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Copyright of Recherches en Langue et Littérature Françaises is the property of University of Tabriz and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article focuses on the almost unknown novel Ben Ammar de Sevilla. Una tragedia en la España de los taifas, written by the famous medievalist Claudio Sánchez-Albornoz (d. 1984), who while paradoxically contributing greatly for the knowledge on the Muslim Iberia and its historiography, at the same time consolidated the 19th century discourses of the Reconquista and the «Hispanized» al-Andalus. The aim of this article is to study, on the one hand, how al-Andalus is depicted on Sánchez-Albornoz’s novel, and, on the other, to interpret why he wrote this book and how it blends with his general way of thinking the history of Spain and his own present. The paper argues that this novel must be read through Sánchez-Albornoz’s experience of civil war and exile, in which the problem of the unity of the Spanish people throughout its history becomes crucial in his historical thought. The Taifa period, in which the novel focuses, and the consequences of the fitna and disintegration of the Andalusi unity, are a mirror in which Sánchez-Albornoz reflects his own reality and his patriotic longings. Thus, the main characters of his novel, such as the exiled king of Seville al-Mu‘tamid, become (in)direct parallels of the author’s life. Ideas such as that of the homo hispanus, the concern for union and the avoidance of the fitna are fundamental for a global understanding of Sánchez-Albornoz’s historical proposal. These perspectives can explain the apparent contradictions in his approach on the history of al-Andalus, and can also explain how the Middle Ages consisted of a way to address his own present.

The article reveals the public positions of King Mihai I, while in exile, towards Bessarabia, as they emerge from interviews, documents, public statements, open letters and messages addressed to Romanians, in different circumstances. In this study, both published documents (public messages of King Mihai I, published in various books of interviews or memoirs about the King, newspaper articles reproducing these messages, other articles talking about royal public actions) and unpublished documents were analyzed, such as the correspondence between King Mihai I and one of the most important leaders of the Romanians in exile, Ion Rațiu, or extracts from the file on the Securitate’s pursuit of King Mihai I, in the archives of the National Council for the Study of Romanian Security Archives. The period studied is 1989-1993, when the King made many public statements about Bessarabia, which he never forgot. The themes addressed in the public communication are related to the Ribbentrop-Molotov Pact and its effects, the exodus of young people, the freedom to vote and to decide their own fate, respect for democracy as a whole, and the Transnistria problem. The King analyses the situation in Bessarabia licitly and spoke of European integration long before the Republic of Moldova actually embarked on this path. The study shows the King’s focus on the Bessarabian problem, his visionary approach to the European course and diplomacy, and the firmness with which he tells the historical truths and analyses their effects today.

Ionescu-Ionesco, Voice of an Exile? Proposal for a Theoretical Rereading. In this paper, we propose a different reading of Eugène Ionesco’s exile by drawing from a selection of texts from the 1930s and afterwards. As our purpose is to challenge the prevailing discourse surrounding the topic, we have opted to focus on critical and theoretical elements rather than biographical details. We keep in mind that the author’s contributions and the research on his work are two intertwined discourses. In post-1989 Romania, Ionesco is widely regarded as one of the leading literary figures of the Romanian exile. It is our opinion that his exiled status has not been sufficiently investigated, and our aim is to demonstrate that prudence and close reading could uncover some striking nuances that could lead scholars to the solution of a central question: Should Ionescu-Ionesco be regarded as an exile or rather as an expatriate? Ionescu-Ionesco, vocea unui exilat? Propunere pentru o relectură teoretică. În articolul de față propunem o lectură diferită a exilului lui Eugène Ionesco bazându-ne pe o selecție de texte din anii 1930 și de mai târziu. Întrucât scopul nostru este să chestionăm discursul predominant legat de subiect, am ales să ne concentrăm mai curând asupra elementelor critice și teoretice decât asupra detaliilor biografice. Ținem cont de faptul că contribuțiile autorului și cercetarea relativă la opera sa sunt două discursuri întrețesute. În România de după 1989, Ionesco este îndeobște considerat drept o figură literară marcantă a exilului românesc. Opinia noastră este aceea că statutul său de exilat nu a fost suficient investigat, iar obiectivul nostru este să demonstrăm că prudența și lectura atentă pot dezvălui nuanțe remarcabile: ar trebui Ionescu-Ionesco să fie tratat drept un exilat sau mai degrabă drept un expatriat? Cuvinte-cheie: Eugen Ionescu – Eugène Ionesco, exil, expatriat, ideologie, receptare Article history: Received 21 January 2024; Revised 26 March 2024; Accepted 04 June 2024; Available online 25 June 2024; Available print 30 June 2024

