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Hakim Abderrezak

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

in Reimagining North African Immigration
Franco-Maghrebi identity in Hassan Legzouli’s film Ten’ja
Ramona Mielusel

’s transformation and initiation from denial to acceptance of his double-sided identity as an essential understanding of his Franco-Maghrebi status on both sides of the Mediterranean. In order to map out this process, I will first focus on the main protagonist’s relationship with his father and the impact of the father’s death on his sense of identity. I will continue with an examination of the young man’s hybrid, Franco-Maghrebi identity as it is revealed to him during his journey. Nordine successfully reconciles his multiple identities by Franco-Maghrebi identity and Ten

in Reimagining North African Immigration
Identities in flux in French literature, television, and film

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.

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Véronique Machelidon and Patrick Saveau

immigration and give a new dignity to the subjects supposedly located on the margin of the Republic. The writers and filmmakers examined in this collection have found new ways to conceptualize the French heritage of immigration from North Africa and to portray the current state of multiculturalism in France, within, and in spite of, a continuing republican framework. More generally, this volume seeks to take the pulse of French postcoloniality by studying the evolving representations of trans-Mediterranean immigration to France in recent literature and films produced by a

in Reimagining North African Immigration
Postmemory and identity in harki and pied noir narratives
Véronique Machelidon

Algerian War of Independence are motivated by a search for personal wholeness and self-respect. As Zinel Ali-Ben Ali remarks, ‘souvent les enfants de Harkis se réclament d’une double, voire d’une multiple appartenance’ (2010: 120) (harki children often claim double, or even multiple, community identifications). The father’s story, pieced together across the Mediterranean, will allow the narrator to reconcile her diverse cultural identities, as harki, Berber, Algerian, and French and to overcome the feelings of shame and guilt that she has inherited from him. Postmemory

in Reimagining North African Immigration
Miriam Nichols

discovery, redemption, or conquest is a master trope of many archaic cultures, including the Mediterranean, Mesopotamian, and Nordic civilizations that often appear in Maximus. In the third volume, Olson calls it the ‘rose of the world’: Migration in fact (which is probably as constant in history as any one thing:  migration is the pursuit by animals, plants & men of a suitable — and gods as well–& preferable environment; and leads always to a new center. (MP, 565) MUP_Herd_Printer.indd 30 21/11/2014 12:39 Myth and document in The Maximus Poems 31 Historical journey

in Contemporary Olson
Susan Ireland

nation, that of a people united in the struggle against the colonizer, served to demonize the harkis, who were seen as unpatriotic. On the other hand, they were excluded from the official French story of the war since they had come to represent France’s national shame. Consequently, the subject of the harkis remained ‘le tabou des tabous’ (Hamoumou, 1990: 26) (the taboo of all taboos) for many years on both sides of the Mediterranean. When the silence surrounding the community was finally broken on the individual and national levels, the emerging corpus of historical

in Reimagining North African Immigration
Olson on history, in dialogue
Sarah Posman

, Erasmus, the Jesuits and Dante in Heider and Jalowetz’s), Olson starts his poem with a roaming, ungentle ‘Bear-son’, miles away from any city of wisdom, but looking to America: so pawed, by this long last Bear-son with no crockery broken, but no smile in my mouth June 28th, ’51, on this horst on the Heat Equator, a mediterranean sea to the east, and north what saves America from desert, waters and thus rain-bearing winds, by subsidence, salt waters (CP, 212) Although Olson invites Gerhardt to America, the poet will need to do more than

in Contemporary Olson
Willard Bohn

is a slight breeze, it is not enough to alleviate the oppressive heat and humidity. Since the climate is normally hot and dry, a new front must be passing through the area. Whatever the explanation, it produces a curious atmospheric effect in the eastern Mediterranean, where the clouds are spread out like jam on a slice of toast. Crali compares them to layers of mica, which suggests they are long, flat and thin. In general, the composition’s visual effects are fairly rudimentary. In addition to three visual analogies, it contains several elementary typographical

in Back to the Futurists
Peter Barry

Cortez is named (or rather misnamed), as is the Pacific (though Balboa – the conquistador who, rather than Cortez, first crossed Panama – did not recognise it as an ocean, and the Spanish called it the South Sea), and the region of Darien, from where he first saw the Pacific, is named. The ‘people’ named, then, are Apollo, Homer, Chapman and Cortez, and the places are the Pacific and Darien. Thus, the Mediterranean classical world is evoked, but its specific geography is entirely omitted, so that the specific geography which is admitted to the poem is actually that of

in Reading poetry