Voluntary Exile Research Articles

CINEMATIC BARCELONA: CATALAN IDENTITY IN A CULTURE OF DISPLACEMENT

As visualized by three filmmakers from outside Catalonia, Barcelona functions as the backdrop to geographic and emotional displacement: the city is a site of cultural (mis)understanaing; a space of clashes between tradition and a modernity identified with the tides of globalization; and a place where Catalan culture and nationalism coexist with and/or recede from the voluntary exile’s awareness. Examined through the lens of American filmmaker Whit Stillman’s Barcelona (1994), Spanish director Pedro Almodovar’s Todo sobre mi madre (1999) and French cineaste Cedric Klapisch’s L’auberge espagnole (2002), Barcelona occupies an enormous visual terrain on the screen while staking a more narrowly-defined claim to the narrative thread of each film. These films depict Barcelona as a complex character and draft it into tales of individuals who are both seeking and rejecting the city as a guiding force in the assumption of a new identity forged outside their native terrain. The result, while unique in each cinematic incarnation, is that the visual space of the city acts as an emotional force, both locally, as it is intertwined with the displaced lives of the human characters, and globally, as international audiences internalize Barcelona as the face of late-twentieth and early-twenty-first- century migratory movements and the consequent dialectic between “old” and “new” Barcelona. By exploring the apparition of Barcelona in these three films as an outward expression of the changing dynamics among Catalonia, Spain and the world, this article examines the city’s perceived role in a global culture of displacement and voluntary exile as well as the notion of Catalan culture and identity as translated cinematically for international audiences. Although Barcelona inhabits a central visual and emotional role in each film, the cityscape ultimately does not counteract the lack of a particularly Catalan identity created for the displaced characters onscreen. While these films and characters succeed in internalizing Barcelona during their sojourn, they do not adopt a Catalan identity in the process.

Les Quakers et l’Exil en Amerique du Nord au XVIIe siecle

Friends and exile in North America in the 17th century. Quakers (or Friends) like to consider Adam’s fall as an exile from divine nature towards animal nature, and the quest for “ Inner Light” as a reverse exile, a return to divine nature. Their “theologian”, Robert Barclay, explained this in a very clear way in his Apology of the true Christian divinity, as the fame is held forth, and preached, by the people called, in scorn, Quakers, published in 1675. The missionary zeal of Friends at the beginning of their movement, led them to announce the good news of redemption in North America as soon as 1656, which brought persecution on them during three decades. Banishment, and even death penalty, were the kind of exile imposed upon Friends by Boston Puritans and by other settlers on the North American coast. Pennsylvania’s Holy Experiment launched by William Penn offered for several decades a space for creativity for the voluntary exile of Quakers and Mennonites who left Europe in quest of a spiritual New World. Officially ended in 1756, the Holy Experiment of Pennsylvania goes through an apparent exile from this date. But we can find its values in other places, at other times. Redemption belongs to a world which is not invisible, but unseen because of many people’s blindness.

Images of the Migrant Worker in Contemporary Macedonian Drama

The topic of this paper is one of the frequent motives in Macedonian contemporary drama: a voluntary exile from one's own country and the desire for better and more fortunate life. “A desire for distance' (Walter Benjamin) is attractive and frightening at the same time. The myth of the attraction of the other place is one of the oldest myths in history. From Homer to the Romantics, from the philosophy of Existentialism to a feeling of being a stranger today, this myth has not lost anything. Working away from one's native place as a condition of Otherness reveals certain relations between home and foreign country, but also, between Me and not-Me (Me as the Other). The problem of a person's identity, but also the problem of national and gender identity, have transformed the myth of the other place into the myth of the home. Paradoxically the exile in space becomes an exile of human soul. The literary practice of the contemporary Macedonian dramatic authors: Goran Stefanovski, Kole Chashule, Jugoslav Petrovski and others, illustrate the already mentioned stereotypes and images of the “self' and the “other'.

