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This paper looks into the life and ethnographic work of Leonore Kosswig (1904–1973), who lived in Turkey as a German exile from 1937 until her death in 1973. While her husband, Curt Kosswig was invited to Istanbul University as a full professor, Leonore had no institutional affiliation. However, she traveled with her husband around Anatolia and joined his fieldwork, during which she developed an interest in local customs and the daily life of villagers and nomadic tribes. Leonore decided to stay in Turkey after Curt’s return to Germany in 1955. Her excellent command of Turkish and former experience in fieldwork allowed her to become one of the first women to conduct ethnographic research in Turkey. Until her death, she pursued several pioneering research projects on wedding customs, tablet weaving, nomadic life, and ownership signs. Relying on her research publications and ego-documents, we employ a biographical approach to articulate upon her liminal existence in exile. In dialogue with research on twentieth century forced migrations that engage with the concepts of in-betweenness and liminality, we address Leonore’s liminal existences on the edge of two worlds on numerous planes. In particular, we argue that Kosswig’s liminality was reflected on her exilic existence in Istanbul as a foreign woman; her ethnographic research agenda into liminal geographic locations, marginalized communities, and disappearing cultural artifacts; and her gendered navigation of foreignness and nativeness. [ABSTRACT FROM AUTHOR]

The early modern period was an age marked by the forced migration and displacement of social groups and individuals around the world. Huguenots, conversos, Catholics, cavaliers, Jacobites, and French emigrés alike fled or were expelled from their homes and communities. Yet, exile is still usually considered only within the context of broader religious or political events by scholars working in sub‐fields rather than as a phenomenon worthy of study in its own right. Foregrounding displacement as a major facet of early modern society and culture, this special issue explores the experience, perception, and poetics of exile from 1500 to 1800 through the prism of innovation. It encompasses displaced individuals and communities, as well as writings that treat the theme of exile, to consider how forced migration shaped the social, cultural, political, and intellectual contours of the era – and thus led to innovative practices and ideas. [ABSTRACT FROM AUTHOR]

The article analyzes the relationship between exile and identity in Uruguayan poet Cristina Peri Rossi. Her poetry collection "Estado de exilio" is examined, and four moments in her journey are identified: pain, castration, integration, and love. Psychoanalysis is used to interpret these stages, highlighting how exile breaks the rigid structures of the subject. The importance of language and writing as ways to overcome the pain of exile is mentioned. The article concludes by emphasizing the possibility of reinventing identity through exile. [Extracted from the article]

This article analyzes the presence of the exile and memorialist issue in Maruxa Vilalta's short narrative. It focuses on three aspects of her work: the stories "Diferència" and "El meu dia foll" and the collection "El otro día, la muerte". These texts reveal different identity levels that range from post-memory to collective and multidirectional memory. The objective of the article is to highlight Vilalta's literary production in relation to her condition as an exile, an aspect that has been little studied in existing academic analyses about her. [Extracted from the article]

The article analyzes the use of dashes in the poetry of Cristina Peri Rossi and its connection with the poetry of Emily Dickinson. Both authors use dashes as a way to overcome the social limits of their respective exiles and sexual identities, as well as of poetic language. Dashes act as dislocation, a locus of eroticism, and dissent from official reading. They are studied in relation to litotes and as a mechanism to propose alterities, identities, and dissident epistemologies in two modalities of exile. [Extracted from the article]

The article reflects on the Chilean literary scene in exile between 1973 and 1982 and the presence of women writers in that context. During this period, women seem to disappear or dilute their presence, but by examining the material produced at the time, a significant number of women can be found as marginal notes. There is a void that makes it difficult to establish links and continuities between the literature prior to the coup and the proliferation of texts authored by women that emerged from 1983 onwards. The objective of the article is to contribute to filling this void and giving them a place in the historical narrative. [Extracted from the article]

This article analyzes the authorial projection of Venezuelan writer Karina Sainz Borgo through her novel "La hija de la española" and her public statements about it. It is highlighted that the protagonist, Adelaida, presents herself as morally superior to those who oppose her politically. Additionally, it is mentioned that the representation of immigrant characters focuses on highlighting their honesty and bravery. The novel is presented as a political critique of the Venezuelan system and presents two opposing ideologies. The author has been criticized for her ideological stance in the novel, although she herself has stated that she is not seeking to make propaganda. The relationship between the author and the work is also analyzed, as she shares the condition of being an exile with the protagonist and has expressed her personal connection to the context of Venezuela. [Extracted from the article]

