Exiled Writer Research Articles

Generación de la no pertenencia: La literatura del exilio español en Francia

El exilio de una gran parte de la población durante la guerra civil española abrió el paso a una generación de escritores exiliados, unidos por la necesidad de expresar y dar sentido a la vivencia de un trauma. Escritores que en muchas ocasiones han sido olvidados o relegados a un segundo plano por la dificultad de clasificación.
 Este artículo tiene como objetivo analizar y profundizar en los diferentes temas que estos autores tratan en sus obras, tales como la experiencia de la guerra o del exilio, las consecuencias de la dualidad lingüística en su identidad, la necesidad de reconstruir la historia familiar y en el encuentro con la escritura, lenguaje liberador. A través de sus obras otorgan un nuevo significado al concepto de frontera, por lo que evaden las clasificaciones tradicionales. The exile of a large part of the population during the Spanish civil war opened the way for a generation of exiled writers, united by the need to express and give meaning to the experience of trauma. These writers have often been forgotten or relegated to the background because of their difficulty of classification.
 This article aims to analyze and delve into the different topics that these authors dealt with in their works, such as the experience of war or exile, the consequences of linguistic duality on their identity, the need to reconstruct family history and in the encounter with writing, a liberating language. Through their Works they gave a new meanig to the concept of frontier, and thus evade traditional classifications. L’exil d’une grande partie de la population pendant la guerra civile espagnole a ouvert une voie à une génération d’écrivains exilés, unis par la nécessité d’exprimer et de donner du sens à une expérience traumatique. Ces auteurs ont souvent été oubliés ou relégués au second plan à cause de la difficulté de classification.
 Cet article a pour but d’analyser et d’approfondir sur les différents thèmes que ces auteus abordent dans leurs oeuvres, tels que l’expérience de la guerre ou de l’exil, les conséquences de la dualité linguistique sur leur identité, la nécessité de reconstruire l’histoire familiale et la rencontre avec l’écriture, langage libérateur. À travers ses oeuvres, ils donnent un nouveau sens au concept de frontière et échappent aux classifications traditionnelles.

Using Literary Texts in Foundational Spanish Courses: Why I Teach "A Julia de Burgos"

Using Literary Texts in Foundational Spanish Courses:Why I Teach "A Julia de Burgos"1 Colleen Scott (bio) . . . yo iré en medio de ellas . . . —Julia de Burgos, "A Julia de Burgos" The poem "A Julia de Burgos" by the Puerto Rican poet Julia de Burgos clearly expresses the theme of duality and the double, specifically the battle between the public and the private self. Dualities are everywhere—images and screens projecting one's constructed reality contending with one's inner self. There is a dualistic state, too, within current pedagogical practice: on the one hand, a need to use technology and social media and, on the other, a more back-to-basics approach. Real-life, task-based approaches are certainly in favor, but we should not undervalue the use of literary texts in introductory and intermediate language courses. Teachers and textbooks include readings that they believe have literary merit, but how are students today going to receive these works that are not part of popular culture? How are students going to identify with the characters (or poetic voice) or the time period? Television, film, and the Internet provide our students with ample exposure to pop culture as it relates to the target culture, but many introductory-level and intermediate-level students lack exposure to aspects of the target culture's artistic and literary achievements in these early phases of language instruction. Many students know who Evita, Frida, and Selena are but not Julia. [End Page 107] Perhaps they will discover the intertextual reference to Rocinante, Don Quixote's famed horse. The poem "A Julia de Burgos" is a powerful pedagogical tool as it provides a lexical focus but also promotes cross-cultural understanding, and students feel a sense of accomplishment for having read and understood a poem in the target language. The purpose of this paper will be to discuss the importance of teaching such a literary work in an intermediate-level (third-semester) Spanish class and to demonstrate how students can interpret and interact with the poem. It seems most appropriate to use literary masterpieces (known and not so well-known) in the courses where the stress is upon learning the target language and culture. The poem is a great example of a Latinx woman writer in exile. Burgos was a Puerto Rican poet, who was an advocate for women, blacks, and the working class. In an era when it is important and necessary to self-advocate, students discuss the important themes of this poem: be true to who you are, and live according to your beliefs and desires and not those imposed upon you by society. Students see how this poem about freedom of expression, written in the 1930s, is absolutely relevant today. The poem serves as a model text for writing style, but it also has a communicative purpose in that students can react personally to the poem. At the intermediate stage of language learning, students are encouraged to form and express opinions in the target language, while also gaining linguistic and cultural knowledge. As we know, one fundamental function of language is the transmission of identity. The themes of the dichotomized self in relation to society and of identity as performance are discussed as we read "A Julia de Burgos." But it is also important for learners to understand that what we speak and how we speak form a part of who we are and how others see us. Do our personalities change when we speak another language? A different you? Yes, as the second-language learner migrates to a new language, a process begins that involves a separation from familiar structures (the native language). Students can feel inhibited when trying to speak another language and to generate unfamiliar sounds and structures. They may experience language anxiety because they do not understand or cannot produce an utterance. The language student is essentially starting over, learning to speak and to understand from a new perspective, forming a new social self. As such, the disparity between [End Page 108] the "true" self and the more "limited" self in the language classroom needs to be reconciled. Just as Burgos had to adapt to a new land, the language student...

