A Azoulay
Biographic Data
| ID | 30159 |
|---|---|
| NAME | A Azoulay |
| GIVEN NAMES | A |
| FAMILY NAME | Azoulay |
| SIGNATURE | AZOULAY A |
| AFFILIATIONS | Brown University |
| ORCID | 0000-0002-7700-4750 |
| VERIFIED | Yes |
| TOTAL WORKS | 32 |
| TOTAL CITATIONS | 106 |
| AUTHOR COUNT | 32 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 6 |
Au fond de la mosquée – une synagogue
s: Presque deux cents lieux définis par les Français comme « lieux de culte » ont été démolis à Alger durant la première décennie de la colonisation, dont onze synagogues. L'absence troublante de recherche sur cette démolition, sa signification et son influence sur le destin des communautés juives algériennes et sur celui de l'Algérie en général a fait en sorte que de structures telle par exemple la grande synagogue d'Oran sont devenues un symbol…
Czym są reparacje
Fragment siódmego rozdziału książki Potential History: Unlearning Imperialism Arielli Azoulay („Repair, Reparations, Return: The Condition of Worldliness”) (2019) przedefiniowuje reparacje — ukazuje je nie jako jednorazowe odszkodowanie wypłacane po fakcie, lecz jako trwającą praktykę odzyskiwania współdzielonego świata. Autorka krytykuje imperialną logikę czasu, która zamyka zbrodnie w przeszłości i odracza naprawę, oraz archiwalne technologie n…
Against Imperial Knowledges: Lisa Lowe and Ariella Aïsha Azoulay in Conversation
Lately, I have been talking with our ancestors
This ‘letter to my children’ is part of the author’s book in progress Algerian Letters: The Jewelers of the Ummah . Through her engagement with different addressees (her ancestors and children, scholars, political theorists and law-makers active in Algeria, France, and Palestine) and reflecting on the history of her paternal family life in Algeria, she questions the seemingly irreversible nature of the process through which, in less than a centur…
Revolution and Rehearsal in the Global South
This dialogue, recorded in late 2020, brings together a group of remarkable critics and creators working between Asia, Africa, and the West, each of whom address the relationship between revolutions and archives in their own practice. What does it mean, in practice, to unlearn the archive? What does it mean to do so from the global periphery, the still present specter of a third world
Time Travelers in Palestine: Stereoscopic Journey
The Civil Contract of Photography: A Global History of Photography
In The Civil Contract of Photography, Ariella Azoulay argues that photography's invention was not a technological event but the institution of a new form of political relationship. Photography, she contends, created a new civil contract between individuals regardless of their status, generating a space of appearance and a sense of shared worldliness. Azoulay traces this civil contract from the earliest days of photography in the mid-nineteenth ce…
The One-State Condition: Occupation and Democracy in Israel/Palestine
Ending World War II
In the late 1930s and 1940s, World War II was an opportunity for the colonial and imperial powers to anchor themselves in sharp opposition to the Nazi and fascist regimes. Through this opposition, the superpower themselves as the harbingers and guarantors of a "new global order." This chapter discusses the commitment to human rights as a way to construct a scheme of global rule, a scheme mediated by the United Nations. It shows that the UN&s;s ex…
The Natural History of Rape
This article utilizes photographs taken in Berlin just after the end of World War II to reconstruct the history of mass rape that took place in the city during this period and to argue for this event as foundational to post-war democratic political regimes that inscribed imperialism’s ruling logic within a ‘new world order’. In arguing this point, the author refuses the positivist and evidentiary frameworks through which scholars typically work w…
The Imperial Condition of Photography in Palestine: Archives, Looting, and the Figure of the Infiltrator
In front of many cameras and representatives of the international community that surround him, unexpectedly, and outside of any protocol that was prepared for this occasion, an elderly Palestinian man dares to stop, to withdraw his consent to leave his home and ceases to move. This old man is my companion in exploring the archives and attempting to understand its implication in the invention of the figure of “infiltrator.” Together, we refrain fr…
Actions, Non-Actions, Interactions, and So On and So Forth
International audience
Photography Consists of Collaboration: Susan Meiselas, Wendy Ewald, and Ariella Azoulay
The growing literature and catalogs on photographic collaboration, participation, and collectivity, which are part of the proliferation of artistic projects that assert collaboration as their goal, still mainly focus on photographers who initiate collaborative projects. The repertoire of photographic works by Wendy Ewald, Susan Meiselas, and myself includes many such projects, but we put them side by side with projects in which, for example, the …
Between Nuremberg and Jerusalem: Hannah Arendt'sTikkun Olam
Since Hannah Arendt wrote Eichmann in Jerusalem in 1964, her stance toward the Eichmann trial in Israel has been the subject of controversy. This essay considers why Arendt, in her reporting on the trial, seems to have insisted on a criterion of "relevance" in the face of pain and focused on procedures in the face of catastrophe. The authors propose that relevance and legality are doing a certain work in Arendt's text, that they are not the only …