Désormais ma demeure by Nicholas Dawson explores the aftermath of depression, which he sees as both the personal site of psychic collapse and the site of exile in his transgenerational composition. The latter is made possible by a queer constellation whose diasporic existence makes it possible to grasp the racialized and gendered practices that are so many habitus and forms of emancipation. The writing appears, in this context, as a story that takes shape in the aftermath of the healing.

In this interview, contemporary Armenian writer Krikor Beledian reflects on the phenomenon of neologisms cultivated within the press both before and after the genocide. Framing neologisms as a general feature of linguistic innovation, Beledian offers an overview of how the Armenian language’s contact with other languages over the centuries has occasioned the creation of new words and expressions, culminating in heightened activity during the language’s standardization process in the 19th century, facilitated in large part by the press. While these efforts of coining new terms were a linguistic enterprise that mainly circulated within intellectual circles prior to 1915, following the genocide, neologisms gained expanded meaning and reached the masses. In dispersion, within a new preservationist drive, linguistic creation was often linked to survival and maintenance of collective identity in exile. In France, the Armenian-language press, particularly the pages of Haratch, was vibrant with debates regarding the creation of a transnational linguistic community and notions of linguistic independence, highlighting its place as an important node of study at the intersection of print culture and diaspora-making.

Between 1977 and 1992, some 2,750 Cambodian, Laotian and Vietnamese refugees stayed at the temporary accommodation center in Cognin-les-Gorges (Isère). Public authorities and associations worked together to organize the reception of Asian families in this small village in the Pre-Alps. This singular social experiment, based on the encounter between exiles and the local population, left a lasting impression. This article traces its history and examines its memories.

Désormais ma demeure by Nicholas Dawson explores the aftermath of depression, which he sees as both the personal site of psychic collapse and the site of exile in his transgenerational composition. The latter is made possible by a queer constellation whose diasporic existence makes it possible to grasp the racialized and gendered practices that are so many habitus and forms of emancipation. The writing appears, in this context, as a story that takes shape in the aftermath of the healing. [ABSTRACT FROM AUTHOR]

The article treats the activities of Estonian exile publishers in the Soviet Union (1918–1937) and in the West (1944–1991), concentrating on the publications of translated literary works. The analysis includes the study of the motives for publishing literary translations and the functions these publications were supposed to fulfil in these two different contexts of production and reception. The publishing of Estonian-language literary works in the Soviet Union is studied in the framework of national and cultural policies of the 1920s and 1930s, which determined the development of minority publishing. The output of translated literature by Estonian-language publishers is compared with the all-union translation policy and its preferences in the selection of authors for translation. The treatment of the Estonian-language publishing in the West focuses on the activities of Andres Laur and his publishing house Orto that issued most of the literary translations. The translation publications by other publishers (Vaba Eesti, Eesti Kirjanike Kooperatiiv) represent alternative modes of selection, illustrating the variety of motives.

This article presents a synthetic analysis of the use of the French language in Heinrich Mann’s work. The author’s cultural identity was strongly influenced by France and French literature. Furthermore, he had excellent language skills in French, which made it possible for him to translate some French novels into German and to have a rich correspondence with French friends; he managed also to write many essays as well as cultural and political articles in French during the first phase of his exile. Nevertheless, he never wrote fiction directly in French. Heinrich Mann’s cultural identity between France and Germany is an exceptional case, which reveals both the complexity and the contradictions of his intellectual career.

