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This book is a comparative study of six Italian American and Greek American literary works written in the three last decades of the 20th century and examined in pairs. Based on the common theme of the authors' return, either metaphorical or literal to the country of origin and its culture, Return Narratives explores the common motifs of mythology, ritual, and storytelling where the third generation writers resort to in their quest for self-definition. With a common historical and cultural background in the old neighboring countries, Greece and Italy, and a similar reception in the new world facilitating a comparative approach, the ethnic writers of the two literatures, clearly envisage ethnic space as a site of resilience and empowerment.
In this original and compelling book, Mary Chamberlain explores the nature and meaning of migration for Barbadians who migrated to Britain and elsewhere. It is a unique oral and social history, based on life-story interviews across three or more generations of Barbadian families. Locating migration within the contemporary debate on modernity, Narratives of Exile and Return highlights the continuing role of migration in shaping the culture and history of Barbados. But it does more by providing post-modern theorizing with concrete national and ethnic settings.
This volume of exiles’ accounts “[uses] the stories as springboards to discussing Iraqi history, politicization, and diasporic experiences in depth” (International Journal of Middle East Studies). With the U.S. invasion of Iraq, Iraqis abroad, hoping to return one day to a better Iraq, became uncertain exiles. Return to Ruin tells the human story of this exile in the context of decades of U.S. imperial interests in Iraq—from the U.S. backing of the 1963 Ba’th coup and support of Saddam Hussein’s regime in the 1980s, to the 1991 Gulf War and 2003 invasion and occupation. Zainab Saleh shares the experiences of Iraqis she met over fourteen years of fieldwork in Iraqi London—offering stories from an aging communist nostalgic for the streets she marched since childhood, a devout Shi’i dreaming of holy cities and family graves, and newly uprooted immigrants with fresh memories of loss, as well as her own. Focusing on debates among Iraqi exiles about what it means to be an Iraqi after years of displacement, Saleh weaves a narrative that draws attention to a once-dominant, vibrant Iraqi cultural landscape and social and political shifts among the diaspora after decades of authoritarianism, war, and occupation in Iraq. Through it all, this book illuminates how Iraqis continue to fashion a sense of belonging and imagine a future, built on the shards of these shattered memories.
Drawing on a corpus of 113 narratives told by migrant workers who have returned to their home country, Ladegaard details Indonesian and Filipina (domestic) migrant workers’ experiences of homecoming after years of work abroad, separated from their loved ones. The narratives deal with two major themes: 1) Migrant workers’ experiences in the diaspora, which for many, particularly Indonesian workers, were associated with abuse and exploitation leading to trauma; and 2) migrant workers’ experiences of coming home, which include both the happy reunion with the family but also concerns about not ‘fitting in’ and the need to reinvent themselves because they are not who they were when they left. This is particularly true for workers whose migratory journeys have failed and who have come back to their hometowns without any financial award. Chapters also explore the major difference between Filipina and Indonesian migrant workers’ overseas experiences. The Filipina returnees share mostly positive stories while the Indonesian returnees uncover mostly negative stories, further illuminating what may explain these diverse migratory experiences. Finally, the book discusses how research on disenfranchised groups like (domestic) migrant workers can be used for social and political action. An excellent text that will appeal to academics, teachers and postgraduate students in the humanities and social sciences, particularly in sociolinguistics, applied linguistics, intercultural communication, anthropology, and migration studies.
This book examines the concept of translation as a return to origins and as restitution of lost narratives, and is based on the idea of diaspora as a term that depicts the longing to return home and the imaginary reconstructions and reconstitutions of home by migrants and translators. The author analyses a corpus made up of novels and a memoir by Italian-Canadian writers Mary Melfi, Nino Ricci and Frank Paci, examining the theme of return both within the writing itself and also in the discourse surrounding the translations of these works into Italian. These ‘reconstructions’ are analysed through the lens of translation, and more specifically through the notion of written code-switching, understood here as a fictional tool which symbolizes the translational movements between different points of view. This book will be of particular interest to students and scholars of translation and interpreting, migration studies, and Italian and diasporic writing.
