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Franco-Maghrebi identity in Hassan Legzouli’s film Ten’ja
Ramona Mielusel

’ja  197 the end of his experience as a conclusion to his transformative journey. The final point of this chapter is to see how Legzouli depicts the journey of transformation of Franco-Maghrebi characters in comparison to other films of the same genre.8 The movie, by his structure and chosen topics, is a typical road movie, but Legzouli’s twist at the end of his production d ­ istinguishes it from previous movies in the field. The road movie genre and the importance of the journey in Ten’ja The road movie is not a European invention, and it would not naturally appear

in Reimagining North African Immigration
Ian Goodyer

4 Rock Against Racism, youth culture and multiculturalism Some of the most vehement criticisms of RAR are concerned in one way or another with the organisation’s cultural basis. Some critics, as we have seen, have drawn attention to the narrow cultural range that came to define RAR’s activities, both in terms of the number of musical genres represented at concerts and the ethnic boundaries that were implicit in these choices. It has been argued that these limits were not, in some unproblematic way, an unavoidable by-product of a campaign that pursued

in Crisis music
Abstract only
Maurice Roche

events in the 2010–13 period. This analysis generates a hierarchy among these events which is intuitively credible (for instance, the 2012 London Olympics is confirmed as being the largest in Muller’s sample of cases). It also suggests that the category of megaevents needs to be understood in a flexible way in the contemporary period, and that it is realistic to broaden it beyond the classic (and first-order) megaevent genres (i.e. Olympics and Expos, see Roche 2000). The FIFA World Cup soccer championships have long been viewed as being ‘mega-events, and also other

in Mega-events and social change
Abstract only
Karagöz’s cultural and linguistic migration
Annedith Schneider

4 A Turk in Paris: Karagöz’s cultural and linguistic migration When people and cultures migrate they inevitably both change and are changed by the culture they join. This chapter argues that one sign of settling is an artist’s ability and willingness to critique not only the host culture, but also his or her own culture of origin. Puppeteer Ruşen Yıldız uses the traditional genre of Turkish shadow theatre, but writes his own scripts and performs in French inflected by the slang of immigrant housing projects. Even while Yıldız avoids simply recreating exotic

in Turkish immigration, art and narratives of home in France
Antonia Lucia Dawes

articulating the links between discourse and practice, or understanding language use within the material context of its deployment: in other words, learning to pay attention to how culture, meaning and language vitally constituted the economic, political and material (Drew and Hall 1998 : 222–225). As I expand on below, I have done this through a Bakhtinian analytical lens (Bakhtin 1984 [1965], 1986 ), whereby a ‘heteroglossia’ of dialogic speech genres revealed the connections between everyday talk and highly contested ideological debates around difference, belonging

in Race talk
David Hesse

7 Régiments du passé: re-­enactment The previous chapter examined how continental history enthusiasts commemorate moments of Scottish–European contact. While these commemorators seek to uphold or revive a Scottish memory, re-­enactors strive to bring the past back to life in the present. They employ reconstructed period costumes and props to reproduce selected events and characters of the past. They do so for pleasure and sensuous experience, but also with the aim of educating their audiences. ‘Scotland’ has become a proper re-­enactment genre over the past two

in Warrior dreams
Samuel Zaoui’s Saint Denis bout du monde
Mireille Le Breton

the missing pieces of her family memory: le puzzle de la mémoire (the puzzle of memory). Finally, this chapter asks how the contemporary French novel rewrites memories of immigration in France to focus on new possibilities for reconciliation, as the genre itself may become a ‘place of memory,’ or what Pierre Nora calls a lieu de mémoire (1984: 1004). Samuel Zaoui was born in 1967 in Paris, to a Sephardic Jewish father and a Kabylian mother. His first novel, Saint Denis bout du monde was published in 2008, shortly followed by a detective novel, Omnivore, in 2009. In

in Reimagining North African Immigration
London as an event city and the 2012 Olympics
Maurice Roche

8 Mega-events, glocalisation and urban legacy: London as an event city and the 2012 Olympics The city of London has a long experience of staging great events, including mega-event genres, though to the contemporary period. This chapter looks into the enduring influences on the city of its experiences of being, in significant respects, an event city.1 In terms of the past, the chapter considers the long-term and contemporary impacts and legacies of London’s Expo events, from both the distant and the recent past. In terms of the present and future it also

in Mega-events and social change
Postmemory and identity in harki and pied noir narratives
Véronique Machelidon

transgeneric comparison Before discussing each of the postmemorial and identity quests, it is helpful to establish the validity of a comparison between works belonging to seemingly different genres. Mon père, ce harki is a well-known, much-read example of what Giulia Fabbiano defines as the paradigm of ‘Harki literature’ in that it ‘talks about and revisits the main memorial topoi upon which [harki] feelings of collective belonging are constructed: life in Algeria, enrollment, post-­ independence, internment in France and life in the camps, forgetfulness, and the identity

in Reimagining North African Immigration
Race and nation in twenty-first-century Britain

Nationalism has reasserted itself today as the political force of our times, remaking European politics wherever one looks. Britain is no exception, and in the midst of Brexit, it has even become a vanguard of nationalism's confident return to the mainstream. Brexit, in the course of generating a historically unique standard of sociopolitical uncertainty and constitutional intrigue, tore apart the two-party compact that had defined the parameters of political contestation for much of twentieth-century Britain. This book offers a wide-ranging picture of the different theoretical accounts relevant to addressing nationalism. It briefly repudiates the increasingly common attempts to read contemporary politics through the lens of populism. The book explores the assertion of 'muscular liberalism' and civic nationalism. It examines more traditional, conservative appeals to racialised notions of blood, territory, purity and tradition as a means of reclaiming the nation. The book also examines how neoliberalism, through its recourse to discourses of meritocracy, entrepreneurial self and individual will, alongside its exaltation of a 'points-system' approach to the ills of immigration, engineers its own unique rendition of the nationalist crisis. There are a number of important themes through which the process of liberal nationalism can be documented - what Arun Kundnani captured, simply and concisely, as the entrenchment of 'values racism'. These include the 'faux-feminist' demonisation of Muslims.