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The theme of the Anglo-Irish in Die Ringe des Saturn. Eine englische Wallfahrt
Helen Finch

4003 Baxter-A literature:Layout 1 9/9/13 13:02 Page 111 6 ‘LIKE REFUGEES WHO HAVE COME THROUGH DREADFUL ORDEALS’: THE THEME OF THE ANGLO-IRISH IN DIE RINGE DES SATURN. EINE ENGLISCHE WALLFAHRT Helen Finch INTRODUCTION Jorge Luis Borges’s short story ‘The Theme of the Traitor and the Hero’ (1944) sets its action ‘in an oppressed yet stubborn country – Poland, Ireland, the republic of Venice, some South American or Balkan state [. . .] for convenience’s sake; in Ireland, let us also say.’1 The short story deals with a fictional nineteenth-century Irish

in A literature of restitution
John Kinsella

’ and unravelling lines of colonial intrusion – lifting the trails out of land, sea and air. Hopefully, the book critiques this form of conceptual movement in its colonial manifestation as an empathetic act with transitional movements of people through migration of necessity and refugee dislocation. Another subtext throughout the whole will be ‘sites of protest’ or maybe nodal points of activism. Over my life, I have made many points of contact with ‘place’ through activism and trying to create conversations

in Beyond Ambiguity
Annalisa Oboe and Elisa Bordin

’. 48 For an analysis of the difference between the refugee and the victim of trafficking see S. Kneebone, ‘The refugee-trafficking nexus: making good (the) connections’, Refugee Survey Quarterly , 29:1 (2010), 137–60 . 49 The ‘Protocol to Prevent, Suppress and Punish Trafficking in Persons Especially Women and Children’, entered into force in Palermo on 25 December 2003. The ‘Protocol against the Smuggling of Migrants by Land, Sea and Air’, was adopted and entered

in Chris Abani
Abstract only
Towards ‘Conclusions’
John Kinsella

primary recognition and support for Aboriginal and Torres Strait Islander cultural and land rights, for an intense advocacy for the natural environment, for the rights of refugees and the celebration of cultural diversity, as an enactment for any whose voice is suppressed, for a resistance to violence and the arms industry, for animal and human rights. There is frequently an ongoing, shared pursuit for justice in the making of poems. Resist! is intended to be an act of advocacy for the marginalised against the often silent

in Beyond Ambiguity
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John Kinsella

’s on its outside, and we wear the interior like a conscience – we unearth what we could be, what we are, what we might have become. Exploration has consequences. I wanted to write out of and against the colonising impetus of these genre narratives. I wanted to write a book against the tyrannies of gender control. I wanted to challenge big business and mining rapacity. I wanted to deal with addictive behaviours. I wanted to challenge the closing of borders to refugees, the tyranny of centralised government. I wanted to imagine

in Beyond Ambiguity
Christina and Maria Francesca Rossetti’s Dante sisterhood
Federica Coluzzi

scholar and political refugee, Gabriele Rossetti, and his wife, Frances Polidori, her existence has been overshadowed by the artistic and literary fame of her three siblings: the Pre-Raphaelite poet and artist, Dante Gabriel; the critic and family biographer, William Michael; and the poet, Christina. Neither photographed in the iconic portrait taken by Lewis Carroll on 7 October 1863 in the garden of the house at 16 Cheyne Walk, nor acknowledged

in Dante beyond influence
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John Kinsella

include animal rights in this) are absolute, and difference is pivotal and desirable. Disagreement is the essence of understanding, though only functioning within a discourse of mutual respect. In this manner, the refugee and the ‘citizen’, the religious and secular, the ‘radical’ and ‘conservative’, can co-exist, and maybe even grow through each other’s input and presence. Exclusion is not enlightenment. We are living in times of right-wing extremes. But when we are talking of nation-states, and also city-states and

in Beyond Ambiguity
Abstract only
John Kinsella

stolen in collective efforts. And this from peoples who now refuse refugees and migrants when they are a nation built on the exploitation of the world for their own leisured or profitable movement/traversal – as is modern Australia – is repulsive. For in opposing control over people’s interface with the natural world, MacDonald is either overtly or inadvertently suggesting a naturalism of rapacity; that a balance will be made if it is left to those who are ‘out there’. Well, your Australian experiment shows

in Beyond Ambiguity
Abstract only
John Kinsella

Anglican Church of England upper-middle class (Europeanised) cultural upbringing, might permit. Everywhere are the signs of a spirit in rebellion, but also a rebellion in language itself. I consider her one of the most intense and even angry voices speaking for the sanctity of the human spirit to have come out of Australia. Other than a number of the late poems, such as ‘Picnic’ itself, in which the ease and strain of empathy work hand-in-hand, and ‘Boat Song’, the remarkable poem for refugees she published in the West

in Beyond Ambiguity
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Manchester and the devolution of British literary culture
Corinne Fowler and Lynne Pearce

literature that we found, this study engages with texts which explore the kinds of immigrant experience that do not figure in comic songs such as Wood’s. In this book, therefore, we attend closely to writers’ collective exploration of the ways in which the city’s refugees and immigrants have, together, integrated Manchester into the world.2 Close attention to both diasporic and devolved literary cultures can add to our existing understanding of, in Susheila Nasta’s words, ‘the extent to which our visions of the national have been built on migrant and diasporic, colonial

in Postcolonial Manchester