This article addresses Walter Benjamin’s relationship to the French language, literature and culture and the extent to which it factored into his career as a critic and translator. In particular, this contribution examines what Benjamin defined as the “strand of the present”, which he identified at the core of the French literary and intellectual landscape and how this contributed to his role as an intermediary between Germany and France throughout the 1920s and 1930s. It was above all Benjamin’s interest in the contemporary developments of the French intelligentsia which permitted him to advance a critique of the ‘engaged’ European writer of the interwar period.

This article examines the German-French literary production of Raoul Hausmann, in particular after his exile of 1933. Having fled Nazi Germany, the former Berlin Dadaist found refuge in France where he lived until his death in 1971. Making French his second writing language, the former Berlin Dadaist adopted from 1945 onwards a strategy of bilingual writing keeping his two languages separate from book to book, in an attempt to gain recognition as a German writer and a French writer in parallel. While this divided authorship follows the logic of national literatures, at the same time Hausmann developed a plurilingual poetics in major works such as Hyle II or PIN, which vehemently opposed the ideology of national identities and their supposed cultural homogeneity. The analysis of Hyle, Ein Traumsein in Spanien, which Hausmann worked on from 1933 to 1958, illuminates the tension between these two practices of plurilingualism after 1945.

One of the less discussed figures of the Romanian exile caused by the fraudulent establishment of communism in Romania is the polygraph Alexandru Busuioceanu, who wrote poetry in three languages, but also art criticism, literary criticism, and history. The present research is interested in the ideational intertwining of Busuioceanu's intellectual life. As regards his poetry, the volume “Poemas patéticos” of 1948 is analyzed in particular. The writer formulated bold hypotheses which he justified with erudite arguments. Busuioceanu's research, like his art, was carried out in several countries, so access to sources and linguistic context was unmediated. The scholarly legacy of Vasile Pârvan, whose disciple Busuioceanu was, proved also important for this work. Has this enormous intellectual cargo and capacity imprinted Busuioceanu´s creativity or did he preserve his pristine imagination and thinking?

The purpose of this paper is to study the reception that the Argentinian poet Juan Gelman makes of the poetry of San Juan de la Cruz in his work Citas y comentarios. In this collection of poems, Gelman resorts to intertextuality by combining the particular symbology and vocabulary of 16th century mystical poetry with the essential nostalgia of tango lyrics to account for an experience that, like the union of the soul with God, surpasses the limits of language: exile. Within this array of influences, we will analyze the unquestionable mark left in the texts by the major poems of the Carmelite saint and his rhetoric of ineffability.

Within the framework of the Seminar ”Romanian Exile and Migration: Cultural Representations in Europe”, the aim of this work is to illustrate, through the diaries of Mircea Eliade, the reasons and circumstances in which the Romanian writer and historian of religions leaves his country, the different stages and destinations of his exile, the literary and scientific contributions made by him in this context, as well as the reflections that the author makes about his own situation and about this phenomenon.

This article aims to show that Herta Müller's life is depicted as one of perpetual uprooting and to portrait elements in her novels where the writer deals with major universal themes, connected to the topic of exile and fundamental to understanding the turbulent 20th century in Europe. Her denunciation of the horrors of totalitarianism, against which she opposes a cry for freedom and against oblivion, stands out for its capacity for reflection, its originality and its poetic sensitivity, in such a way that it manages to traverse this arid terrain with original images of great beauty.

The duality of here and there is a recurring motif in Maghrebian exile literature, which revolves around the experiences of North African immigrants who reside in Europe. This dualistic framework underscores the sense of displacement and cultural alienation that many immigrants experience in their new homes, as they find themselves straddling two cultures and struggling to find a sense of belonging in either of them. Leïla Sebbar’s novel Le silence des rives portrays the last day in the life of a Maghrebian immigrant in France, whose life is fraught with unfulfilled promises and shattered dreams. The present article examines how spatial duality and the here-there dichotomy serve as the main device for the exploration of the lives of the novel’s characters. This article also highlights the argument that the notions of “home” and “belonging” are not merely physical, but also emotional and psychological. The concept of spatial duality, as developed by Gaston Bachelard, provides a valuable framework for understanding the intricate relationship between exiles’ experiences of physical and psychological space. The postcolonial reading perspective also elucidates the complexity of (im)migrant subjectivity and the discourse of belonging.