This article analyzes the literary criticism of María Dolores Arana during her exile in Mexico. Arana collaborated in various periodical publications, including magazines founded by Spanish exiles, where she wrote critical articles and reviews of literary novelties. Her anti-Franco struggle and modern ideological approach are highlighted. Although her exile was definitive, it is argued that her participation in Papeles de Son Armadans marked her intellectual and authorized return to Spain. [Extracted from the article]

The article analyzes the narrative of Argentine writer Tununa Mercado and her relationship with exile. It focuses on her autobiographical texts about uprooting and examines their connection with time and space in exile. It highlights the importance of Mercado's writing as a female voice in the context of exile and mentions her books "En estado de memoria" (In a State of Memory), "La letra de lo mínimo" (The Letter of the Minimum), and "Narrar después" (Narrating Afterwards). The article also addresses the importance of memory and how exile affects the sense of belonging and the spatial and temporal continuity of individuals. It emphasizes the feeling of suspended time during exile and the difficulty of establishing roots in a new place. The text also analyzes the relationship between Mercado's writing and her experience of exile in Mexico, as well as the influence of Mexican culture on her perception of the world. It mentions the importance of minimal details in her writing and how they emerge after a process of incubation. Additionally, it highlights the importance of the everyday in her narrative as a form of subjective reconstitution. The article also raises the question of whether returning to the territory allowed for a re-rooting and the possibility of recovering roots, but points out that the return does not always meet expectations of closing the gaps and restoring pre-exile relationships. It emphasizes the difficulty of return and the feeling of foreignness experienced by exiles when returning to their country. Mercado's narrative reflects this process of return and nostalgia for what was left behind. Overall, the article analyzes the relationship between Mercado's writing and her experience of exile, highlighting the importance of writing as a way to reconstitute oneself and make sense of the experience of uprooting. [Extracted from the article]

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

A scenario of conflict, as in the Colombian case, may be related to the socio-political context in which the Gospel according to Mark may have been written, and therefore offers new insights for the understanding of the narrative phenomena presented. In effect, Mark could have been a response to the traumatic experiences of the followers of Jesus to whom the Gospel was addressed. Likewise, the experience of those displaced and exiled by the Colombian armed conflict has involved a series of traumatic events, but also bears witness to processes of resilient reparation. Against this background, it is proposed that in Mark, the figure of Peter, courageous and determined at the beginning but cowardly and flighty at the end, is analogous to that of many victims in the Colombian armed conflict who, faced with the imminent danger of losing their lives, were forced to abandon their deepest convictions and even their loved ones to end up fleeing into hiding and exile. Nevertheless, both Mark and the experience of those displaced and exiled because of the conflict in Colombia suggest the possibility of vindication of these victims and their respective narratives, helping them to recognize that their flight was not a betrayal and that, thanks to it, the memory of the events can be reconstructed to guarantee the truth and the non-repetition of the facts. [ABSTRACT FROM AUTHOR]

The connection between language and the desert is a crucial aspect of Edmond Jabès' writing. Born in Cairo but forced into exile in Paris, Jabès' reflections on the desert in Le Livre des Questions evoke the memories of his youth in Egypt, the loss provoked by his exile, and it echoes the biblical story of the Exodus, of the Jews wandering the desert after leaving Egypt. Beyond its biographical and religious dimensions, in Jabès' work the abyssal space of the desert is also the preeminent metaphor for writing itself, where words emerge from the blank page like marks in the sand. The desert highlights the abyssal quality of language: like a desert mirage, the phantasmatic presence of language never materializes as a fixed object, even as the promise of its realization never dissipates. For Jabès, these different registers of the desert are interconnected: the desert is a textual space which unites the figures of the Jew, the writer, and the exile. [ABSTRACT FROM AUTHOR]

This article explores place–identity relationship by employing the concept of place-making in a prolonged exile context. It undertakes a study of the association of exiled Tibetan community with Dharamshala, the de-facto Tibetan capital-in-exile. I conceptualize this association through Tibetan place-making in two mutually inclusive processes. The first is the creation and recreation of an 'essentially Tibetan space' through visual and demographic landscape of the town. The second process constitutes the daily acts/practices that facilitate place-making. Consequently, I demonstrate the manner in which Tibetan place-making practices inculcate a sense of belonging with the place of residence thus depicting the association of place and identity among refugees. The article postulates the agency of Tibetan community in enabling visibility of Dharamshala as a marker of Tibetan exilic identity despite their marginal status as de facto refugees in India. [ABSTRACT FROM AUTHOR]

