Search Results for women migrants

... and in their countries of origin. This essay contributes to emerging research on Eastern European women’s migrant writing by juxtaposing two semiautobiographical novels that belong to post-Yugoslav diasporic women’s literature: Nadja Tesich’s Native Land (1998) and Natasha Radojčić’s You Don’t Have to Live Here (2005...

... Europe (CEE) and the United States. Staging these discourses predominately by way of the embodied performances of US migrant women from Eastern Europe, Stănescu’s plays raise questions about the relationship between (post)socialist nations and the United States, and about the attendant ideologies...

... Migrants’ Agency in US Post-Yugoslav Novels,” Tatjana Bijelić examines representations of North American women migrants in the work of two understudied post-Yugoslav writers. She analyzes how Nadja Tesich’s novel Native Land (1998) and Natasha Radojčić’s You Don’t Have to Live Here (2005) fictionalize...

...Karen Leick Anti-Nazi Modernism: The Challenges of Resistance in 1930s Fiction , by Spiro Mia , Northwestern University Press , 2013 . 308 pages. Migrant Modernism: Postwar London and the West Indian Novel , by Brown J. Dillon , University of Virginia Press , 2013 . 246...

... literature is warranted, such as disability in African or Caribbean literature, as indeed are investigations into both non-Anglophone works and works published before political independence. His insights into the rise of women writers writing about disabled women call attention to the boom in migrant fiction...

... States, the reference to “cotton plants” cannot help but to evoke metonymically the legacies of racialized slavery and debt peonage in the cotton-producing South—echoing McWilliams’s ([1949] 1999 : 150) revealing (if overstated) point that (im)migrant farm labor “is California’s ‘peculiar institution...

... of migrant hostels, A Bed Called Home, and Fatima Dike’s play So What’s New? in order to highlight Tlali’s reclamation of space within a tyranny of place. Barnard ends with a chapter on two Zakes Mda novels: Ways of Dying and The Heart of Redness map out the location of culture...

...Francisco E. Robles This essay argues that Tomás Rivera’s seminal Chicano text . . . y no se lo tragó la tierra is a polyvocal and deeply communal work whose formal inventiveness illuminates the imaginative lives of migrant workers. Contesting the dominant critical reading of the book...

.... Migration refers not only to the dis­ placements of people in history but to a state of displacement that be­ falls humankind in general. In his essay on Gunter Grass, Rushdie proclaims, “We all cross frontiers; in that sense, we are all migrant peo­ ples” (279). While that may be true...

..., other than the abstract designa- tion which may be disputed? The temporary solution Nash adopts is to link these representa- tions based on four common narrative tropes that he explores in four separate chapters: the trope of Muslims as a migrant minority in Brit- ain, that of Muslims...

... as an introduction to the film, page 9). On the other hand, Scyllan gre­ nades, rifles, pistols, land mines, and nuclear bombs—harnessed to un­ stable, witchy people (mostly women, naturally)—shatter the lives and identities of protagonists in Satanic Verses and The Ground Beneath. The Moor’s Last Sigh has...

...- reers. Each had won fame and accolades for their Florida-set fiction. Each had a powerful command of the language of ordinary people: for Rawl- ings, the state’s poor whites: for Hurston, its black sharecroppers, turpen- tine workers, and migrant pickers. Although she was born in Washington, D.C...

... art that is barely visible in his paintings” (81) but also evinces the “artist’s own migrant life . . . between Sligo, Devon, London, Wicklow, Galway, Dublin and New York” (92). The later of the two scrapbooks, from the 1930s, juxtaposes maritime-international images with pictures and objects...

..., or into suburban developments. There, most famously in the bungalows of Southern California, women were indeed both objects of desire and often quite fatal to those around them. But as with the heroine of James M. Cain’s Mildred Pierce (1941) or his Double Indemnity ’s Phyllis Nirdlinger (1943)—or, as I shall...

... of the dangers of downtown glitter” (19). It is a world of violent men, at home with their mothers and knife-wielding friends in the tough outskirts of the ever-expanding city of migrants. Their harmony is destabilized by women who seduce and then abandon, who leave their humble origins and head...

... Americans, women, and enslaved people. Despite these conflicting realities, in the mid-twentieth century, strengthened by postwar optimism, the positive definition of America was firmly reestablished and consolidated as a national mythology, as pointed out by Henry Nash Smith’s Virgin Land (1950), R. W. B...

..., or even o f an abstract commodifica­ tion w ith producers and consumers, but o f actors: transnational corporations, social movements o f students, market women, ten­ ants, radicalized and ethnicized migrants, labor unions, and so on. (28-29) As students...

... : 413). 4 The couple had first visited Mexico in 1944 to study migrant workers in Tepoztlán, resulting in Life in a Mexican Village (1951). This second journey initiated the fieldwork that made Lewis’s name: studies of poor families in Latin American urban slums. The Lewises amassed thousands...

...-American Women’s Novels. New York: Columbia UP, 1991. Baldwin, James. “Everybody’s Protest Novel,” Notes of a Native Son. Boston: Beacon, 1955. 13-23. Bone, Martyn. “The (Extended) South of Black Folk: Intraregional and Trans- national Migrant Labor in Jonah’s Gourd Vine...

... coalition would be masculinist; echoing priorities established in the New Deal era, most War on Poverty 457 Stephen Schryer programs targeted unemployed young men. In practice, many of the War on Poverty’s meager benefits accrued to poor women; one of the Great Society’s chief effects...