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Describes the formation and operation of a category of Palestinian and Israeli 'world literature' whose authors actively respond to the expectation that their work will 'narrate' the nation, invigorating critical debates about the political and artistic value of national narration as a literary practice. The crisis in Israel/Palestine has long been the world's most visible military conflict. Yet the region's cultural and intellectual life remains all but unknown to most foreign observers, which means that literary texts that make it into circulation abroad tend to be received as historical documents rather than aesthetic artefacts. Rhetorics of Belonging examines the diverse ways in which Palestinian and Israeli world writers have responded to the expectation that they will 'narrate' the nation, invigorating critical debates about the political and artistic value of national narration as a reading and writing practice.

This essay engages with the notion that literature and other forms of cultural production are themselves resources. This idea becomes especially suggestive in relation to the cultural activism of international solidarity movements, which deploy artistic works as sources of information and inspiration for "distant issue" activism. Focusing on documentary films and novels circulated among anti-apartheid and Palestine solidarity activists in the long 1970s, this article explores the ways in which such works provide theorizations of the resource-value of cultural activism, particularly in its aesthetics of resistance and emphasis on the documentary real. These works advocate a comprehensive understanding of the political calculations and commitments of domestic activists, and seek to preserve and sustain their ideas for transnational resistance movements to mobilize in response to intensifying resource-based crisis, including the struggles over distribution, access and control that are yet to come.

Describes the formation and operation of a category of Palestinian and Israeli 'world literature' whose authors actively respond to the expectation that their work will 'narrate' the nation, invigorating critical debates about the political and artistic value of national narration as a literary practice.The crisis in Israel/Palestine has long been the world's most visible military conflict. Yet the region's cultural and intellectual life remains all but unknown to most foreign observers, which means that literary texts that make it into circulation abroad tend to be received as historical documents rather than aesthetic artefacts. Rhetorics of Belonging examines the diverse ways in which Palestinian and Israeli world writers have responded to the expectation that they will "narrate" the nation, invigorating critical debates about the political and artistic value of national narration as a reading and writing practice. It considers writers whose work is rarely discussed together, offering new readings of the work of Edward Said, Amos Oz, Mourid Barghouti, Orly Castel-Bloom, Sahar Khalifeh, and Anton Shammas. This book helps to restore the category of the nation to contemporary literary criticism by attending to a context where the idea of the nation is so central a part of everyday experience that writers cannot not address it, and readers cannot help but read for it. It also points a way toward a relational literary history of Israel/Palestine, one that would situate Palestinian and Israeli writing in the context of a history of antagonistic interaction. The book's findings are relevant not only for scholars working in postcolonial studies and Israel/Palestine studies, but for anyone interested in the difficult and unpredictable intersections of literature and politics. This title was made Open Access by libraries from around the world through Knowledge Unlatched.

Rhetorics of Belonging describes the formation and operation of a category of Palestinian and Israeli ""world literature"" whose authors actively respond to the expectation that their work will ""narrate"" the nation, invigorating critical debates about the political and artistic value of national narration as a literary practice ; Anna Bernard ; Description based upon print version of record ; English

von Anna Bernard ; Text teilw. dt., teilw. franz. - Literaturverz. S. [205] - 228. - Wird als Open Access bei De Gruyter erscheinen ; Inhaltsverzeichnis ; Volltext // Exemplar mit der Signatur: München, Bayerische Staatsbibliothek -- PVA 2003.1566