Multiethnicity and Multilingualism in the Minor Literature of Manchukuo

Although claimed as a nation-state, with a government, a territory, and citizenry, Manchukuo (1932–1945) is a colony of the Empire of Japan, appropriated from Northeast China. As such, Manchukuo’s literary identity complicates the relationship between nationalism and literature, inviting us to rethink the history of Chinese literature in specific and East Asian literary history in general. This article tackles the thorny problem of Manchukuo literary formation by going through Shuimei Shih’s concept of sinophone and Chen Pingyuan’s notion of the multiethnic, only to conclude via a reading of Deleuze and Guattari’s elaboration of Kafka that Manchukuo’s corpus is best approached as a minor literature of its own. The very colonial and local complexity of Manchukuo’s minor literature lies in its multiethnicity and multilingualism. A close reading of Mei’niang, Yokoda Fumiko, and Arsenii Nesmelov, through their deterritorialized Chinese, Japanese, and Russian stories, demonstrates the range of indigenous and exiled writers in their diverse imagination of Manchukuo’s ambiguous sovereignty.

The change of person’s identity in the diaries of Baltic writers in exile: Zenta Maurinia’s Trimties tragizmas (“Exile tragedy”) and Jurgis Savickis’ Žemė dega (“The ground is burning”)

The article describes the change in the identity of a person, reflected in the diaries of two Baltic writers, Zenta Maurinia and Jurgis Savickis, written during the post-war period in forced emigration. Zenta Maurinia was the first woman in Latvia, a writer and cultural researcher, who was awarded the academic degree of the Doctor of Philology. Jurgis Savickis was a famous interwar Lithuanian diplomat who had worked in Lithuanian embassies in Scandinavian countries and France and was the author of numerous prose works, had modernized the Lithuanian nar-rative and validated new prose trends.The diaries of the representatives of these two Baltic nations, Maurinia and Savickis, written in emigration, reflect similar problems. There we see a collapse of personality, various masks of the crisis that people start wearing because they have lost their previous positions: native land, home, linguistic environment, work and creative positions, and personal status. The individual constantly balances joy and despair, suffering and resignation. The personality drama is exacerbated by the confusion of war, chaos and manifestation of atrocities that are difficult to go through for the European intelligent who cannot change anything. Living “be-tween” – between one country and the other, between several cities, between lost home and temporary shelter, between hunger and short-term satiation, between daily fear and brief respite, between shooting and silence – in the long run re-inforces the change of the identity of an individual and forces him to take some role. In Savickis’ soul, the strong imperative of a child of agriculture wakes up, inspiring to work in the garden; Maurinia analyzes the works of world literature and writes letters to well known people. In the diaries of both Baltic intellectuals appear important strategies for cultural rehabilitation, as if allowing to bring back the true beginnings of humanity: they both become supporters and helpers of other people, they constantly read books, thus striving to remain on the high spiritual horizon of Western civilization.

