13 Harragas in Mediterranean illiterature and cinema Hakim Abderrezak Refugees and migrants: all in the same boat A three-year-old lies face down on the shore of the Ali Hoca Burnu beach in Bodrum, Turkey. This photograph, showing the lifeless body of young Syrian Aylan Kurdi appeared in European and Turkish newspapers, circulated on social networks, and moved a huge number of media users. Commentators have speculated that this image effected a noticeable shift in public opinion about Mediterranean Sea crossings from the Middle East and Africa. Initially, the
This book reflects the full diversity of the spirit of cosmological experimentation as an analytical impulse on the part of the anthropologist and as an ethnographic observation about the people anthropologists study. The first part of the book addresses the ways in which fresh anthropological interest in cosmology problematises traditional conceptions of holism understood as a 'totalising' discourse. The second part shows that cosmology can be seen as a functionally differentiated and distinct part of the total social order to be studied alongside other parts, including kinship, economy or politics. It shines light on the varied imbrications of cosmological concerns with political and economic practices in particular. The third part focuses on the ways in which social phenomena that a classically inclined anthropology would designate as 'modern' areas cosmologically embedded (indeed saturated) as any 'pre-modern' society ever was. It shows how the cosmological constitution of political economies is particularly bound up with the breakdown of classical dichotomies between modern science and pre-modern cosmologies. The book also reveals the abiding role that different technological forms play in sustaining cosmological concerns at the heart of contemporary life in the West. It broaches the strong affinity between cinema and cosmology in an analysis of two films concerned with the origin of humanity.
. Methodologically, the root of the idea that modern culture’s articulation by heroin (at least as much as by anything else) might be investigated on the basis of the heroin ﬁlm is the supposition that modernity can also be identiﬁed, conterminally, as the age of cinema; as the age in which the whole of reality is made to pass through its lens. Whilst this expression is ostensibly metaphorical, Deleuze, drawing on Bergson, thinks of the emergence of cinema as nothing less than a techno-ontological transformation of perception itself – unsurprisingly provoking therefore, a
range of authors, most of whom with roots in North Africa and using French as their language of choice. Literature and cinema by authors of North African descent discussed in this volume have been frequently labeled as “beur” or “post-beur,” terms with a long and controversial history, which it is useful to recall here briefly. In his 2012 attempt to evaluate the status of beur writing, Najib Redouane revealed the common malaise generated by the label and showed how some ten years after its inception, this body of literature ‘se distingu[ait] … par un renouvellement
demographers, or poets from political scientists, are less easily insisted on in the productions of these different communities. Academic accounts raise the stated aspirations, expectations, and descriptions from particular locations and transmute them into broader, general accounts, which in their turn can inform the more particular. This book is no exception to that wide community of argument, explanation, and action which provides an unbroken though sometimes bumpy continuity from the vernacular to the academic. Plays, poetry, cinema, novels, cartoons, or theatre are not
Christiane Taubira's spirited invocation of colonial poetry at the French National Assembly in 2013 denounced the French politics of assimilation in Guyana . It was seen as an attempt to promote respect for difference, defend the equality of gay and heterosexual rights, and give a voice to silent social and cultural minorities. Taubira's unmatched passion for poetry and social justice, applied to the current Political arena, made her an instant star in the media and on the Internet. This book relates to the mimetic and transformative powers of literature and film. It examines literary works and films that help deflate stereotypes regarding France's post-immigration population, promote a new respect for cultural and ethnic minorities. The writers and filmmakers examined in the book have found new ways to conceptualize the French heritage of immigration from North Africa and to portray the current state of multiculturalism in France. The book opens with Steve Puig's helpful recapitulation of the development of beur, banlieue, and urban literatures, closely related and partly overlapping taxonomies describing the cultural production of second-generation, postcolonial immigrants to France. Discussing the works of three writers, the book discusses the birth of a new Maghrebi-French women's literature. Next comes an examination of how the fictional portrayal of women in Guene's novels differs from the representation of female characters in traditional beur literature. The book also explores the development of Abdellatif Kechiche's cinema, Djaidani's film and fiction, French perception of Maghrebi-French youth, postmemorial immigration, fiction, and postmemory and identity in harki.
“What are you waiting for?” Stop wasting your time” “You will die alone,” “You
will miss the train and stay on your own! “. These are just some of the
questions and warnings that single women hear on an everyday basis. In a similar
vein, single women are constantly being asked whether they are ‘‘still single,’’
or being bid to get married next or soon. Still, soon, ever-after, waste of
time, waiting, how long, when, all these form part of the rich language of
Table for one is the first book to consider the profound relationship between singlehood and social time. Drawing on a wide range of cultural resources – including web columns, blogs, advice columns, popular clichés, advertisements and references from television and cinema, Kinneret Lahad challenges the conventional meaning-making processes of singlehood and Time and raises pertinent questions about how people conceptualize their lives alone and with others.
Lahad’s unique approach gives us the opportunity to explore singlehood through temporal concepts such as waiting, wasting time, timeout or age and accelerated aging. Other temporal categories which are examined throughout this book as the life course, linearity and commodification of time enable a new consideration of dominant perceptions about collective clocks, schedules, and the temporal organization of social life in general. By proposing this new analytical direction, this book seeks to rework some of our common conceptions of singlehood, and presents a new theoretical arsenal with which the temporal paradigms which devalue and marginalize single women and women’s subjectivies in general are reassessed and subverted.
with what might seem an oddity, and must have seemed so to mainstream sociologists when Bauman published Legislators in 1987. That is, Bauman’s discussion of modernity and postmodernity also includes a discussion of modernism and postmodernism in the arts, by which I mean not just painting, but literature, music, architecture, photography and cinema – human endeavours that are usually discussed within the broad ambit of RATTANSI 9781526105875 PRINT.indd 101 24/05/2017 13:19 102 Living with postmodernity the arts, humanities and aesthetics, not social science
Deporting Black Britons provides an ethnographic account of deportation from the UK to Jamaica. It traces the painful stories of four men who were deported after receiving criminal convictions in the UK. For each of the men, all of whom had moved to the UK as children, deportation was lived as exile – from parents, partners, children and friends – and the book offers portraits of survival and hardship in both the UK and Jamaica. Based on over four years of research, Deporting Black Britons describes the human consequences of deportation, while situating deportation stories within the broader context of policy, ideology, law and violence. It examines the relationship between racism, criminalisation and immigration control in contemporary Britain, suggesting new ways of thinking about race, borders and citizenship in these anti-immigrant times. Ultimately, the book argues that these stories of exile and banishment should orient us in the struggle against violent immigration controls, in the UK and elsewhere.
This book is about people willing to do the sorts of things that most others couldn't, shouldn't or wouldn't. While there are all sorts of reasons why people consume substances, the author notes that there are those who treat drug-taking like an Olympic sport, exploring their capacity to really push their bodies, and frankly, wanting to be the best at it. Extreme athletes, death-defiers and those who perform incredible stunts of endurance have been celebrated throughout history. The most successful athletes can compartmentalise, storing away worry and pain in a part of their brain so it does not interfere with their performance. The brain releases testosterone, for a boost of strength and confidence. In bondage, discipline, sadism and masochism (BDSM) play, the endogenous opioid system responds to the pain, releasing opioid peptides. It seems some of us are more wired than others to activate those ancient biological systems, be it through being caned in a dungeon during a lunchbreak or climbing a sheer rock wall at the weekend. Back in 1990, sociologist Stephen Lyng coined the term 'edgework', now frequently used in BDSM circles, as 'voluntary pursuit of activities that involve a high potential for death, physical injury, or spiritual harm'.