Copyright of Dinbilimleri Journal is the property of Dinbilimleri Journal 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 Historia Contemporanea is the property of Historia Contemporania 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 Turcology Research is the property of Ataturk University Coordinatorship of Scientific Journals 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 Bylye Gody is the property of Cherkas Global University Press 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 Bylye Gody is the property of Cherkas Global University Press 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 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.)

Whistleblowing is an important form of radical political activism, influencing social reform by fundamentally changing the way we see our world. This article contributes to understandings of whistleblower-activism in cases of wrongdoing on the part of state institutions. Extant theorizations of organizational whistleblowing fall short in explaining such instances. In contrast, this article develops four key dynamics of state whistleblower-activism: disclosures radically outside both organization and state, extreme dependence on supporters, democratic activism through alternative loyalties, and parrhesia revealing a crisis in Western democracy. These insights are elaborated through in-depth exploration of the exemplar case of U.S. national security whistleblower Edward Snowden. We argue that the emergent concept of "exilic whistleblowing," inspired by Hannah Arendt's work on exile, offers novel insights. Contributions extend understandings of whistleblowing theory and practice highlighting critical aspects of exilic whistleblowing as activist resistance: how it can be used strategically as part of activist critique aimed at changing the status quo, and how the exiled whistleblower acts as a vanguard helping to bring about a new political consciousness concerning the state of modern democracy and its capacity to uphold constitutional and international human rights. [ABSTRACT FROM AUTHOR]

Autobiography has become an increasingly prominent form of Palestinian literature since the 1980s, giving rise to scholarly discussions about how best to read, interpret, and analyze Palestinian life narratives. Using the memoirs of Palestinian poet Fawaz Turki as an illustrative example, this article challenges a prevailing scholarly view that Palestinian narratives should be read and understood, before all else, as “counterdiscourse” to Zionism. However much this framework illuminates the colonial backdrop and testimonial potential of Palestinian life-writing, it risks flattening Palestinian autobiographies into a single national mold and framing Zionism as the central locus of Palestinian self-expression. Mindful of these dangers, this article draws on the work of David Scott to argue that Palestinian autobiographies can be more fruitfully interpreted as exercises in “critical emplotment” and analyzed as narrative undertakings by which Palestinians creatively (re)interpret their pasts and identities in light of the always-shifting circumstances in which they find themselves. [ABSTRACT FROM AUTHOR]

The title of this paper refers to both the personality and work of two Spaniards, who, at the beginning of the nineteenth century, had to abandon their homeland fleeing from the absolutism of King Ferdinand VII (1784–1833). The exile of the Spanish liberal writers started in 1814 and was characterized by two major milestones: the first between 1814 and 1820, where Great Britain was the main destination; and a second wave which began in 1823 and ended in 1833, wherein France gained prominence as a reception centre. Although the journalistic activities that were both undertaken in Paris were less relevant than those carried out by other writers in London, the truth is that with their reading, we can better understand the study of this exile journalism and the subsequent liberal journalism that was developed in Spain when the conditions allowed it. [ABSTRACT FROM AUTHOR]

In 2017 an exhibition of over 100 craft pieces created by Chilean political prisoners held in concentration camps during the military dictatorship, was launched in the UK along with an accompanying short film, 'Crafting Resistance: the Art of Chilean Political Prisoners'. Drawing on these arts-based interventions, the paper reflects on the use of craft objects both as a symbol of political resistance and a means of initiating difficult conversations around forced political exile, trauma and mental health while creating space for people to 'tell their stories'. Indeed, the paper contends that projects such as Crafting Resistance can 'care for knowledge' through the curation of craftwork while simultaneously creating space for counter memories. The analysis also highlights the changing relationship between the craft makers and the craftwork, argueing that placing the craft objects within the exhibition assigns a new role to the objects as they became part of a display of collective memories and potentially contribute towards collective healing. Finally, the paper advocates for greater recognition of the historical use of craft as a political expression, which to date has been relatively neglected in debates around the use of arts-based research and methods. [ABSTRACT FROM AUTHOR]

