This paper examines the nationalistic thoughts of ‘Allāl al-Fāsī (1910?–1974) conceived during his exile in the Mashriq. It focuses on the way in which he identified the relationship between the Arab world, the Maghrib region, and Morocco. A series of experiences in his exile in the Mashriq significantly influenced the way al-Fāsī represented and characterized the Arab world, the Maghrib, and Morocco. By analyzing his narrative from that time, this paper finds that al-Fāsī constructs his logic to connect the Arab world, the Maghrib, and Morocco, while simultaneously differentiating them from another. For example, he proposes historical ties between the Arab world and the Maghrib, yet he recognizes that Morocco is a unique, independent country in the region. This paper argues that his claim can be understood as logic to overcome the marginal position and the peripheral nature of the Maghrib in the Arab on the one hand, and Morocco in the Maghrib on the other. In order for the Maghrib and Morocco to be considered superior in the Arab regional order, he used certain concepts, such as freedom and spirituality, as criteria that may embody universal values. It is this manner of comparative thinking that characterized al-Fāsī’s nationalistic ideas conceived during his stay in the Mashriq.

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This paper sheds new light on Japanese perceptions of Persia and, from a broader perspective, Oriental art and archaeology in the early 20th century. Previous studies exploring Japan’s shaping of the “Orient” in the field of art during this period, primarily focused on Japanese relations with East Asia. In contrast, this study considers how the notion of the “Orient” was expanded to include not only China, Korea, and India, but also Persia, and examines the broader meaning of “Persia” and how “Persian art” became part of the Japanese drive to reconstruct the “greatest Oriental museum.” It addresses these questions by focusing on the travels of Kuroita Katsumi (1874–1946), a professor of Japanese history at Tokyo Imperial University, through Persia, and his cultural activities after he returned to Japan in 1928. Specifically, it explores his participation in the Keimeikai 10th Anniversary Exhibition of Oriental art and the Committee to Support the Imperial Household Museum’s Restoration (Teishitsu Hakubutsukan Fukkō Yokusankai). This paper concludes by arguing that Persian art, with its historical connection to Japan substantiated by Kuroita’s journey, played a key role in expanding the “Orient” to encompass the entire region of West Asia and Egypt.

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The purpose of this paper is to examine historically and sociologically the depiction of “Palestine” in contemporary Syrian literature through two important works. Saadallah Wannous, a prominent Syrian dramatist, in his drama Al-Ightisab (1989), focused on two worlds, the Palestinian and the Israeli. In the epilogue of this drama, Wannous emphasized that the Arab regimes were nothing but a replica of the “Zionist entity”, relying upon occupation and oppression. On the other hand, ‘Ali al-Kurdi, a Palestinian who was born and grew up in Syria, published his novel Shamaaya Castle (2010), a work of fiction inspired by his memories of his childhood in the former Jewish quarter of Damascus during the 1950s and 1960s. As an “intermediate supporter” of the Palestinian cause, Wannous tried to demonstrate the various “actualities” of the Palestinian issue for Syrian and Arab audiences. By contrast, in Al-Kurdi’s novel, the author, despite being a veritable “victim” of the Nakba, focused on the diverse dimensions of the “realities” faced by Syrian Palestinians, describing their misery, embarrassment, stigmas, human friendships and tolerance across diverse religious communities. It is obvious that writing this kind of novel is a creative act for building resilience out of past traumatic experiences in Palestine as well as for reevaluating the history of coexistence in Syria.

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This article describes the collective and personal memories generated from a cemetery where the dead of the Palestinian Revolution in Lebanon are buried. Previous studies of the revolution have focused on the historical process whereby the Palestinians living in refugee camps participated in the revolution: Many camp residents took weapons to fight for their return to the land of Palestine in the 1970s. This raises the following research question: How have the dead of the Palestine Revolution been recollected and commemorated by both the Palestinian leadership and people? This article examines the Palestinian Martyrs’ Cemetery near Shatila Camp in Beirut, because this cemetery is the burial place of many national heroes and the site of commemorative practices to honor all the martyrs. Recollecting and commemorating the martyrs connects visitors to the land of Palestine as their own true root. One of these Palestinian martyrs buried in this cemetery is Majid Husayn Attie (Mājid Ḥusayin ‘Aṭīya). Retelling Majid’s life history, his son also recollected the resistance from the perspective of a familial martyr. This paper concludes that the grave is the notion that connects collective and personal death, and collective and personal memory.

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