Telling Apart the Works of Male and Female Playwrights: Two 17 th -Century Contrasts

Although neither male authors nor female authors should be treated as monolithic groups, it is sometimes possible to discern gender-related views and preoccupations by examining side by side pairs of works treating the same subject. In Gabriel Gilbert's treatment of the classical myth of Endymion and Diana the goddess is presented as a powerless victim of ruthless male deities. Only by going into voluntary exile into the underworld can she find autonomy and love. Françoise Pascal, dramatizing the same myth, makes Diana the supreme deity, who picks her own consort and, with the aid of a powerful female magician, imposes physical and psychological trials on him to guarantee his fidelity and submissiveness. Georges de Scudéry, in dramatizing the persecution of a Roman empress and his daughter by a tyrannical Vandal king, celebrates the male chivalric ideal: valiant and courteous knights prevail and save damsels in distress, and even the villain is converted to magnanimity. Antoinette Deshoulières, in her adaptation of the same story, presents a pessimistic world in which the most energetic characters are impervious to virtue and love, while even the noble-hearted characters are weak and unsure of their beliefs.

The Plot Thickens: Hidden Outlines in Terence's Prologues

The Vita Terenti, Suetonius' biography, presents Terence as the classic Republican self-made man. Born in Carthage on the margins of the empire, he is said to have been brought to Italy as part of the spoils of conquest (the very word for ‘spoils’, praeda, is used to describe him in the epigram or epitaph devoted to his memory in the Latin Anthology). Here is a rags to riches to rags again story: the Cinderella figure reading out his first play on a humble bench, then invited to join Caecilius, the comic toast of the town, at his high table; the pretty boy-slave who mingled suspiciously closely with Scipio and Laelius. Six perfect plays later, and varying degrees of success, at the age of twenty-five Terence was pitched into decline: he withdrew, he retired, he went into voluntary exile to Asia or to darkest Greece, he drowned at sea, in the middle of a valiant last attempt to bring a suitcase of Menander's plays to Italy, or else he died of grief at the loss of his baggage. The details vary, but the stories always return him to the margins he emerged from, leaving behind his exemplary dramatic products and his solid influence on the school curriculum for centuries to come. Of course this narrative has its improbable side (Suetonius himself is sceptical about the various reports): the name Afer does not necessarily mean that Terence was African; Caecilius had died two years before Terence's first play was performed; the rumours about men in high places ghost-writing for him have been lifted straight from one of the prologues. But take it on its own terms and it is a tale based on the fluid opportunities of the expanding Roman world, a tale of suspicion, integration and then rejection. Terence begins and ends as part of the flotsam of empire.

Dreams of Escape: Variations of the Italian Road Movie

This study explores the journey motif in Italian cinema, with a particular emphasis on Salvatores' quintessential road movies Marrakech Express and Puerto Escondido and two recent lesser known variations of the genre, Davide Ferrario's Figli di Annibale and Marco Risi's Tre mogli. Attention is paid to Edward Said's trope of exile which he associates both with the negative connotations of loss and exclusion and with the positive connotations of exile as critical perspective. In considering the clash between forced mass exile and willed homelessness, the suggestion is made that road movies, by centring on the contemporary figure of the voluntary exile in a period when Italy is being invaded at its margins (and thus challenged at its very core) by displaced persons in search of political asylum and economic opportunity, implicitly draw attention to this binary of inclusion and exclusion. It is argued that the figure of the solitary exile or expatriate, while cast as a post-modern nomad, remains tied to the discourses of modernity and the colonial project.

Dreams of Escape: Variations of the Italian Road Movie

This study explores the journey motif in Italian cinema, with a particular emphasis on Salvatores' quintessential road movies Marrakech Express and Puerto Escondido and two recent lesser known variations of the genre, Davide Ferrario's Figli di Annibale and Marco Risi's Tre mogli. Attention is paid to Edward Said's trope of exile which he associates both with the negative connotations of loss and exclusion and with the positive connotations of exile as critical perspective. In considering the clash between forced mass exile and willed homelessness, the suggestion is made that road movies, by centring on the contemporary figure of the voluntary exile in a period when Italy is being invaded at its margins (and thus challenged at its very core) by displaced persons in search of political asylum and economic opportunity, implicitly draw attention to this binary of inclusion and exclusion. It is argued that the figure of the solitary exile or expatriate, while cast as a post-modern nomad, remains tied to the discourses of modernity and the colonial project.