Meşrutiyet rejiminin getirilmesini kabul edeceği sözüyle 1876 yılında tahta çıkan II. Abdülhamit, meclisi açmakla birlikte olağan dışı durumlarda dağıtma yetkisini de elinde tutar ve Osmanlı-Rus Savaşı’nın başlaması üzerine meclisi süresiz bir şekilde kapatır. Bununla birlikte Kanun-i Esasi’nin 113. maddesine dayanarak hükûmeti tehdit ve güvenlik tedbirlerini ihlal edenleri sürgüne gönderme yetkisini kullanır. Böylece II. Abdülhamit başta Mithat Paşa, Ziya Paşa ve Namık Kemal olmak üzere muhalif sesleri payitahttan uzaklaştırır; yaklaşık 30 yıl sürecek olan saltanatında aldığı her karar ve attığı her adımla en çok eleştirilecek, üzerine en çok konuşulacak Osmanlı padişahlarından biri hâline gelir. Dolayısıyla II. Abdülhamit Dönemi, bu hararetli atmosferinden kaynaklı modern Türk edebiyatında da eserlere sıkça konu edilir. Abdülhamit aleyhtarlığı romandan tiyatroya, şiire kadar her edebî türe akseder. Daha kendi iktidarında başta Tevfik Fikret olmak üzere birçok yazarın eserlerinde eleştirdiği bir padişah olan II. Abdülhamit ve onun yaratmış olduğu “korku imparatorluğu” sonraki dönemlerde de tenkit edilmiştir. Saltanatı sona erse bile II. Abdülhamit, üzerine farklı görüşlerin dile getirildiği ve tartışılan bir padişah olmayı sürdürmüştür. Özellikle onun döneminde kurulan istihbarat teşkilatı ve resmî makamlara iletilen sayısız jurnal, II. Meşrutiyet’in ilan edilmesinden sonra kaleme sarılan yazarların eleştiri oklarına hedef olur. Çalışmamızda II. Meşrutiyet’in ilanından kısa bir süre sonra yayımlanan, benzer olay örgüsü kalıbını tekrarladığı tespit edilen Fazlı Necip’in Menfa, Ahmet Mithat Efendi’nin Jön Türk ve İrfan’ın Matmazel Anjel başlıklı romanları konu bağlamında incelenecektir. Bu eserlerden hareketle jurnalin hem bireysel hem de toplumsal düzeyde kurmaca kişilerin hayatlarını nasıl değiştirdiği dönemin tarihî koşulları ışığında ortaya konulmaya çalışılacaktır.

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.

Inspired by the real-life experiences of Indonesian exiles, Leila S. Chudori's Pulang explores the journey of an exile of the New Order regime attempting to come to terms with the trauma of the 1965 tragedy, and the inherited trauma of his daughter, who returns to the country of her father’s birth amid political turmoil. This research focused on revealing the discourse of exile as a victim who transmits their trauma to a subsequent generation, as well as the position of gender in the formulation of transmission, affecting the identification of trauma inheritance. Hirsch’s postmemory perspective was employed to analyze the process of trauma inheritance, which was rarely found in Indonesian literary works, as were the historical descriptive, causality, and comparison methods. The trauma inheritance experienced by the first generation is the trauma of loss due to the 1965 tragedy, which was then passed down to a child. Familial transmission becomes the basis of trauma inheritance, strengthened by affiliate transmission, which was a work of authentication in Indonesia. Gender plays a role in the affectivity of transmission, wherein transmissions involving fathers (exiles) and daughters are just as trauma-creating triggers. It is noteworthy that affiliative transmission fosters intersubjectivity among non-exiled female characters who are closely connected to the first generation, thereby enhancing the inheritance of trauma more effectively than familial transmission. The first generation is exiled and identifies its trauma by remembering and bringing with it Indonesian features, in various forms. In contrast, the second generation does it more concretely by becoming a real Indonesian. These findings underpin how an exile's trauma stemming from the 1965 tragedy can be passed on to the second generation, through a transmission process, a journey back to Indonesia, and gender relevance. Pulang redefines an exile as a victim and as an effort for reconciliation.