Luisa Carnés: a história de uma escritora exilada

Os autores de exílio assumiam uma proposta quase missionária, revisando infinitamente os infortúnios do passado, mas sobretudo comunicando os sucessos de um passado recente, escrito durante o exílio. Entre esses escritores, destacamos uma em particular, Luisa Carnés (Madrid, 1905- México D.F, 1964). Neste artigo propomos apresentar parte da história dessa escritora, marcada pelo silenciamento imposto pela ditadura franquista (1939-1975), que atingiu com ainda mais contundência as escritoras exiladas. Além disso, também analisaremos o conto Montserrat, Heroína Catalana, escrito em 1936 e publicado na antologia De Barcelona a la Bretaña Francesa, em 2014, na Espanha. Com tal trabalho, acreditamos contribuir para resgatar um pouco a trajetória de uma escritora republicana à frente de seu tempo e até hoje silenciada.

A Transcendent Word: Stefan Zweig's Demonic Histories

The article traces how Stefan Zweig systematically consolidates his ongoing series of ‘epic-dramatic miniatures’ Sternstunden der Menschheit (The Tide of Fortune) during the post-1934 period of exile. Drawing on a conception of the demonic as Tyche (chance, fortune, accident), Zweig's view of the creative and destructive power of contingency in history focuses on dilemmas of communication and aesthetic mediation. The historical scenarios of Sternstunden echo Zweig's situation as a writer in exile, who retained access to the global public sphere but whose work self-reflexively questions the limits of language as regards producing enlightenment or changing the political situation.

Writing in Cars with Gertrude Stein and Jacques Derrida, or, The Age of Autotheory

Writing in Cars with Gertrude Stein and Jacques Derrida, or, The Age of Autotheory Ryan Tracy (bio) for anybody's L. "autotheory" is a term circulating in contemporary academic and literary criticism to designate theoretical writing that opens itself to autobiographical aspects of the writer's life. This term has been associated with the contemporary writers Maggie Nelson and Paul Preciado and seems to hail something of a new turn in scholarly writing (Nelson). Yet autotheory may not be as new as the neologism suggests. As Robyn Wiegman mentions in her introduction to this special issue, autotheory presumes a relation between the autobiographical and the theoretical that is not necessarily new to either critical theoretical writing or the literary archives (Wiegman). In this essay, I hope to affirm the structural and historical openness of autotheory by tracking the imbrication of autobiographical writing between two thinkers set on a collision course that has not yet been given sufficient critical attention: the so-called modernist writer Gertrude Stein (1874–1946) and the so-called post-modern philosopher Jacques Derrida (1930–2004).1 Both Stein and Derrida famously challenged the authority of autobiography by putting pressure on the fantasy of sovereignty and self-representation that undergirds common notions of autobiography, while at the same time, affirming "the autos" as a radically capacious and multiplying signifier. Moreover, each turned to the material, metaphoric, and deconstructive valences of the "automobile" in order to articulate the problems that circulate around self-identity. Writing (or riding) in cars with Stein and Derrida traverses the border between self and other without, however, surrendering the necessity (and risk) of theorizing from the grammatical position of the first person. [End Page 15] im-possible autobiographies But we are never ourselves, and between us, identical to us, a 'self' is never in itself or identical to itself. Jacques Derrida You are of course never yourself. Gertrude Stein There is a literary and philosophical kinship between Stein and Derrida that cuts through their thought on the self, and that is evident in their experiments with the genre of autobiography. It may come as a surprise to some scholars of deconstruction that Derrida read Stein, understood her historical importance as a major figure of feminist and modernist literatures, and was almost certainly aware that a generation of Stein scholars was coming to view her work as "deconstructive."2 Derrida cited Stein's proper name on at least three occasions. During a discussion of feminism in the interview "This Strange Institution Called Literature" (1992), Derrida includes Stein in a list of "immensely great modern writers" along with Virginia Woolf and Derrida's close friend Hélène Cixous (59). In The Animal That Therefore I Am (2008), he regards Stein as an "autobiographical animal," and includes her (again in a list) among a tradition of Western writers who demonstrate an irresistible urge to write about themselves (49). And in "Circumfession" (1993), an essay in which Derrida explicitly embraces the porousness of his own autobiographical signature while parasitically "[transforming] the autobiographies of others into his 'own'" (Hayes 166), Derrida quotes directly from Stein's Everybody's Autobiography (1937). While they never met—Derrida moved to Paris three years after Stein's death—Derrida and Stein shared the experience of being writers in exile. Stein was an American expat who lived and worked in France from 1906 until the time of her death in 1946. Fame in her native country had eluded Stein until late in her life with the best-selling The Autobiography of Alice B. Toklas (1933), which allowed her to break into American publishing while gaining her a popular American audience.3 Because of her long absence, America came to feel like a foreign country to Stein. Stein viewed the arrival of American doughboys during World War I as America paying her a visit, which, as she wrote in The Autobiography, "was so much better than just going to America. [End Page 16] Here you were with America in a kind of way that if you only went to America you could not possibly be" (184). The friendships and correspondences that grew out of the American military presence in France made a deep...