Copyright of Lublin Studies in Modern Languages & Literature / Lubelskie Materialy Neofilologiczne is the property of Maria Curie-Sklodowska University, Department of German & Applied Linguistics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the study, we propose to question the pragmatics of exile in the literary work A crier dans les ruines by Alexandra Koszelyk. This novel immerses us in post-disaster Ukraine. It tells the initiatory, poetic and melancholic journey of a young woman who must forge her identity on the history of her country that we are trying to stifle. The novel puts on stage people uprooted by force; some, attached to their roots, remain close to the irradiated zone; while the others, including the heroine Léna, decide to flee the place definitively to rebuild themselves elsewhere. However, despite the exile, the power of the roots of this young woman undoubtedly reminds her of where she comes from and her love for Ivan pushes her to return there. These different perceptions of exile will be amply analyzed by our study which will also highlight the strength of love in its many forms: the love of the two teenagers Léna and Ivan, books and literature, nature, which makes it possible to survive the trauma of loneliness and uprooting. This novel evokes in parallel the benevolent nature which always takes back its rights despite the radioactive storms. [ABSTRACT FROM AUTHOR]

The current situation of Lebanon is difficult. The country is sinking into a deep economic, financial, political, and social crisis, which has become worse since 2019 and especially after the explosion of the Beirut port in August 2020. As a result, several Lebanese decided to leave the country. This situation is partly a result of the civil war that took place between 1975 and 1990. Indeed, the Lebanese war leaves an important mark on the literary works that have Lebanon as a setting. Authors express their desire to explore in their works the traumas, consequences and effect of these conflicts on individuals and society. The desire to explore the history of the civil war is also found among the authors of the new generation who did not live through this war, among which is the Franco-Lebanese author Sabyl Ghoussoub. In the novel Beirut on the Seine, awarded with the Goncourt des Lycéens Prize in 2022, Ghoussoub calls into question the history of the Lebanese war by exploring the consequences of this conflict on Lebanon’s present and on all Lebanese, whether exiled or not. Through snippets of family memories, the author unearths a part of Lebanon’s contemporary history and raises questions mainly concerning identity and origin. This communication aims to examine the major themes addressed by the writer, such as the quest for identity, history and self. The challenge raised is to study how the powers of the novel can stretch into the discovery of historical realities, as well as the healing role that such discovery can play in rebuilding the broken self after a catastrophe. [ABSTRACT FROM AUTHOR]

Research framework: The study is at the crossroads of two theoretical fields: the condition of the exile and the sociology of the family. Objective : The article aims to analyze the family reconfigurations involved in asylum application procedures. Methodology: A two-year ethnographic field study (2018-2019) was carried out in the Centre d’hébergement d’urgence pour migrants (CHUM) and the Centre de premier accueil (CPA) managed by an association. The families housed there come mainly from Albania, Afghanistan, Sudan, Eritrea and Somalia. Results: A birth, the formation of a couple or even a separation are all events that place exiled families in anthemic situations, between the stability generated by these family events, which implies a projection into the future, and the insecurity of asylum procedures, which forces them to remain stuck in the present. These family events are used in different ways by migrant families: either as a means of emancipation, as a factor of “vulnerability” in an attempt to improve living conditions, or as experiential knowledge. Conclusions : The temporalities of asylum procedures and of family changes clash to the point of generating situations of great instability. Furthermore, the superimposition of statuses (that of asylum seekers, woman and mother) leads to paradoxes and even feelings of ambivalence in the daily lives of these women housed in centres.Contribution : Looking beyond the realities of France, the article reflects on the experiences of women asylum seekers in shelters from the perspective of their family projects. In this way, we are able to move away from the asylum procedures imposed on exiles, and graps subjectivity through family changes. Following on the sociology of the family and the emergency context, we understand how families are constructed, and how links are made and broken.

