ABSTRACT

Leila Abdelrazaq’s Baddawi (2015) tells the story of her father Ahmad’s childhood spent in Baddawi, a camp for Palestinian refugees in Lebanon. Given that the refugee status of Palestinians has now lasted over 70 years, Palestine occupies a unique position in refugee studies. Camps like Baddawi form a distinctive model of refugee diasporic space where a temporary, liminal space becomes a diasporic “home” for millions. Contrary to the Agambenian depiction of “bare life” in camps, Abdelrazaq’s graphic novel portrays Baddawi as a communal space where families live together, preserving cultural traditions and performing daily rituals of life. Despite its depictions of the precarity and violence, Abdelrazaq portrays Baddawi as a space of belonging and, ultimately, of solace and return. Considering questions of diasporic belonging and agency of refugees in precarious and liminal spaces like Baddawi, the article calls for a renewed understanding of diasporic identity and belonging in conflict settings.

摘要

Leila Abdelrazaq的Baddawi（2015年）讲述了她的父亲艾哈迈德（Ahmad）童年在巴达维（Baddawi）度过的故事，巴达维是黎巴嫩的巴勒斯坦难民营地。鉴于巴勒斯坦人的难民地位现在已经持续了70多年，巴勒斯坦在难民研究中占有独特的地位。像巴达维这样的营地形成了难民流离失所空间的独特模型，其中临时的门廊空间成为数百万流离失所者的“家”。与阿甘本人在营地中“光鲜的生活”的描述相反，阿卜杜拉扎克（Abdelrazaq）的图画小说将Baddawi描绘成一个家庭聚居在一起的公共空间，保持着家庭的文化传统并进行日常的生活习惯。尽管阿卜杜拉扎克（Abdelrazaq）描绘了the不安和暴力，但仍将Baddawi描绘成归属感，并最终成为慰藉与回归的空间。