Abstract: Martyrdom is an everyday event that continues to perpetuate itself in Palestine and its representation is a frequent visual motif in Palestinian art, media and life. It evokes both sacred and secul...

Abstract: Well respected for his earlier ‘British’ films, Dirty Pretty Things (2002) saw Stephen Frears return to London with a narrative ‘about the people who migrate to it from abroad hoping to escape pers...

Abstract: Nineteenth‐century Jerusalem was a city in great transition. It underwent political and administrative reform inspired mainly by the Tanzimat reforms of the Ottoman Sultanate between 1839 and 1876....

Abstract: In recent years Europe’s multicultural struggles have become a prominent topic in European cinema. This cinema is clearly utilising issues related to ethno‐religious diasporas, racism and migrant c...

Abstract: Images have been reproached for being a way of watching suffering at a distance, as if there were some other way of watching. Susan Sontag 1 The photographic image at once exposes us to, and insula...

Abstract: Themes that are loud, important themes, Vital themes that pay well, You ruined me, important themes, Complex themes, and advantageous. Had I not painted you I would not suffer now, I would have liv...

Abstract: Taylor and Francis Ltd CTTE_A_206902.sgm 10.1080/09528820601069680 hird Text 0952822 (pri t)/1475-5297 (online) Or ginal Article 2 06 & Francis 6 000November 2 06 JudithStill j it .s @nottingham.ac.uk This article is part of a project on hospitality – a fascinating and complex social, political, affective and psychic structure and practice.1 It includes an exploration of contemporary French theorisations and ‘poeticisations’ of hospitality and inhospitality, set against the sociopolitical context of the arrival of what are variously perceived as immigrants with or without papers, asylum-seekers or refugees – often, in France or England, the return of the colonial. This is an enormous topic, and even the question of the relationship between contemporary theory and the ‘affaire des sans-papiers’ in the summer of 1996 has already generated some material.2 In order to give some flavour of the complexity of the issues, I will be making some introductory points about hospitality; and then discussing the French tradition of State hospitality; the situation in France in the 1990s and the beginning of this century; finally turning to a postcolonial representation and analysis of a colonial primal scene of exchange, a fragile moment that represents the fiction of reversibility between hôtes (host and guest).

Abstract: A recent issue of the Roma Rights Quarterly dedicated itself to the theme of Fortress Europe, which Claude Cahn in his editorial introduction names ‘the most visible, systemic evil in Europe today’...

Abstract: This article seeks to describe the processes that have dissolved, between the aftermaths of the 1967 (Six Day) and the 1973 (Yom Kippur) Wars, Israel’s cohesive territorial, social and political st...

Abstract: The Strasbourg‐born New York political cartoonist and writer of children’s books, Tomi Ungerer (b 1931) was once asked what it was like to grow up in Alsace. He replied that it was like living in t...

Abstract: Sephardim, trapped in a no‐exit situation, have been forbidden to nourish memories of at least partly belonging to the people across the river Jordan, across the mountains of Lebanon, and across the Sinai desert and the Suez Canal… In a sudden historical twist, today it is to the Muslim Arab countries of their origins to whichmost Middle Eastern Jews cannot travel, let alone fantasize a return – the ultimate taboo… This desire for ‘return of the Diaspora’ is ironically underlined… [in]… a kind of reversal of the biblical expression: ‘By the waters of Zion, where we sat down, and there we wept, when we remembered Babylon.’ 1

Abstract: I had a dream Frida Kahlo never existed. At least, not as a trademark, an image destined for public consumption. A dream about contemporary society without the Fridamania, Fridolatry, Fridaphilia, ...

Abstract: There is growing conviction throughout the pre‐enlargement European member states that its major economies cannot absorb the immigration inflow from new member states and from other non‐EU or so ca...

Abstract: Lygia Pape’s career is entwined with the history of Brazilian art in the second half of the twentieth century. Her work and artistic position, which brought together formal rigour and daring experi...

Abstract: In this paper I will question the way artists who are exploring issues of Jewish identity make use of history and memory in their work. 1 I focus on three artists, representative of a wider trend i...

Abstract: The landscape of Palestine and its representation is invariably linked with its identity, which yields numerous transformations and incongruities. To create a unified teleological narrative out of the representations of Palestinian identity and place reveals itself from the outset as an attempt to engage with the experience of fragmentation, loss and estrangement. As Stuart Hall suggests, ‘Such images offer a way of imposing an imaginary coherence on the experience of dispersal and fragmentation which is the history of all enforced diasporas’. What this article intends to explore is the different representations of identity and place by Palestinian artists who create their work from various positions and experiences.