Photographic Conditions: Looting, Archives, and the Figure of the “Infiltrator”
International audience
The Lethal Art of Portraiture
Since the late 1980s, Miki Kratsman’s photographic work has been produced mainly in what are commonly called the “Occupied Territories.” As a Jewish Israeli citizen and through his work in these regions, Kratsman exposes the nonexternality of the occupation, and the implication of Israeli Jews in it through their actions and interactions with others. Readers of the newspapers where most of Kratsman’s photos have first been published can always in…
What Are Human Rights
Azoulay argues that human rights discourse is based on a separation between a closed past, in which what was robbed is no longer contested because the violent dispossession has been legalized and naturalized, and an indefinite future in which the rights of “everyman,” as it were—the typical protagonist of a common declarations of rights—would not be violated. This separation is at the basis of the common discourse of human rights and justifies us…
"We," Palestinians and Jewish Israelis: The Right Not to Be a Perpetrator
Assuming that the BDS is the largest civil movement today claiming to change the Israeli political regime, what type of "we" does it enable? In this essay, I try to answer this question, based on the premise that the response of Jewish Israeli citizens to the crimes and abuses perpetrated by their own regime cannot be based on external solidarity. Jewish Israelis are governed alongside Palestinians, and they are subjects of the same political reg…
Arendt's Guidelines for a Fictionalized Cinematic Portrait
More than once Arendt denied being a public figure and added that she did not entertain any "ambition to become one." This poses a challenge to any filmmaker seeking to portray her character, as Margarethe von Trotta found when she contradicted Arendt's self-perception to inquire who was this public figure at the center of one of the most important political-intellectual controversies of the twentieth century. Von Trotta's cinematic inquiry is in…
Civil alliances – Palestine, 1947–1948
Between November 1947 (The UN Partition Plan for Palestine) and May 1948 (The creation of the state of Israel), many Jewish and Arab communities who cared for their country intensified the negotiations between themselves and initiated urgent encounters, some short and spontaneous, others planned meticulously to the last detail, during which the participants raised demands, sought compromises, set rules, formulated agreements, made promises, sough…
Palestine as Symptom, Palestine as Hope: Revising Human Rights Discourse
International audience
Threshold as place: Ariella Azoulay talks with Aïm Deüelle Lüski
Potential History: Thinking through Violence
Outside The Political Philosophy Tradition and Still Inside Tradition: Two Traditions of Political Philosophy
Declaring the State of Israel: Declaring a State of War
What is a photograph? What is photography
Potential History: Thinking through Violence
Getting Rid of the Distinction between the Aesthetic and the Political
The point of departure of Berger and Mohr's Another Way of Telling (1982) is what they call the discovery that 'photographs did not work as we had been taught'. Since their book was written, the same feeling of 'discovery' has been expressed in other writings on photography. Often, these 'discoveries' have been linked with the way 'ordinary' people have been using photography. This paper addresses this recurrence and asks what are the discursive …
The Civil Contract of Photography: A Global History of Photography
In The Civil Contract of Photography, Ariella Azoulay argues that photography's invention was not a technological event but the institution of a new form of political relationship. Photography, she contends, created a new civil contract between individuals regardless of their status, generating a space of appearance and a sense of shared worldliness. Azoulay traces this civil contract from the earliest days of photography in the mid-nineteenth ce…
Palestine as Symptom, Palestine as Hope: Revising Human Rights Discourse
International audience
The Imperial Condition of Photography in Palestine: Archives, Looting, and the Figure of the Infiltrator
In front of many cameras and representatives of the international community that surround him, unexpectedly, and outside of any protocol that was prepared for this occasion, an elderly Palestinian man dares to stop, to withdraw his consent to leave his home and ceases to move. This old man is my companion in exploring the archives and attempting to understand its implication in the invention of the figure of “infiltrator.” Together, we refrain fr…
Photography Consists of Collaboration: Susan Meiselas, Wendy Ewald, and Ariella Azoulay
The growing literature and catalogs on photographic collaboration, participation, and collectivity, which are part of the proliferation of artistic projects that assert collaboration as their goal, still mainly focus on photographers who initiate collaborative projects. The repertoire of photographic works by Wendy Ewald, Susan Meiselas, and myself includes many such projects, but we put them side by side with projects in which, for example, the …
What Are Human Rights
