Employing irony, dark humor, and personal anecdotes, Sayed Kashua wrote a fictional narrative that explores the politics of identity, masquerading, and crossing in a region undergoing a nationality crisis. Language, culture and history, too, play pivotal roles in the varying levels of social and cultural capital in a society with a dominating judaistic force. In navigating both real and imagined Israeli communities, Kashua and his main protagonist in Dancing Arabs find themselves trapped in an identity paradox: they are too Arab to be considered Jewish, yet too Jewish to be considered Arab.
Before attempting to understand the politics behind this confining identity paradox, it is important to analyze the societal implications that the Jewish community has on the Arab community. Part one of Dancing Arabs indirectly introduces the Jewish community as “the other” — the enemy. The grandmother recounts how “the Jews” bombed Tira, shot and killed her husband, and reduced their family to being fruit pickers (20-2). In addition to this, she holds that her son was wrongly imprisoned after
Essentially, he is walking the tightrope of trying to be acknowledged and liked by the elite in his society (“the Jews”), without being accused by Palestinians of being a traitor. This forces him, however, to constantly jump back and forth between fitting in with the “the Arabs” and “the Jews”. His identity is constantly being threatened by the very people that he wants to be accepted by. His girlfriend Naomi, for instance, breaks up with him because her mother did not approve of her having an Arab boyfriend (122). Despite all of the music he learned and pop culture references he learned, he still was not “non-Arabic”
As soon as “Araby” begins, the religious allusions do also. Joyce immediately puts readers in a religious frame of mind as the narrator speaks of the Christian Brother’s School and the priest who formerly lived in his house. Shortly after a religious mindset is formed, the narrator speaks of “the wild garden behind the house [containing]
Naomi Nye was born to a German-American mother and a Palestinian-American father. However, she normally writes from her Palestinian-Arab perspective. In several of her poems within The Heath Anthology—“Ducks,” “My Father and the Figtree,” and “Where the Soft Air Lives”—Naomi Nye reminisces about her Muslim heritage and childhood as it correlates to her present identity. In addition, she incorporates the effect of the Palestinian-Israeli conflict on herself and on Arab culture in her work. Ultimately, Naomi Nye’s poetic work should remain in The Heath Anthology as her style demonstrates how historical events and a deep-rooted heritage can enrich a sense of identity and culture.
Most people think Israel always belonged to the Jews but it wasn’t always a safe, holy place where Jews could roam freely. Along with Palestine, it was actually forcefully taken from the Arabs who originated there. The main purpose of this novel is to inform an audience about the conflicts that Arabs and Jews faced. Tolan’s sources are mainly from interviews, documentations and observations. He uses all this information to get his point across, and all the quotes he uses is relevant to his points. The author uses both sides to create a non-biased look at the facts at hand. The novel starts in the year 1967 when Bashir Al-Khairi and his cousins venture to their childhood home in Ramallah. After being forced out of their homes by Jewish Zionists and sent to refuge for twenty years. Bashir arrives at his home to find a Jewish woman named Dalia Eshkenazi. She invites them into her home and later the...
In Eli Evan’s The Provincials and Stuart Rockoff’s piece “The Fall and the Rise of the Jewish South” the reader looks at the changing life and times for people of Jewish ancestry in the American south. Since the 1950’s, the Jewish south has experienced rife anti-semitism, a demographic shift as small town populations significantly decreased while large cities grew, and social change due to the civil rights movement.
But, as Sandy Tolan 's book, The Lemon Tree, seeks to explain, through Dalia’s longing for zion and Bashir’s belief in the arab right of return, that the main catalyst of the Arab-Israeli conflict is
As Josselson (2012) argues, it is simpler for the people to fix multicultural or multiracial individuals into a single cultural or racial identity, although realistically, most people find it difficult to categorize oneself in a single-margin. This is apparent in the reading White Teeth and Tar Baby, where the character’s identity is influenced by a socially embedded habitus of values, expectations and self-understanding, or lack there-of. In order to understand the challenges of racial and cultural identity in these novels, I will first look at characters Son and Jadine from Tar Baby and Samad and his twin sons, Millat and Magid from White Teeth.
