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Borders and images in migration narratives published in Norwegian
Johan Schimanski

limits between snow and sky is exchanged for the sublime – but strikingly reassuring – juxtaposition of sea and mountains, pointing to similar evocations in other migration narratives, such as those of Romeo Gill and Sara Azmeh Rasmussen, which I will address below. However, as a highly affective and symbolic mobilisation of stereotypes of Northernness, Amelie's description is surprisingly atypical. Most migration narratives like hers published in Norwegian, dealing with first- or so-called 1.5-generation migrants (born abroad but growing up in Norway), tend to avoid

in Border images, border narratives
Middle-Aged Syrian Women’s Contributions to Family Livelihoods during Protracted Displacement in Jordan
Dina Sidhva, Ann-Christin Zuntz, Ruba al Akash, Ayat Nashwan, and Areej Al-Majali

governance in Jordan. Recent scholarship on gender and forced migration emphasises ‘women’s multiple positions within conflict and displacement situations, and […] female agency rather than depicting women as non-agentic victims’ ( Fiddian-Qasmiyeh, 2014 : 395; cf. Hajdukowski-Ahmed et al. , 2008 ; Freedman et al. , 2017 ). Still, women seem to be visible in the Syria humanitarian response in binary ways, either as victims (of gender

Journal of Humanitarian Affairs
Leif Eiriksson, the 1893 World’s Fair, and the Great Lakes landnám
Amy C. Mulligan

American Midwest in particular. While books and translations were most influential in getting the story of Viking America out – figures like the popular Norwegian-American scholar Anderson were doing much to promote the stories of Leif Eiriksson and a Nordic America that went back to the Middle Ages – performances, staged spectacles, and audience experiences of staged recreations of medieval events, spaces, and voyages cemented the migration of the Viking landnám onto Lake Michigan. The story begins in 1880, when a ninth-century Viking ship was uncovered in a burial

in From Iceland to the Americas
The Experience of Dislocated Listening
Rashida K. Braggs

“It is only in his music [. . .] that the Negro in America has been able to tell his story. It is a story which otherwise has yet to be told and which no American is prepared to hear,” so wrote James Baldwin in “Many Thousands Gone.” Throughout his career, James Baldwin returned to this incomprehension of African-American experience. He continually privileged music in his literature, crafting his own literary blues to address it. Baldwin’s blues resonated even more powerfully and painfully for its emotional and geographical dislocation. In this article, Rashida K. Braggs argues that it was the combination of music, word, and migration that prompted Baldwin’s own deeper understanding. Exploring her term dislocated listening, Braggs investigates how listening to music while willfully dislocated from one’s cultural home prompts a deeper understanding of African-American experience. The distance disconcerts, leaving one more vulnerable, while music impels the reader, audience, and even Baldwin to identify with some harsh realities of African-American experience. Baldwin evokes the experience of dislocated listening in his life and in “Sonny’s Blues.” Braggs also creates an experience of dislocated listening through her video performance of Baldwin’s words, thus attempting to draw the reader as well into a more attuned understanding of African-American experience.

James Baldwin Review
German Responses to the June 2019 Mission of the Sea-Watch 3
Klaus Neumann

-named Triton, which, however, did not result in a decrease of drownings in the Mediterranean. Privately funded NGOs have carried out SAR missions in the Mediterranean since August 2014, when Migration Offshore Aid Station (MOAS), which was founded and largely funded by Maltese-based entrepreneurs Christopher and Regina Catrambone, commenced SAR operations with its rescue vessel M/Y Phoenix . MOAS was soon joined by established humanitarian organisations such as Save the Children and NGOs specifically set up to carry out SAR missions. Their approaches varied, with MOAS and

Journal of Humanitarian Affairs
An Interview with Caroline Abu Sa’Da, General Director of SOS MEDITERRANEE Suisse
Juliano Fiori

people access to information – facts – on the situation in the Mediterranean, so that they at least are able to form their own judgement on it. They can then decide whether they have a responsibility. Definitely the need is there. After eleven years with MSF, it was really this kind of political and social engagement that interested me. SOS is a ‘hydroponic NGO’, if I may put it like that – nourished from below. Working with the organisation in Switzerland is particularly interesting, given that the country is not very open-minded on migration. It

Journal of Humanitarian Affairs
Maria Cioată

This article presents a forgotten manuscript of a personal account of one of the first Jewish settlers who departed from Romania to Palestine in 1882 and helped found the colony of Samarin, which was later taken over by Baron de Rothschild and renamed Zichron Yaakov. Friedrich Horn, a schoolmaster with Austrian nationality who had settled in Romania fifteen years before his departure to Palestine, gave the manuscript of his unfinished work Nationaltraum der Juden to Moses Gaster. Gaster kept it among his collection of manuscripts. He considered it a diary rather than as Horn obviously had in mind, a contribution to historiography intended to be published. The text provides significant evidence concerning the underappreciated role of Jews from Romania in the historiography of Zionism.

Bulletin of the John Rylands Library
Anne Ring Petersen

Mining the museum in an age of migration Migratory aesthetics and artists with a migrant background can have various points of entry into museums, galleries and collections. The genre of artists’ interventions is one of the most important in this regard because of its critical, transformative and bridge-building potential. After a brief introduction to the practice, this chapter examines interventions by three artists, Fred Wilson, Yinka Shonibare and Rina Banerjee, who all take a critical de- and postcolonial approach to the institutional structures and spaces

in Migration into art
Bombay and the Village in 1990s Women‘s Cinema
Rashmi Sawhney

This article examines the representation of Bombay in Aruna Raje‘s Rihaee (1988) and Sai Paranjpyes Disha (1990). It has been argued here that in both films, Bombay functions as a narrative anchor to the fictive village, which is depicted as the locus of Indian modernity. Symbolism of the village-city trope is used to reorganise the syntagm of modernity-location-gender in new relations of power and also to present alternative visions of national development within the socio-economic context of 1990s liberalisation in India. The dialectic between city and village in these films emphasises the role of memory and migration in women‘s cinema, and also serves as a means to probing the relationship between gender and films in the postcolonial context.

Film Studies
Sean Healy and Victoria Russell

investigation into the alleged involvement of individuals in human trafficking and abetting illegal migration. Two other prosecutors also launched inquiries of their own, in Palermo and Cagliari. Several MSF staff were informed they were under investigation, although none have been charged, as were staff of Save the Children. Similar accusations were made by senior government ministers in Belgium ( Baczynska, 2017 ), in Austria ( Die Presse , 2017 ) and

Journal of Humanitarian Affairs