Erased From Space And Consciousness

Hundreds of Palestinian villages were left empty across Israel when their residents became refugees after the 1948 war, their lands and property confiscated. Most of the villages were razed by the new State of Israel, but in dozens of others, communities of Jews were settled—many refugees in their own right. The state embarked on a systematic effort of renaming and remaking the landscape, and the Arab presence was all but erased from official maps and histories. Israelis are familiar with the ruins, terraces, and orchards that mark these sites today—almost half are located within tourist areas or national parks—but public descriptions rarely acknowledge that Arab communities existed there within living memory or describe how they came to be depopulated. Using official archives, kibbutz publications, and visits to the former village sites, Noga Kadman has reconstructed this history of erasure for all 418 depopulated villages.

"Hundreds of Palestinian villages were left empty across Israel when their residents became refugees after the 1948 war. Most of these villages were razed by the new State of Israel, their lands and property confiscated, but in dozens of others, communities of Jews were settled--many refugees in their own right. The state embarked upon a systematic effort of renaming and remaking the landscape, and the Arab presence was erased from official maps and histories. While most Israelis are familiar with the walls, ruins, and gardens that mark these sites today--almost half are located within tourist areas or national parks--they are unaware that Arab communities existed there within living memory. Using official documents, kibbutz publications, and visits to the former village sites, Noga Kadman reconstructs this history of erasure for all 418 depopulated villages. This is essential reading for anyone who wants to understand the Israeli-Palestinian conflict and contemporary Israeli society"--Provided by publisher.

Noam Leshem examines the radical transformation of Arab landscapes seized by Israel in the 1948 war. By looking at the spatial history of Arab villages, Leshem highlights the intricate and often intimate engagements between Jews and Arabs in the present day.

How denial sustains the liberal imagination of a progressive and democratic Israel. The question that this book aims to answer might seem simple: how can a violent project of dispossession and discrimination be imagined, felt, and profoundly believed in as though it were the exact opposite--an embodiment of sustainability, multicultural tolerance, and democratic idealism? Despite well-documented evidence of racism and human rights abuse, Israel has long been embraced by the most liberal sectors of European and American society as a manifestation of the progressive values of tolerance, plurality, inclusivity, and democracy, and hence a project that can be passionately defended for its lofty ideals. Tolerance Is a Wasteland argues that the key to this miraculous act of political alchemy is a very specific form of denial. Here the Palestinian presence in, and claim to, Palestine is not simply refused or covered up, but negated in such a way that the act of denial is itself denied. The effects of destruction and repression are reframed, inverted into affirmations of liberal virtues that can be passionately championed. In Tolerance Is a Wasteland, Saree Makdisi explores many such acts of affirmation and denial in a range of venues: from the haunted landscape of thickly planted forests covering the ruins of Palestinian villages forcibly depopulated in 1948; to the theater of "pinkwashing" as Israel presents itself to the world as a gay-friendly haven of cultural inclusion; to the so-called Museum of Tolerance being built on top of the ruins of a Muslim cemetery in Jerusalem, which was methodically desecrated in order to clear the space for this monument to "human dignity." Tolerance Is a Wasteland reveals the system of emotional investments and curated perceptions that makes this massive project of cognitive dissonance possible.

Colonizers continuously transform spaces of violence into spaces of home. Israeli Jews settle in the West Bank and in depopulated Palestinian houses in Haifa or Jaffa. White missionaries build their lives in Africa. The descendants of European settlers in the Americas and Australia dwell and thrive on expropriated indigenous lands. In The Colonizing Self Hagar Kotef traces the cultural, political, and spatial apparatuses that enable people and nations to settle on the ruins of other people's homes. Kotef demonstrates how the mass and structural modes of violence that are necessary for the establishment and sustainment of the colony dwell within settler-colonial homemaking, and through it shape collective and individual identities. She thus powerfully shows how the possibility to live amid the destruction one generates is not merely the possibility to turn one's gaze away from violence but also the possibility to develop an attachment to violence itself. Kotef thereby offers a theoretical framework for understanding how settler-colonial violence becomes inseparable from one's sense of self.

Erased de Kooning Drawing ist ein Kunstwerk, das auf radikale Weise die Definition von Kunst und das Verständnis von Autorschaft herausfordert. Drei amerikanische Künstler waren 1953 an seiner Erschaffung beteiligt: Robert Rauschenberg radierte eine Zeichnung Willem de Koonings aus, der mit einem gewissen Widerwillen sein Einverständnis gegeben hatte. Jasper Johns versah es anlässlich seiner ersten Präsentation mit einem Label, das maßgeblich zu seiner Wahrnehmung als eigenständigem Werk beitrug. Das zu etwas Neuem transformierte Blatt wurde in den 1950er-Jahren als Neo-Dada aufgefasst, in den 1960ern als Beginn der Konzeptkunst und in den 1980er-Jahren als Aufbruch in die Postmoderne. Zahlreiche Künstler*innen bezogen sich auf das Werk und Rauschenberg selbst griff es immer wieder auf. Es erwies sich als Testfall für Bestimmungen von Modernismus, Literalismus und Postmodernismus. Gregor Stemmrichs kenntnisreiche kunsttheoretische Betrachtung arbeitet die anhaltende Relevanz des Werks für die Theorie des Bildes, des Index, der Spur, des Allegorischen und der Frage nach Appropriation heraus.

Craft lives inside the artist, and it operates in the mind, not in standards or techniques. Creative writers navigate thresholds in consciousness as they develop their arts practice. Craft Consciousness and Artistic Practice in Creative Writing explores what it is to be an artist as it traces radical, feminist, and culturally embedded traditions in craft. The new term "craft consciousness" identifies the nexus from which writers explore making processes and practitioner knowledge. Writers, as with all artists, create and reimagine themselves anew, and it is in this perpetual state of becoming that they find ways to enlarge their sense of artistry through an exploration of forms, processes, and mediums beyond the written word. For writers, this book initiates a reexamination of the mission of creative writing through disrupting patriarchal, racist, colonialist, ableist, and capitalist associations with dominant craft. Drawing from twenty-five interviews with living artists outside of writing and in a host of fields from conceptual art to leatherwork and dance, the book shines a light on how the processes associated with craft are embodied. Craft is an internalized matrix; it need not be commodified for the marketplace or codified in the standards necessitated by institutions of higher education. By redesigning writing workshops and MFA/PhD programs through craft consciousness, new potentials and collaborations emerge, and it becomes more conceivable to imagine dynamic, inclusive relationships between writers, scientists, and other artists.

More than 200 years after the first speaking machine, we are accustomed to voices that speak from any- and everywhere. We interact daily with voices that emit from house alarm systems, cars, telephones, and digital assistants, such as Alexa and Google Home. However, vocal events still have the capacity to raise age-old questions about the human, the animal, the machine, and the spiritual-or in non-metaphysical terms-questions about identity and authenticity. In The Oxford Handbook of Voice Studies, contributors look to the metaphorical voice as well as the clinical understanding of the vocal apparatus to answer the seemingly innocuous question: What is voice? From a range of disciplines including the humanities, biology, culture, and technology studies, contributors draw on the unique methodologies and values each has at hand to address the uses, meanings, practices, theories, methods, and sounds of the voice. Together, they assess the ways that discipline-specific, ontological, and epistemological assumptions of voice need to shift in order to take the findings of other fields into account. This Handbook thus enables a lively discussion as multifaceted and complex as the voice itself has proven to be.