Copyright of Etudes Romanes de Brno is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Spring 1530, Clément Marot inaugurated a new poetic form with the coqà-l'âne epistle. Initially imagined as a mere amusing pastime to share with his best friend Lyon Jamet, this imagined exchange of non-linear and satirical missives on the latest news of the day would grow in importance - particularly after the Affair of the Placards in October 1534 would send both friends into exile. A year later, now banished from Ferrara and once again separated outside of the kingdom, Marot would take up the pen anew in Venice to compose more coq-à-l'âne epistles. However, these epistles, written over the summer and autumn of 1535, bear record to sadness, to homesickness, to anger and to a lack of friendship that are mitigated by the very act of writing. In this way, the coq-à-l'âne becomes a form of therapy for Marot, in which he adopts the pathos of gelodacria (or joco-seriosus), the paradoxical posture of the poet who laughs as he cries or who suffers joyously (which would make Marot a type of Triboulet in exile - another figure who appears in the coq-à-l'âne). This essay analyses the five coq-à-l'âne epistles attributed to Marot in order to demonstrate what degree this poetic form allows the poet to minimize his suffering mimetically and offer himself solace through a friendly exchange. [ABSTRACT FROM AUTHOR]

Copyright of Akofena is the property of Universite Felix Houphouet Boigny and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the context of this article, we choose to study three Arab newspapers, published in London, which have survived the changes in the profession of the press by knowing how to evolve towards online practices. They bring together Arabic-speaking journalists from different Arab countries. These Arabic-language daily newspapers covered and accompanied major world events as well as current affairs in the Arab world by following distinct editorial policies, each supporting one of the Gulf countries through a historic conflict that developed between 2017 and 2021 and led to diplomatic rupture and the closing of borders. The following newspapers were studied: Acharq Alawsat or The Middle East, a Saudi newspaper; Alquds Alarabi or Arab Jerusalem, currently pro-Qatari; Alarab or The Arabs, currently pro-Emirati. The purpose of the approach is to answer a question of no little significance: what place does this Arabic-speaking press occupy, between managing its integrated presence in a host country and a mission related to its region of origin? In other words: does this press see itself as a fully Arab press or rather as a press in exile?

The 1889 International Penal Treaty of Montevideo created international asylum law in South America. This article explores the historical memory of South American asylum law, in part hidden behind an image of the region as one producing exile and the rise of the European regime since the interwar period. It is, however, its own particular tradition of asylum, linked to the recognition of diplomatic asylum and the importance of exile in the political order of the region, which translated into its early and sustained codification as a category of international law, which was extended to all of Latin America in the 20th century.

The Milanese revolt of 6th February 1853 has long remained in the shadow of 1848, which is merely seemed to replicate. This article highlights its specificities, insisting on the role of refugees in this movement. The conspiracy was prepared from abroad and implemented by actors who crossed either the Piedmontese or the Swiss border. However, the repression of political exiles on both sides of the frontiers after the revolt shows a will to persecute all emigrants, whether they took part to the movement or not.

Since the middle of the 19th century, Lebanese people have emigrated throughout the world to flee the wars and economic crises that have shaken Lebanon and the Middle East. Today, the Lebanese diaspora is three times larger than its population. This article reviews the dates and causes of the different waves of Lebanese departures. It also traces the destinations chosen and the consequences of this diasporic phenomenon.

The island is the subject of multiple projections, myths and legends, both poetic and novelistic, on all five continents. A favourite subject for representing exile and solitude, whether voluntary or involuntary, it is ambivalent depending on the context: an asylum or a prison, paradise or hell, synonymous with separation or reunion, arrival or departure, immensity or enclosed space, war or peace, utopia or dystopia, the profane or the sacred. Several bodies of work embody this nomadic and archipelagic way of thinking about insularity, between reality and fiction, and travelogues. This tour will look first at the approach taken by the singer-songwriters who have left their mark on our popular imagination. Secondly, naturalist stories, adventure and fantasy novels and romances have been part of our childhood and adolescence, like rites of passage to adulthood, discovering distant, strange, unknown lands, imaginary or real, wild spaces. Unconsciously inhabiting our modern and contemporary collective, these authors are today revealing themselves to be whistle-blowers, as their awareness of man’s impact on living plants and animals anticipates the concepts of “ecosophy”, literary ecology, “evocentrism”, free evolution, world literature and humanistic ecology.