Бескомпромиссный компромисс Сергея Довлатова – от “наших” к ненашим

This paper attempts to look at Dovlatov in a broad context – starting with a personal case of Dovlatov the emigrant, it aims to arrive at a more general portrait of a Soviet Russophone writer in exile and to uncover common features inherent in the outlook at life of a Russian émigré artist of the third wave of Russian emigration. To this end, it appears important to consider emigration not only as a liminal situation, a situation of transition, i.e. of crossing all sorts of borders – external and internal, but also (by and large as a consequence of this border crossing) as a traumatic situation. This relates first of all to exile, that is, to a forced loss of one’s own motherland and environment. Indeed, a voluntary emigration, especially in the post-Soviet period, is a phenomenon of a completely different order – it is, instead, a migration, a question of a conscious choice, without the tragedy of a no-return, i.e. without the fatal ingredient characteristic of the Russian exiles of the Soviet period. In the case in question, however, we are dealing with an existential laboratory which tests above all human dignity, and with a state of acute existential solitude which this laboratory considerably magnifies. In this case, it would be more appropriate to talk about self-destruction than salvation. As for compassion, it remains relevant, but only at a personal, human level, only towards one’s close circle rather than an émigré environment as such. In the light of the above, if we interpret compromise as one’s readiness to be transplanted onto a foreign soil, as a borrowing of alien themes, criteria and language, or simply as a game on the seemingly native linguistic field, but according to non-native (and, as it happens, unfair) rules, then in a higher spiritual sense Dovlatov, having crossed the border from ours to non-ours, turned out to be incapable of compromise – just as he was incapable of it while in Russia. Indeed, he wrote his most profound and most piercing lines at the edge of anguish and longing – on the nostalgic material, that of the past.

Pos-Bolaño y Piglia: la nueva narrativa latinoamericana del siglo XXI

¿Cómo se ha articulado la literatura latinoamericana después de Ricardo Piglia y Roberto Bolaño? En el siglo XXI, una nueva generación de escritores apareció, renovando formas literarias y reflexionando sobre los cambios estructurales en sus países a partir del derrumbe de la izquierda (simbolizada en la caída del muro de Berlín, y en la consolidación del neoliberalismo en América Latina). Partiendo de la dialéctica Bolaño / Piglia, es decir del escritor en el exilio y/ o en la Academia, revisaré la nueva narrativa latinoamericana en Argentina, Chile, Perú y México que discute acerca de los restos de una ideología de izquierda y que, al mismo tiempo, propone una experimentación formal para su propia escritura. Desde la fetichización y nostalgia de la ideología de la izquierda hasta la reconstrucción de una clase media posdictadura, la nueva narrativa reflexiona desde la ficción y ensayo las posibilidades /los alcances de la literatura latinoamericana en el siglo XXI.

