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In this story, the narrative of Palestine, food, and its people intertwine to tell a story of perseverance.
A New Critical Approach to the History of Palestine,
Palestinian Historical Narrative2019 •
Palestinian history has been a widely debated arena of ideological struggle over the past century dominated by two competing narrative trends; an indigenous Palestinian or a settler- colonial Zionist perspective. This chapter aims to situate the Palestinian historical narrative in the last century within a dramatically shifting political context. It reviews the local historical narrative in comparison with alternative narratives. Taha, Hamdan, Palestinian Historical Narrative. In A New Critical Approach to the History of Palestine, edited by Ingrid Hjelm, Hamdan Taha, Ilan Pappe and Thomas Thompson, London and New York, Routledge, 2019: 19-42
2016 •
2022 •
The Chronicles of Palestine Old Book new Name
Perspectives: Political Analysis and Commentary
Make Food, Not War: The Role of Food and Intimacy in Spaces of Conflict and Tension in Lebanon - the Case of Souk el Tayeb2017 •
The Stories We Tell · Palestine: Between Words and Silences
The Stories We Tell · Palestine: Between Words and Silences2024 •
The stories we tell matter. It matters how we craft them and what they say and don’t say about others and ourselves. In this hour of genocide, as we bear witness to unspeakable horror and the stifling censorship of educational, cultural and political institutions, we foreground Palestinian worlds to nourish learning and cultivate hope. Bringing together a set of exceptional scholars, artists and activists, this program invites us to confront what we cannot longer unsee and to listen to what has been muzzled. Through conversations, poetry, music, and films we aim to unsettle all-too-predictable story lines by repositioning words and silences as historical agents of complex and ongoing transformations.
Jewish and Arab Childhood in Israel - Contemporary Perspectives
Childhood Representations in the Palestinian Short Stories2021 •
The Palestinian village has acquired a prominent status in the Palestinian short story since 1948, as it is where most of the Palestinian-Arab minority in Israel has resided following the 1948 war. This literature often examined the image of the village child from many aspects, including the child’s relationship with village life; the child's relationship with Palestinian folklore such as customs, traditions, games and songs; the influence of the occupation; ideology and identity. The image of the child in the literature includes a collection of semantic, aesthetic and technical features, which are expressed through the presence of the child in the text. The concept of child representations “assumes the transformation of the ‘materials’ of existence into a cultural – in this case, literary – object that involves concepts of ideology and aesthetics, power relations and conventions” (Wagner 2018, 20). For that reason, the child is an image that the author can use to explore the concept of power in its various manifestations: social, religious and political. This chapter presents examples of child representations in the local Palestinian short story in the works of Muḥammad Naffāꜥ. Naffāꜥ was born in 1939 in Beit Jann, an Arab-Druze village in the Upper Galilee. He is known for his communist positions and has published five short-story collections and three novels through which he earned a respected status, and is considered to be one of the most prominent writers of the Palestinian short story in Israel. This study relies on mapping and discussing a large collection of stories written by Naffāꜥ in which the character of the child is the focus. This mapping shows the different images of childhood that were constructed following cultural images, which the writer intends to show. The chapter analyzes the mechanisms of employing the character of the child, and attempts to understand its role in the literary text. In addition, I attempt to illustrate that the child representations in Naffāꜥs stories have a double role. On the one hand, the image of the child reflects the lifestyle in the Palestinian village. On the other hand, it was used to communicate ideological, political and social codes to the reader. Surveying a large collection of stories by Muḥammad Naffāꜥ that feature a child has resulted in five major representations of childhood: (1) the child as a national victim; (2) the displaced child; (3) the child as part of his culture; (4) the worker child; and (5) the 21st-century child. Through these representations, the author sheds light on the role of the child in exploring the Palestinian society’s customs and traditions in Israel, on the one hand. On the other hand, it presents the author’s socialist ideology, wherein he designed the character of the child to be an active player in the Palestinian struggle and resistance, making him the promise of a better future.
Gaza Writes Back: Narrating Palestine; In Palestine, stories are sacred. In trying times, we turn to story-telling for solace. Mothers and grandmothers are the major source of stories in the families. And just when you are old enough, you realise that you have been shaped by these stories and that they go far beyond entertainment. As a Palestinian, I have been brought up on stories, and I learned early in my life that it is both selfish and treacherous to keep a story to myself. If I allowed a story to stop, I would be betraying my legacy, my mother, my grandmother, and my homeland. This essay describes the creation of a collection of stories by young Palestinian authors that whet the much-needed talent for a life of struggle, resistance, representation.
When children are asked to name things that they love about their mothers, food is one of the most reoccurring items on their lists. They will tell you that they love her laser-beam eyes that seem to find lost toys and detect lies before they even make their way to their mouths. Answers will vary from one child to another, but generally children will cite their mother's food as one of the things they love about her. Food's emotional fingerprint is stamped into our memory and emotions at a very young age. Nothing tastes like mom's food, but more importantly nothing feels like it. As we age, we pursue cooking to replicate those dishes in the hopes of reviving childhood memories and all the feelings that come with them, and in the hopes that we can create similar experiences for our own children. Food is, therefore, not just sustenance, and our journeys into our kitchens are not only a daily chore to put food on our family tables, but rather a deliberate, creative process in which memories, love, belonging, loss, celebration, and a sense of identity are created and engrained for both those of us who cook and those who eat.
Harvard Design Magazine
Book Review: “From a Cause to a Style” and “The Architecture of Happiness”2008 •
Cellular & Molecular Immunology
Epitopes for a 2019-nCoV vaccine2020 •
Media and communication
Press Subsidies and Business Performance of Newspaper Publishing in Three Nordic Media Welfare States2024 •
Inorganic Chemistry
Series of Dicyanamide-Interlaced Assembly of Zinc-Schiff-Base Complexes: Crystal Structure and Photophysical and Thermal Studies2012 •
Journal of the American Geriatrics Society
Physician Payment Reform: Implications for Geriatrics1989 •
Microcirculation
Persistence of Impaired Hepatic Microcirculation After Nonarterialized Liver Transplantation in the Rat2002 •
Jurnal Multidisiplin Indonesia
Rancangan Pemasaran Untuk Memasuki Perdagangan Ekspor Teh Menggunakan Fishbone Analysis Pada Cv Mekar Bandung2023 •