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Hania A.M. Nashef deposited Suppressed Narrator, Silenced Victim in Adania Shibli’s Minor Detail in the group
CLCS 20th- and 21st-Century on MLA Commons 2 years, 11 months agoAlthough the systematic eviction of Palestinians from their homeland has been recorded at length since the establishment of the state of Israel in 948, the documentation has namely concerned itself with urban centers or villages. Expulsion and removal of marginalized communities, namely the Bedouins’, from their ancestral encampments or homes h…[Read more]
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Hania A.M. Nashef deposited Suppressed Narrator, Silenced Victim in Adania Shibli’s Minor Detail on MLA Commons 2 years, 11 months ago
Although the systematic eviction of Palestinians from their homeland has been recorded at length since the establishment of the state of Israel in 948, the documentation has namely concerned itself with urban centers or villages. Expulsion and removal of marginalized communities, namely the Bedouins’, from their ancestral encampments or homes h…[Read more]
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Hania A.M. Nashef deposited “Testimonies of War: Reportages by Samar Yazbek and Atef Abu Saif” in the group
LLC Arabic on MLA Commons 3 years, 3 months agoWar diaries are often written under duress, and are attempts at documenting events as they unfold, or narrating stories of how people survive under trying circumstances. She argues that conditions of war under which authors produce their work dictate the form itself. When an author’s life is under threat, when safety is compromised, m…[Read more]
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Hania A.M. Nashef deposited “Testimonies of War: Reportages by Samar Yazbek and Atef Abu Saif” in the group
GS Nonfiction Prose on MLA Commons 3 years, 3 months agoWar diaries are often written under duress, and are attempts at documenting events as they unfold, or narrating stories of how people survive under trying circumstances. She argues that conditions of war under which authors produce their work dictate the form itself. When an author’s life is under threat, when safety is compromised, m…[Read more]
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Hania A.M. Nashef deposited “Testimonies of War: Reportages by Samar Yazbek and Atef Abu Saif” in the group
CLCS 20th- and 21st-Century on MLA Commons 3 years, 3 months agoWar diaries are often written under duress, and are attempts at documenting events as they unfold, or narrating stories of how people survive under trying circumstances. She argues that conditions of war under which authors produce their work dictate the form itself. When an author’s life is under threat, when safety is compromised, m…[Read more]
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Hania A.M. Nashef deposited ‘To have been and no longer be’: The angst towards death in Darwish’s Mural and Saramago’s Death at Intervals in the group
TC Philosophy and Literature on MLA Commons 3 years, 3 months agoIn Portuguese Nobel Laureate José Saramago’s As Intermitências da Morte (2005) and in Mahmoud Darwish’s epic poem Mural (2000), the authors contemplate the nothingness that accompanies death, a concern that increasingly permeates their later writings. Although ‘death’ is depicted differently, the authors fear that with death “the universe wo…[Read more]
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Hania A.M. Nashef deposited ‘To have been and no longer be’: The angst towards death in Darwish’s Mural and Saramago’s Death at Intervals in the group
LLC Arabic on MLA Commons 3 years, 3 months agoIn Portuguese Nobel Laureate José Saramago’s As Intermitências da Morte (2005) and in Mahmoud Darwish’s epic poem Mural (2000), the authors contemplate the nothingness that accompanies death, a concern that increasingly permeates their later writings. Although ‘death’ is depicted differently, the authors fear that with death “the universe wo…[Read more]
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Hania A.M. Nashef deposited ‘To have been and no longer be’: The angst towards death in Darwish’s Mural and Saramago’s Death at Intervals in the group
Iberian Studies on MLA Commons 3 years, 3 months agoIn Portuguese Nobel Laureate José Saramago’s As Intermitências da Morte (2005) and in Mahmoud Darwish’s epic poem Mural (2000), the authors contemplate the nothingness that accompanies death, a concern that increasingly permeates their later writings. Although ‘death’ is depicted differently, the authors fear that with death “the universe wo…[Read more]
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Hania A.M. Nashef deposited ‘To have been and no longer be’: The angst towards death in Darwish’s Mural and Saramago’s Death at Intervals in the group
CLCS 20th- and 21st-Century on MLA Commons 3 years, 3 months agoIn Portuguese Nobel Laureate José Saramago’s As Intermitências da Morte (2005) and in Mahmoud Darwish’s epic poem Mural (2000), the authors contemplate the nothingness that accompanies death, a concern that increasingly permeates their later writings. Although ‘death’ is depicted differently, the authors fear that with death “the universe wo…[Read more]
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Hania A.M. Nashef deposited “Testimonies of War: Reportages by Samar Yazbek and Atef Abu Saif” on MLA Commons 3 years, 3 months ago