In this one-of-a-kind volume, Iraida López explores various narratives of return by those who left Cuba as children or adolescents. Including memoirs, semi-autobiographical fiction, and visual arts, many of these accounts feature a physical arrival on the island while others depict a metaphorical or vicarious experience by means of fictional characters or childhood reminiscences. As two-way migration increases in the post-Cold War period, many of these narratives put to the test the boundaries of national identity. Through a critical reading of works by Cuban American artists and writers like María Brito, Ruth Behar, Carlos Eire, Cristina García, Ana Mendieta, Gustavo Pérez Firmat, Ernesto Pujol, Achy Obejas, and Ana Menéndez, López highlights the affective ties as well as the tensions underlying the relationship between returning subjects and their native country. Impossible Returns also looks at how Cubans still living on the island depict returning émigrés in their own narratives, addressing works by Jesús Díaz, Humberto Solás, Carlos Acosta, Nancy Alonso, Leonardo Padura, and others. Blurring the lines between disciplines and geographic borders, this book underscores the centrality of Cuba for its diaspora and bears implications for other countries with widespread populations in exile.
After the 1965 Immigration and Nationality Act loosened discriminatory restrictions, people from Northeast Asian countries such as South Korea, Taiwan, Japan, and eventually China immigrated to the United States in large numbers. Highly skilled Asian immigrants flocked to professional-managerial occupations, especially in science, technology, engineering, and math. Asian American literature is now overwhelmingly defined by this generation’s children, who often struggled with parental and social expectations that they would pursue lucrative careers on their way to becoming writers. Christopher T. Fan offers a new way to understand Asian American fiction through the lens of the class and race formations that shaped its authors both in the United States and in Northeast Asia. In readings of writers including Ted Chiang, Chang-rae Lee, Ken Liu, Ling Ma, Ruth Ozeki, Kathy Wang, and Charles Yu, he examines how Asian American fiction maps the immigrant narrative of intergenerational conflict onto the “two cultures” conflict between the arts and sciences. Fan argues that the self-consciousness found in these writers’ works is a legacy of Japanese and American modernization projects that emphasized technical and scientific skills in service of rapid industrialization. He considers Asian American writers’ attraction to science fiction, the figure of the engineer and notions of the “postracial,” modernization theory and time travel, and what happens when the dream of a stable professional identity encounters the realities of deprofessionalization and proletarianization. Through a transnational and historical-materialist approach, this groundbreaking book illuminates what makes texts and authors “Asian American.”
A Globe and Mail, Hill Times and CBC Best Book of the Year Have you ever wondered what it would be like to return to your roots? Drawing on astute political analysis and extensive reporting from around the world, Return: Why We Go Back to Where We Come From illuminates a personal quest. Kamal Al-Solaylee, author of the bestselling and award-winning Intolerable: A Memoir of Extremes and Brown: What Being Brown in the World Today Means (to Everyone), yearns to return to his homeland of Yemen, now wracked by war, starvation and daily violence, to reconnect with his family. Yemen, as well as Egypt, another childhood home, call to him, even though he ran away from them in his youth and found peace and prosperity in Canada. In Return, Al-Solaylee interviews dozens of people who have chosen to or long to return to their homelands, from Basques to Irish to Taiwanese. He does make a return of sorts himself, to the Middle East, visiting Israel and the West Bank, as well as Egypt. A chronicle of love and loss, of global reach and personal desires, Return is a book for anyone who has ever wondered what it would be like to return to their roots.
It is often claimed that we know ourselves and the world through narratives. In this book, Robert D. Newman portrays narrative engagement as a process grounded in psychoanalytic theory to explain how readers (or listeners or viewers) manage to engage with specific narratives and derive from them a personal experience. Newman describes this psychodrama of narrative engagement as that of exile and return, an experience in which narrative becomes a type of homeland, beckoning and elusive, endlessly defining and disrupting the borders of a reader's identity. Within this paradigm, he considers a fascinating variety of narrative texts: from the Jim Jones episode in Guyana to Freud's repression of personal history in his story of Moses; from a surrealistic collage novel by Max Ernst to the horror films of Alfred Hitchcock; from the works of James Joyce, Ariel Dorfman, Milan Kundera, and D. M. Thomas to the tales of abjection in pornography. Transgressions of Reading is itself an engaging work, as interesting for its provocative readings of particular works as for its theoretical insights. It will appeal to readers from all fields in which narrative plays a crucial role, in the study of film and art, modern and contemporary literature, popular culture, and feminist, psychoanalytic, and reader response theory.