisees on the kingdom of God is constructed. ¶
The main thesis is this. Luke 17:20-21 can best be explained, at the level of the Pharisees and Jesus, as betraying a fundamental disagreement, not in the identity of the kingdom of God, which they both regarded as primarily the Divine Royal Presence, i.e. God himself as king, but in the location of that kingdom. The Pharisees located the kingdom in the here-and-now, Jesus located it in heaven. Conversely, at later stages in the formation of the pericope, the pre-Lukan community identified the kingdom as the Holy Spirit located in individuals with faith in Jesus and the redactor identified the kingdom as Jesus, located both in the Historical Jesus and the Jesus now in heaven. ¶
Chapter 1, after the usual preliminary remarks, presents an analysis of Luke 17:20-21 as a chreia, a literary form ideally suited as the basis on which to compare the beliefs of the Pharisees and Jesus. The work of three scholars vital to the development of the main thesis is then reviewed and evaluated. By way of background, a portrait of the Pharisees is then presented, highlighting in particular, issues that will be of importance in later chapters. Finally, a section on the Aramaic Targums suggests that some targum traditions may be traced back prior to AD 70 and that these reflect the influence and beliefs of first century Palestinian Pharisees. ¶
Chapters 2 and 3 are a consideration of every instance of the explicit mention of God as king (or his kingship) and the Divine Kingdom respectively, in contemporary and earlier Jewish Palestinian literature and in Luke-Acts. A model of the kingdom of God is developed in these chapters that will be applied to Luke 17:20-21 in the next chapter. ¶
Chapter 4 presents a detailed exegesis of Luke 17:20-21, taking into account scholarship on the pericope since the last monograph (an unpublished dissertation of 1962) on the chreia. It offers a composition history of the pericope and measures previous exegesis against the view of the kingdom of God as developed in chapters 2 and 3. ¶
Chapter 5 presents a summary of the work that relates directly to Luke 17:20-21, some implications arising from the findings and, several possible avenues for future research.
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Lambrou-Phillipson, Connie. "Hellenorientalia : the Near Eastern presence in the Bronze Age Aegean, ca. 3000-1100 B.C. : interconnexions based on the material record and the written evidence ; plus Orientalia : a catalogue of Egyptian, Mesopotamian, Mitannian, Syro-Palestinian, Cypriot and Asia Minor objects from the Bronze Age Aegean /." Göteborg : P. Aströms, 1990. http://catalogue.bnf.fr/ark:/12148/cb389043104.
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Berger, Chloé. "Rivalités mimétiques et transformations militaires au Levant : une relecture du conflit israélo-arabe." Thesis, Paris 2, 2016. http://www.theses.fr/2016PA020005/document.
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Ce travail de thèse se présente comme une relecture du conflit israélo-arabe depuis ses origines (Palestine ottomane) à travers une analyse des transformations militaires mises en oeuvre par les acteurs, parties au conflit. Ces transformations sont motivées par des effets de rivalités mimétiques. Au fil des affrontements, chaque adversaire adapte son système de défense en fonction de celui de son ennemi et inversement. Ainsi, sur le temps long du conflit on peut repérer des formes de continuité entre les différents acteurs armés en dépit des différences idéologiques et des circonstances historico-politiques. Ces transformations, parce qu’elles visent le plus souvent à re-symétriser le différentiel de puissance avec l’adversaire, privilégient les stratégies alternatives ou dissymétriques. Elles impliquent des innovations qui touchent l’ensemble de la société, suggérant l’existence de mécanismes guerriers travaillant les sociétés dans la guerre et pour la guerre. De ces mécanismes découle le caractère hautement polémique des sociétés de la région et la survivance en leur sein de différentes formes de combattants irréguliers. A partir de ces formes on peut proposer une typologie des figures contemporaines du partisan, de l’Etat islamique aux groupes armés palestiniens et libanais, en passant par la question de la violence des colons religieux-nationalistes des Territoires occupés. Cette pluralité de figures de la guerre du partisan moderne fournit des clés pour analyser les évolutions des formes de violence dans la région (crises en chaîne, délitement des Etats-nations, soulèvements révolutionnaires, etc.)This thesis consists in a re-reading of the Arab-Israeli conflict since its origins (in the Ottoman Palestine) through an analysis of the military transformations conducted by actors involved in this conflict. These changes are driven by mimetic rivalries processes. Over the clashes, each opponent adapts its defense system according to his enemy’s one and vice versa. Thus, forms of continuity between the different armed groups are perceptible on the long-time conflict in spite of the ideological differences and historical-political circumstances. These Transformations favor alternative or di-symmetrical strategies, because they aim mostly to symmetrically re-balance the differential of power with the opponent. They involve innovations impacting the whole society, suggesting the existence of war mechanisms which affect societies for and through the war. The highly polemic nature of the region’s societies ensues from these mechanisms as well as the survival of different forms of irregular combatants within them. Based on these forms, it could be proposed a typology of the partisan’s contemporary figures, including the Islamic State, the Palestinian and Lebanese armed groups, as well as the issue of the religious-nationalist settlers’ violence in the Palestinian Occupied Territories. This plurality of the modern partisan warfare patterns provides tools for analyzing the evolutions of violence forms in the region (chain crisis, disintegration of nation states, revolutionary uprisings, etc.)