Describes the formation and operation of a category of Palestinian and Israeli 'world literature' whose authors actively respond to the expectation that their work will 'narrate' the nation, invigorating critical debates about the political and artistic value of national narration as a literary practice. The crisis in Israel/Palestine has long been the world's most visible military conflict. Yet the region's cultural and intellectual life remains all but unknown to most foreign observers, which means that literary texts that make it into circulation abroad tend to be received as historical documents rather than aesthetic artefacts. Rhetorics of Belonging examines the diverse ways in which Palestinian and Israeli world writers have responded to the expectation that they will 'narrate' the nation, invigorating critical debates about the political and artistic value of national narration as a reading and writing practice. It considers writers whose work is rarely discussed together, offering new readings of the work of Edward Said, Amos Oz, Mourid Barghouti, Orly Castel-Bloom, Sahar Khalifeh, and Anton Shammas. This book helps to restore the category of the nation to contemporary literary criticism by attending to a context where the idea of the nation is so central a part of everyday experience that writers cannot not address it, and readers cannot help but read for it. It also points a way toward a relational literary history of Israel/Palestine, one that would situate Palestinian and Israeli writing in the context of a history of antagonistic interaction. The book's findings are relevant not only for scholars working in postcolonial studies and Israel/Palestine studies, but for anyone interested in the difficult and unpredictable intersections of literature and politics. This title was made Open Access by libraries from around the world through Knowledge Unlatched.--Provided by publisher. ; Describes the formation and operation of a category of Palestinian and Israeli 'world literature' whose authors actively respond to the expectation that their work will 'narrate' the nation, invigorating critical debates about the political and artistic value of national narration as a literary practice. The crisis in Israel/Palestine has long been the world's most visible military conflict. Yet the region's cultural and intellectual life remains all but unknown to most foreign observers, which means that literary texts that make it into circulation abroad tend to be received as historical documents rather than aesthetic artefacts. Rhetorics of Belonging examines the diverse ways in which Palestinian and Israeli world writers have responded to the expectation that they will 'narrate' the nation, invigorating critical debates about the political and artistic value of national narration as a reading and writing practice. It considers writers whose work is rarely discussed together, offering new readings of the work of Edward Said, Amos Oz, Mourid Barghouti, Orly Castel-Bloom, Sahar Khalifeh, and Anton Shammas. This book helps to restore the category of the nation to contemporary literary criticism by attending to a context where the idea of the nation is so central a part of everyday experience that writers cannot not address it, and readers cannot help but read for it. It also points a way toward a relational literary history of Israel/Palestine, one that would situate Palestinian and Israeli writing in the context of a history of antagonistic interaction. The book's findings are relevant not only for scholars working in postcolonial studies and Israel/Palestine studies, but for anyone interested in the difficult and unpredictable intersections of literature and politics. This title was made Open Access by libraries from around the world through Knowledge Unlatched.--Provided by publisher. ; Mode of access: Internet.

Le financement participatif permet à des artistes de financer la production de leur projet grâce au soutien d'un grand nombre de contributeurs en échange d'éventuelles contreparties préalablement définies. Les contributeurs sont des « prosommateurs 3 », à la fois consommateurs et producteurs du produit dont ils font l'acquisition. Du fait de la nature préliminaire du projet au moment de la contribution, ils font face à une incertitude concernant la qualité du bien finalement produit ainsi qu'à une incertitude portant sur la livraison du produit. De ce fait, leur attitude face au risque détermine le montant de leurs contributions. Dans cet article, nous élicitons les coefficients d'aversion au risque de véritables contributeurs d'une plate-forme de financement participatif brésilienne (Catarse) au moyen de la procédure de choix de Holt et Laury [2002]. Nous montrons que l'aversion au risque prédit négativement le niveau des contributions à des projets musicaux lorsque le contributeur est géographiquement distant du porteur du projet, c'est-à-dire lorsque le contributeur est fortement exposé à une incertitude quant à la qualité du projet et aux compétences du créateur. Classification JEL : D8, C9, Z1.

"This book reclaims postcolonial theory, addressing persistent limitations in the geographical, disciplinary, and methodological assumptions of its dominant formations, and emerging from an investment in the future of postcolonial studies and a commitment to its basic premise; namely the conception of particular cultural and literary articulations in relation to larger structures of colonial and imperial domination as a way of putting the theory back in postcolonial theory. To a certain extent, postcolonial theory is a victim of its own success, in part from the institutionalization of the insights that it has enabled: now that they no longer seem new, it is hard to know what the field's work should be beyond these general commitments, or what its practitioners should be debating. The renewal of popular anti-imperial energies across the globe provides a rare opportunity to reassert the political and theoretical value of the postcolonial as a comparative, interdisciplinary, and oppositional paradigm. This collection makes a claim for what postcolonial theory can say through the work of scholars articulating what it still cannot or will not say. It explores ideas that a more aesthetically sophisticated postcolonial theory might be able to address, focusing on questions of visibility, performance, and literariness. Contributors highlight some of the shortcomings of current postcolonial theory in relation to contemporary political developments such as Zimbabwean land reform, postcommunism, and the economic rise of East Asia. Finally, they address the disciplinary, geographical, and methodological exclusions from postcolonial studies through a detailed focus on new disciplinary directions (management studies, theories of the state), overlooked places and perspectives (Palestine, Weimar Germany, the environmentalism of the poor), and the necessity of materialist analysis for understanding both world and world literary systems"--