This article aims to capture the particularities of highly skilled migrants in situations of forced exile through an ethnographic fieldwork conducted over a period of 10 months, and composed of interviews with 36 scientists and artists exiled from Turkey, Syria and Iraq, residing in France. It highlights how these individuals often experience a new form of identity, that of an exile, while facing forms of downwards social mobility. In a situation where timing, resources and opportunities of mobility vary from one individual to another, this article tries to outline the strategies that they put in place in order to withstand their decline in status.

Among the probable sources of “winter” imagery in the last cantos of Inferno a special place belongs to the motif of Scythian winter, developed in detail by Ovid in his “exile poetry” and (before him) by Virgil in the Georgics (III). Despite the absence of direct mentions of Tristia and Epistulae Ex Ponto in Dante’s oeuvre, the majority of modern scholars challenge the statement of E. Moore, who suggested in the late 19th century that later writings by Ovid created in exile may have remained unknown to the author of the Divine Comedy. In correlation with the view of Michelangelo Picone, who, beside tracing the characteristics of Ovid’s winter, also saw in Dante’s wintry parts of Hell a reconsideration of the motif of exile (central to Tristia), the author of the article examines the most important parallels, uniting the Commedia’s first cantica with Ovid’s “exile” verses, namely the description of the solidity of ice covering the river or lake; the hero-author walking on the ice and gazing at beings bound in it; the correlation between winter’s dominance and the escalation of hostility in the relations of persons and tribes; the connection of winter’s setting with the motifs of “death-in-the-life” and the loss of spiritual home; a longing for spiritual Absolute under the reign of winter; potential ambiguousness of “winter” motifs.

This article focuses on the changes that have appeared in contemporary Uruguayan literature in light of migration issues. Since the 1960s, second and third generation immigrant writers have been questioning their origins. In the 70s and 80s, the themes of exile and migration were often addressed in literature, as shown in M. Benedetti’s works. The article finally focuses on two recent novels depicting new types of migration: Frankfurt. Cruce de caminos, by Ana Vidal and Yugoslavia, by Matías Núñez. Both reflect on new dynamics: nomadism, deterritorialization, reterritorialization. Through the experience of the characters in these novels, who have settled in the United States or Germany, the recurring question of Uruguayan identity emerges.

This article deals with the concepts of exile, otherness and hybrid identity in Princesses by F. Gallaire as an example of a feminine writing of the so-called double Exile. In the play, the author explores themes related to Otherness, the space between here and there, between Algeria and France and between Africa and Europe. This interstice space defined by H. Bhabha as “Third dimension” is configured through the character that constitutes a border or hybrid identity construction and articulates aspects such as rootlessness, longing, and resistance to oblivion.

This article addresses the problem of preserving the memory of first-wave Russian emigrants who settled in France between the two world wars. The author is interested in the visual and audiovisual heritage of exiles, in particular, press caricatures and cinema, one of whose functions was to transmit not only current events but also life experiences of Russians in all their forms (various emotions and feelings, sublimations of traumas, memories of the past). The author studies some examples of visual representations of exile and emigrants in cinema and caricature, selected from a large corpus of nearly 1,000 drawings and 50 films preserved today in library collections and audiovisual archives in France. [ABSTRACT FROM AUTHOR]

Copyright of FLAMME is the property of Universite de Limoges and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The theme of exile has recently been the subject of renewed interest among medieval specialists. The praxeology of exile can be analyzed from different perspectives. In theological language, the human condition itself is often assimilated to that of a homo viator, the pilgrim who constantly travels towards the ultimate homeland, after the expulsion from Eden and the weakening of his intellectual, moral, and physical capacities. The exiled abandon their world, a universe made of certainties and stable relationships, to venture into an unknown and perilous world. For these reasons, during the Middle Ages, long journeys were usually organized in groups. However, sometimes the solitude of "peregrinatio" could not be avoided. The idea of exile always presupposes an antinomy between what is "external" and what is "internal," and naturally, everything related to the external has a negative valence. From the "external" world come all those people on the margins of society: outlaws, prostitutes, and infidels. Going against the norms of good society meant the expulsion from the "internal" to the "external" world, a spatial-temporal upheaval that brought the exiled closer to marginalized people. Medieval literature often addressed the theme of exile between the 12th and 14th centuries, where the experience of distance is a topos of French courtly literature. Several representative texts of the period address the theme: the masterpiece of Chrétien de Troyes, Erec et Enide, in which the male protagonist, thanks to exile and the quest for adventures, will regain measure, a fundamental element to still be considered a true knight. We find the same theme also in the dramatic exile of Tristan and Isolde, one of the most appreciated profane literary works of the 12th century, which, despite some "physiological" evolutions, continues to survive today. It is a work that has affected all Western civilization for sociological, literary, but also psychological reasons. [ABSTRACT FROM AUTHOR]

