At some point between the writing of 1 and 2 Corinthians, there has been a significant falling out between Paul and some in the Corinthian Christian community. As a result, Paul leaves Corinth with the intention of returning to deal with it at a later date. He then changes his mind, instead writing a letter known to us as the 'painful letter'. This letter was effective in bringing about reconciliation, but questions still lingered as to why he did not return in person, instead staying away and sending a harsh letter. The section of letter found in 2 Cor. 1.1-2.13 and 7.5-16 seeks to address these concerns. It is the contention of this article, however, that Paul does more than simply recount recent events. Instead, he reframes his behaviour as something akin to voluntary exile. By comparing the letter to exilic writings from Cicero, Ovid, Seneca and Demosthenes, it will be proposed that 1.1-2.13 and 7.5-16 resembles a letter from exile.

Cuadernos Dieciochistas es una revista en la que los artículos recibidos serán evaluados por revisores externos mediante el sistema conocido como de doble ciego. La revista figura en el directorio LATINDEX y en el portal Dialnet. Además, sus artículos están indexados en las siguientes bases de datos: MLA, DOAJ, ISOC, DICE, RESH, IN-RESCHS, CIRC, MIAR, CCHS, LATINDEX, EBSCO, Proquest.

As the advent of the 'postmodern' and theoretically appointed 'postcolonial' ages have brought to the forefront of academic attention, the global history of First Peoples has been mired and desecrated by countless aspects of Judaeo-Christian colonialism and imperialism which have persisted far longer than they ever should have. And of course, as the Sapir-Whorf hypothesis posits that languages not only influence but may even entirely construct our realities and the perspectives they are formed from -something which colonial forces were obviously acutely aware of when they imposed linguistic hegemonies to overtake, erase, assimilate and replace First Peoples’ languages and beliefs with languages such as English, French and Spanish and the socio-political and religious realities embedded within them- it follows logically that the creative and activist translation of these colonial histories and the poetry, writings, myths and stories which were oftentimes partially born as an anticolonial reaction to them, as well as the cultural revival of ancient traditional practices and belief systems to counter these sordid realities, are necessarily a quintessential part of properly honouring these First Peoples and cultures of the Rainbow Tribes and Medicine Wheel, indeed to all of existence.


As such, self-translation is even moreso primordial to the emancipation from neocolonial realities Native, Métis, Inuit and multiethnic/diasporic peoples in general find themselves embedded within -much against their own will- since it allows for a direct expression of their  realities and experiences within eurocentrically linguistic constructs which, without their own anticolonial and activist backgrounds and the ability to self-determine the semantic fields and parameters of what is originally being expressed in their poetry, writings, stories and myths, has otherwise often been lost -or at the very least significantly distorted and/or corrupted/repurposed- by translators who, even with the best of intentions, could not possibly have fully rendered the depth, intensity, complexity and soulful nature of an experience which they had not personally lived, and had likely been quite detached from in terms of their understanding of it.

Este artículo analiza los testimonios: En estado de memoria de Tununa Mercado (1994), Una sola muerte numerosa de Nora Strejilevich (1997), Sueños sobrevivientes de una montonera: a pesar de la ESMA de Susana Jorgelina Ramus (2000) y Detrás de los ojos de Graciela Fainstein (2006) como formas de una escritura femenina en exilio que resiste los centros de poder impuestos por la cultura oficial. Estas mujeres sobrevivientes de la última dictadura argentina (1976-1983), a través de estos escritos, reflexionan sobre la memoria, la identidad, la escritura y el trauma en relación con la experiencia de ex detenidas desaparecidas y exiliadas. El exilio aparece en sus narrativas como un estado caracterizado por múltiples pérdidas. Sin embargo, será precisamente la inestabilidad identitaria, causada por estas pérdidas que empujará a estas mujeres a escribir, y a escribirse. El exilio, en tanto el espacio psicológico desde el cual  recuerdan se convierte, en un disparador de un tipo de escritura que apunta a la elaboración psicológica del trauma y la construcción de identidad femenina alternativa. Situadas en los márgenes, desterritorializadas, las mujeres construyen identidades en perpetuo devenir que se resisten a tener una esencia única e inamovible.

