This book is an interdisciplinary study aimed at re-imagining and re-routing contemporary migrations in the Mediterranean. Drawing from visual arts, citizenship studies, film, media and cultural studies, along with postcolonial, border, and decolonial discourses, and examining the issues from within a human rights framework, the book investigates how works of cultural production can offer a more complex and humane understanding of mobility in the Mediterranean beyond representations of illegality and/or crisis. Elvira Pulitano centers the discourse of cultural production around the island of Lampedusa but expands the island geography to include a digital multi-media project, a social enterprise in Palermo, Sicily, and overall reflections on race, identity, and belonging inspired by Toni Morrison's guest-curated Louvre exhibit The Foreigner's Home. Responding to recent calls for alternative methodologies in thinking the modern Mediterranean, Pulitano disseminates a fluid archive of contemporary migrations reverberating with ancestral sounds and voices from the African diaspora along a Mediterranean-TransAtlantic map. Adding to the recent proliferation of social science scholarship that has drawn attention to the role of artistic practice in migration studies, the book features human stories of endurance and survival aimed at enhancing knowledge and social justice beyond (and notwithstanding) militarized borders and failed EU policies.

This book offers a timely intervention in current debates on diaspora and diasporic identity by affirming the importance of narrative as a discursive mode to understand the human face of contemporary migrations and dislocations. Focusing on the Caribbean double-diaspora, Pulitano offers a close-reading of a range of popular works by four well-known writers currently living in the United States: Jamaica Kincaid, Michelle Cliff, Edwidge Danticat, and Caryl Phillips. Navigating the map of fictional characters, testimonial accounts, and autobiographical experiences, Pulitano draws attention to the lived experience of contemporary diasporic formations. The book offers a provocative re-thinking of socio-scientific analyses of diaspora by discussing the embodied experience of contemporary diasporic communities, drawing on disciplines such as Caribbean, Postcolonial, Diaspora, and Indigenous Studies along with theories on "border thinking" and coloniality/modernity. Contesting restrictive, national, and linguistic boundaries when discussing literature originating from the Caribbean, Pulitano situates the transnational location of Caribbean-born writers within current debates of Transnational American Studies and investigates the role of immigrant writers in discourses of race, ethnicity, citizenship, and belonging. Exploring the multifarious intersections between home, exile, migration and displacement, the book makes a significant contribution to memory and trauma studies, human rights debates, and international law, aiming at a wide range of scholars and specialized agents beyond the strictly literary circle. This volume affirms the humanity of personal stories and experiences against the invisibility of immigrant subjects in most theoretical accounts of diaspora and migration.

This examination of the role played by the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP) in advancing indigenous peoples' self-determination comes at a time when the quintessential Eurocentric nature of international law has been significantly challenged by the increasing participation of indigenous peoples on the international legal scene. Even though the language of human rights discourse has historically contributed to delegitimise indigenous peoples' rights to their lands and cultures, this same language is now upheld by indigenous peoples in their on-going struggles against the assimilation and eradication of their cultures. By demanding that the human rights and freedoms contained in various UN human rights instruments be now extended to indigenous peoples and communities, indigenous peoples are playing a key role in making international law more 'humanising' and less subject to State priorities.

This book is an interdisciplinary study aimed at re-imagining and re-routing contemporary migrations in the Mediterranean. Drawing from visual arts, citizenship studies, film, media and cultural studies, along with postcolonial, border, and decolonial discourses, and examining the issues from within a human rights framework, the book investigates how works of cultural production can offer a more complex and humane understanding of mobility in the Mediterranean beyond representations of illegality and/or crisis. Elvira Pulitano centers the discourse of cultural production around the island of Lampedusa but expands the island geography to include a digital multi-media project, a social enterprise in Palermo, Sicily, and overall reflections on race, identity, and belonging inspired by Toni Morrison’s guest-curated Louvre exhibit The Foreigner’s Home. Responding to recent calls for alternative methodologies in thinking the modern Mediterranean, Pulitano disseminates a fluid archive of contemporary migrations reverberating with ancestral sounds and voices from the African diaspora along a Mediterranean-TransAtlantic map. Adding to the recent proliferation of social science scholarship that has drawn attention to the role of artistic practice in migration studies, the book features human stories of endurance and survival aimed at enhancing knowledge and social justice beyond (and notwithstanding) militarized borders and failed EU policies. 