Copyright of Dacoromania Litteraria is the property of ACADEMIA ROMANA Filiala Cluj-Napoca Institutul de Lingvistica si Istorie Literara "Sextil Puscariu" and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revue du Monde Musulman et de la Méditerrannée is the property of Edisud and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The similarities between Obadiah and Jer 49:7–22 are well-known and discussed thoroughly in scholarly literature. The thematic and linguistic links associating Edom and Babylon are equally well known and treated, particularly in H.G.M Williamson’s The Book Called Isaiah: Deutero-Isaiah’s Role in Composition and Redaction. However, Edom, as depicted in Obadiah, is seldom mentioned or compared with Babylon in Isa 13–14. Through similarities in motif, linguistics and thematic development, Obadiah intentionally differs from Jer 49:7–22 to cast Edom as a type of Babylon as seen in Isa 13:2–14:23. Thus, Obadiah should not be viewed merely as a variation of Jer 49 but rather as an oracle against Edom in Isaianic style. https://doi.org/10.17159/2312-3621/2022/v35n3a7

This article explores emerging identities in the memoir Learning to Die in Miami: Confessions of a Refugee Boy by Carlos Eire. The narrator experiences multiple exiles during his voyage into the diverse cultural landscapes of the USA and treats those transitions as symbolic deaths leading to cultural renewal. The character interprets everything through his selective recollections from Cuba, and the constant critique of his antiquated roots diminishes the value of past experiences. The process of Eire’s Americanisation is inevitably linked with his anti-nostalgia. The essay emphasises the moments when the narrator reproduces himself through transformation, and his reminiscences of Cuba tend to be more positive. Although this journey takes place within the American environment, Eire experiences the “nearness” of Cubanness, which lessens his attachment to Americanness. Ethnic foodways and ties of kinship are the primary elements bridging Carlos with Cubanidad. Negotiating the narrator’s identity is a fluid process of cultural renewal when he struggles with “in-betweenness” and attempts rejection of his Cuban self. However, life experiences change his approach, giving him a greater appreciation for his ethnic roots.

This paper returns to the Benjaminian idea of montage as a historiographical method and proposes strategies for resuming, cinematically, recently found images of Brazilian amnesty. The montage, as an organizing principle of the documents of an era, quotes the past and makes history visible. We evaluate two aesthetic approaches to this procedure in the documentary: the association of archival material with a contemporary speech and the value of the document's testimony itself.

The author of the article proposes an interpretation of the novel Bataille de Kirholm by Henri Krasiński through the notions of francophony, migration and transnationalism. He analyzes the authorial posture adopted by the writer, based on his migrant status, but also the poetics of his text, based on the transposition into French of Polish historical, cultural and linguistic elements. He thus intends to underline the interest of a little-known literary phenomenon, that of historical novels with Polish subject, published in the Romantic era by French-speaking Polish authors. [ABSTRACT FROM AUTHOR]

