In Franco-Maghrebi Artists of the 2000s: Transnational Narratives and Identities Ramona Mielusel offers an account of the way how young artists (writers, filmmakers, actors, singers, photographers, contemporary migrant artists) of Maghrebi origin residing in France during the last twenty years (2000-2016) contest French “national identity” in their work. Mielusel's interest lies in analyzing the impact that these “minor” artists and their chosen genres have on mainstream cultural productions. She argues that constant displacement and changes in political, social and cultural contexts have significantly transformed the dynamics that govern the relationship between the center (Metropolitan France) and the periphery (its Others). Most importantly, she seeks to position their work in the field of transnationalism, which has dominated postcolonial studies and cultural studies in the past decade.

The concepts of 'youth' and the 'postcolonial' both inhabit a liminal locus where new ways of being in the world are rehearsed and struggle for recognition against the impositions of dominant power structures. Departing from this premise, the present volume focuses on the experience of postcolonial youngsters in contemporary Britain as rendered in fiction, thus envisioning the postcolonial as a site of fruitful and potentially transformative friction between different identitary variables or sociocultural interpellations. In so doing, this volume provides varied evidence of the ability of literature—and of the short story genre, in particular—to represent and swiftly respond to a rapidly changing world as well as to the new socio-cultural realities and conflicts affecting our current global order and the generations to come. Contributors are: Isabel M. Andrés-Cuevas, Isabel Carrera-Suárez, Claire Chambers, Blanka Grzegorczyk, Bettina Jansen, Indrani Karmakar, Carmen Lara-Rallo, Laura María Lojo-Rodríguez, Noemí Pereira-Ares, Gérald Préher, Susanne Reichl, Carla Rodríguez-González, Jorge Sacido-Romero, Karima Thomas and Laura Torres-Zúñiga.

In the past thirty years, the Sino-Jewish encounter in modern China has increasingly garnered scholarly and popular attention. This volume will be the first to focus on the transcultural exchange between Ashkenazic Jewry and China. The essays here investigate how this exchange of texts and translations, images and ideas, has enriched both Jewish and Chinese cultures and prepared for a global, inclusive world literature. The book breaks new ground in the field, covering such new topics as the images of China in Yiddish and German Jewish letters, the intersectionality of the Jewish and Chinese literature in illuminating the implications for a truly global and inclusive world literature, the biographies of prominent figures in Chinese-Jewish connections, the Chabad engagement in contemporary China. Some of the fundamental debates in the current scholarship will also be addressed, with a special emphasis on how many Jewish refugees arrived in Shanghai and how much interaction occurred between the Jewish refugees and the resident Chinese population during the wartime and its aftermath.

A reclusive painter living in exile in Paris, Gao Xingjian found himself instantly famous when he became the first Chinese language writer to receive the Nobel Prize for Literature (2000). The author of the novel Soul Mountain, Gao is best known in his native country not as a visual artist or novelist, but as a playwright and theater director. This important yet rarely studied figure is the focus of Sy Ren Quah’s rich account appraising his contributions to contemporary Chinese and World Theater over the past two decades. A playwright himself, Quah provides an in-depth analysis of the literary, dramatic, intellectual, and technical aspects of Gao’s plays and theatrical concepts, treating Gao’s theater not only as an art form but, with Gao himself, as a significant cultural phenomenon. The Bus Stop, Wild Man, and other early works are examined in the context of 1980s China. Influenced by Stanislavsky, Brecht, and Beckett, as well as traditional Chinese theater arts and philosophies, Gao refused to conform to the dominant realist conventions of the time and made a conscious effort to renovate Chinese theater. The young playwright sought to create a "Modern Eastern Theater" that was neither a vague generalization nor a nationalistic declaration, but a challenge to orthodox ideologies. After fleeing China, Gao was free to experiment openly with theatrical forms. Quah examines his post-exile plays in a context of performance theory and philosophical concerns, such as the real versus the unreal, and the Self versus the Other. The image conveyed of Gao is not of an activist but of an intellectual committed to maintaining his artistic independence who continues to voice his opinion on political matters.

CSA Sociological Abstracts abstracts and indexes the international literature in sociology and related disciplines in the social and behavioral sciences. The database provides abstracts of journal articles and citations to book reviews drawn from over 1,800+ serials publications, and also provides abstracts of books, book chapters, dissertations, and conference papers.

"The raiders headed right for us. There were half a dozen of them. Heavy, tall men with packs on their backs. And guns in their hands." Imagine a world where money is worthless, armed robbers roam the streets and no one is safe. For Matt and his little brother, Taco, that nightmare is areality. Their choice: to stay or to escape through the Channel Tunnel, where unknown danger awaits . .This brand new novel from classroom favourite Gillian Cross is a powerful and thrilling story of survival, which will provoke debate and discussion from students and appeal to both boys and girls.

What does it mean to read from elsewhere? Women Writers in Postsocialist China introduces readers to a range and variety of contemporary Chinese women’s writing, which has seen phenomenal growth in recent years. The book addresses the different ways women’s issues are understood in China and the West, attending to the processes of translation, adaptation, and the grafting of new ideas with existing Chinese understandings of gender, feminism, subjectivity, consumerism and (post) modernism. By focusing on women’s autobiographical, biographical, fictional and historical writing, the book engages in a transcultural flow of ideas between western and indigenous Chinese feminisms. Taking account of the accretions of social, cultural, geographic, literary, economic, and political movements and trends, cultural formations and ways of thinking, it asks how the texts and the concepts they negotiate might be understood in the social and cultural spaces within China and how they might be interpreted differently elsewhere in the global locations in which they circulate. The book argues that women-centred writing in China has a direct bearing on global feminist theory and practice. This critical study of selected genres and writers highlights the shifts in feminist perspectives within contemporary local and global cultural landscapes.

Autofiction: A Female Francophone Aesthetic of Exile explores the multiple aspects of exile, displacement, mobility, and identity as expressed in contemporary autofictional work written in French by women writers from across the francophone world. Drawing on postcolonial theory, gender theory, and autobiographical theory, the book analyses narratives of exile by six authors who are shaped by their multiple locales of attachment: Kim Lefèvre (Vietnam/France), Gisèle Pineau (Guadeloupe/mainland France), Nina Bouraoui (Algeria/France), Michèle Rakotoson (Madagascar/France), Véronique Tadjo (Côte d’Ivoire/France), and Abla Farhoud (Lebanon/Quebec). In this way, the book argues that the French colonial past continues to mould female articulations of mobility and identity in the postcolonial present. Responding to gaps in the critical discourse of exile, namely gender, this book brings genre in both its forms — gender and literary genre — to bear on narratives of exile, arguing that the reconceptualization of categories of mobility occurs specifically in women’s autofictional writing. The six authors complicate discussions of exile as they are highly mobile, hybrid subjects. This rootless existence, however, often renders them alienated and ‘out of place’. While ensuring not to trivialize the very real difficulties faced by those whose exile is not a matter of choice, the book argues that the six authors experience their hybridity as both a literal and a metaphorical exile, a source of both creativity and trauma.