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The highly-charged debate over Morocco’s diasporic minorities in Europe has led to a growing interest in the literary production of these ‘new’ Europeans. This comparative study is the first to discuss together a body of texts, including contemporary Judeo-Moroccan literature, written in French, Spanish, Catalan and Dutch, which have never been studied as a group. Faced with such a variegated field of literary production, the aim of this book is not to tie individual works of literature to their ‘national’ place of origin, but to re-conceptualize the idea of a ‘Moroccan’ literature with regard to the transnational and multilingual experiences from which it arises. Drawing on a wide range of theoretical insights, from Fatima Mernissi’s concept of female subalternity to Abdelmalek Sayad’s principle of the immigrants’ ‘absent’ history, this book allows for the re-evaluation of the relationship between migration and postcolonial literary studies. A careful analysis of the literary techniques used in the texts under scrutiny here highlights their poetic qualities, without bypassing their political relevance with regard to the intercultural relations between Morocco and Europe as they are presently unfolding across the Mediterranean, and beyond.
New Voices of Muslim North-African Migrants in Europe captures the experience in writing of a fast growing number of individuals belonging to migrant communities in Europe. The book follows attempts to transform postcolonial literary studies into a comparative, translingual, and supranational project. Cristián H. Ricci frames Moroccan literature written in European languages within the ampler context of borderland studies. The author addresses the realm of a literature that has been practically absent from the field of postcolonial literary studies (i.e. Neerlandophone or Gay Muslim literature). The book also converses with other minor literatures and theories from Sub-Saharan Africa, as well as Asians and Latino/as in the Americas that combine histories of colonization, labor migration, and enforced exile.
Spatiality at the Periphery in European Literatures and Visual Arts analyzes the impact migrations, both internal and external, have on Europe’s literary and visual representations in the nineteenth to twenty-first centuries. The volume aims to subvert a centripetal reading of European cultural production by including peripheral thinkers, writers, and visual artists operating in transcultural contexts. The essays highlight and investigate the fertile artistic discourses generated in the spatial peripheries outside of Europe or its inner peripheries. The volume addresses the need for geocritical readings that overcome the engrained dichotomy of centers-peripheries. By doing so, the book brings a more nuanced approach to national literatures and proposes the idea of “contact zones of imaginative interaction”.
A moving portrait of the contemporary experiences of migrant Moroccan men. Umbria is known to most Americans for its picturesque rolling hills and medieval villages, but to the many migrant Moroccan men who travel there, Umbria is better known for the tobacco fields, construction sites, small industries, and the outdoor weekly markets where they work. Marginalized and far from their homes, these men turn to Moroccan traditions of music and poetry that evoke the countryside they have left— l-‘arubiya, or the rural. In this book, Alessandra Ciucci takes us inside the lives of Moroccan workers, unpacking the way they share a particular musical style of the rural to create a sense of home and belonging in a foreign and inhospitable nation. Along the way, she uncovers how this culture of belonging is not just the product of the struggles of migration, but also tied to the reclamation of a noble and virtuous masculine identity that is inaccessible to Moroccan migrants in Italy. The Voice of the Rural allows us to understand the contemporary experiences of migrant Moroccan men by examining their imagined relationship to the rural through sound, shedding new light on the urgent issues of migration and belonging.
The Routledge Handbook of the New African Diasporic Literature introduces world literature readers to the transnational, multivocal writings of immigrant African authors. Covering works produced in Europe, North America, and elsewhere in the world, this book investigates three major aesthetic paradigms in African diasporic literature: the Sankofan wave (late 1960s–early 1990s); the Janusian wave (1990s–2020s); and the Offshoots of the New Arrivants (those born and growing up outside Africa). Written by well-established and emerging scholars of African and diasporic literatures from across the world, the chapters in the book cover the works of well-known and not-so-well-known Anglophone, Francophone, and Lusophone writers from different theoretical positionalities and critical approaches, pointing out the unique innovative artistic qualities of this major subgenre of African literature. The focus on the “diasporic consciousness” of the writers and their works sets this handbook apart from others that solely emphasize migration, which is more of a process than the community of settled African people involved in the dynamic acts of living reflected in diasporic writings. This book will appeal to researchers and students from across the fields of Literature, Diaspora Studies, African Studies, Migration Studies, and Postcolonial Studies.
This study of Moroccan society explores the country's culture through its literature, journalism and film. It examines transitions from traditionalism to modernity within the conflicted polemics of the post-9/11 world. Addresses issues including feminism, sexuality, gender and human rights and how they are conveyed in Moroccan media.
