A number of historical events of the twentieth century gave rise to migration, immigration, and exile to and within the European continent. This collection represents an effort to raise consciousness about the marginalization of exiled women - artists, writers, political figures, as well as members of ethnic and religious minorities.

This interdisciplinary anthology highlights exiled/alienated women in literature, history, and cinema. Contributors investigate when and how women from diverse backgrounds have been relegated to the margins in order to shed light on the state of alienhood that stems from gendered otherness.

In recent decades, dance has become a vehicle for querying assumptions about what it means to be embodied, in turn illuminating intersections among the political, the social, the aesthetical, and the phenomenological. The Oxford Handbook of Dance and Politics edited by internationally lauded scholars Rebekah Kowal, Gerald Siegmund, and the late Randy Martin presents a compendium of newly-commissioned chapters that address the interdisciplinary and global scope of dance theory - its political philosophy, social movements, and approaches to bodily difference such as disability, postcolonial, and critical race and queer studies. In six sections 30 of the most prestigious dance scholars in the US and Europe track the political economy of dance and analyze the political dimensions of choreography, of writing history, and of embodied phenomena in general. Employing years of intimate knowledge of dance and its cultural phenomenology, scholars urge readers to re-think dominant cultural codes, their usages, and the meaning they produce and theorize ways dance may help to re-signify and to re-negotiate established cultural practices and their inherent power relations. This handbook poses ever-present questions about dance politics-which aspects or effects of a dance can be considered political? What possibilities and understandings of politics are disclosed through dance? How does a particular dance articulate or undermine forces of authority? How might dance relate to emancipation or bondage of the body? Where and how can dance articulate social movements, represent or challenge political institutions, or offer insight into habits of labor and leisure? The handbook opens its critical terms in two directions. First, it offers an elaborated understanding of how dance achieves its politics. Second, it illustrates how notions of the political are themselves expanded when viewed from the perspective of dance, thus addressing both the relationship between the politics in dance and the politics of dance. Using the most sophisticated theoretical frameworks and engaging with the problematics that come from philosophy, social science, history, and the humanities, chapters explore the affinities, affiliations, concepts, and critiques that are inherent in the act of dance, and questions about matters political that dance makes legible.

This Handbook addresses the role of women in communism as a global, social and political movement for the first time, exploring their lives, forms of activism, political strategies and transnational networks. Comprising twenty-five chapters, based on new and primary research, the book presents the lives of self-identified communist women from a truly international perspective and outlines their struggles against fascism and colonialism, and for women’s emancipation and national liberation. By using the lens of transnational political biography, the chapters capture the broader picture of these women’s lives, unpacking the links between the so-called public and private, the power structures and inequalities of their societies, the formal networks and politics in which they were involved, and the informal connections and friendships that supported their activism both at the national and international level. Challenging androcentric and Eurocentric narratives about communism, this Handbook reveals the active and significant roles of women in nineteenth- and twentieth-century communist movements and regimes, and highlights the importance of communist women in shaping the agenda for women’s rights worldwide.

New German Dance Studies offers fresh histories and theoretical inquiries that resonate across fields of the humanities. Sixteen essays range from eighteenth-century theater dance to popular contemporary dances in global circulation. In an exquisite trans-Atlantic dialogue that demonstrates the complexity and multilayered history of German dance, American and European scholars and artists elaborate on definitive performers and choreography, focusing on three major thematic areas: Weimar culture and its afterlife, the German Democratic Republic, and recent conceptual trends in theater dance. Contributors are Maaike Bleeker, Franz Anton Cramer, Kate Elswit, Susanne Franco, Susan Funkenstein, Jens Richard Giersdorf, Yvonne Hardt, Sabine Huschka, Claudia Jeschke, Marion Kant, Gabriele Klein, Karen Mozingo, Tresa Randall, Gerald Siegmund, and Christina Thurner.

This is an innovative and wide-ranging edited collection which brings women clearly into view, reflecting their disproportionately high numbers within migrating populations. Spanning four centuries, its contents are culturally diverse but address some important common themes and questions. Beginning with a useful survey of women in migration studies in early modern Europe, subsequent chapters explore the following topics: the exile experiences in Europe, firstly of English Brigittine nuns, and secondly of Catholic Gentlewomen displaced by the English Reformation; the dual national identities of a French woman moving to America during the revolutionary period; the lives of two women preachers moving to an American city with a large migrant population in the mid 20th century; and finally, autobiographical narratives of Islamic women exiled in body and/or mind from their countries of origin in the late twentieth century. The authors and editors consider the significance of spirituality amongst women migrants, address the difficulties of generalising from individual experiences and consider issues raised by a particular focus on elite women. The focus on personal narratives crosses disciplinary boundaries making it a valuable resource for students and researchers interested in migration history, autobiography, personal narratives, social history and gender and women’s studies.