Beyond Rangoon: An Interview with Wendy Law-Yone

Wendy Law-Yone is the critically acclaimed author of the novels, The Coffin Tree (1983) and Irrawaddy Tango (1993). Born in 1947 in Burma (now Myanmar), she began writing after a career in music was derailed by the politically-motivated arrest and detention of her father, dissident journalist Edward Law-Yone. After escaping from Burma in the late 1960s to join her first husband, journalist Sterling Seagrave, she immigrated to the United States in 1973 and finished a college degree. Law-Yone raised a family in Washington, D.C. and has only recently begun to write full-time. She works as a freelance journalist and book reviewer for the Washington Post and is currently in residence at the University of East Anglia, Norwich on a David TK Wong Fellowship. Her novel, Wanting, and memoir, The OM Burma Road, are forthcoming from Ecco/Harper. Law-Yone's fiction is well-known by Asian Americanists who have looked to her work to shed light not only on the Southeast Asian experience, but on the underside of immigration and acculturation. Yet her writing also testifies to the post-independence struggles that attend the processes of decolonization. This interview was conducted over two separate periods in 1996 and 2001. In part, it details how the political upheavals surrounding the end of British colonial role in Burma are reflected in her own writing. Having lived under a military regime and now witnessing the current state of politics in Myanmar from a position of voluntary exile in the US, Law-Yone discusses her feelings about Nobel Prize winner Aung San Suu Kyi, the conflicts between the State Law and Order Council (now the State Peace and Development Council) and the National League for Democracy, the struggles of ethnic armies on the Myanmar-Thai border, and the possibilities of her own return. LB: Could you talk a little bit about how your family background influenced your career as a writer? WL: My father, Edward Law-Yone, was a journalist, and later a publisher, so he was very much involved with language and expression. He had an innate kind of preoccupation with language. A product of his generation, he wrote and spoke well. Burma had only recently won independence from British rule in 1948 and intellectuals still wrote in the kind of colonial English of the time. My father, for example, leaned toward the J.B. Priestly style. His own natural style was biting. He was a very forceful communicator and that I know made an impression on me. He was always the center of attention because he told stories so well, he wrote so well. LB: Would you say that he was a political writer or that he saw himself more as a journalist, as an unbiased reporter? WL: He occupied a very unusual position vis-a-vis his journalism and his political standing. He was a sort of Walter Lippmann figure. We don't have really figures like that anymore in modern journalism. He called himself a journalist, but it seems as if no sooner was he a journalist than he became a publisher, and a very influential one at that. As a publisher, I think it was his editorials, his opinion pieces, that he was known for. He was not a politician, although, he was a politician. His standing in the circles that mattered, and the nature of Burmese political life made that inevitable. LB: Did his imprisonment for five years affect your decision to become a writer? WL: Not directly. But it probably set in motion a kind of direction that my life took, and those things led to other things. It's fair to say, though, that until his arrest in 1963, my intellect, such as it was, was adrift. I always liked telling stories; I was not a particularly great reader or anything. But just about the time he was arrested, it happened that I began to love the idea of learning, of being good at things. At the time I was really set on a whole different course: I was studying music. But when my father was arrested and my plans to study abroad were thwarted, all of that was short-circuited. …

Los novicios de la compañía de Jesús: La disyuntiva ante el autoexilio y su estancia en Italia

When, in April of 1767, the expulsion of the Jesuits from Spain is ordered, the group of novices who was studying in the recognized Colleges of the Society is tom between following the priests into exile or forgetting their projects and staying in Spanish territory. This work concentrates on the one hand, the reactions of these youths, tempted the representatives of the administration and of the Spanish clergy, which used all the means at their disposal of convincing them for being in Spain and, on the other, the crusading spirit surrounding the decision to defend their vocation and going into voluntary exile into the States of the Pope.

Neither Here nor There: Calixthe Beyala's Collapsing Homes

A voluntary exile from Cameroon, her native land, Calixthe Beyala has chosen France as her space of enunciation. This movement from former colony to former colonial power, an apparent repudiation of Africa for Europe, raises the question of the identity of home for Beyala. Where is home, for starters? On the one hand, can the country that has colonized your native land and is still refusing to acknowledge your existence be called home? On the other, can the homeland that failed to perform its nurturing function and that you have left in search of more hospitable places still be called home? The author's displacement has resulted in an ambiguity and ambivalence towards the idea of home that she has expressed directly or indirectly in her interviews, essays, and above all in her fiction.

