Gil Pasternak is Reader in Social and Political Photographic Cultures in the Photographic History Research Centre (PHRC) at De Montfort University, United Kingdom. A member of the advisory board for the journals Photography & Culture and Jewish Film & New Media, earlier in life he worked as a photojournalist, photography archivist and fine art photographer.

• List of IllustrationsAcknowledgementsSeries Preface—New Encounters: Arts, Cultures, Concepts Griselda PollockIntroduction: Encounters at the Cultural Boundaries of ConflictGil PasternakPART I: PRODUCTS OF CONFLICT1 A Country as a Map of Itself: On the Historical, Cultural and Theoretical Rendering of Palestine in Sobhi al-Zobaidi’s Part-ition (2008)Abdul-Rahim Al-Shaikh2 Laughter ‘In Between’ Time: Temporality, Iconography, and the Burden of Proof in Palestinian Art After OsloChrisoula Lionis3 Impossible Intimacies: Towardsa Visual Politics of ‘Touch’ at the Israeli-PalestinianBorderAnna Ball4 Dreams or Nightmares: The Artworking of Return in And Europe will be Stunned (2007–11) by Yael Bartana (with Slawomir Sierakowski)Griselda PollockPART II: PRODUCTS IN CONFLICT5 Scandal! Images, Discourses, and the Image of Discourse that ‘Hurt People’s Feelings’ Rhoda Rosen and Sander L. Gilman6 Showcasing Conflict: Notes and Observations on Photographic Representation in Israel and PalestineHuw Wahl7 Visibility, Photography, and the Occupation: The Case of The Activestills Collective Simon Faulkner8 At Home with ‘Palestine’: Performing Photographs of the West Bank in Israeli HouseholdsGil Pasternak9 Postmemory and Oral History: Intergenerational Memory and Transnational Identity in ExileIhab SaloulAppendixInvention, Memory, and PlaceEdward W. SaidNotesBibliographyList of ContributorsIndex

This rich volume introduces the inspiring neologism “visioning” to make the hyphen between Israel-Palestine a sign of bonding and correlation instead of its common perception as a sign of distance and separation. Chapter-by-chapter it brilliantly demonstrates Gil Pasternak’s conviction that the arts matter to the future of Israelis and Palestinians – a conviction which I share.

Gil Pasternak is Reader in Social and Political Photographic Cultures in the Photographic History Research Centre (PHRC) at De Montfort University, United Kingdom. A member of the advisory board for the journals Photography & Culture and Jewish Film & New Media, earlier in life he worked as a photojournalist, photography archivist and fine art photographer.

• List of IllustrationsAcknowledgementsSeries Preface—New Encounters: Arts, Cultures, Concepts Griselda PollockIntroduction: Encounters at the Cultural Boundaries of ConflictGil PasternakPART I: PRODUCTS OF CONFLICT1 A Country as a Map of Itself: On the Historical, Cultural and Theoretical Rendering of Palestine in Sobhi al-Zobaidi’s Part-ition (2008)Abdul-Rahim Al-Shaikh2 Laughter ‘In Between’ Time: Temporality, Iconography, and the Burden of Proof in Palestinian Art After OsloChrisoula Lionis3 Impossible Intimacies: Towardsa Visual Politics of ‘Touch’ at the Israeli-PalestinianBorderAnna Ball4 Dreams or Nightmares: The Artworking of Return in And Europe will be Stunned (2007–11) by Yael Bartana (with Slawomir Sierakowski)Griselda PollockPART II: PRODUCTS IN CONFLICT5 Scandal! Images, Discourses, and the Image of Discourse that ‘Hurt People’s Feelings’ Rhoda Rosen and Sander L. Gilman6 Showcasing Conflict: Notes and Observations on Photographic Representation in Israel and PalestineHuw Wahl7 Visibility, Photography, and the Occupation: The Case of The Activestills Collective Simon Faulkner8 At Home with ‘Palestine’: Performing Photographs of the West Bank in Israeli HouseholdsGil Pasternak9 Postmemory and Oral History: Intergenerational Memory and Transnational Identity in ExileIhab SaloulAppendixInvention, Memory, and PlaceEdward W. SaidNotesBibliographyList of ContributorsIndex

This rich volume introduces the inspiring neologism “visioning” to make the hyphen between Israel-Palestine a sign of bonding and correlation instead of its common perception as a sign of distance and separation. Chapter-by-chapter it brilliantly demonstrates Gil Pasternak’s conviction that the arts matter to the future of Israelis and Palestinians – a conviction which I share.

Gil Pasternak is Reader in Social and Political Photographic Cultures in the Photographic History Research Centre (PHRC) at De Montfort University, United Kingdom. A member of the advisory board for the journals Photography & Culture and Jewish Film & New Media, earlier in life he worked as a photojournalist, photography archivist and fine art photographer.

• List of IllustrationsAcknowledgementsSeries Preface—New Encounters: Arts, Cultures, Concepts Griselda PollockIntroduction: Encounters at the Cultural Boundaries of ConflictGil PasternakPART I: PRODUCTS OF CONFLICT1 A Country as a Map of Itself: On the Historical, Cultural and Theoretical Rendering of Palestine in Sobhi al-Zobaidi’s Part-ition (2008)Abdul-Rahim Al-Shaikh2 Laughter ‘In Between’ Time: Temporality, Iconography, and the Burden of Proof in Palestinian Art After OsloChrisoula Lionis3 Impossible Intimacies: Towardsa Visual Politics of ‘Touch’ at the Israeli-PalestinianBorderAnna Ball4 Dreams or Nightmares: The Artworking of Return in And Europe will be Stunned (2007–11) by Yael Bartana (with Slawomir Sierakowski)Griselda PollockPART II: PRODUCTS IN CONFLICT5 Scandal! Images, Discourses, and the Image of Discourse that ‘Hurt People’s Feelings’ Rhoda Rosen and Sander L. Gilman6 Showcasing Conflict: Notes and Observations on Photographic Representation in Israel and PalestineHuw Wahl7 Visibility, Photography, and the Occupation: The Case of The Activestills Collective Simon Faulkner8 At Home with ‘Palestine’: Performing Photographs of the West Bank in Israeli HouseholdsGil Pasternak9 Postmemory and Oral History: Intergenerational Memory and Transnational Identity in ExileIhab SaloulAppendixInvention, Memory, and PlaceEdward W. SaidNotesBibliographyList of ContributorsIndex

This rich volume introduces the inspiring neologism “visioning” to make the hyphen between Israel-Palestine a sign of bonding and correlation instead of its common perception as a sign of distance and separation. Chapter-by-chapter it brilliantly demonstrates Gil Pasternak’s conviction that the arts matter to the future of Israelis and Palestinians – a conviction which I share.