Azoulay argues that human rights discourse is based on a separation between a closed past, in which what was robbed is no longer contested because the violent dispossession has been legalized and naturalized, and an indefinite future in which the rights of “everyman,” as it were—the typical protagonist of a common declarations of rights—would not be violated. This separation is at the basis of the common discourse of human rights and justifies us…
Declaring the State of Israel: Declaring a State of War
Revolution and Rehearsal in the Global South
This dialogue, recorded in late 2020, brings together a group of remarkable critics and creators working between Asia, Africa, and the West, each of whom address the relationship between revolutions and archives in their own practice. What does it mean, in practice, to unlearn the archive? What does it mean to do so from the global periphery, the still present specter of a third world
The Lethal Art of Portraiture
Since the late 1980s, Miki Kratsman’s photographic work has been produced mainly in what are commonly called the “Occupied Territories.” As a Jewish Israeli citizen and through his work in these regions, Kratsman exposes the nonexternality of the occupation, and the implication of Israeli Jews in it through their actions and interactions with others. Readers of the newspapers where most of Kratsman’s photos have first been published can always in…
Between Nuremberg and Jerusalem: Hannah Arendt'sTikkun Olam
Since Hannah Arendt wrote Eichmann in Jerusalem in 1964, her stance toward the Eichmann trial in Israel has been the subject of controversy. This essay considers why Arendt, in her reporting on the trial, seems to have insisted on a criterion of "relevance" in the face of pain and focused on procedures in the face of catastrophe. The authors propose that relevance and legality are doing a certain work in Arendt's text, that they are not the only …
"We," Palestinians and Jewish Israelis: The Right Not to Be a Perpetrator
Assuming that the BDS is the largest civil movement today claiming to change the Israeli political regime, what type of "we" does it enable? In this essay, I try to answer this question, based on the premise that the response of Jewish Israeli citizens to the crimes and abuses perpetrated by their own regime cannot be based on external solidarity. Jewish Israelis are governed alongside Palestinians, and they are subjects of the same political reg…
Arendt's Guidelines for a Fictionalized Cinematic Portrait
More than once Arendt denied being a public figure and added that she did not entertain any "ambition to become one." This poses a challenge to any filmmaker seeking to portray her character, as Margarethe von Trotta found when she contradicted Arendt's self-perception to inquire who was this public figure at the center of one of the most important political-intellectual controversies of the twentieth century. Von Trotta's cinematic inquiry is in…
Outside The Political Philosophy Tradition and Still Inside Tradition: Two Traditions of Political Philosophy
An alien woman/a permitted woman: On JM Coetzee's Disgrace 1
The heart of the novel concerns two women, both in their twenties, both of whom have undergone a traumatic sexual experience ; the connection between their two stories, the creation of a connection, is the reader's task, a task at which Lurie himself fails
An alien woman/a permitted woman: On JM Coetzee's Disgrace 1
The heart of the novel concerns two women, both in their twenties, both of whom have undergone a traumatic sexual experience ; the connection between their two stories, the creation of a connection, is the reader's task, a task at which Lurie himself fails
The Ethic of the Spectator
Essay| October 01 2005 The Ethic of the Spectator: The Citizenry of Photography Ariella Azoulay Ariella Azoulay Ariella Azoulay is a professor in the Program for Cultural Studies at Bar Ilan University, Tel Aviv, Israel Azoulay is also a documentary filmmaker and curator and the author of Once Upon A Time: Photography after Walter Benjamin (Bar Han University Press, 2005) and Death's Showcase (MIT Press, 2001), among other publications. Search fo…
Citizens of Disaster
International audience
Cartography of Resistance
Essay| August 01 2006 Cartography of Resistance Ariella Azoulay Ariella Azoulay Ariella Azoulay is an author, curator, and director living in Tel Aviv, Israel. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2006) 34 (1-2): 80–81. https://doi.org/10.1525/aft.2006.34.1-2.80 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon…
Philosophizing photography/photographing philosophy
What is a photograph? What is photography
Getting Rid of the Distinction between the Aesthetic and the Political
The point of departure of Berger and Mohr's Another Way of Telling (1982) is what they call the discovery that 'photographs did not work as we had been taught'. Since their book was written, the same feeling of 'discovery' has been expressed in other writings on photography. Often, these 'discoveries' have been linked with the way 'ordinary' people have been using photography. This paper addresses this recurrence and asks what are the discursive …
Outside The Political Philosophy Tradition and Still Inside Tradition: Two Traditions of Political Philosophy
Declaring the State of Israel: Declaring a State of War
Threshold as place: Ariella Azoulay talks with Aïm Deüelle Lüski
Potential History: Thinking through Violence
Civil alliances – Palestine, 1947–1948