Lors de la publication de l’Enfant noir en 1953, la domination coloniale française en Guinée s’essouffle en raison de la contestation de la population, des prises de position des leaders syndicalistes et des auteurs anticolonialistes. Alors que la quasi-totalité des auteurs africains « était presque unanimement orientée vers la dénonciation du fait colonial et du choc culturel qu’il engendre » , Camara Laye, lui, écrit un « livre intemporel qui s’est imposé comme un classique de notre temps »  grâce à l’exclusion de toute référence au colonialisme français et au choc des civilisations. Dès lors, nous nous interrogerons dans un premier temps sur la finalité première du roman et sur les objectifs poursuivis par l’auteur et la maison d’édition. Dans un second temps, nous analyserons les éléments d’africanité qui s’opposent bien souvent à ceux hérités de la civilisation occidentale.

Eine Seminararbeit über die Exil- und Migrationsliteratur des russischen Exilautoren Vladimir Nabokov und des albanischen Autoren Gazmend Kapllani. Angefertigt für ein Seminar zu Albanischer Literatur. Die Arbeit beschäftigt sich mit dem Verhältnis der beiden Autoren zu ihren Heimatländern und der Möglichkeit einer Rückkehr in diese.

This article focuses on France as a refuge for unaccompanied Central European Jewish children on the
eve of World War II. Contrary to the United Kingdom, which accepted 10,000 Jewish children through
Kindertransport, only 350-450 children entered France. This article utilizes children’s diaries and organizational
records to question how children perceived and recorded their displacement and resettlement in France, a
country that would soon be at war, and then occupied, by Nazi Germany. By questioning how these events
filtered into and transformed children’s lives, I argue that the shifting political environment led to profound
transformations in these children’s daily lives long before their very existence was threatened by Nazi–Vichy
deportation measures. Most children were cared for in collective children’s homes in the Paris region in
which left-oriented educators established children’s republics. Yet the outbreak of war triggered a series of
events in the homes that led to changes in pedagogical methods and new arrivals (and thus new conflicts).
The Nazi occupation of France led to the children’s displacement to the Southern zone, their dispersal
into new homes, and the reconfiguration of their networks. This analysis of children’s contemporaneous
sources and the conditions under which they were produced places new emphasis on the epistemology of
Kindertransport sources and thus contributes to larger theoretical discussions in Holocaust and Childhood
studies on children’s testimony.

Este artículo discutirá la participación de las voces femeninas en la producción y debate de la cultura chilena en el exilio en quizás la más importante y prestigiosa publicación de este tipo: la revista Araucaria de Chile publicada en Francia y España entre 1978 y 1989. Al analizar la presencia, ausencia y/o co-optación de la creación y reflexión de las mujeres sobre la cultura chilena, la violencia política y la violación a los derechos humanos, pretendemos demostrar si existe o no una marginación de sus voces en dicha revista. Por esto, esta publicación será estudiada en un doble contexto: en primer lugar, en relación a las batallas por la justicia y verdad de las violaciones a los derechos humanos en Chile que causaron tensiones entre discursos oficiales y civiles acerca del significado del régimen militar para el país y, en segundo lugar, en relación al pensamiento feminista que influyó profundamente a las mujeres chilenas exiliadas en Europa en las décadas de los 70 y 80 (periodo que coincide con la publicación de Araucaria de Chile en Francia y España).

Il saggio intende dimostrare che, subito dopo la pubblicazione, da parte di Alberico Gentili, dei De iuris interpretibus Dialogi sex (1582) e delle Lectiones et Epistolae (1583-1584) i rapporti fra Jean Hotman e il giurista di San Ginesio divennero molto difficili e burrascosi. Lo dimostrano alcune epistole scritte da Hotman ad autorevoli giuristi (ad es. Bodin), e ad alcuni umanisti (Bergmann, Payne, Cuffe, Th. Savile) contenenti critiche molto dure e severe ai Dialogi gentiliani. Malgrado ciò, e malgrado le opposizioni dei puritani, Gentili riuscirà ad ottenere la cattedra di Civil Law a Oxford.Il saggio contiene anche notizie circa il tentativo compiuto, dal Gentili, di ottenere un insegnamento a Tubinga nel 1580.