The Rooted Dweller: Paradoxes of Exile and Homecoming in the Poetry of Derek Mahon

Exile is not a singular phenomenon but rather a varied and a heterogeneous one. The term exile generally denotes displacement which refers to a movement out of one’s original place, be it imposed or by one’s choice. The theme of exile is pervasive in Irish literature reflecting the isolation felt by Irish writers who regarded themselves displaced at their very home and uprooted from earth per se. Many critics maintained that this intense sense of un-belonging to any place is translated into the logic of ‘colonial aphasia’ from Derek Mahon whose poetry is conditioned by various types of exile. Failing to take a stance of what was happening in his homeland and to elucidate his cantankerous, dissociated feelings, Mahon’s decision was to sever himself entirely from any home no matter what this ‘home’ incarnates. In one of his interviews, however, Derek Mahon expressed utter disapproval of being seen as an exile and made it explicit that this should not be the way to interrogate his writing. Even though much of his poetry testifies that he is a displaced writer in exile, deeper readings of his works would showcase various attempts at connecting with the world he seems to reject. This paper attempts to examine Mahon’s occult sentiments towards his homeland, his people, and his vocation by delving into some of his major poems to illustrate his endeavors at association even if the poems reflect detachment and disconnection. In every poem, there is a sense of belonging - to a place, a people, or to one’s self - despite the sweeping motifs of division and aloofness.

Breaking the Silences about Non-hetero Female Sexuality in Saghi Ghahraman’s Poetry

ABSTRACT Born in Iran, Saghi Ghahraman, an Iranian poet, lives in exile in Canada currently. Ghahraman founded Gilgamishaan Books, and founded and operated the Exiled Writers Club for two years. Zhe has been running the Iranian Queer Organization (IRQO) since 2008. In this paper analyzing hir non-phallocentric, multilayered, and non-linear poetry, I contend that Ghahraman rewrites androcentric history within the public sphere of cyberspace, pushing back against the attempts to mute queer sexuality and desire within Iranian culture. My main goal here is to illustrate that Ghahraman gives voice to the historically unthinkable and unspeakable issue of veiled Iranian women’s bodies and voices breaking the deafening silences concerning the multiplicity of gender identities and sexualities. In this way, not only does Ghahraman assert hirself and hir desire, but zhe also liberates others who have been subjected to this historical silencing and suppression of their voices.

Book Review: Robert C. Hauhart and Jeff Birkenstein (eds): European Writers in Exile

Book Review: Robert C. Hauhart and Jeff Birkenstein (eds): <i>European Writers in Exile</i>

