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interpretative framework of 82 Dreams as a literary text, and of the dreams themselves, is defined by two interrelated dimensions: one physical, and the other mental. The spatial dimension of the invading German troops, advancing in Northern France and, later on, in the Free Zone, together with the trajectories of refugees fleeing the occupied zones (among them Szittya), must be understood in conjunction with the Third Reich’s mental
already volunteering for service in the Second World War, and many studios were short on handsome leading men. That may have led to casting Chaney as the clearly improbable son of the Welsh scientist and lord of the manor Sir John Talbot, portrayed with typical sophistication by Claude Rains. America was still neutral in the war in 1941 as well, so one might also see the story of the US lad going to Britain to aid that country as a warning against involvement in the war. A further interpretation, given the number of refugees working in Hollywood at that time, could also
horror of the supernatural. The horror of Strandberg's novel is acted out on multiple levels. As a parallel to the supernatural plot and the uncanniness of dementia, runs the socially realistic, but definitely no less horrific plot of spending one's old age at the mercy of a profit-driven company. The point is proven by the character Sucdi, a nurse at Tallskuggan and a refugee from Somalia, one of the most war-ridden countries in the world. Her father has decided to return to his home country, even though his children live in Sweden, and it means
settling territory inhabited by the indigenous Sámi and the Greenland Inuits. In addition, it studies how the influx of Middle Eastern culture into the Nordic region, brought on by large number of war refugees from the region, needs to be understood as part of a postcolonial/neocolonial geopolitics. Finally, it considers how Nordic film, literature, music and art negotiates this long and complex imperial history. Although all colonialism can be concisely defined, in the words of Ania Loomba, as ‘the conquest and control of other people's land and
… naturalise those interlopers, those refugees, those necessary parasites as Orlac’s hands ! … You tormented them so as to make them lose all recollection of their former owner, to appropriate them to yourself and fashion them in the likeness of your own dead hands!’ (p. 253, emphasis in original) In this extraordinary passage Orlac’s version of tissue incorporation is condemned as pathological because it seeks to erase the otherness of the received tissue. In a highly Derridean move, Orlac’s erasure of otherness is presented as a lamentable violence, injurious to
. Yet in doing so, her curatorial practice depended on an erasure of cultural specificity at a time when an ‘exotic’ identity could still turn waves of scattered people into undifferentiated ‘foreigners’. Post-war ‘displaced persons’ were still much in the news; in 1945, there were between twenty and thirty million stateless refugees in Europe, ‘myriads of desperate, sick and starving people’, as Lord Reading put it in a House of Lords debate. 59 A year later, this figure was estimated to be down to 500,000 and the UNO’s short-lived Special Committee on Refugees and
Bride of Clintonstein ( A Double Take Presidential Primary Rib , July 2016). Outside of the USA, a major news story with political impact has been the UK’s referendum about whether to remain in the European Union. It was a heated campaign which resulted – in June 2016 – in the decision to leave the EU. Generally, pundits assumed that the anti-EU campaign (‘Brexit’) would lose and the arguments and rhetoric they deployed (principally in regard to immigrants and refugees) were seized upon by critics with articles in British newspapers such as Dan
has been recognised as the founder of the Enlightenment school of history, in whose Dictionary (1697–1702) even the great Erasmus was not exempt from a revelation of illegitimacy. 9 In this proto-deconstructivist manner, as in the coining of the English term ‘refugee’, Huguenots moving from the Low Countries to Britain and Ireland sponsored a restlessness of spirit at odds
long nineteenth century can , perhaps, be glimpsed from Whitehall. Consider a letter written in April 1855 by the poet Clough, at the time a civil servant working in Downing Street: Here we sit at 5pm waiting to see from our Office windows the French Emperor and Empress pass on their way... – They should have been here before this, but I suppose it is not on account of some refugee’s pistol! (Clough, 1957 Vol. 2: 499) Clough is right; the emperor and his wife are merely
delirious opera-dancer as a ‘goblin’ and an infected French nobleman as an ‘apparition’ (327–8). Though it might seem out of place in a secular story about the scientific reality of species extinction, this supernatural imagery serves an important purpose insofar as it represents the mental and emotional extremes to which Verney and his fellow refugees have been driven. For them, the