Cette thèse en arts plastiques s'appuie sur les œuvres d'artistes palestiniens contemporains (Mona Hatoum, Taysir Batnijl, Ruia Halawani, Emily Jacir, Laila Shawa), ainsi que sur une pratique personnelle, pour interroger le concept de frontière. Une telle lecture se fait à travers un événement historique majeur : la Nakba. Elle démontre l'hypothèse selon laquelle l'expulsion des Palestiniens de leurs terres a fait émerger, dans les travaux des artistes, une nouvelle forme de frontière. La première partie présente les différents dispositifs de la frontière (vidéosurveillance. miradors, mur, checkpoints) qui imprègnent la création contemporaine et témoignent d'une souffrance qui laisse sa trace dans le paysage, par l'intermédiaire de la mémoire conçue comme un point d'ancrage dans le passé pour mieux comprendre le présent. La deuxième partie, axée sur la mémoire de la Nakba, que nous appelons « mémoire collective expulsée », permet une relecture de cette frontière du point de vue de l'art - grâce auquel la douleur de l'exilé se transforme en force créatrice. Nous aboutissons ainsi, dans un troisième temps, à l'« identité-résilience» qui traduit, chez les artistes palestiniens, leur survie par l'art à l'issue d'une prise de conscience du déracinement originel lié à la e; noyade» de leur patrie et de ses frontières. La frontière devient une blessure inscrite dans le passé sous laquelle l'histoire, la mémoire et l'identité se stratifient, dessinant les contours de nos propres travaux et des œuvres étudiées. Notre thèse, c'est que la Nakba est une fissure qui s'enracine viscéralement dans l'artiste et évolue avec son œuvre pour donner naissance à la « frontière-diaclase », / This PhD dissertation in the field of visual arts builds on the artworks of contemporary Palestinian artists (Mona Hatoum, Taysir Batniji, Ruia Halawani, Emily Jacir, Laila Shawa) as well as on a personal practice, in order to question the border as a concept. The approach chosen draws upon a major historical event: the Nakba. It alms to demonstrate the hypothesis according to which the eviction of Palestinians from their land has allowed their different arts to express a new form of border. Part l exposes the multiple dimensions of the border (video monitoring, watchtowers, wall, checkpoints) which nurture the contemporary creation, while unveiling the trace of a suffering left in the landscape through memory. Memory is conceived as an anchor in the past, for a better understanding of the present. Part II of the dissertation centers on the Nakba as an "expelled collective memory" and provides a retrospective reading of borders, seen through art. By the medium of art, the pain of the exiled becomes his creative power. Hence part III focuses on the "resilience-identity" which expresses the survival of Palestinian artists after a realization of the original uprooting due to the "drowning" of their homeland and its borders. Borders become a wound in the past under which can be found memory, history and identity, which serve the understanding of both my personal work and the pieces studied. The thesis purports to show that the Nakba appears as a fissure deeply rooted in the artist's being and evolving with his work, eventually giving birth to "joint border".

Tesis para obtener el grado de Magíster en Estudios Internacionales / El movimiento ciudadano internacional Boicot, Desinversiones y Sanciones Contra Israel – BDS surge como respuesta frente a la persistente pasividad de la comunidad internacional respecto de la insostenible y desastrosa situación que vive el pueblo palestino ya sea en el exilio o bajo la discriminación, segregación y represión institucional, una realidad que se ha mantenido así por siete décadas. Los tres únicos objetivos de su campaña están basados en el Derecho Internacional y en resoluciones de Naciones Unidas, resoluciones que hasta la fecha no han sido cumplidas por el Estado Israelí. Se trata de una forma de lucha no violenta cuya estrategia de desinversión y boicot económico, académico y cultural a empresas e instituciones vinculadas a la ocupación han generado la presión suficiente para provocar cambios en la política exterior israelí, presentando una nueva imagen al exterior. La presente investigación tiene por objeto analizar el poder de atracción o Soft Power del BDS y su capacidad de empujar al Estado Israelí hacia la reconfiguración de su propaganda política o “hasbara” la cual constituye el núcleo de su diplomacia pública. / The Boycott, Divestments and Sanctions Against Israel campaign or BDS is an international social movement which emerges as a response to the international community’s persistent lack of determination regarding the unsustainable and devastating situation of the Palestinian people, who are living either in exile or under discrimination, segregation and institutional repression, situation they have been going through for seven decades. The three objectives of the BDS campaign are based on international law and on United Nations resolutions which, to date, have not been met by the Israeli State. BDS is a non-violent struggle whose divestment strategy and economic, academic and cultural boycott of companies and institutions linked to the Israeli occupation have produced enough pressure to make Israel change its foreign policy introducing a whole new image abroad. The purpose of this research is to analyze the power of attraction or Soft Power of the BDS and its ability to push the Israeli State towards the reconfiguration of its political propaganda or "hasbara" which constitutes the core of its public diplomacy. / 2018.01.01

Storytelling holds a significant place in peace education and dialogue work with young people in Israel/Palestine, reflecting the popularity of the dual narrative approach as a framework for understanding the conflict. The approach is predicated on the assumption that there are two competing national narratives that have collided in the same geographical space, with young people only able to come to terms with the ‘other’ narrative through a process of concession and compromise, mediated by adults. Recognising the constraints and limitations of the dual narrative approach, my thesis focuses on the lives of Israeli and Palestinian youth who inhabit a border of some kind (physical, linguistic, ethnic, or intergenerational) and analyzes how stories are transmitted across and influenced by such boundaries. Special attention is given to traumatic histories that carry a social taboo, such as the Nakba in Israeli society and the Holocaust in Palestine, and how young people may develop and express their conceptions of community, belonging, and exclusion through storytelling. The research is grounded in ethnographic fieldwork and practical storytelling workshops conducted over sixteen months in Israel/Palestine (March 2014 to July 2015), with various methods of narrative inquiry forming the basis for data analysis, notably Interpretative Phenomenological Analysis (IPA). The thesis is divided into four chapters, which are based on the dominant themes that emerged through fieldwork. ‘Language and the Hidden Landscape’ is an applied linguistic analysis of how young people living in segregated communities imagine and narrate places that are off-limits to them. ‘Violence in the Narration of Self and Other’, an examination of the violence inherent in face-to-face storytelling that is grounded in the phenomenological theory, discusses how the storytellers deal with violence through narrative, their depiction of members of the ‘other’ community’, and the more disturbing and potentially violent functions of storytelling in peace education for youth. ‘Forbidden Histories in Contested Spaces’ unpicks the shadowy interweave between Holocaust and Nakba memory, while ‘Happily Ever After?’ examines how the narrators view and construct endings – both for the conflict, and in their narratives. These themes bring together time, place, and inhabitants’ interaction with place and memory, resulting in a more complex and nuanced understanding of how young people growing up with intractable conflict use storytelling to interpret their histories and make sense of their lives in the present day, as well as the ways in which stories may interact even in a highly polarized and segregated society. In conclusion, the role of storytelling with children in conflict zones is re-evaluated, with the research suggesting that there needs to be a shift in emphasis from storytelling as a means of therapy to storytelling as a social and political act, a means of enabling young people to take a more active role in community-building, rehabilitation, and ultimately reconciliation.

No description available.

No description available.

No description available.