L'exil français en Espagne pendant la Seconde Guerre mondiale 1940-1945

During the Second World War thousands of French people crossed the Pyrenaean border into Spain. The escapees from France wanted to flee the German occupation and Vichy to join France at arms in North Africa or in England. The crossing was difficult, the internment in Spain hard to bear, the wait for repatriation of variable duration. The human, political and diplomatic consequences of this voluntary exile resulted in these escapes becoming one of the major episodes in the history of the war. After the Liberation, a smaller number of French people found refuge in Spain to escape from the purge. But their story is not early as well- known.

‘…my duty to defend the truth’: Erich Schmid in Schoenberg's Berlin Composition Class

The student of Swiss music history cannot but notice certain parallels in the lives of that country's finest composers – parallels that seem, at first glance, to explain why the student of Swiss music history is such a rare creature. Theodor Fröhlich (1803–1836) left Switzerland to study with Zelter in Berlin. Instead of staying to seek fame and fortune in the Prussian metropolis thereafter, he returned to his native Aarau, where he was forced to earn his keep by conducting assorted amateur choirs and ensembles. Johann Carl Eschmann (1826–1882) studied with Mendelssohn in Leipzig, began a promising career by experimenting with modernistic cyclic structures, but then relegated himself to conducting amateur choirs in darkest Canton Schaffhausen. Othmar Schoeck (1886–1957) studied in Leipzig with Reger, but he too soon returned home to tread in his forebears' footsteps. Numerous others followed the same path. It is as if the culprit were a common genetic trait, some strand of DNA that led generations of Swiss composers briefly to the Teutonic north before compelling them to plunge back into Helvetic obscurity. Or perhaps the yearning to hear cowbells tinkle and see the twinkle of brightly polished doorknobs on distant Alpine chalets is so overwhelming as to propel homewards any Swiss musician sojourning abroad for more than a few months. The cynic may scoff; but the present writer, in voluntary exile from his erstwhile Helvetic homeland, can vouch for the attraction of both.

Luis Simarro Lacabra [1851–1921]: From Golgi to Cajal Through Simarro, via Ranvier

Knowledge of cerebral structure and function in its modern form can be traced to the neurone doctrine based largely on the work of Santiago Ramón y Cajal [1852–1934] and his lifelong exploitation of the Golgi method. Cajal openly acknowledged his debt to the neuropsychiatrist Luis Simarro Lacabra [1851–1921] who introduced him to the method in 1887, and recalled that the sight of the silver-impregnated nerve cells was the turning point which led him to abandon general anatomy and concentrate on neurohistology. Simarro, who dissipated his free time in trying to improve not only the scientific but also the political world around him, was able to produce exciting Golgi preparations of the cerebral cortex after he returned from voluntary exile in Paris from 1880 to 1885. Certainly it was there that he learned the methods of experimental histology from Louis-Antoine Ranvier [1835–1922] whose laboratory exercises, in the guise of lectures, he attended assiduously.

African Writers

This study offers a historic overview of the very unfortunate plight of African writers, who are defined here as poets, playwrights, essayists, novelists, and even journalists, and how postcolonial-era political repressive measures-also termed trials and tribulationsforce many of them into voluntary exile. These writers have included some of Africa's most famous, as Greenhouse (1994) reported in The New York Times of the unorthodox departure of Professor Wole Soyinka, the Nobel Literature Laureate, from his Nigerian homeland. Instead of leaving Nigeria on the traditional red carpet often reserved for diplomats and notable dignitaries, Soyinka-to avoid arrest by Nigerian security agents because of his opinions-had to escape, reportedly, through the bush into exile abroad, to live temporarily in America. Whereas several pieces of empirical evidence have been used to buttress the theme of this study-which promptly includes the discussion of the consequences of political repression and brain drain

Exit, Voice, and Hostility in Cuba

Albert Hirschman's categories of ‘exit,’ Voice,’ and ‘loyalty,’ which were previously applied to the analysis of emigration and protests in East Germany, are discussed and applied to the case of Cuba. Incentives for different types of action which may be derived from policy decisions regarding migration, as well as information and repression, are placed in the context of the strategic interaction between the United States and Cuban governments. A game-theoretic model of the typical Cold War conflict between the two former German regimes is compared with the US-Cuba interaction regarding migration policy. In spite of some coincidence between the two governments to prefer ‘exit,’ successive waves of emigration of people from Castro's Cuba to the United States in the period 1959–1995 have induced an increasing degree of cooperation between the two governments over time to close off borders. “Latin American powerholders have long encouraged their potential enemies and potential critics to remove themselves from the scene through voluntary exile.” Albert O. Hirschman, Exit, Voice, and Loyalty, 1970:60.