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Young, Ana Mafalda Sintrão. "Art as resistance in Palestine: Graffiti in the struggle against the Israeli occupation." Master's thesis, 2020. http://hdl.handle.net/10071/21102.
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Art has been a fundamental tool of Palestinian resistance since the beginning of the Israeli occupation, graffiti being one of its most visible expressions. As a tool of resistance, graffiti is used as a means of mobilization, political expression, and opposition to the hegemony of the Zionist narrative. Careful analysis of graffiti can lead to a better understanding of the characteristics and political aspirations of the Palestinian resistance. However, graffiti painted by Banksy and other international artists on the Separation Wall (built in 2002) has received significantly more media and academic attention than that produced by Palestinian artists. This contributes greatly to increasing the international visibility of the Palestinian cause, however, many locals consider that not only does it embellish the most striking symbol of Israeli occupation, but it casts it in terms too universal to be faithful to the Palestinian experience. Based on the comparative analysis of three murals produced by the Palestinian artist Mohamd Alraee in the Aroub refugee camp (West Bank), this master’s thesis aims to give voice to contemporary Palestinian graffiti, with the aim of capturing the characteristics that are unique to it as a form of resistance.A arte é, desde o início da ocupação Israelita, uma ferramenta fundamental da resistência palestiniana e o graffiti umas das suas expressões mais visíveis. Na resistência, o graffiti é utilizado como forma de mobilização, expressão política e oposição à hegemonia da narrativa sionista. Uma análise cuidada do graffiti levar-nos-á a um maior entendimento das características e aspirações políticas da resistência palestiniana. No entanto, após a construção, em 2002, do Muro de Separação na Cisjordânia, o graffiti de Banksy e de outros artistas internacionais no mesmo, tem vindo a receber, significativamente, mais atenção mediática e académica que o graffiti produzido por artistas Palestinianos. Se, por um lado, isto contribui para aumentar a visibilidade internacional da causa Palestiniana, por outro, muitos consideram que aqueles não só embelezam o símbolo mais gritante da ocupação Israelita, como a enquadram em termos demasiado universais para conseguirem ser fiéis à experiência Palestiniana. Nesse sentido, com base na análise comparativa de três murais produzidos pelo artista Palestiniano Mohamd Alraee no campo de refugiados de Aroub, na Cisjordânia, esta dissertação de mestrado visa dar voz ao graffiti Palestiniano contemporâneo, com o objectivo de captar as especificidades que lhe são únicas como forma de resistência.
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Strohm, Kiven. "Impossible Identification : Contemporary Art, Politics and the Palestinians in Israel." Thèse, 2012. http://hdl.handle.net/1866/10211.