КОНЦЕПТ НОЧІ У СТРУКТУРІ ПОЕТИЧНОГО МИСЛЕННЯ ОСТАПА ТАРНАВСЬКОГО

The article deals with the poetical legacy of the Ukrainian writer in Exile Ostap Tarnawsky from the point of view of his philosophic vision. The main attention is drawn to the poetic and semantic representation of the artistic image of the Night, which is revealing its evolution from symbolically-allegorical to philosophically universal meaning. Poet’s lyric is analyzed in the key of the hermeneutical methodology with the dominant aspect of the intermedial sphere in the meaning of interrelation of the verbal and musical arts. It is stressed that the theme of night travelling is one of the dominant in the works of Ukrainian writers in Exile at large. A person is viewed in the poetical works of the Ukrainian emigrants as a nomad at the eternal way of life. Thus it touches the problems of human being and reveals them in existential focus (namely in the aspects of the human destiny, suffering, death etc.). Poetic of the lyrics is analyzed at the different text levels such as nigh landscapes, phonic figures (alliteration, as- sonance, and dissonance), personification etc. Imagery level is out viewed from the position of its connection with folk- lore imagery as well as the old Ukrainian literature (“The Tale of Igor`s Campaign”) and world masterpieces (“Hamlet” by William Shakespeare, “The Drunken Boat” by Arthur Rimbaud, poems by T.S.Eliot and others). Much attention is paid to the main colours of the O.Tarnawsky’s artistic world with its subjective understanding where the contrary to the black is blue. The author of the paper comes to conclusion that the lyrics of O.Tarnawsky is deeply philosophic and reveals the main concept of the poet about the Myth of death and immortality of human being. The most vivid this concept is embodied in the poems “Ballad about the Myth of the Death”, “Ballad about the Black Night”, “Ballad about Eternal Guard”, “Universe of the Heart”, “Under the Window of Eternity”, “Phantoms in the Emptiness” and others. Symbolic theme of the night way according to the words of Bertrand Russell “The life of Man is a long march through the night” is extended in O.Tarnawsky’s poetry to the concept of the generation succession as the death march of the whole nation with existential questions (Who will lead us to eternity? Will silent sky speak to us? etc.). Nocturnal world out view was formed by his emigrant destiny and understanding of historical injustice of his nation. And in that aspect O.Tarnawsky is the most representative poet among the Ukrainian writers in Exile in the second half of the 20th century.

ЕМІГРАЦІЙНЕ ВИДАННЯ ТВОРЧОЇ СПАДЩИНИ ВАСИЛЯ ПАЧОВСЬКОГО

The article deals with the role of the Association of Ukrainian Writers in Exile “Word” in publication of the most complete collection of works by Vasyl Pachovsky in two volumes. Vasyl Pachovsky was a prominent member of Young Muse – an informal modernist group of writers and artists in Western Ukraine founded in 1906. In Ukrainian literature, he is mostly known as a lyric poet, but Vasyl Pachovsky is also the author of dramatic works. His modernistic dramas are lyrical allegories. At the same time they are highly patriotic works describing Ukraine’s long quest for freedom. Pachovsky’s most prominent dramas are: “Dream of Ukrainian Night”, “Sun of the Ruin”, “The Sphinx of Europe”, “Prince Roman the Great”, and “Het’man Mazepa”. Some of the works by Vasyl Pachovskyi were published in various journals or as separate books, but many of his works of art and historical articles remained in manuscripts. They are saved in the archives of the author’s family in the USA. In the context of solving this issue the publishing activity of the Association of Ukrainian Writers in Exile “Word” has been examined. The organization continued the traditions initiated by the Ukrainian Artistic Movement (Mystets’kyi Ukrayins’kyi Rukh). Its most famous members were Hryhorii Kostiuk, Yurii Sherekh, Vasyl Barka, Yurii Lavrinenko, Ostap Tarnavskyi and others. Their purpose was to create a literary center that would unite Ukrainian writers of diaspora. The organization also had to promote the development of independent Ukrainian writing, Theory of Literature and Literary Criticism, to create a publishing house in which the authors would be able to print their works. In general, a great number of different books (works of art, documentary, literary studies) have been published under the stamp of this Association. The collected works by Vasyl Pachovsky in two volumes have been published in 1984–1985, when Ostap Tarnavskyi was the chairman of the union. A lot of efforts have been made by sons and daughter of the writer. The structure and peculiarities of the publication are observed, the prefaces by the members of the Association Ostap Tarnavskyi and Vasyl Barka to each volume are considered. The texts of these authors are very important for the research into creative legacy of Vasyl Pachovskyi.