Charlie Chaplin and his times

One of America's most distinguished biographers, Lynn goes far beyond a mere recounting of the well-known events in Chaplin's career. By setting his life, his art, and his controversial politics in the context of his times, Lynn gives the book extra richness and dimension. In penetrating and exquisite detail, Lynn also traces the deep psychological connections between the man and the artist and brings his own keen critical intelligence and historical awareness to the meanings of Chaplin's films. And he has at last succeeded in separating the facts of his life from Chaplin's own artful fictions. Combining the strengths of a seasoned literary biographer and social historian, Lynn debunks the Chaplin myths passed on by unquestioning film critics, biographers, adulatory documentary filmmakers - and by Chaplin himself. He returns to the original sources to trace the origins of Chaplin's comic routines, and relates the story lines of his films to events in his childhood as well as his adult preoccupations. Lynn documents Chaplin's meteoric rise as a film actor, his failed early marriages and love affairs with glamorous stars, his communist sympathies, the infamous Joan Barry case, his voluntary exile in Switzerland with his young wife, Oona O'Neill Chaplin, and his triumphant return to America in 1972. And through it all is the gleaming thread of Chaplin's films. By delving deeply into the unique combination of slapstick and sentiment, wit and whimsy that characterize Chaplin's art, Lynn deftly captures both the magnetism of the man and the magic he created in his films.

Catalan Folk Sources in ‘Soirées de Barcelone’

What might have happened to Roberto Gerhard had he not left Spain at the end of the Spanis Civil War will remain one of the great imponderables of his career. His voluntary exile to Britain released him from the role of ‘responsible artist of the Spanish Republic’ – and from the many activities (musicological, literary, pedagogical and administrative) which however vital to the cultural politics of Catalonia had inevitably limited his composing time. He came to view exile as a ‘blessing in disguise’ and eventually took up British citizenship.

Humanism in exile: Celio Secondo Curione's learned women friends and exempla for Elizabeth I

Quod Socrates dixit, foeminas si diligenter instituantur, non minus aptas ac dociles ad literas et artes liberates omnemque virtutem ... quam mares ... Possem ex omni aetatum memoria exempla proferre. 1 Thus wrote Celio Secondo Curione in 1556, introducing the small volume of Olympia Morata's Works which, six years later, he was to dedicate to Queen Elizabeth I. It is not always easy to chart the interaction of cultural and religious ideas across Europe in the sixteenth-century era of reform, although the multiplicity of these interactions and their importance for future developments are well known. Basel was a pivot in the meeting of Italian humanism with English intellectual and reforming zeal. Its university's Faculty of Arts, of which Celio Secondo Curione was three times dean, saw a second flowering of humanism in this period. Thirty-seven English scholars were registered between 1554 and 1559, and other exiles crowded its periphery or, if lucky, found employment in the printing houses. Lady Dorothy Stafford became a close friend, admirer and prot6g6e of Curione; her indebtedness to Curione and to his humanist interests, her admiration for the political and ecclesiastical regime under which she lived in Basel, and her sincere and optimistic hopes for the reformation of 'true' religion in the England of Elizabeth, were set out in a letter which she and her kinswoman, Elizabeth Sandys, sent to then Italian mentor in Basel on 30 April 1559, some two months after their return to England from voluntary exile. The

Transuranics in bone of deceased former residents of Rongelap Atoll, Marshall islands