"Writers, publishers, readers and scholars have stopped apologising for the short story: the genre is no longer a bad investment, a trial-exercise for a novel or a minor entertainment, as demonstrated by exceptional writers with an almost exclusive dedication to it, such as Jorge Luis Borges, Alice Munro, Quim Monzâo or Cristina Fernâandez Cubas. With deep roots in classic and medieval literatures, and great achievements in the nineteenth- and twentieth-centuries, the genre of the short story, which benefits from the linguistic tightness of poetry and the narrative comforts of the novel, has finally been recognised as having a (hybrid) identity of its own. This volume re-edits and expands a previous bilingual collection published in 1997. The first edition included stories by twelve writers: Pilar Cibreiro, Cristina Fernâandez Cubas, Paloma Dâiaz-Mas, Adelaida Garcâia Morales, Lourdes Ortiz, Laura Freixas, Marina Mayoral, Mercedes Abad, Rosa Montero, Maruja Torres, Soledad Puâertolas and Marâia Eugenia Salaverri. The present edition adds another four: Nuria Amat, Juana Salabert, Luisa Castro and Berta Marsâe. The stories gathered in this second edition were written between 1980 and 2010, and testify to the richness and vitality of women’s writing in contemporary Spain. With the original texts in Spanish as well as facing-page English translations, an Introduction, notes, and bio-bibliographical information on each author, this volume is a useful tool for students of the Spanish language and culture at all levels. It includes a selection of secondary reading on Spanish women writers and a selection of anthologies of Spanish short stories since 1997"--

This bibliography, listed alphabetically by authors of books and articles on Mercè Rodoreda, offers a detailed description of the content of more than two hundred studies on her work. In addition to Rodoreda’s narrative, the last decade has seen many more studies of her theater, poetry, painting, and early journalism. Also included is a comprehensive listing of editions and translations, as well as an index. The intention is to analyze and diffuse the great body of academic production on this worldwide representative of Catalan culture, with the hope that future studies can profit by a reading of pertinent existing scholarship on the subject. There are various kinds of publications, from congress proceedings and chapters in related studies to standard cultural periodicals and books from university or academic presses. Some are more specialized than others, and approaches are as varied as the authors, with focuses on comparative literature and influences, historical or biographical aspects, symbolic or thematic analyses, linguistic or pedagogical studies, psychological or formalistic viewpoints, narrative tendencies and techniques. Readers of Rodoredan scholarship will recognize the names of many of these contributors, but there are newer Rodoreda specialists represented as well.

Nomadic New Women: Exile and Border-Crossing between Spain and the Americas, Early to Mid-Twentieth Century examines how gender and sexuality, border-crossing and exile intersect in women’s intellectual and artistic practices during the volatile historical period of the first half of the twentieth century, in and around Spain and the Americas. Each of the twelve chapters in this highly interdisciplinary volume analyzes the combined impact of gender and sexual identity, and the traversing of particular national and world-regional boundaries, on creative work. Together and separately, the contributors push the limits of past and present research on exile and migration, displacement and nomadism to reveal how the complex interrelationships among gender, sexuality, and cultural production come under intense pressure by the crossing of borders.

This book aims to study the departure and reception of refugees in 19th-century Europe, from the Congress of Vienna to the 1870-1880s. Through eight chapters, it draws on a transnational approach to analyze migratory movements across European borders. The book reviews the chronology of exile and shows how European states welcomed, selected, and expelled refugees. In addition to presenting the point of view of nation-states, it reflects the experience of those migrating. The book addresses departure into exile, captured through the material circumstances of crossing borders in the 19th century, and examines the emergence of new ways to pursue political commitments from abroad. The outcasts are considered in all their diversity, with a prominent place accorded to women and children, many of whom also moved under duress. The book aims to shed light on the forced migrations of Europeans across Europe, while also considering the global dimension, looking at exile to the Americas or the French colonies. A final chapter examines the impossibility or difficulty of returning from exile to one’s country of origin, as well as the a posteriori memorial constructs around that crucial experience.