1,721,012 research outputs found
Homecomings Without Home.' Discrepant Poetics of Exile and Return in the Poetry of Derek Walcott and Edward Kamau Brathwaite
No full textThis essay addresses the question of how, in contemporary Anglo-Caribbean literature, the intersections and reciprocal transformations of the themes of home, exile, and return are expedient for the construction of hybrid, post-colonial and post-modern poetics of identity. A comparative analysis of the work of two of the most significant contemporary Caribbean poets, Derek Walcott and Edward Kamau Brathwaite, shows how poetry may serve as a privileged site to renegotiate processes of production and articulation of hybrid subjectivities, of cultural and linguistic translation, as well as of cultural exchange. In their works, Brathwaite and Walcott deal with the uprootings, violent encounters and turbulent processes of hybridization which gave shape to the Caribbean. For both of them, home is a most complex, composite, even disturbing concept, a concept which, nonetheless, is crucial to tackle in the process of articulating collective and individual identities. While Edward Kamau Brathwaite, advocates a rediscovery and acknowledgement of the African component of Caribbeanness, Walcott strives to find sophisticated ways of feeling at home in the English language, literature and culture which he loves but which he cannot help considering as alien. By highlighting the continuities and the differences between these two poets and their stylistic choices, the essays argues that for both of them writing poetry is a way of being contemporary an exile at home and at home in exile
Migrationsliteraturen in Europa
Full text linkLooking at literary texts, the volume opens up innovative and differentiated perspectives on the socio-politically controversial phenomenon of migration. It draws on Hartmut Böhme’s notion of literature as a discursive system of actions and symbols that contributes to the self-reflection of societies, even though – or rather precisely because – the ‘disturbing’ character of literature is tolerated and controlled to a certain extent. The analyses gathered in this volume look at contemporary European literature and focus on the question of how experiences of migration are thematized and aesthetically shaped in literary texts. In doing so, concepts of migrant identity, transcultural topographies of memory, phenomena of drawing and transgressing boundaries/borders, as well as notions of in-between spaces come into focus. Particular attention is paid to questions regarding the possibility of a “poetics of migration” by examining textual phenomena such as polyperspectivity, forms of multilingualism, and techniques of pseudo-translation through the lens of transcultural narratology
Le roman métahistorique en France
No full textIntroduction Les études récentes sur le roman français contemporain constatent que le « réel », le « référent », fait un retour significatif sur la scène littéraire à partir des années 1970 (cf. Viart, 2002 ; Blanckeman, 2002 ; Viart/Vercier, 2005). Ce phénomène serait accompagné d’une augmentation considérable de « narrations historiques » qui auraient déserté la littérature française du XXe siècle pendant trois décennies. Après avoir été détournée de l’histoire par l’esthétique formaliste e..
Negociaciones (trans)culturales en el Mediterráneo. Inmigración y ‘clandestinidad’ en la música popular española contemporánea
Full text linkFor many decades, Spain has been a country of emigration. Its transformation to a country of immigration (e.g. from Latin America and Africa) is a quite recent phenomenon, which only started in the 1970s due to the economic upturn of the country. From 1991 onwards (signing of the Schengen Agreement) the ‘illegal’ immigration across the Strait of Gibraltar has increasingly been perceived as a problem.Spanish popular music is a fine seismograph of social changes, such as the increase of immigration. The first musical productions reflecting on (‘illegal’) immigration date from the early 1990s, such as Barricada’s “Oveja negra”, El Chojín’s “Ponte en mi piel” and “Sí, Buana”, or Nach’s “Tierra prometida”. Based on a corpus of 50 songs of different musical styles (rock, rap, world music), this article aims at investigating the key thematic lines in songs about ‘illegal’ immigration: the subalternity of the migratory subject; the fraught relations between the migrant subject (‘I’) and the Spanish ‘you’, relations characterized by prejudice, racism, and exclusion; finally, the perspective of a ‘we’ in a transcultural Spanish society
Los clásicos y el mundo contemporáneo: El Festival Internacional de Teatro Clásico de Almagro 2025
Full text linkReport of the 48th edition of the Festival Internacional de Teatro Clásico de Almagro, which took place in July 2025
"Algérie sang-écriture" (A. Djebar) Violence et ecriture(s) dans la littérature algérienne contemporaine
No full textEntangled Histories. Réflexions et conceptualisations artistiques. Napoleon Maddox – Lino – Rocé
No full textThe three artists discussed in this article – Napoleon Maddox, Lino, Rocé – thematise in theirworks ‘histories of violence’ that have not been brought together by historians, either because of thehistorical or geographical distance of the events, or because of a restricted, often national research perspective. Like archaeologists these artists excavate aforementioned relations and thus make visible their intertwining. Maddox’ performance, Lino’s rap and Rocé’s compilation of songs can be understood as reflections on the relational and transnational character of history, on the necessity of rewriting history from a global perspective and of teaching these entangled histories to younger generations. The artistic creations of these rapper-philosophers (Rocé) are certainly protesting, but above all metahistorical and metamnemonic, they are philosophical reflections in the form of works of art.The three artists discussed in this article – Napoleon Maddox, Lino, Rocé – thematise in theirworks ‘histories of violence’ that have not been brought together by historians, either because of thehistorical or geographical distance of the events, or because of a restricted, often national research perspective. Like archaeologists these artists excavate aforementioned relations and thus make visible their intertwining. Maddox’ performance, Lino’s rap and Rocé’s compilation of songs can be understood as reflections on the relational and transnational character of history, on the necessity of rewriting history from a global perspective and of teaching these entangled histories to younger generations. The artistic creations of these rapper-philosophers (Rocé) are certainly protesting, but above all metahistorical and metamnemonic, they are philosophical reflections in the form of works of art.The three artists discussed in this article – Napoleon Maddox, Lino, Rocé – thematise in theirworks ‘histories of violence’ that have not been brought together by historians, either because of thehistorical or geographical distance of the events, or because of a restricted, often national research perspective. Like archaeologists these artists excavate aforementioned relations and thus make visible their intertwining. Maddox’ performance, Lino’s rap and Rocé’s compilation of songs can be understood as reflections on the relational and transnational character of history, on the necessity of rewriting history from a global perspective and of teaching these entangled histories to younger generations. The artistic creations of these rapper-philosophers (Rocé) are certainly protesting, but above all metahistorical and metamnemonic, they are philosophical reflections in the form of works of art
Le roman métahistorique en France
No full textIntroduction Les études récentes sur le roman français contemporain constatent que le « réel », le « référent », fait un retour significatif sur la scène littéraire à partir des années 1970 (cf. Viart, 2002 ; Blanckeman, 2002 ; Viart/Vercier, 2005). Ce phénomène serait accompagné d’une augmentation considérable de « narrations historiques » qui auraient déserté la littérature française du XXe siècle pendant trois décennies. Après avoir été détournée de l’histoire par l’esthétique formaliste e..
- …