Rongelap Atoll received intensive fallout from the 1 March 1954 Bravo thermonuclear test 105 miles upwind at Bikini. Fearful of their continued exposure to radiation, the residents of Rongelap Atoll went into voluntary exile in 1985. Transuranic soil concentrations on Rongelap Island are about 2–3 orders of magnitude greater than the average for the Northern hemisphere; the three dominating transuranics are 239,240Pu and 241Am. Only conflicting information has been available about the extent of transuranic uptake by the Rongelap community. As part of the Rongelap Resettlement Project, the community endorsed the exhumation of bones of deceased former atoll residents to provide an independent estimate of plutonium intake. This approach has the advantage of reducing the uncertainties associated with pathway modeling and the interpretation of urine data. Six graves (4 adults, 2 chidlren) were selected for exhumation. Femora and tibiae were selected as well as humeri from the children's graves. The rest of the remains was left undisturbed. The results of the analysis of 239,240Pu and 241Am are presented. Assuming that the data can be considered as representative for the Rongelap population as a whole, the contamination with transuranics on Rongelap Atoll appears to result in radiation exposures in the order of 1% of the compliance limit of 100 mrem (1 mSv) effective dose equivalent per year.

Kathleen Martindale: April 4, 1947 – February 17, 1995

IN MEMORIAM Kathleen Martindale April 4, 1947 - February 17, 1995* I t is difficult for me to write about the life and work of Kathleen Martindale . My personal grief at the loss of a loved friend overwhelms me as it has many times in the last four months since it became inevitable that death must be the outcome of Kathleen’s struggle with cancer, waged though it was with all her enormous energy and abundant gift for life. More partic­ ularly, it is writing within the university “walls” that is the impediment. “Outsider” was how Kathleen saw herself as “an ex-Catholic and a convert to Judaism” who was a “voluntary exile from the United States as well as from heterosexuality” (“Real” 150), one of the “Outsider’s Society” (Woolf 122), looking on at “the procession of the sons of educated men” (73). As Virginia Woolf has characterized this “anonymous and secret society” work­ ing to end violence and to “ensure freedom” (126), it is a group of women who, though striving for “economic independence,” nonetheless find it pos­ sible to exercise “a mind and will” of their own (128-29) to inquire into the ways that the “tyrannies and servilities” of the public and private worlds are interconnected (162). Woolf enjoins such women to “bind themselves to obtain full knowledge of professional practices, and to reveal any instance of tyranny or abuse in their professions” — to “practice their profession ex­ perimentally” (129). In her manifesto, she further counsels: “[wjhat . . . is meant by ‘selling your mind without love’ ?” (107). Kathleen responded to this call fully, making her (our) profession the site of her research, the classroom the place of experiment, both for testing new knowledges and new ways of making knowledge, and as site of scholarly in­ vestigation, resulting in such published texts as “Theorizing Autobiography and Materialist Feminist Pedagogy” where the personal and political con­ verge to reshape the canon, the classroom. Learning and teaching were for *Editor’s note: Space limitations prevented the inclusion of this In Memoriam essay in the June 1995 issue of ESC, Gay-Lesbian Studies II. 251 Kathleen a praxis of resistance, pivotal point for a changing subject. Trans­ formation of the conditions and modes of knowledge production was what Kathleen strove for tirelessly, wittily, passionately. If I who am “hooked on change” find the pace of this transformation slow, Kathleen with her motto “Revolution NOW” found the resistance of the institution to innova­ tion an active instance of “tyranny.” Her work on various university bodies for curricular reform as well as her scholarship in areas of literary theory, women’s studies, and lesbian culture demonstrate her consistent response to frustration: a call, a question, a challenge launched to others to join with her in bringing about change. Collaboration was the crucial aspect of all her interventions. She went further, though, in responding to Woolf’s man­ ifesto: for at the centre of her research and teaching, as of her friendships and interests, was a passionate ethics, a profound concern for social justice that would include the erotic. As she writes (with Martha Saunders) in “Realizing Love and Justice: Lesbian Ethics in the Upper and Lower Case,” an ethical drive working for community, accountability, and entrustment is distinguished, for lesbian feminism, by the erotic as necessary condition of the ethical. This might entail difficult choices, she pointed out, in terms of the kind of community with which lesbians want to identify, to whom they will be accountable: [I]s it the smaller, more intimate community of those with whom one feels relatively safe and protected in an otherwise hostile world? Or is it a larger, or at any rate more broadly conceived, community of all those who are struggling for justice? ( “Real” 152-53) That Kathleen made the less comfortable commitment to justice has been to the enlargement of her circle of friendships and to the benefit of her students and the university community as a whole, for her eye alert to the slightest hint of injustice — sexism, racism, classism, homophobia— while it made life very painful for her personally, gave support to many others because of the quickness of her protest and discovery...