Although the first world, as seen through the lens of academia, seems to be prospering, and the third world has found its own place in the postcolonial intellectual order, the post-cold war world of semi-peripheries in East and Central Europe (ECE) has largely disappeared from the discourse of Comparative Literature. It sometimes appears as a convenient intellectual counterpoint or is included in postmodernist or postcolonial narratives; in both cases, however, it doesn’t convey regional specificity or allow local voices to speak. Both strategies – core and postcolonial – expropriate the semi-peripheral realm of second-world non-places.

En décembre 2019 j'ai soutenu à l'Université Paris 1 Panthéon-Sorbonne ma thèse de doctorat intitulée "La Performativité dans l'oeuvre et la pratique artistique de Gao Xingjian". Dans ce document, on peut lire une courte présentation de ma thèse.

Le lien du SUDOC permet de  télécharger ma thèse.

Exilul, înscrierea voită în axa nemiloasă a uitării, implică sfâșietoarea luptă între două lumi: cea veche cu orânduirea sa generoasa și cea nouă cu precarități și cioburi de vieți și vise adunate într-o batistă. Uneori fuga însăși, greutățile drumului înspre exil fac ca desțărarea în sine să fie antitetică: o ușurare și o îngreunare a desagilor vieții. Această relație antitetică cu exilul este și cartea lui Joseph i Mayol, o eliberare de sub jugul franchist și o încarcerare în perpetua dorință, nu întotdeauna nostalgică, de reîntâlnire cu țara. O carte jurnal a exodului intelectualilor catalani și nu numai, având în vedere că lor li s-a alăturat și poetul Antonio Machado, și, în același timp, un sfâșietor rămas bun Cataloniei și, implicit, Spaniei. Printre intelectualii pe care bibliobuzul i-a dus în exil se numără, printre alții, prozatoarea Mercè Rodoreda, gramaticianul Pompeu Fabra, jurnalistul Antoni Rovira i Virgili, jurnalista Magí Murià, scriitorul Pau Vila, criticul de artă Feliu Elias, scriitorul Alfons Maseras, scriitorul Ramon Vinyes, politicianul Joan Soler i Pla, scriitorul Avel·lí Artís i Balaguer.

Џојсова драма Изгнаници (1918) сматра се његовим најмање успешним делом, нарочито када се упореди са комплексношћу симбола и техником „тока свести“ коју Џојс мајсторски експлоатише у романима Портрет уметника у младости, Уликс и Финеганово бдење. Изгнаници, међутим, документују две значајне ствари: с једне стране, аутобиографски елементи на којима је заснована радња драме пружају увид у Џојсову компликовану везу са Нором Барнакл, док с друге стране драма у целости открива утицај Хенрика Ибзена на Џојсову уметност. Пратећи ова два аспекта драме, у раду испитујемо начин на који је Џојс у Изгнаницима анализирао проблематичан однос између слободе и брака, слободе и егзила, слободе и достојанства, слободе и лепоте живљења. Рад заступа тезу да је Џојсов драмски експеримент, без обзира на његову недореченост и неразрешени драмски заплет, незаобилазно штиво које је утрло пут како ка техници „тока свести“ коју је Џојс усавршио у потоњим делима, тако и ка специфичном, надасве уметничком виђењу слободе, које представља основ за разумевање Џојсових прослављених романа.

This paper deals with literature written in places that are different from the origin places of authors. Exile literature, diaspora literature and other kinds of displacement literature are included within the concept of ectopic literature.  A typology of ectopic literature is offered considering the language of writing, the language of the target place as well as other criteria.

The history of American expatriation in post-World War II Paris offers a rich archive through which to explore historical tensions between notions of freedom and citizenship. Less known is that this history offers a valuable lens through which to explore national security and domestic intelligence-gathering practices in free, democratic societies such as the United States. The American government’s surveillance of American writers living and working in post-war Paris infringed upon their freedoms and complicated their notions of civic responsibility to and for the United States. This article will use the Gibson Affair (Paris, 1958), a major forgery case that French and American literary scholars have long suspected was instigated by American intelligence, to explore the “specter of surveillance” that existed between the two principal groups of American writers living and working in post-war Paris, namely the community of black American writers known collectively as Paris’s Rive Noire or Black Bank (Richard Wright, James Baldwin, Chester Himes) and the founders of the Paris Review (George Plimpton, Peter Ma hiessen, Harold L. “Doc” Humes).