Practices of (self)exclusion. ‘Minority’ and ‘marginality’ within Romanian literature

Being part of the European literary system has almost been an obsession for Romanian writers since the advent of Romanticism during the first half of the 19th c. At that time, Europeanization was translated in the literary field as the introduction of French genres, modes, and rhetoric. Several other cultural influences were to follow, the accommodation of which, against the background of what came to be termed as “national spirit”, could not dislocate the perception of irrelevance and marginality that haunted the Romanian intellectual imaginary for over a century. A very consistent debate was carried in the philosophical circles between the two world wars on the topic of cultural minority, to be later reiterated in the 1970s-1980s, as part of a political agenda. In this context, my paper will analyze how the awareness of participating to a minor literary culture could lead to developing an inferiority complex that sometimes took the guises of negation and/or exaggeration. The ambiguity that was displayed by most of the literary critics and historians towards reintegrating exile writers into the national literary canon is one very conspicuous feature of this attitude. Also, the paper will discuss the various interpretations of ‘minority’ with Romanian literary and cultural critics.

The Irish Joyce

Review Article The Irish Joyce John McCourt Joyce’s Ghosts: Ireland, Modernism, and Memory, Luke Gibbons (Chicago and London: The University of Chicago Press, 2015), 286 pages. Voices on Joyce, Anne Fogarty and Fran O’Rourke (eds) (Dublin: University College Dublin Press, 2015), 346 pages. Joyce’s Creative Process and the Construction of Characters in Ulysses: Becoming the Blooms, Luca Crispi (Oxford: Oxford University Press, 2015), 336 pages. As we approach the centenary of the publication of Joyce’s Ulysses, an event which for some will surely provide at least momentary shelter from what will inevitably be the more fraught commemoration of the Civil War, it is perhaps apposite to reflect on the evolving state of what is neutrally referred to as ‘Joyce Studies’ and is more polemically known as the ‘Joyce industry’ in Ireland. Ulysses was met by a mixed response both in Ireland and abroad when it first appeared in February 1922. This was because of its undoubted stylistic complexity, because it was the work of an exiled writer seen by many to have ‘forsaken’ his homeland and family, only to then challenge, from his adopted home on the continent, the country’s secular and religious institutions and to interrogate its history, its received narratives and its collective beliefs and pieties. Not surprisingly, what Irish reaction there was to Ulysses was, for the most part, indifferent or hostile. There were many who saw his second novel as just more ‘muck-raking’, to use the term with which the Irish Independent had described Dubliners. In Catholic circles, some fretted about the effect Joyce’s work might have on the moral status quo. In the end, however, Joyce’s books, although ‘afflicted with a shameful mania’, were, as the Catholic Irish Monthly put it – as if to console its readers – ‘but little read by sane folk’. John McCourt Studies • volume 107 • number 428 490 Although there were many notable early exceptions (one thinks of positive reviews by a variety of figures who were increasingly uncomfortable in or had already left the newly forming Irish State, such as Mary (Molly) Colum, P S O’Hegarty, Eimar O’Duffy), Ulysses, along with Joyce’s other works, was simply not read by most people in Ireland in the decades that followed its publication, and it was largely ignored or dismissed by leading Irish critics for decades. As late as 1967, Fritz Senn, Thomas Staley and Bernard Benstock, the organisers of the first international Joyce Symposium, which was held in Dublin in June of that year, struggled to find Irish academics who would address the gathering, although an impressive group of local, mostly literary, patrons was assembled: Seán O’Faoláin, despite his deeply ambivalent views about Joyce’s work, served as honorary chairman and was joined by Seamus Kelly of The Irish Times, novelists Benedict Kiely and Mervyn Wall, and Arland Ussher, the Anglo-Irish author of a lengthy and appreciative essay on Joyce in his book, Three Great Irishmen: Shaw, Yeats, Joyce.1 Also prominently present were the architects Niall Montgomery and Michael Scott. Newly appointed University College Dublin Professor of Anglo-Irish Literature and Drama, Roger McHugh, and A J (Con) Leventhal of Trinity College Dublin also signed up. (Levanthal’s interest in Joyce was life-long and dated from his very early and very positive review of Ulysses, published in 1923 in a Dublin journal called Klaxon). But Irish academic interest was thin, even if Maurice Harmon of the University College Dublin English department did take part and later edited the rather quaintly entitled The Celtic Master: Contributions to the First James Joyce Symposium in Dublin.2 Contributors to the volume included poet, playwright and Dublin District Justice, Donagh MacDonagh, who looked at the importance of ‘The Lass ofAughrim’as background to ‘The Dead’. Other local ‘non-professional’Joyceans, such as Eileen Veale (secretary to the Lord Mayor of Dublin), her daughter, Vivien Igoe (an employee, then, of Eastern Regional Tourism), solicitor Gerard O’Flaherty, J B Lyons (neurologist and later Professor of the History of Medicine in the Royal College of Surgeons), and the Jesuit Brendan Duddy, collectively contributed to a striking Irish presence within the predominantly American...

