ABSTRACT

This paper argues the built structure of Israeli military occupation in the West Bank is only part of the mechanism that serves to define territorial boundaries and restrict Palestinian movement. A more pervasive and debilitating process of boundary formation occurs through affect-laden performances that typically take place in border areas or sites of surveillance, where state actors and technologies police Palestinians. These performances serve to produce fear and shame: two affects that circulate and act as structuring agents preventing Palestinian movement and resistance. Thus, Israel extends its borders through socio-spatial-technical practices, deep into Palestinian spaces. The underlying evidence for this study originated out of critical performance ethnography and a drama workshop conducted with Palestinians, theorised in part through Sara Ahmed's notion of an ‘affective economy’ of emotions. Overall, this study re-orients the predominant view of occupied space in the West Bank as an oppressive architectural blockade, to that of an affective regime constituted by a set of relations that require repeatable performances to produce the effect of territory. This re-framing opens possibilities for re-thinking resistance to the occupation by suggesting Palestinians may disrupt or alter the circulation of affect in order to reclaim their space and curtail Israeli extraterritorial ambitions.

摘要

本文认为，以色列在约旦河西岸军事占领的建筑结构只是用于界定领土边界和限制巴勒斯坦人行动的机制的一部分。一个更普遍和更虚弱的边界形成过程发生在充满情感的表演中，这些表演通常发生在边境地区或监视地点，国家行为者和技术人员在那里监视巴勒斯坦人。这些表演会产生恐惧和羞耻感：两种影响循环并充当阻止巴勒斯坦人运动和抵抗的结构因素。因此，以色列通过社会空间技术实践将其边界扩展到巴勒斯坦空间的深处。这项研究的潜在证据源于批判性的表演民族志和与巴勒斯坦人一起举办的戏剧研讨会，部分通过 Sara Ahmed 的情感“情感经济”概念进行理论化。总体而言，这项研究将西岸占用空间作为压迫性建筑封锁的主流观点重新定位为由一系列关系构成的情感政权，这些关系需要可重复的表演才能产生领土效果。通过暗示巴勒斯坦人可能会破坏或改变情感的循环，以收回他们的空间并遏制以色列的域外野心，这种重新框架为重新思考对占领的抵抗开辟了可能性。由一系列关系构成的情感机制，需要可重复的表演才能产生领土效果。通过暗示巴勒斯坦人可能会破坏或改变情感的循环，以收回他们的空间并遏制以色列的域外野心，这种重新框架为重新思考对占领的抵抗开辟了可能性。由一系列关系构成的情感机制，需要可重复的表演才能产生领土效果。通过暗示巴勒斯坦人可能会破坏或改变情感的循环，以收回他们的空间并遏制以色列的域外野心，这种重新框架为重新思考对占领的抵抗开辟了可能性。