The purpose of this article is to analyse Elena Garro's poetry compiled in Cristales de tiempo (2008) from a hermeneutical point of view. For biographical reasons, the Mexican author's lyrical production has been relegated to a second line within the 20th century Latin American poetics. For this reason, in this paper we examine some of her most significant poems, highlighting her adherence to a surrealist aesthetic in which the lyrical voice finds no possible refuge other than escape to other realities. [ABSTRACT FROM AUTHOR]

The small, two-verse interpolation of Ezekiel 47:22-23 is widely considered one of the most inclusive texts in the Hebrew Bible. Its instruction regarding the גרים allowed for full inclusion into the community that Ezekiel believed to be the true Israel. However, interpretations that view these verses as hyper-inclusive often view the גרים as foreigners. Such a view is largely based on understanding the term גר along linguistic rather than anthropological lines. This paper will explore the use of the term גר in both Ezekiel and the Holiness School to better understand the group envisioned by the author of Ezekiel 47:22-23. In so doing, I will demonstrate that these verses should not be understood simply along a binary of inclusive versus exclusive, but rather as part of a larger project of identity reformulation that occurred as part of a trauma process around the Babylonian exile. [ABSTRACT FROM AUTHOR]

Many of the networks created among women in Latin America in the early 20th century were significant for the development of feminisms in countries in the region. This article examines the links between the Peruvian María Jesús Alvarado Rivera and Argentinean women involved in female emancipation struggles, and their effects during Alvarado's exile in Argentina (1925-1936). From a theoretical-methodological point of view, we begin with the concept of social network, encompassing various forms of connection between social actors. The study analyzes how links forged through a common interest in the feminist struggle impacted the personal trajectory of María Jesús Alvarado. This study also provides an opportunity to view material from the personal archives of María Jesús Alvarado Rivera, with restricted, limited access, held by the Flora Tristán Peruvian Women's Center in Lima. [ABSTRACT FROM AUTHOR]

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Illuminated Mirrors and "No Rights" concerns the peregrinations of El Greco, from Crete to Spain, and various influences acquired along the way. The primary argument is that El Greco suffered a double exile: 1/ voluntary exile from Crete; and 2/ involuntary exile from Renaissance art and its humanist biases. As such, much of the art-historical record is a confused and often-doctored record of El Greco's manufactured persona—i.e., he is not assimilable to the usual categories of art and art history. [ABSTRACT FROM AUTHOR]

This article deals with the presence of poetry and poets in the exiled magazine Encuentro de la Cultura Cubana, directed by Jesús Díaz, and published in Madrid from 1996 to 1999. The article takes a tour of the various issues of the publication to approach the space dedicated to poetry and the tribute made to authors such as Gastón Baquero, Dulce María Loynaz, Roque Dalton, Heberto Padilla, Eliseo Diego, Fina García Marruz, Rafael Alcides, among others. Based on these texts, and also appealing to the novel by Jesús Díaz Las palabras perdidas (1992), and one of its protagonists El Rojo, the role played by poetry and poets in the magazine is traced. This function would be twofold: on the one hand, to unite that broken body and divided what is the island of Cuba and, on the other, to highlight the total disagreement between poetry and politics. [ABSTRACT FROM AUTHOR]

This article analyses Aftenlandet (Evening Land), a film made for the Danish Film Institute in 1976 by Peter Watkins, one of the world's most politically radical directors and a pioneer of docudrama. The aim is to provide a detailed historical account of the life cycle of a key but hitherto critically neglected film in the director's career: his last to be professionally funded for nearly 25 years and one that saw Watkins working within the very particular milieu of Denmark, investigating, often controversially, the perceived political fault lines of Danish society during the 1970s. The article traces how this English-born filmmaker came to be working in Scandinavia, details the production of Evening Land1 and provides a close critical reading of the film's various themes and techniques as well as considering its reception and aftermath. Correspondence and production files from Watkins' own personal archive reveal the difficulties the filmmaker clearly experienced as something of 'an Englishman abroad' attempting to find a place for himself within Scandinavian film culture of the period. The article asserts that this experience eventually contributed to Watkins' decision to quit Scandinavia altogether following the completion of Evening Land, a decision that would inadvertently propel Watkins out of the world of professional filmmaking for nearly a quarter century. The article argues, however, that Evening Land, a film long obscure and critically neglected, still has cultural resonance and applicability to our own times in the twenty-first century. [ABSTRACT FROM AUTHOR]

