Israeli - zionist violence manifestations
135 Pages


This book discusses "Israeli - zionist violence :"Manifestations, Causes, and Roots, It’s papers presented in English, It’s papers at the fourth International conference Held at the centre for the study of Palestinian society and Heritage society of Inash El Usra.



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Published 01 January 2011
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EAN13 9796500029139
Language English
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Israeli-Zionist Violence: Manifestations,Causes, and Roots
SocietY of Inash El Usra Centre for the StudY of Palestinian SocietY and Heritage
Israeli-Zionist Violence:
Matinfestations, Causes, and Roots
Papers Presented at the Fourth International Conference Held at the Centre for the StudY of Palestinian SocietY and Heritage SocietY of Inash El Usra 23-25 April 2010
Participants (papers presented in English) Chrisoula Lionis Marit Netland Chiara Pattenella M.L. DeRaismes
Sharif Kanaana (ed.)
Israeli-Zionist Violence: Manifestations,Causes, and Roots
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Society of Inash El Usra Centre for the Study of Palestinian Society and Heritage P.O. Box 3549. Al-Bireh -Palestine Telephone: 00972-(0)224 01123 Fax: 00972-(0)224 01544 E-mail: Website:
Contents Page Dis-Oriented Laughter  Chrisoula Lionis 7
The Violence of The Zionist Myths  Chiara Pettenella 33
The Theft of Childhood  Marit Netland 57
Trauma and Identity in Palestine  M. L. deRaismes Combes 75
Chrisula Lionis
 Dis-Oriented Laughter
Dis-Oriented Laughter: Laughter, EXile and EmergencY in the WorK of EmilY Jacir and JacKie Salloum
The Iraqis wrote on their flag “God is great.”
The Jordanians wrote “May God protect us.”
The Israelis: “God is with us.”
The Saudis: “There is no God but Bush.”
1 Chrisoula Lionis
1 And the Palestinians: “God will compensate us.”
At the end of the first Gulf war and after the defeat of Iraq, Palestinians considered the situation of great loss to themselves. Yet a joke from the time whose punch-line indicates Palestinians will be compensated by God reveals a certain ‘sumud’ in the face of defeat. What the joke crystallizes is not only Palestinian attitudes to their own position but also in five brief sentences makes clear the role and attitude of major national players in the war. Palestinian humour, manifest in jokes such as this, is revelatory and uncovers in four brief words the effects of exile and emergency within the
1PhD candidate at the Center for Contemporary Art and Politics, at the University of New South Wales, Sydney. Her PhD thesis, entitled Disoriented Laughter, is on the relationship between collectivetrauma and ethnic humour in Palestinian art and film. 7
Israeli-Zionist Violence: Manifestations,Causes, & Roots
Palestinian condition. It can be said that the age of exile and dislocation from an individual’s homeland or place of birth can be described as the condition of the last century. Though our contemporary globalised world is increasingly filled by mobile expatriates, cosmopolitans and diasporic peoples, a binary between these peoples can be observed; one that is dependent on their ability and free-will to move. For the refugee and indeed for the exile, mobility and homelessness is not the result of choice but rather an imposition projected upon them as an outcome of occupation, 2 environmental disaster or political turmoil. For Palestinians, the experience of ‘dis-Orientation’ from the homeland came as 3 a consequence of the ‘proverbial people of exile; the Jews.’
As a result of this ‘dis-Orientation’ there has been in recent years substantial efforts in the reclamation of Palestinian history and culture. These endeavours have sought to bring 4 Palestinian culture out from beneath the ‘monolith’ of Jewish history to reveal Palestinian identity and its relationship to the continual processes of occupation. Despite these cultural and intellectual efforts however, there remains a paucity of research and text dealing with both Palestinian humour and Palestinian art. Though there is growing scholarly emphasis on Palestinian art, there remains, with the notable exception of Sharif Kanaana, a seeming scholarly neglect of the revelations implicit in Palestinian humour and laughter. In
Chrisula Lionis
 Dis-Oriented Laughter
so doing, the academy has neglected these fields that reveal much to us about the Palestinian condition and the effects of Israeli violence. This is because both art and humour do not seem to initially carry the weight necessary in the face of continuing Israeli occupation. To neglect both fields however, is to overlook the potential of two phenomena of Palestinian culture which when put together, may provide both foreign and Palestinian audiences with a fresh insight into the Palestinian condition. In short, both offer a new tone and composition for the important task of retelling the Palestinian story.
Edward Said often explained the Palestinian preoccupation with narrating their collective history. In a 1989 interview Said explains, ”There seems to be nothing in the world sustaining the [Palestinian] story, in other words if you stop telling it, it is just going to disappear…Whereas you feel the other narratives are there and have a kind of permanent and institutional existence 5 and you have to chip away at them.” In the years since Said’s interview and his death in 2003 there have been considerable efforts to record Palestinian history and experience in order to give it both an archival place, and to achieve understanding of the Palestinian condition.
The process of writing or creating Palestinian art carries with it the same obstacles described by Edward Said, and is seeking to find both the language and appropriate archival place to record the narrative. However, what compounds the difficulty 9