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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)Â militarized borders and failed EU
policies.Â
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.
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