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Addressing the underrepresentation of works by Italian Istrian writers within Italian literary tradition, the present article investigates the representation of identity and otherness as a result of exile in the rich and sophisticated memoirs of Anna Maria Mori (Pola, Italy – now Pula, Croatia, 1936). Her complex experience as an Istrian exile caused in her what writer Enzo Bettiza calls ‘exeità’, the condition of an ‘ex’ with a total loss of identity caused by the lack of a stable geographical community centre to identify with. Indeed, exile significantly altered Mori’s perception of her identity, which, together with the experience of war, triggered a sense of restlessness and the search for belonging that accompanied her throughout her life. What emerges is that although Mori’s outlook is strongly Italian, her ‘Italianness’ is supranational in the sense that it is mediated not by romanità, as it is the case for the majority of Italians, but rather by a nostalgic sense of venezianità, originating from a long tradition of Venetian rule in Istria. Her identity is further forged by slavness, derived from the Istrian rural hinterland inhabited mainly by Slovenians and Croatians who had an influence on the Italian communities living along the coast; and by the legacy of the Austro-Hungarian empire that ruled in Istria after the demise of la Serenissima. Mori’s memoirs, therefore, are the site of a reflexivity that sheds light on the complex feelings of an author caught between the simultaneous dimensions of an Italo-Slavic and Austro-Hungarian consciousness. Her nostalgic works give voice not only to her own story and feelings, but also to the stories and feelings of hundreds of thousands of Italian exiles, whose hardships are lost in the official narratives. Mori does for Istria what James Joyce did for Dublin. She offers a kaleidoscopic portrait which recreates, with painful precision, the sights, sounds, and smells of a lost world, where readers are constantly confronted by enduring issues related to the representation of the self and the other, marginality, and vulnerability.

This article will focus on a circulation that may be representative of the global turn: the exile in Italy of the Chilean group Inti-Illimani. Apart from their musical tour, the group was also in Italy for political reasons: to promote the government of Unidad Popular led by Salvador Allende. This motivation, however, will not be accomplished due to the coup d’état of Augusto Pinochet. Hence, what had begun as a few months' trip, suddenly became several years of exile in the European country. The musical militancy will be able to make close what was distant, informing Italy about what was happening in Chile, which contributed to the development of solidarity networks. The Italians, in turn, appropriated these songs as a way of expressing their desires and concerns, which influenced both Italian political and social activity, as well as the ways of making music. Based on a press exam and an analysis of the albums published by this group in the exile between 1973-1978 we will show how music can also connect different, but close, political realities – a testament to an increasingly interconnected world.

The poetics and critical interpretation of Alexandre Dumas father and son works, as well as their respective biographies are given an original light if we consider their intimate spaces and literary production, especially between 1847 and 1852, the years during which their trajectories crossed. After being at the height of his fame, Alexandre Dumas, covered in debts, saw his "architectural folly" of Monte Cristo mortgaged in less than a year, and his Théâtre Historique closed to the public. Alexandre Dumas fils, for his part, seized the sale of his former mistress after her death to create his novel La Dame aux camélias. Based on a dismemberment, that of Marie Duplessis' interior space sold at auction and reconfigured for better dramatic effects, Alexandre Dumas fils made a name for himself among the great writers and playwrights of his time. His famous Parisian flat at 98, avenue de Villiers constitutes a genuine countermodel from his father's spaces, abandoning the model of the historicist and bohemian "artist's interior" for a bourgeois, consensual and comfortable interior design. This paper aims at understanding Alexandre Dumas fils' literary and real estate strategies to consolidate his writer position and image. [ABSTRACT FROM AUTHOR]

This article deals with the motif of "anabasis" in the poetry of Saint-John Perse and the Polish poet Zbigniew Herbert. The former, a poet and diplomat, gave this title to a poem written in the early 1920s, before he stepped onto the stage of international politics of the interwar period. It, in a way, anticipates his professional and existential choices. Herbert's "Anabasis" appeared in 1983 in his collection of poems entitled Raport z oblężonego miasta [Report from a Besieged City]. Although two generations and vastly different geopolitical points of origin separate the authors of these poems, both writers left their "small homelands" (Guadeloupe, Lwów), to become witnesses to history filled with socio-political events in the face of which they could not remain neutral. Saint-John Perse began his own poetic "anabasis" in 1940, as an "exile" having escaped to the USA. Zbigniew Herbert published his "Anabasis" in a time when communist Poland would, once again (following the institution of Martial Law in 1981), would confirm his "internal exile." Personal contexts aside, the "anabases" of Perse and Herbert represent a search for the "right word" which anticipates the script of existence or which is a meditation on exile, expressing through modern poetic means the desire to recover, or constantly (re)construct, their imaginative and spiritual homelands. [ABSTRACT FROM AUTHOR]