War diaries are often written under duress, and are attempts at documenting events as they unfold, or narrating stories of how people survive under trying circumstances. She argues that conditions of war under which authors produce their work dictate the form itself. When an author’s life is under threat, when safety is compromised, m…[Read more]
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Hania A.M. Nashef deposited ‘To have been and no longer be’: The angst towards death in Darwish’s Mural and Saramago’s Death at Intervals on MLA Commons 3 years, 3 months ago
In Portuguese Nobel Laureate José Saramago’s As Intermitências da Morte (2005) and in Mahmoud Darwish’s epic poem Mural (2000), the authors contemplate the nothingness that accompanies death, a concern that increasingly permeates their later writings. Although ‘death’ is depicted differently, the authors fear that with death “the universe wo…[Read more]
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Hania A.M. Nashef deposited “The right to narrate”: Gazans contest popular geopolitics with film in the group
TC Popular Culture on MLA Commons 4 years, 5 months agoSince the Intifada of 2000, living conditions in the Gaza Strip have progressively deteriorated, and when Hamas came to power in 2006–07, a complete blockade was enforced on the inhabitants by Egypt and Israel. In addition, five full-scale wars have been
waged on the Strip. Despite these conditions, Gazans remain resilient, as evidenced by s…[Read more] -
Hania A.M. Nashef deposited “The right to narrate”: Gazans contest popular geopolitics with film in the group
Postcolonial Studies on Humanities Commons 4 years, 5 months agoSince the Intifada of 2000, living conditions in the Gaza Strip have progressively deteriorated, and when Hamas came to power in 2006–07, a complete blockade was enforced on the inhabitants by Egypt and Israel. In addition, five full-scale wars have been
waged on the Strip. Despite these conditions, Gazans remain resilient, as evidenced by s…[Read more] -
Hania A.M. Nashef deposited “The right to narrate”: Gazans contest popular geopolitics with film in the group
MS Visual Culture on MLA Commons 4 years, 5 months agoSince the Intifada of 2000, living conditions in the Gaza Strip have progressively deteriorated, and when Hamas came to power in 2006–07, a complete blockade was enforced on the inhabitants by Egypt and Israel. In addition, five full-scale wars have been
waged on the Strip. Despite these conditions, Gazans remain resilient, as evidenced by s…[Read more] -
Hania A.M. Nashef deposited “The right to narrate”: Gazans contest popular geopolitics with film on MLA Commons 4 years, 5 months ago
Since the Intifada of 2000, living conditions in the Gaza Strip have progressively deteriorated, and when Hamas came to power in 2006–07, a complete blockade was enforced on the inhabitants by Egypt and Israel. In addition, five full-scale wars have been
waged on the Strip. Despite these conditions, Gazans remain resilient, as evidenced by s…[Read more] -
Hania A.M. Nashef's profile was updated on MLA Commons 4 years, 5 months ago
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Hania A.M. Nashef deposited Suppressed Nakba Memories in Palestinian female narratives Susan Abulhawa’s The Blue Between Sky and Water and Radwa Ashour’s The Woman from Tantoura in the group
TC Memory Studies on MLA Commons 4 years, 9 months agoIsraeli officials have long denied that rape was used as an instrument of war against Palestinians. Most of the files relating to the expulsion of Palestinians during the Nakba in 1948 and its aftermath remain sealed in Israeli archives and have been reclassified as top secret. Palestinian oral narratives have long been considered a poor…[Read more]
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Hania A.M. Nashef deposited Suppressed Nakba Memories in Palestinian female narratives Susan Abulhawa’s The Blue Between Sky and Water and Radwa Ashour’s The Woman from Tantoura in the group
Postcolonial Literature on MLA Commons 4 years, 9 months agoIsraeli officials have long denied that rape was used as an instrument of war against Palestinians. Most of the files relating to the expulsion of Palestinians during the Nakba in 1948 and its aftermath remain sealed in Israeli archives and have been reclassified as top secret. Palestinian oral narratives have long been considered a poor…[Read more]
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Hania A.M. Nashef deposited Suppressed Nakba Memories in Palestinian female narratives Susan Abulhawa’s The Blue Between Sky and Water and Radwa Ashour’s The Woman from Tantoura in the group
MLA Members for Justice in Palestine on MLA Commons 4 years, 9 months agoIsraeli officials have long denied that rape was used as an instrument of war against Palestinians. Most of the files relating to the expulsion of Palestinians during the Nakba in 1948 and its aftermath remain sealed in Israeli archives and have been reclassified as top secret. Palestinian oral narratives have long been considered a poor…[Read more]
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Hania A.M. Nashef deposited Suppressed Nakba Memories in Palestinian female narratives Susan Abulhawa’s The Blue Between Sky and Water and Radwa Ashour’s The Woman from Tantoura in the group
CLCS Global Arab and Arab American on MLA Commons 4 years, 9 months agoIsraeli officials have long denied that rape was used as an instrument of war against Palestinians. Most of the files relating to the expulsion of Palestinians during the Nakba in 1948 and its aftermath remain sealed in Israeli archives and have been reclassified as top secret. Palestinian oral narratives have long been considered a poor…[Read more]
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