Postcolonial studies have dealt with the protest literature since they consider it as the voice of the oppressed people. In the same aspect, resistance literature begins in Palestine with Ghassan Kanafani and Mahmoud Darwish after 1948. Protest literature aims not only at freeing the oppressed from dominating powers and overturning the authority but also at liberating the humans from oppression. "The term resistance "Moqawamah" was first applied in a description of Palestinian Literature in 1966 by the Palestinian writer Ghassan Kanfani in his study "Resistance Literature in Occupied Palestine" (Harlow, 1987). Mahmoud Darwish has been involved in Palestine's political affairs throughout his entire life. In "I Come from There", Darwish tries to raise the voice of Palestinians; therefore, it can be heard all over the world. The theme of this poem assures his refusal to forget his country and unveils the struggle for a doomed homeland. By appropriating the descriptive and analytical method, along with the discourse analysis of Darwish's terms and phrases in the poem "I Come from There", this paper clarifies the symbolic meaning of the words to represent his sense of loss and sense of possession that he feels towards his land. Against this, the paper argues whether resistance protest literature succeeds in defending oppressed people and giving the subaltern their voices and whether literature helps the occupied people to get free and believe in non-violent resistance instead of violent resistance. [ABSTRACT FROM AUTHOR]

Discourses around Afghan women's fashion and beauty during the so-called War on Terror have been used to justify interventions and war. From the Beauty Academy of Kabul to Vogue's Burqa series, Afghan women have lurked within the possibilities and impossibilities of the traditionally oppressed and modernly liberated. Trans Afghan women have remained invisible. Building on the feminist critique of the discourse of beauty in Afghanistan, this article brings into conversation the everyday performances of fashion and beauty in the lives of murat, trans Afghan women. Through a de/colonial ethnography of three murat/trans Afghan women in Kabul, Afghanistan, and Dublin, Ireland, I argue that clandestine fashion for some murat/trans Afghan women becomes means of belonging and sites of negotiations with home and exile. Some use fashion to escape the everyday violence of war and refugeeism, while others use it to disrupt the heterosexist gaze on the streets of metropolitan cities such as Kabul and Dublin and give visibility to trans women and their embodiment of fashion as political acts of resistance. 'Clandestine fashion' and beauty embodiment and performances of these trans Afghan women shed light on everyday security, friendship/kinship, joy and the complexities of trans refugee life during times of war and exile. [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania 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 Chilean diaspora space in the United Kingdom has been transformed over its 50‐year existence. From its origins as a diaspora born of political conflict and the arrival of Chilean exiles during the dictatorship, it has evolved into an altogether more diverse arena. New migrants with different interests and agendas have unsettled the delicate balance of exile life, and the impact of the clash of different histories in this diaspora space remains unknown. Although the experience of Chilean exiles has been actively studied, new empirical data introduces the existence of a much broader diaspora than that portrayed in the literature. The UK space of the Chilean diaspora has been radically altered through the diverse interests that the new cohorts bring and the organizations that reflect these new forms of interaction, as well as the divisive issues of past and present conflict that highlight the unresolved nature of the long‐term experience of exile. [ABSTRACT FROM AUTHOR]

This paper employs Emmanuel Levinas's ethical phenomenology, wherein the ethical responsibility to the other is formed in relation with the other. The self and the other are bound together through the ethical questioning caused by the other, which pushes subjectivities into movement; to leave our comfort zones and venture into a metaphorical state of exile. However, through exile, our subjectivities emerge as beings-in-question, where we become aware of our entanglements with others. Subsequently, the limits and complexities of (not) belonging are examined through a phenomenological analysis of exile, comparing the implications of situating these inquires in society or community. While Levinas's formulation of responsibility has typically been grounded in community, I contend that community's formation through commonality and sameness undermines the Levinasian ethical call to be open to be affected by difference. This is illustrated by the limits and complexities of (not) belonging to a community. The tension between difference and commonness fosters a sense of (not) belonging when it is neither possible nor desirable to fully subscribe to the commonness of the community to which we are expected to belong. Subsequently, I argue that a more apt foundation for enacting the subject's responsibility to the other is society, as belonging to a society is not defined by commonness but by the realisation that we are entangled through difference [ABSTRACT FROM AUTHOR]