This book offers a timely intervention in current debates on diaspora and diasporic identity by affirming the importance of narrative as a discursive mode to understand the human face of contemporary migrations and dislocations. Focusing on the Caribbean double-diaspora, Pulitano offers a close-reading of a range of popular works by four well-known writers currently living in the United States: Jamaica Kincaid, Michelle Cliff, Edwidge Danticat, and Caryl Phillips. Navigating the map of fictional characters, testimonial accounts, and autobiographical experiences, Pulitano draws attention to the lived experience of contemporary diasporic formations. The book offers a provocative re-thinking of socio-scientific analyses of diaspora by discussing the embodied experience of contemporary diasporic communities, drawing on disciplines such as Caribbean, Postcolonial, Diaspora, and Indigenous Studies along with theories on "border thinking" and coloniality/modernity. Contesting restrictive, national, and linguistic boundaries when discussing literature originating from the Caribbean, Pulitano situates the transnational location of Caribbean-born writers within current debates of Transnational American Studies and investigates the role of immigrant writers in discourses of race, ethnicity, citizenship, and belonging. Exploring the multifarious intersections between home, exile, migration and displacement, the book makes a significant contribution to memory and trauma studies, human rights debates, and international law, aiming at a wide range of scholars and specialized agents beyond the strictly literary circle. This volume affirms the humanity of personal stories and experiences against the invisibility of immigrant subjects in most theoretical accounts of diaspora and migration.

"Transatlantic Voices" is the first collection of critical essays by European scholars on contemporary Native North American literatures. Devoted to the primary genres of Native literature--fiction, nonfiction, drama, poetry--the essays chart the course of recent theories of Native literature, delineate the crosscurrents in the history of Native literature studies, and probe specific themes of trauma and memory as well as changing mythologies. These essays also incorporate incipient transnational and transcultural methodologies in their approach to Native North American writing. Blending western critical approaches--from cultural studies to postcolonialism and trauma theory--with indigenous epistemological perspectives, the contributors to "Transatlantic Voices" advocate "the inescapable hybridity and intermixture of ideas" proposed by Paul Gilroy in his study of black diasporic identity. Native North American writers forcefully suggest that the study of American ethnicities in the twenty-first century can no longer be confined to the borders of the United States. Given the increasing transnational aspect of American studies, a collection such as "Transatlantic Voices," presenting scholars from countries as diverse as Germany, France, Bulgaria, Switzerland, Italy, the United Kingdom, and Finland, offers a timely contribution to such border crossing in scholarship and writing.

Toward a Native American Critical Theory articulates the foundations and boundaries of a distinctive Native American critical theory in this postcolonial era. In the first book-length study devoted to this subject, Elvira Pulitano offers a survey of the theoretical underpinnings of works by noted Native writers Paula Gunn Allen, Robert Warrior, Craig Womack, Greg Sarris, Louis Owens, and Gerald Vizenor. In her analysis Pulitano confronts key issues and questions: Is a distinctive way of reading and interpreting Native texts possible or needed? What is the relation between a Native American critical discourse and a more general postcolonial critical theory? Will Native critical theory be subsumed within postcolonial theory and homogenized as a colonial Other, or will it test postcolonial ideas against Native American problems and predicaments? And how can Native critical theory redefine Western styles of theory? Unlike Western interpretations of Native American literatures and cultures in which external critical methodologies are imposed on Native texts, ultimately silencing the primary voices of the texts themselves, Pulitano's work examines critical material generated from within the Native contexts and epistemologies to propose a different approach to Native literature. Pulitano argues that the distinctiveness of Native American critical theory can be found in its aggressive blending and reimagining of oral tradition and Native epistemologies on the written page—a powerful, complex mediation that can stand on its own yet effectively subsume and transform non-Native critical theoretical strategies. Controversial and persuasive, Toward a Native American Critical Theory defines the parameters of a unique Native American critical discourse and reveals its potential for writers and critics alike.

This examination of the role played by the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP) in advancing indigenous peoples' self-determination comes at a time when the quintessential Eurocentric nature of international law has been significantly challenged by the increasing participation of indigenous peoples on the international legal scene. Even though the language of human rights discourse has historically contributed to delegitimise indigenous peoples' rights to their lands and cultures, this same language is now upheld by indigenous peoples in their on-going struggles against the assimilation and eradication of their cultures. By demanding that the human rights and freedoms contained in various UN human rights instruments be now extended to indigenous peoples and communities, indigenous peoples are playing a key role in making international law more 'humanising' and less subject to State priorities.