Cartographies of Exile: A New Spatial Literacy (Routledge, 2016) proposes a constitutive relationship between exile and mapping. It seeks to understand the cartographic imperative inherent in the exilic condition, the exilic impulses fundamental to map-making, and the varied forms of description proper to both. The collection asks: what kinds of maps do exiles make? How are they conceived, drawn, and read? Are they private maps or can they be shaped collectively? What is their relationship to memory and history and what do they reveal about diverse cultural and political imaginaries? And how, finally, might a cartographical necessity of exile challenge how we conceive of mapping, its history and future, its functions, tools, and media?

The original work that makes up this interdisciplinary collection presents a varied look at the cartographic strategies employed in writing, art, and film from the pre-Contact Americas to the Renaissance to late postmodernism; the effects of exile, in its many manifestations, on cartographic textual systems, ways of seeing, and forms of reading; the challenges of traversing and mapping unstable landscapes and restrictive social and political networks; and the difficulties and felicities of giving into the map or attempting to escape the map that provides for exile in the first place. The vital intimacy of the relationship between exile and mapping compels, this volume asserts, a new spatial literacy that requires the cultivation of localized, dynamic reading practices attuned to the complexities of understanding space as text and texts as spatial artifacts.

Cartographies of Exile comments on the various epistemological displacements that map-making depends upon to build the known world while also revealing the overwhelming importance of agency in exile that mapping facilitates and the new reading practices that exilic maps demand. The book will be of interest to scholars and students from a wide variety of interdisciplinary backgrounds, including literary and cultural studies; gender, sexuality, and race studies; anthropology and indigenous studies; art history and architecture; film and visual studies; and the fine arts.

Bremmer offers a much-needed reassessment of the career and biography of the famous outlaw. Asking “what national or ethnic sen- timents did the author [of the Gesta] entertain in his description of Hereward?” Bremmer concludes that he “consciously attempted to depict [Hereward] as a latter-day Anglo-Saxon but also that he eventually realized that in view of the new disposition such a characterization could not be maintained until the end of his narrative”. Bremmer situates the Gesta in relation to other later Anglo-Saxon texts concerned with cultural identity, including Ælfric’s Letter to Brother Edward and Wulfstan’s Sermo Lupi, yet he notes that that the author also engages in rhetorical flourishes more typical of Classical epic than early English historiography. Ultimately, Bremmer argues, the political realities of post-Conquest England overtake any nostalgia for the Anglo-Saxon past, so that the narrative’s somewhat deflating conclusion—Hereward’s reconciliation with William—s...

Este libro aspira a recoger y analizar de modo crítico la complejidad de la poesía de los exiliados republicanos de 1939. En este sentido, su horizonte de expectativas no se limita al establecimiento de un relato que clausure las indeterminaciones, problemas y silencios que han afectado a la poesía exiliada. Contrariamente, su objetivo último se orienta a la construcción de unos principios básicos a partir de los cuales, y sin exclusión del exilio, se pueda afrontar el reto de una lectura e interpretación de los sistemas literarios tanto de la poesía española contemporánea en su conjunto como de los distintos campos culturales de los países de acogida. Sin olvidar las distintas circunstancias personales de sus creadores, nos interesa cómo, cuánto, dónde y por qué se ha leído este corpus en temporalidades y lugares disímiles, en los sistemas culturales en que se inscribió, en las tradiciones de las que partía, en el interior peninsular (durante el franquismo, la transición y la democracia)… Y nos interesa asimismo historiar las recepciones que se han hecho de este corpus y sus condiciones de posibilidad en el presente, articulando una memoria crítica, no meramente testimonial o monumental, de estos legados del pasado.

