This summary of Nakba: Palestine, 1948, and the Claims of Memory by Ahmad H. Sa’di and Lila Abu-Lughod will provide an examination of the Palestinian Diaspora in relation to the Palestinian exodus of 1948. Part One of this book is entitled “Places of Memory”, which consists of historical perspectives of scholars, such as Chapter 1’s article by Susan Slyomovics, related to Nakba through the memories of refugees in the town of Qula: “A different history historiography, grounded in testimonial witnessing by displaced villagers, permits access to Palestinian history” (Sa’di and Abu-Lughand 32). In the “rape of Qula, the example of refugee narratives and testimonials defines the higher level of rapes and massacres conducted by the Israeli Defense
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In this manner, the traditional view of memory as ‘something real outside person’ subjectivities” is questioned on the merits of memory as a subjective form of historical analysis (Sa’di and Abu-Lughand 107). In this instance, Jayyusi’s argument provides a more analytical approach to deciphering the objective memories of Palestinian refugees during this historical period. In Chapter 5, a further analysis of women's refuge testimonial links these issues of the modes of memory that define a feminist perspective on the 1948 exodus from Nakba: “But women in many cultures—and this is certainly true of Palestinian rural women—are transmitters of kinds of narrative and cultural performance” (Sa’di and Abu-Lughand 137). This “mode of” refugee narrative by Rosemary Singh provides insight into the overarching theme of this book, which is to define the multiplicity of testimonial narratives for these different points of views. More so, the cinematic perspective of the 1949 exodus of the Palestinian peoples. Finally, Chapter 6 defines Bresheeth’s analysis of the cinematic dominant cinematic narrative of the Pro-Zionist cause, which historically has ignored the plight of Palestinians in the context of the 1948 exodus. In some cases, the film “A Take of Two Towns: Saffuriyya” (1948) and other films serve as form of memory that defines the cinematic portrayal of the Palestinian people in this regional context. This is, yet, another “mode” of memory that is analyzed in relation to the depiction of refugee status during the 1948 exodus of the Palestinian people from
In this manner, the traditional view of memory as ‘something real outside person’ subjectivities” is questioned on the merits of memory as a subjective form of historical analysis (Sa’di and Abu-Lughand 107). In this instance, Jayyusi’s argument provides a more analytical approach to deciphering the objective memories of Palestinian refugees during this historical period. In Chapter 5, a further analysis of women's refuge testimonial links these issues of the modes of memory that define a feminist perspective on the 1948 exodus from Nakba: “But women in many cultures—and this is certainly true of Palestinian rural women—are transmitters of kinds of narrative and cultural performance” (Sa’di and Abu-Lughand 137). This “mode of” refugee narrative by Rosemary Singh provides insight into the overarching theme of this book, which is to define the multiplicity of testimonial narratives for these different points of views. More so, the cinematic perspective of the 1949 exodus of the Palestinian peoples. Finally, Chapter 6 defines Bresheeth’s analysis of the cinematic dominant cinematic narrative of the Pro-Zionist cause, which historically has ignored the plight of Palestinians in the context of the 1948 exodus. In some cases, the film “A Take of Two Towns: Saffuriyya” (1948) and other films serve as form of memory that defines the cinematic portrayal of the Palestinian people in this regional context. This is, yet, another “mode” of memory that is analyzed in relation to the depiction of refugee status during the 1948 exodus of the Palestinian people from