Study on the status and meaning of Mirok Li as a writer in exile in the field of a literary history education

Study on the status and meaning of Mirok Li as a writer in exile in the field of a literary history education

Unravelling compulsory happiness in exile: Cristina Peri Rossi’s The Ship of Fools

A number of feminist critics of Latin American women writers in exile have suggested that women in exile may flourish as they are freed from the traditional gender restrictions imposed on them in their home countries. In this article I reexamine the association of exile with liberation through analysing Cristina Peri Rossi’s 1984 novel La nave de los locos ( The Ship of Fools) in the light of the tension between Rosi Braidotti’s Deleuzian affirmation of feminism as a ‘joyful nomadic force’ (1994: 8) and Sara Ahmed’s critique of compulsory happiness (2010). Peri Rossi juxtaposes the prescriptive worldview of the captivating medieval ‘Tapestry of the Creation’ in the Cathedral of Girona in Catalonia, which depicts the Biblical story of Genesis, and the diasporic and unpredictable wanderings of the protagonist Ecks on his journey to feminist enlightenment. I argue that while the novel seems to champion nomadic subjectivity, it also highlights the deceptive charm of imperative positive affect that may function as a disciplinary force, compelling subjects to follow a conventional path in life, and invalidating those who ‘stray’ from it. My reading of the novel calls for a nuanced approach to exile and diaspora that takes into account wider questions of the privilege and ease of movement – or, indeed, settling – enjoyed by or denied to various subjects.

Der Fremde Im Königreich Der Dänen. Das Wort, Der Diskurs Und Die Fremdheit in Bronisław Świderskis Roman Słowa Obcego

Abstract The prose work of the Polish exile writer Bronisław Świderski, who has been living in Denmark since 1970, explores strangeness – an important topic of modern literature. Świderski addresses strangeness not only as an individual experience, but also as a social problem. In this article, I would like to take a closer look at the analysis of foreignness and the psyche of an immigrant in Świderski’s award-winning novel Słowa obcego (1998). From many problems addressed in the novel, which are directly or indirectly connected with strangeness, I want to take out one aspect. At this point I will be interested in the relationship between language (discourse) and strangeness.

La experiencia exílica en „La casa de los conejos” de Laura Alcoba

The exilic experience in The rabbit house by Laura AlcobaRubén Bareiro Saguier 1989 stated that, by trying to recover the lost country, the exile writer runs the risk to distort its representation led by the exaltation and traumatic lamentation. When Montoneros’ daughter is the one at writing, she takes the risk of opening the door of a past marked by the fear and a pact of silence in which had submerged the clandestinity.In this paper, the exile is set out from the perspective of militants’ children writers generation, which Laura Alcoba is a representative and one of the most recognised today. In order to present it, we focus on the main notional concepts, which generally organise the discourse of exile: inside /out­side, identity/ fragmentation, life community / community and the target language. The hypothesis that guides these reflections is far away from being traumatic, disruptive, as it is in case of previous generations, the exile experience of Laura is mainly liberating. France and French language in which, by the way, she writes seem to be constitutive of her identity as the experience, at least for Agamben 1978, is created discursively.