Arab Voices in Diaspora offers a wide-ranging overview and an insightful study of the field of anglophone Arab literature produced across the world. The first of its kind, it chronicles the development of this literature from its inception at the turn of the past century until the post 9/11 era. The book sheds light not only on the historical but also on the cultural and aesthetic value of this literary production, which has so far received little scholarly attention. It also seeks to place anglophone Arab literary works within the larger nomenclature of postcolonial, emerging, and ethnic literature, as it finds that the authors are haunted by the same ‘hybrid’, ‘exilic’, and ‘diasporic’ questions that have dogged their fellow postcolonialists. Issues of belonging, loyalty, and affinity are recognized and dealt with in the various essays, as are the various concerns involved in cultural and relational identification. The contributors to this volume come from different national backgrounds and share in examining the nuances of this emerging literature. Authors discussed include Elmaz Abinader, Diana Abu-Jaber, Leila Aboulela, Leila Ahmed, Rabih Alameddine, Edward Atiyah, Shaw Dallal, Ibrahim Fawal, Fadia Faqir, Khalil Gibran, Suheir Hammad, Loubna Haikal, Nada Awar Jarrar, Jad El Hage, Lawrence Joseph, Mohja Kahf, Jamal Mahjoub, Hisham Matar, Dunya Mikhail, Samia Serageldine, Naomi Shihab Nye, Ameen Rihani, Mona Simpson, Ahdaf Soueif, and Cecile Yazbak. Contributors: Victoria M. Abboud, Diya M. Abdo, Samaa Abdurraqib, Marta Cariello, Carol Fadda–Conrey, Cristina Garrigós, Lamia Hammad, Yasmeen Hanoosh, Waïl S. Hassan, Richard E. Hishmeh, Syrine Hout, Layla Al Maleh, Brinda J. Mehta, Dawn Mirapuri, Geoffrey P. Nash, Boulus Sarru, Fadia Fayez Suyoufie
This book examines how African, Asian, Middle Eastern and Latin American diasporas use media to communicate among themselves and to integrate into European countries. Whereas migrant communities continue employing print and broadcasting technologies, the rapidly growing applications of Internet platforms like social media have substantially enriched their interactions. These communication practices provide valuable insights into how diasporas define themselves. The anthology investigates varied uses of media by Ecuadorian, Congolese, Moroccan, Nepalese, Portugal, Somali, Syrian and Turkish communities residing in Belgium, Germany, Italy, the Netherlands, Spain, Sweden and the UK. These studies are based on research methodologies including big data analysis, content analysis, focus groups, interviews, surveys and visual framing, and they make a strong contribution to the emerging theory of diasporic media.
Mobility has become one of the most exciting factors shaping our transnational and transcultural world today. However, the variety of approaches and stimulating debates it has engendered in geopolitics and sociology make it challenging for literary and cultural critics to establish solid approaches and own vocabularies. Through a variety of case studies written by international contributors, this volume addresses emerging topics by using the tools of border studies, postcolonial discourse, and globalization theory. The multiple perspectives provided here emphasize the interaction between migrants and hosts as material, discursive, and historical. The chapters in this volume view identities as mobile and in constant flux, constructed and reconstructed repeatedly in historical and cultural encounters with several others. As a result of this dynamic, established stereotypes and images are challenged and revised in the analyses here. The book concludes that cultural identities are increasingly visible as results of large-scale global mobility. In so doing, it challenges views that address ethnicity as an unambiguous category and reveals that the making of such identities is contradictory and even conflicting.
The Funambulists brings together the diverse poetry collections of six contemporary Arab diasporic women poets. Spanning multiple languages and regions, this volume illuminates the distinct artistic voice of each poet, yet also highlights the aesthetic and political relevance that unites their work. Marchi explores the work of Naomi Shihab Nye, a celebrated American poet of Palestinian descent; Iman Mersal, an Egyptian poet living in Edmonton, Canada, who writes in Arabic; Nadine Ltaif, a Lebanese poet who lives in Quebec and has adopted French as her language; Maram al-Massri, a Syrian poet writing in Arabic and living in France; Suheir Hammad, an American poet of Palestinian origin; and Mina Boulhanna, a Moroccan poet living in Italy and writing in Italian. Despite their varying geographical and political backgrounds, these poets find common ground in themes of injustice, spirituality, gender, race, and class. Drawing upon the concept of tension, Marchi examines both the breaking points and the creative energies that traverse the poetic works of these writers. These celebrated funambulists use their art of balance and flexibility bolstered by their courage and transgression to walk a tightrope stretched out across cultures, faiths, and nations.