Titlebook: Connecting the Holocaust and the Nakba Through Photograph-based Storytelling; Willing the Impossib Nawal Musleh-Motut Book 2023 The Editor(

强行引入

Willing the Impossible Through Storytelling and Photographyking into praxis. This requires teasing out additional points of intersection between and imaginative possibilities enabled by both scholars’ work. In particular, and with the assistance of Ariella Azoulay, I demonstrate that both Said and Arendt understood storytelling and photography as key media

insincerity

Nicke-Intifada generation, Nick is the only one of this study’s six participants facing the threat of deportation back to the region. His life story is punctuated by postmemories of his father‘s, mother’s, and sister’s lives having been torn apart in 1948 and his own direct memories of his family again

angina-pectoris

Haifa Staitie First Intifada generation, Haifa’s postmemories of the Nakba are haunted by the killing of her paternal grandfather by Jewish militia during the Nakba, which set her family’s life on a trajectory for generations to come. After losing his father and becoming a refugee when he was only one month old

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Ran Vered one who does not share photographs alongside his storytelling. As a member of the immediate Holocaust postmemory generation, Ran grew up in the early years of the new Israeli state surrounded by survivors who rarely shared stories of the horrors they endured. Yet, as Ran explains, the Holocaust was

liaison

Itai Erdalcaust postmemory generation once removed, his postmemories are directly tied to his mandatory three-year serve as a combatant soldier in the Israeli Defense Forces (IDF). As Itai shares, even though he was raised as a leftist who believed Palestinians were humans and had a right to the land, the Isr

饰带

Ofira Rollocaust postmemory generation once removed, her postmemories are directly tied to her mandatory two-year serve in the Israeli Defense Forces (IDF). Although she grew up with Arabs in the Galilee, she was taught early on that a separation existed between Jews and Arabs. Yet the death of her cousin in

河潭

不溶解

Willing the Impossible in the Contemporary Momentoulay to consider how conceivable it is for everyday Palestinians and Israelis to will the impossible by exchanging (post)memories of the Holocaust and the Nakba through storytelling and photography. Using Said’s, Arendt’s, and Azoulay’s theories as gathering points for contemplating how we might re

描述

Reflections on an Intentionally Utopian Ethnographic Projecttudy’s three-stage photograph-based storytelling method to will the impossible beyond the contemporary moment. It closes by reasserting my own commitment to willing the impossible, both within and outside the academy, and issuing a challenge to the reader to take up this difficult and yet increasing