Between November 1947 (The UN Partition Plan for Palestine) and May 1948 (The creation of the state of Israel), many Jewish and Arab communities who cared for their country intensified the negotiations between themselves and initiated urgent encounters, some short and spontaneous, others planned meticulously to the last detail, during which the participants raised demands, sought compromises, set rules, formulated agreements, made promises, sough…
Palestine as Symptom, Palestine as Hope: Revising Human Rights Discourse
International audience
Photographic Conditions: Looting, Archives, and the Figure of the “Infiltrator”
International audience
The Lethal Art of Portraiture
Since the late 1980s, Miki Kratsman’s photographic work has been produced mainly in what are commonly called the “Occupied Territories.” As a Jewish Israeli citizen and through his work in these regions, Kratsman exposes the nonexternality of the occupation, and the implication of Israeli Jews in it through their actions and interactions with others. Readers of the newspapers where most of Kratsman’s photos have first been published can always in…
What Are Human Rights
Azoulay argues that human rights discourse is based on a separation between a closed past, in which what was robbed is no longer contested because the violent dispossession has been legalized and naturalized, and an indefinite future in which the rights of “everyman,” as it were—the typical protagonist of a common declarations of rights—would not be violated. This separation is at the basis of the common discourse of human rights and justifies us…
"We," Palestinians and Jewish Israelis: The Right Not to Be a Perpetrator
Assuming that the BDS is the largest civil movement today claiming to change the Israeli political regime, what type of "we" does it enable? In this essay, I try to answer this question, based on the premise that the response of Jewish Israeli citizens to the crimes and abuses perpetrated by their own regime cannot be based on external solidarity. Jewish Israelis are governed alongside Palestinians, and they are subjects of the same political reg…
Arendt's Guidelines for a Fictionalized Cinematic Portrait
More than once Arendt denied being a public figure and added that she did not entertain any "ambition to become one." This poses a challenge to any filmmaker seeking to portray her character, as Margarethe von Trotta found when she contradicted Arendt's self-perception to inquire who was this public figure at the center of one of the most important political-intellectual controversies of the twentieth century. Von Trotta's cinematic inquiry is in…
Actions, Non-Actions, Interactions, and So On and So Forth
International audience
Photography Consists of Collaboration: Susan Meiselas, Wendy Ewald, and Ariella Azoulay
The growing literature and catalogs on photographic collaboration, participation, and collectivity, which are part of the proliferation of artistic projects that assert collaboration as their goal, still mainly focus on photographers who initiate collaborative projects. The repertoire of photographic works by Wendy Ewald, Susan Meiselas, and myself includes many such projects, but we put them side by side with projects in which, for example, the …
Between Nuremberg and Jerusalem: Hannah Arendt'sTikkun Olam
Since Hannah Arendt wrote Eichmann in Jerusalem in 1964, her stance toward the Eichmann trial in Israel has been the subject of controversy. This essay considers why Arendt, in her reporting on the trial, seems to have insisted on a criterion of "relevance" in the face of pain and focused on procedures in the face of catastrophe. The authors propose that relevance and legality are doing a certain work in Arendt's text, that they are not the only …
The Imperial Condition of Photography in Palestine: Archives, Looting, and the Figure of the Infiltrator
In front of many cameras and representatives of the international community that surround him, unexpectedly, and outside of any protocol that was prepared for this occasion, an elderly Palestinian man dares to stop, to withdraw his consent to leave his home and ceases to move. This old man is my companion in exploring the archives and attempting to understand its implication in the invention of the figure of “infiltrator.” Together, we refrain fr…
Ending World War II
In the late 1930s and 1940s, World War II was an opportunity for the colonial and imperial powers to anchor themselves in sharp opposition to the Nazi and fascist regimes. Through this opposition, the superpower themselves as the harbingers and guarantors of a "new global order." This chapter discusses the commitment to human rights as a way to construct a scheme of global rule, a scheme mediated by the United Nations. It shows that the UN&s;s ex…
The Natural History of Rape
This article utilizes photographs taken in Berlin just after the end of World War II to reconstruct the history of mass rape that took place in the city during this period and to argue for this event as foundational to post-war democratic political regimes that inscribed imperialism’s ruling logic within a ‘new world order’. In arguing this point, the author refuses the positivist and evidentiary frameworks through which scholars typically work w…
The One-State Condition: Occupation and Democracy in Israel/Palestine
Political science (17 works) · Sociology (17 works) · Law (15 works) · Art (13 works) · Politics (13 works) · History (12 works) · Jewish and Middle Eastern Studies (10 works) · Computer Science (8 works) · Philosophy (8 works) · Law (7 works)