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Quel est le sens donné à l’art par la minorité palestinienne d’Israël dans un contexte où l’État se définit uniquement en termes ethno-nationaux et religieux ? Les écrits sur l’art en contextes coloniaux et postcoloniaux ont tendance à considérer l’art comme une ressource de revendication identitaire face à une situation de domination. Autrement dit, l’art est souvent présenté comme un acte politique de reconnaissance à travers l’affirmation d’une contre-identité. Suite à un travail intensif de terrain ethnographique dans la région, cette recherche démontre que pour les artistes palestiniens en Israël, l’aspect politique de l’art ne vient pas de sa capacité à exprimer des revendications identitaires. À travers l’observation des pratiques et l’analyse des discours des artistes, elle remet en question la relation présumée entre l'art et l'identité. Plus concrètement, elle analyse les pratiques d’un groupe d’artistes issus d’une minorité nationale indigène dont le travail artistique constitue une interruption des régimes spatiotemporels d'identification. L’aspect politique du travail des artistes palestiniens en Israël s’exprime à travers un processus de désidentification, un refus de réduire l’art à des catégories identitaires dominantes. Les œuvres de ces artistes permettent l’expression d’une rupture esthétique, manifestant un « ayant lieu » politique qui se trouve entre l'art et le non-art. Il s’agit d’un espace qui permet la rupture de l’ordre sensible de la société israélienne à travers l’affirmation et la vérification d’une égalité qui existe déjà.This thesis explores what it means for the Palestinian indigenous minority in Israel to produce art in a setting that has simultaneously controlled their movements and excluded them from full citizenship. It takes on the question of how Palestinian artists face discrimination within a monolithic state structure that defines itself primarily along religious and ethno-national lines. Most writing about art in colonial and postcolonial contexts tends to see art as a resource for asserting repressed ethnic, racial and indigenous identities in the face of ongoing control and domination. Art, in other words, is considered a political act of recognition through the assertion of a counter identity. The central question of this thesis concerns what happens when artists contest the colonial conditions within which they live without having recourse to identity-based claims about equality and rights. Based on intensive ethnographic fieldwork in the region, this research demonstrates that for Palestinian artists the political aspect of art is not related to claims about identity and that the relationship between art and identity is not homologous. Specifically, it explores artistic processes within a context in which spatiotemporal regimes of identification are being disrupted by an indigenous national minority. It establishes that politics in the case of Palestinian artists in Israel is a form of disidentification that is articulated through the figure of the present absentee. The central tropes found within the works of these artists can be seen as disruptive aesthetic acts, a “taking place” of politics that is between art and non-art, and outside of given identities; that is, a scene for the rupture of the “sensible order” of Israeli society through the affirmation and verification of an already existing equality.
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Goodfriend, Tali. "To see from your perspective : Palestinians and Israelis using art, dialogue and narratives to build mutual understanding." Thesis, 2006. http://spectrum.library.concordia.ca/8922/1/MR14349.pdf.
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This method of teacher-as-researcher, or action research, grew out of a personal need to explore the issues of how art was being used in Israel as a means to connect with the Arab-Israeli and Palestinian population. The research began by interviewing students, teachers and the director of the photography project at Givat Haviva, Israel. The project titled "Through Others' Eyes" brought together 20 Arab-Israeli and 20 Jewish youth for a period of one year. The project involved taking photos of each other's homes, families and lifestyle. The aim was to help the students move away from stereotyping and prejudices and replace them with friendship. Could a project such as this achieve the desired end result? Would the high school students be able to connect with one another through the photography project? Would the process be enough to build new perceptions and help the participants begin to see from another perspective? The Givat Haviva research encouraged me to participate in my own process of art, dialogue and personal narrative within a multi-faith, Arab, Palestinian and Jewish, dialogue group in Montreal, Canada. In bringing both projects together, I reflect upon the process and conclude with the general findings from this interactive teaching/learning experience.
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SANTORO, Simona. "We are the peace process : Oslo implementation and Israeli-Palestinian joint committees from 1994 to 2001." Doctoral thesis, 2005. http://hdl.handle.net/1814/5375.
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Defence date: 22 July 2005Examining board: Emanuel Adler (The Herbrew University of Jerusalem) ; Prof. Riccardo Bocco (University of Geneva) ; Prof. Friedrich Kratochwil (EUI) ; Prof. Thomas Risse (Free University, Berlin/EUI)(Supervisor)
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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Karmel, Ezra. "“We Are All Jordan”: The Dynamic Definition of “We” in the Hashemite Kingdom (The Effects of Identity Precariousness on the Participation of Palestinian-Jordanians)." Thesis, 2014. http://hdl.handle.net/1828/5592.
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This thesis analyses the hirak movements that emerged in the Hashemite Kingdom of Jordan in 2011. Amalgamating literature from studies of identity and defensive democratization, the thesis places two central questions into historical context: why did the hirak movements emerge in the rural tribal strongholds of the Hashemite monarchy before spreading into urban centers? And why did the founders of more urban and demographically heterogeneous hirak collectively agree in the nascent stages of their movements’ geneses to underrepresent the presence of Palestinian-Jordanians?Graduate