“Death Marches”. Jewish virtual library everything you need to know about anti Semitism to Zionism. 2014 American-Israeli Cooperative Enterprise .Web. 7 February 2014.
Even though Zionist and non-Zionist hearts bleed together at cruelty and mistreatment of Jews, there are many differences such as, the portrayal of Jews. “The basic proposition is that three-fourths of the Jews of the world are living in hopeless misery. Of the ten millions, one-half live in the pale of Settlement in Russia under conditions which have been depicted repeatedly to the horror of civilized mankind. One million are in Galicia, ni...
Joyce, James. “Araby.” The Norton Introduction to Literature, Shorter Eighth Edition. Eds. Jerome Beaty, Alison Booth, J. Paul Hunter, and Kelly J. Mays. New York: W.W.Norton.
Joyce, James. "Araby." 1914. Literature and Ourselves. Henderson, Gloria, ed. Boston, Longman Press. 2009. 984-988.
The film explores how resistance, to the Israeli occupation, has taken on an identity characterized by violence, bloodshed, and revenge in Palestinian territories. Khaled and Said buy into the widely taught belief that acts of brutality against the Israeli people is the only tactic left that Palestinians have to combat the occupation. In an effort to expose the falsity of this belief, Hany Abu-Assad introduces a westernized character named Suha who plays the voice of reason and opposition. As a pacifist, she suggests a more peaceful alternative to using violence as a means to an end. Through the film “Paradise Now,” Abu-Assad not only puts a face on suicide bombers but also shows how the struggle for justice and equality must be nonviolent in order to make any significant headway in ending the cycle of oppression between the Israelis and the Palestinians.
Although “Araby” is a fairly short story, author James Joyce does a remarkable job of discussing some very deep issues within it. On the surface it appears to be a story of a boy's trip to the market to get a gift for the girl he has a crush on. Yet deeper down it is about a lonely boy who makes a pilgrimage to an eastern-styled bazaar in hopes that it will somehow alleviate his miserable life. James Joyce’s uses the boy in “Araby” to expose a story of isolation and lack of control. These themes of alienation and control are ultimately linked because it will be seen that the source of the boy's emotional distance is his lack of control over his life.
In “Araby”, author James Joyce presents a male adolescent who becomes infatuated with an idealized version of a schoolgirl, and explores the consequences which result from the disillusionment of his dreams. While living with his uncle and aunt, the main character acts a joyous presence in an otherwise depressing neighborhood. In Katherine Mansfield’s, The Garden Party, Mansfield’s depicts a young woman, Laura Sherridan, as she struggles through confusion, enlightenment, and the complication of class distinctions on her path to adulthood. Both James Joyce and Katherine Mansfield expertly use the literary elements of characterization to illustrate the journey of self-discovery while both main characters recognize that reality is not what they previously conceptualized it as.
The narrator in “Araby” is a young man who lives in an uninteresting area and dreary house in Dublin. The only seemingly exciting thing about the boy’s existence is the sister of his friend Mangum that he is hopelessly in love with; “…her name was like a summons to all my foolish blood.” (Joyce 2279) In an attempt to impress her and bring some color into his own gray life, he impulsively lies to her that he is planning on attending a bazaar called Arab. He also promises the gi...
Although he had endured trials and tribulations to attend the bazaar, he soon finds that, exotic name withstanding, he is still in Dublin, is still impoverished, and his dreams of Araby were merely that, dreams. Our narrator remains a prisoner of his environment, his economic situation, and painful reality. North Richmond Street, the dead-end street described in the first sentence of “Araby” is more than a street. It is a symbol for the way that our protagonist views his life.