Abstract: Kwimba dimu dyetu kwalala/Kila munu pavele kumamweta/Wetu tuvalanda (Our singing is beautiful/Everybody who’s here smiles/We are artists) (Makonde popular song) As I explored the artistic univers...

Abstract: Caryl Phillips, the respected black British Caribbean novelist and political essayist, argued in 2004 that most white British writers of fiction and drama of the 1950s and early 1960s ignored questions of race and the growing presence in the UK of new migrants from the colonies and the Commonwealth. Even where the newcomers were acknowledged, it was difficult, according to Phillips, for a white English writer to engage imaginatively with a black character, particularly male, without 'thinking sexually'. This article suggests that black people were not as absent from the white cultural landscape as Phillips claimed, nor as narrowly depicted. It investigates the different ways men and women as authors represented racial alterity in the literary and cinematic texts of the period and argues that sexual thinking tended to be more a product of the male imagination than the white imagination during those years.

Abstract: The Hungarian revolution and the Polish uprising of 1956 make it particularly clear that in the middle of the twentieth century East Europeans were still struggling to achieve historical goals whic...

Abstract: In 1947, the year of India’s independence, Maqbool F Husain, Sayed H Raza, Francis Newton Souza, Ara, Bakre and Gade, associated with Chavda, Hebbar and, later, Ram Kumar, formed themselves into th...

Abstract: On first viewing, the image appears to be an eccentric map of an uncharted world. The filigree-like coastlines of these unfamiliar islands are realistically defined and clearly delineated, whilst the land mass – albeit in a reversal of traditional maps – is a clear-blue aquamarine. Study the picture further, however, and this inverted map resolves into something other than it first appeared to be. As to what that something else is, there is still some doubt until we read the accompanying title: Container 1 – Rust holes in the top of a shipping container – Tangiers (2003). The blue of these ‘regions’ is in fact the colour of a sky seen from the inside of a rusting shipping container; a corralled sky not so much boundless as claustrophobic. The photograph, now less visually ambiguous, becomes an illustration of confinement and restriction rather than exploration or travel. And it is between these two often reciprocal poles – stasis and movement – that Yto Barrada’s photographs address the state of conditional ennui that pervades Tangiers, a city both the nodal point for the illegal passage of Africans entering Europe and stagnation for those who remain there.

Abstract: Taylor and Francis Ltd CTTE_A_190053.sgm 10.1080/09528820600901339 hird Text 0952822 (pri t)/1475-5297 (online) Or ginal Article 2 06 & Francis 3-4 000May/July 20 6 DoritN aman n amand@post.queensu.ca At the climax of the film Chronicle of a Disappearance2 a Palestinian woman in an East Jerusalem apartment sits singing Hatikva3 to the Israeli police on the PA system of an abandoned radio transmitter. She had just sent the Jerusalem police on a wild-goose chase to track down a non-existent Palestinian trouble. The scene is at once funny, bitter and eerie. The eeriness is in part due to the transposition of the Israeli national anthem to a Palestinian space, even though the scene is geographically grounded in Jerusalem, a city declared by Israeli law to be Israeli in its entirety. Throughout his film, Elia Suleiman challenges the notion of the city as a united, all-Israeli capital of Jewish life. Chronicle locates itself in the Palestinian part of East Jerusalem and emphasises the lack of communication or of communal life between the two parts. The woman singing Hatikva cannot find accommodation in the Israeli part of town because she is Arab. The Israeli police are seen in pursuit of signs of Palestinian nationalist identity which threaten the Israeli claim that the city is united and unified. So while Hatikva is heard alongside images of the Jewish capital, it represents an identity and a country that the people in the film have no access to. The scene then suggests that the same piece of land shared by two nationalities is divided not by a physical border but by a manifest array of social and political practices, as well as symbolic rites. Palestinian cinema represents borders, liminality and geography, in complex and sober political terms. Israeli cinema instead either ignores the conflict with the Palestinians altogether or when addressing it avoids charting a clear notion of borders.4 An Israeli desire for a pure ethnic space overrides the realisation that liminality is a permanent state, rather than a temporary phase, for both people. Israeli cinema tends to mirror and reassert cultural and political concepts that stand in the way of any sustainable solution of the Israeli–Palestinian conflict.

Abstract: Wilkinson, Jane, 'The Place of the European Foreigner in Contemporary German Drama', Third Text (2006) 20(6) pp.753-762 RAE2008 Special Issue: FORTRESS EUROPE: Migration, Culture and Representation

Abstract: Artists have made use of commercial gloss paints since the first decades of the twentieth century, and they are present on the work of, amongst others, Jackson Pollock, Pablo Picasso, Pierre Soulag...