María Teresa León's Las peregrinaciones de Teresa is a short story collection published in 1950. This article examines two of its stories from the perspective of the neologism transmemoria, which the author presents in her introduction, with the aim of exploring its critical potential for analyzing the essential meaning of the stories. This allows us to question the use that Hirsch, Young and Bedingfield have made of the concepts of postmemory and transmemory since the early 21st century to highlight the value of the production of "vicarious" discourses about the past by the second generation of exiles and immigrants based on their own reinterpretation of the trauma suffered by their parents. From the analysis of the two narratives and León's use of the term transmemoria, this article argues for an alternative model of memory in which the resulting narratives have an emancipatory role and in which utopia prevails over trauma and experience over inheritance. [ABSTRACT FROM AUTHOR]

This article examines the use of trauma studies to analyze and interpret the lament psalms, specifically Psalms 74, 79, 137, and 87. The authors argue that these psalms, which express anger and revenge, can be seen as part of Israel's healing process in response to collective trauma. They emphasize the importance of acknowledging and expressing emotions in the recovery process, as well as understanding the historical and cultural context of the psalms. The text also explores the role of worship in accessing and reframing traumatic memories, and highlights the significance of memory and confession in seeking healing. Additionally, it discusses the unique perspective of Psalm 87, which envisions a future where Zion unites all peoples and rejects demonization of the enemy. [Extracted from the article]

Copyright of Estudios Internacionales is the property of Instituto de Estudios Internacionales de la Universidad de Chile 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 1830s and the 1840s, Paris was a gathering place for numerous political exiles from different nationalities, including Germans, Italians and Poles. The French capital offered them the opportunity to publish, debate and transnationally exchange ideas with one another in ways that were impossible in their home countries. This article develops a research perspective on these exiles that connects intellectual history with urban history and migration history. It proposes a localized intellectual history that studies how political thought emerges in interactions enabled by specific geographical contexts, in this case the Parisian urban landscape and metropolitan culture. The article first argues why the proposed connection between intellectual, urban and migration history needs to be made. Subsequently, three case studies are used to explore the methodological opportunities of this localized intellectual history: the salon of Marie d'Agoult, the Collège de France and the editorial offices of the German exile newspaper Vorwärts. While the three places largely differ in the kinds of sociability that they offered, the intended public and, by extension, the ways in which they stimulated the formation and exchange of ideas, they appear to be connected by the people who frequented them. It will be argued that focussing on these places enables us to study the process of intellectual transfer and how it is informed by the characteristics of very local geographies, which serve as junctions in the transnational contexts in which modern political ideas, such as nationalism itself, are produced. [ABSTRACT FROM AUTHOR]

Copyright of Orbis Tertius is the property of Universidad Nacional de La Plata 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 essay presents a context for and appreciation of the works of Ethiopian artist Kebedech Tekleab in the exhibition Blue and Gray: This Era of Exile. Examining not only the author's personal feelings and admiration for the works, the discussion shows how the selections strongly relate to contemporary issues, which are poetically anchored in relevant academic theories. This methodology complements the seductive beauty that infuses the array of colorful media and the aesthetic ideas contained therein. It also highlights the interpreted "truth" of well-grounded works of art. The background of Tekleab is integral to her aesthetic preferences. The colors and movements within her works reveal much about her Ethiopian/African cultural background in terms of harmony and sublime sensitivity. The shimmering quality of translucent light, rhythmic shapes, wavy forms, and musical Amharic sounds create a sense of transcendence, tapping into what the viewers "see" and "hear" when they allow themselves to delve into observing and enjoying Tekleab's sublime art. Theories and concepts from philosophers, critics, and artists as varied as Plato, Clement Greenberg, Frank Stella, and John Cage are included as points of reference directing readers to the strengths of Tekleab's achievements. Aiming not so much to authenticate her irrespressibly original works as to validate continuity between past and present in choice of topics and styles, the essay highlights the power of the artist in communicating the story of humanity and the unending struggle of people to survive. [ABSTRACT FROM AUTHOR]

This document is a poem titled "I sing the body ethnographic" by Khando Langri, which won first prize in the Society for Humanistic Anthropology 2022 Writing Awards. The poem explores the author's experiences as a Tibetan student at the University of Oxford and their connection to Tibetan objects in British museums. Langri expresses frustration with ethnographic practices and the consumption of objects and bodies of dispossessed peoples. The poem blends the diasporic body with objects in exile and calls for a reevaluation of the gaze in museum contexts. [Extracted from the article]