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A critical and integrative literature review
Aleksandra Grzymala-Kazlowska

mobilities occur dialectically and this dyad is required in order to, on the one hand, problematise these notions and, on the other hand, combine both the ‘sedentarist’ perspective which treats place, stability and dwelling as a natural steady state, and the narratives of deterritorialisation, fluidity and liquidity (Bauman 2000 ). Hannam, Sheller and Urry's idea of moorings ( 2006 ) is also beneficial to understand differentiated opportunities and constraints in the processes of adaptation and settling visible in the processes of anchoring (including their material

in Rethinking settlement and integration
Abstract only
Karen Fricker

relation to their ‘social reality’ whereas écriture migrante articulates ‘a modification of the subject in the very movement of creation’. The overuse and imprecision of the terminology écriture migrante has ‘become essentialist in its desire to eulogise, at all costs, a generalised deterritorialisation’, argues Harel, evidence of a ‘symptomatic malaise’ in Québec around issues of identity (58 ff).ix The conceptualisation of Québec-as-ambivalence, then, is problematic, inasmuch as this classification can become a blind, eclipsing the complex realities of a population

in Robert Lepage’s original stage productions
Locating the globalgothic
Justin D. Edwards

, travelling ideas and narrative shifts. The genealogy of zombie narratives, for example, is often traced from an African diaspora and the forced movement of people from West Africa to the Caribbean and then, later, to the United States where they were adapted for such films as I Walked with a Zombie ( 1943 ) and Dawn of the Dead ( 1978 ). 1 Such deterritorialisations can help us to reflect historically on the pressure of

in Globalgothic
Fred Botting and Justin D. Edwards

nervous temporality of the transitional, or the emergent provisionality of the “present”’ (216). Gone are the fixed meanings of binary structures, clear borders, cultural coherence or causes and effects. In their place we find flows and disjunctions in the ‘stubborn chunks’ of cultural identification, as well as a reiteration of migrations, displacements, translations, deterritorialisations and

in Globalgothic
Marc James Léger

increasingly a necessity for survival. Postmodern leftists can replay the usual denunciations of bourgeois individualism but what post-Fordism demands is not individualism, it is absolute determinism, now defined in various ways as deterritorialisation, flexibilisation, connectivity, and so on. The option is not simply between conformity and individuality either. In today’s post-political context, there is an ideological injunction against the choice of the vanguard party and its avant-garde cultural projects. The very prohibition on the prohibition, the fact that we more

in Vanguardia
G. Honor Fagan

, indeed, the national trauma. Today, movement means travel or working abroad or ‘coming home’. The Irish media portray Ireland’s citizens as the ‘young Europeans’, computer literate, confident, citizens of the world. Migration, then, cannot have a simple meaning as a symptom of globalisation. It can signify expulsion or, as in Ireland today, success. The diaspora was once an integral element of Irish identity. Today, there is a move to ‘bring it home’ but home is not what it used to be. The Ireland of today has seen the full effect of the deterritorialisation of culture

in The end of Irish history?
Pascale Drouet

rhizomatic rather than arborescent. After pointing to the diversity of armies, the absence of unity and the rivalry that could develop during expeditions, Flori concludes, ‘it is clear that the crusade, more than a unique expedition led by the papal legate, was a coalition of warlords, each of whom had his own ambition and conception of discipline’. 14 There were also stakes of deterritorialisation and reterritorialisation

in Shakespeare and the denial of territory
Digitally re-narrativising collaborative authorship
Steven Rawle

Grant talks about the deterritorialisation of auteurism in new communities, the DVD and Blu-​ray artefact specifically resituates these discursive processes within the spaces of the disc, the home and the interactive viewing –​the film does not have to be watched alone. Some releases even allow the viewer to break the film 200 200 Partners in suspense up with featurettes that place those paratexts within the text itself, supplementing historical information, production trivia, but with a continued placement of the film’s author. In ‘Auteur Machines? Auteurism and

in Partners in suspense
The documentary legacy of Sara Gómez in three contemporary Cuban women filmmakers
María Caridad Cumaná González and Susan Lord

is that of deterritorialisation. Each filmmaker locates this deterritorialised imaginary in geo-aesthetical terms: Barriga’s camera frame in the London Tube stop and its inability to locate the father; Sandra Gómez’s space of the borderland as a utopian open city; Rolando’s living traditions wherein the nation is dispersed and transculturated in the streets of com parsa and in the gardens of

in Hispanic and Lusophone women filmmakers
Abstract only
Place, space and the gendered body in Isabel Coixet’s The Secret Life of Words (2005)
Helena López

organise Hanna’s story: a factory and an oil rig – epitomising the dissemination of late-capitalist production – and the IRCT archives in Copenhagen where numerous stories from victims of torture are filed. All three places are the effect of economic and political deterritorialisation and, therefore, deconstruct conventional territorial tropes about a coherent identity founded on the isomorphism of the

in Hispanic and Lusophone women filmmakers