Abstract: This thesis critically analyses the discourse of the Israeli housing block (“shikun”) through the lens of “whiteness”, employing the Cultural Approach to Critical Discourse Analysis. Drawing on cultural representations of the shikun during two national housing projects, the “Sharon Plan” (1951-1961), and the “Evacuation-Construction” Plan (1998-2022), it examines how do the cultural representations of the shikun make and unmake Mizrahi Jews “white”-Israelis? By using “whiteness” as an analytical framework, this thesis challenges the dominant postcolonial ethno-nationalist approach within Mizrahi scholarship to comprehend the spatial oppression of Mizrahi Jews. It argues that the discourse of the shikun reflects and reproduces the de-Arabisation of Israel as a project of “whiteness”, wherein Arab-Jewish identity is erased and replaced by a normalised, universalised Europeanness. The findings reveal the shikun as a geopolitical tool in constructing the spatial logic of “militarised whiteness”, namely a specific form of racialisation as “white” that advances violent conflict. This logic mirrors Israel’s political and cultural self-perception as a superior, modern, and “Western” society in the Middle East. Importantly, it enables us to understand how the local racialisation of Mizrahi Jews both emerges from and reinforces global hierarchies of “white” settler-colonialism. This thesis provides an empirical contribution by identifying and explaining the key linguistic, cultural and spatial patterns that shape the discourse of the shikun in policy, media, and academic discussions. It also advances the fields of Mizrahi Studies and Critical Whiteness Studies by centering the Mizrahi urban scholarship within critical discussions on both settler-colonialism and Israeli urban development, while disrupting the Eurocentric application of “whiteness” which often disregards its effect on regional violence and militarisation. Finally, this thesis offers a methodological contribution to Critical Discourse Studies by illuminating how political culture can serve as a novel methodological lens for explaining the reciprocal relationship between discourse and the built environment.



Abstract: Settler-colonial archives have historically functioned as instruments of state power, perpetuating narratives that erase or marginalize Indigenous peoples’ histories, knowledges, and sovereignties. This study investigated the growing phenomenon of contemporary Indigenous artistic interventions within these institutions, framing them as critical acts of “curating dissent” that challenge the archival claim to objective truth. This research employed a qualitative, comparative case study methodology to analyze three distinct, institutionallysanctioned artistic interventions in major settler-colonial archives in Canada, Australia, and New Zealand between 2020 and 2024. A multi-modal data collection strategy included visual analysis of the artworks, textual analysis of archival records, and thematic analysis of 25 semi-structured interviews with artists, curators, and community members. The analysis revealed three primary strategies of intervention: “Re-contextualization and Juxtaposition,” which disrupts colonial classifications by placing Indigenous epistemologies alongside archival records; “Embodied Knowledge and Affective Encounters,” which uses performance and sensory elements to reanimate ancestral connections within the archive; and “Digital Sovereignty and Archival Remixing,” which leverages digital tools to reclaim and re-narrate colonial documents. Institutional responses ranged from enthusiastic collaboration to forms of negotiated resistance and containment. In conclusion, within the specific context of sanctioned projects, Indigenous artistic interventions function as potent decolonial practices that create new spaces for Indigenous knowledge and memory to flourish. This study proposes the concept of “Archival Acupuncture,” a theoretical framework for understanding how these targeted, therapeutic interventions can systemically alter the narrative body of the archive to foster restorative justice. These acts signal a critical shift, demanding archives become active partners in a more just future.



Abstract: The article investigates the spatial dimension of the entanglement of settler colonialism and nationalism embedded in the Israeli policy of cultural heritage conservation in Silwan (East Jerusalem) by focusing on the case of the City of David National Park. Attempting to naturalize the Jewish presence in this part of the city, Israel invests in production of a site-specific and highly agential arrangement of material and discursive elements to solidify the Jewish nation’s identity and facilitate the colonial acquisition of the Palestinian land. This architectonics of belonging occlude the colonial character of the Israeli presence in the area, spatializing what discursively figures as a historically legitimized Jewish right to this territory, thus redesigning the spatial settler colonial dynamics defining who counts as native in the area. However, as the article expounds, from a settler colonial perspective, both the Zionist settlement project in Silwan and the establishment of the City of David National Park display a dissonance between aspirations and outcomes: while devastating for local Palestinians, these initiatives still fundamentally fail in achieving settler colonial goals. The article offers a localized reading of the Israeli project in Silwan by paying attention to the narratives of Silwanian activists, attempting to look at the ongoing situation in Silwan from their standpoint. As a result, it partly recalibrates the dominant settler colonial paradigm (typically focused on settlers’ perspective), situating our analysis within the context of Palestinian resilience.