idioma no importa, ros hombres ribres hablan su |engua" """""176 M.LourdesPradesArtigasyRamónNayaOrtega Reescribiendo Guadalaiara' El-tratamiento iconográfico de la Guerra Civit espanoi" "n lo" primeros'if,t"to" OJel Legionario""l9l Daniela Aronica La leyenda del Alcázar de Toledo: guerra a la verdad en las crónicas portuguesas"""""""" """209 Clara Sanz Hernando *Woman observers" and "girl reportefs" in the Spanish Civil War"""'230 Renée LugschiE History, literature and propaganda: Egon Erunin Kisch in the Spanish Civil War """""'249 Joachim Gatterer Telefónica,una novela de llsa Barea-Kulcksar """"" """'262 Georg Pichler Gontextos políticos y propagandisticos: la fotógrafa Vera Elkan y tas com b"t¡untJJ Jril"leiga¿as l nternacionáles " " " "" "" " " "" " " 280 Laura LÓpez Martín' Natascha SchmÓller AWaltto painton(1946) de lone Robinson: el arte de la memoria de la Guerra civil Española" """"""293 Francie Cate-Arries Aidez l'Espagne: la propaganda en Francia durante la Guerra Civil españo|a """""" ""'309 José Manuel LóPez Torán ¿"Salvar vidas" o diplomacia paralela? Las ambigüedades de la actuación n'*-"i'tü'¡" á" Jean Herbette ""'326

A study of the limits of multilingual literary expression in print culture. Beginning with the insight that multilingual literature defies simple translation, Brian Lennon examines the resistance multilingual literature offers to book publication. Looking closely at the limit of multilingual literary expression and the literary journalism, criticism, and scholarship that comments on multilingual work, In Babel’s Shadow presents a critical reflection on the fate of literature in a world gripped by the crisis of globalization.

Resumen: A propósito de la celebración del bimilenario de la muerte de Ovidio, acaecida el 17 d.C., me propongo analizar el exilio del poeta como un fenómeno histórico con resonancias literarias y culturales. A partir de las formas de exilio aplicadas en el mundo romano, se revisan las implicancias que tuvo el destierro como medida de coerción durante la Pax impulsada por el emperador Octavio Augusto.

Abstract: Considering bimillennium of Ovid's death, on 17 AD, I propose to analyse the exile of the poet as a historical phenomenon from a literary and cultural point of view. Starting from different forms of exile applied in the Roman world, implications of his exile such as measure coercion during Pax Romana by Augustus emperor are revised.

Mahmoud Darwish, palestinernes nasjonalpoet, skrev om savn, krig, flukt og eksil. Hans livshistorie rommet den palestinske kampen, og poesien manifesterer lengselen og lidelsen som banker i alle eksilhjerter: “an incurable malady called hope”.

George M. Hoellering (1897-1980) was born the 20th July1897 as Georg Michael Höllering  in Baden, Austria-Hungary, near Vienna. At the beginning of the 1920’s he moved to Berlin, , and worked in the film industry in different jobs, as editor and director of shorts. He was production manager of Kuhle Wampe (1932) by Bertolt Brecht, directed by Slatan Dudow. With the approaching Nazi takeover Hoellering thought it wisest to leave Germany.
 
  Early in 1934 Hoellering moved to Hungary, to make a film at the famous Puszta of Hortobágy. In the Autumn he contacted Zsigmond Móricz, one of the greatest Hungarian writers of the period, to write first a story and then a screenplay for the film. Today we would call  „Hortobágy” a docu-fiction, an amalgam of documentary shots with a threefold story-line, played by peasants and herdsmen.
 
  Hoellering and his faily arrived in England in the early Summer of 1936. A first projection of „Hortobágy” was organised by The Film Society, Sunday 13th December 1936 in the New Gallery Cinema. Graham Greene wrote about it in The Spectator: „Undoubtedly, the horses have it. Hortobagy, a film of the Hungarian plains, acted by peasants and shepherds, is one of the most satisfying films I have seen: it belongs to the order of Dovzhenko’s Earth without the taint of propaganda. The photography is extraordinarily beautiful, the cutting superb.”

