Cultural imperialism extends beyond military and economic domination, operating instead through the control of culture, language, memory, and representation, thereby consolidating dominant discourses and undermining the identity of subjugated societies. Sahar Khalifeh’s novel Rabi Ḥār (2004), which portrays the life of a Palestinian family in the ‘Ain al-Marjan refugee camp, reflects the complex interrelationship between territorial occupation, cultural domination, and identity crisis. Employing a descriptive-analytical method and drawing upon Edward Said’s theoretical framework of culture and imperialism, the present study examines the lived experience of colonial domination, symbolic power, and the representation of cultural resistance in Palestinian narrative literature. The study aims to investigate the mechanisms through which domination and resistance are represented in Palestinian fiction, with particular emphasis on Rabi Ḥār. Given the ongoing occupation and the persistent identity crisis in Palestine, alongside the absence of equitable narratives, Palestinian fiction has evolved into a living testament to the Palestinian lifeworld and collective memory. Therefore, examining its potential for cultural resistance and identity redefinition is of critical importance. The findings demonstrate that Khalifeh represents domination over space and territory through spatial construction and the use of symbols such as the fence, barbed wire, and the checkpoint. Through polyphony, internal focalization, and multi-layered characterization, she further reveals the consequences of domination in the form of identity fragmentation, generational conflict, and individual crisis. Language, media, and consumer culture are similarly portrayed as instruments of symbolic domination. In contrast, the critical rereading of history, the revival of memories of lost places, the transmission of familial narratives, the recording of lived experience, and the reclamation of language transform narrative into an act of resistance. Thus, Rabi Ḥār itself becomes a site of cultural resistance against colonial erasure and enforced historical forgetting.