  In the Summer of 1940 the authorities arrested and interned all „enemy aliens”. Hoellering was also interned and taken to the Isle of Man. There in the camp he wrote and directed an amateur theatre performance, a musical called „What a Life!”

  From 1944 till his death in 1980 he was managing director of the Academy Cinemas. His ambition was to become the foremost British promoter of „continental” and Asian art films.
 
  Hoellering directed two more short films after the war. „Shapes and Forms” (1950) and „The Glasgow Orpheus Choir” (1951). In 1951 he produced and directed the feature film version of (later) Nobel prize winner T.S. Eliot’s drama, „Murder in the Cathedral”. The film was shown at the Venice Film Festival and won the prizes for Best Art Direction and Best Film in Costume.
      Hoellering also served as a governor of the British Film Institute from 1967 to 1972. When he died on the 10. February 1980, still in harness, he was described in the obituaries as a significant force in British film culture. Dilys Powell wrote in Sight and Sound : „George Hoellering, who ran London’s Academy Cinema for 36 years, was as important to the screen in this country as any of the great film directors. Without him we might not have seen the work of a good many of those great film directors. He was himself a gifted director”.

En este estudio se analizan las figuraciones y construcciones de la voz poética en la obra de Tamara Kamenszain, en relación con su experiencia en el exilio y la necesidad de reconstruir una memoria tanto individual como colectiva en el espacio de la escritura.

The present thesis is a study of how body and space interrelate in the novel La Plaça del Diamant (1962) by the Catalan writer Mercè Rodoreda (1908-1983). I will in the following argue that these relations are important effects of the literary form of LPD (=La Plaça del Diamant) and study how they produce a certain form of subjectivity. The analysis is generated by the following questions: how are the textual differences, translations, transitions and cancellations between the domains of body and space made readable by LPD?

Centering on these questions, what will be studied more specifically in LPD is:
• The practice of naming (and re-naming) and its implications for subject formation
• The construction of bodily perception through spatial signs
• The aesthetic strategies used for the inscription of a female experience and
corporeality
• Stylistic aspects of fragmentation 
• The Diamond Square as threshold chronotope and producer of a subject in crisis

The analysis is underpinned by a materialistic, feminist and critical theory, in which the literary text is seen as a discursive act that generates certain conditions for a subject to take form. The method of study consists in a deconstructive and performative reading of LPD, based on the view on the literary text as an event between aesthetic and socio-historical elements that materialize (and question) the conditions of subject formation. Previous research has argued that the main character of LPD undergoes a progressive development during the course of the story – that she in the beginning is naïve and passive to then become a free and active subject in the end. I will however try to formulate an alternative reading of Rodoreda’s novel; a reading that will question Western-liberal accounts of subjects as freely choosing, autonomous agents and instead search for the formal and discursive conditions of LPD that render certain subjects legible.
The emphasis is to study how the novel deconstructs and challenges a homogeneous notion of the subject – through its use of various stylistic, narrative and symbolic devices – and how it thus problematizes the very concept of identity.

In this essay, I argue that the publication of this book opened up a symbolic space for  Jewish immigrants in the lettered culture of Buenos Aires and also in the future of the country.  Paradoxically, this is achieved, not through a text thematizing the cosmopolitan life of Jews in  the city, as has been the theme of Jewish modernist writers in other countries, but rather through  a depiction of bucolic Jewish life following biblical prophecy. Published at a time when  nationally a realist literature taking up rural themes was emerging in Argentina in contraposition  to more avant-garde forms, Gerchunoff’s opera prima condensed Jewish life in the country as a  usable past – albeit contrived – for the Jews of the city of Buenos Aires. To achieve inclusion in  the literary and political world of the city, Gerchunoff claimed a past rooted in Argentinean  traditions, and the Argentinean landscape for himself and for the nascent Jewish community by  extension. This connection to the land distanced Jews from the anti-Semitic stereotypes of the  time that portrayed them as money-hungry metropolitans.  Gerchunoff’s literary strategy is not only set in the land as home, but in the domestication of identity by using Jewish women as the  keys to integration into modern life in Argentina. As I will show, his female characters as home-savy characters are used to bridge the old and the new worlds.