Introduction: Something Personal: Archives and Methods for Critical Refugee Studies in Canada

2019 ◽  
Vol 45 (3) ◽  
pp. 1-10
Author(s):  
Thy Phu ◽  
Vinh Nguyen
Author(s):  
Io Chun KONG ◽  

Despite the fact that substantial scholarship in Asian diasporic and refugee narratives has been developed in the post-Cold War era, critical refugee studies related to autoperformance have yet to be examined. Within this context of addressing autoperformance as an aesthetic genre, this paper explores the poetics of Vietnamese refugeehood as mediated in lê thi diem thúy’s ?Red Fiery Summer (1995) and the bodies between us (1996). While the former historicizes the Vietnam War from the diasporic perspective of a refugee, the latter articulates the counter master narratives by performing bodily memories of refugeehood. Informed by Marianne Hirsch’s “post-memory”, the paper demonstrates how body and memory could be inextricably and interdependently rendered as a poetics of diaspora in performance. This paper further argues that autoperforming these two aspects is critical to revisiting the history of the Vietnam War and calling the militarism of the U.S.A. into question.


2021 ◽  
Vol 47 (1) ◽  
pp. 9-19
Author(s):  
Eman Ghanayem ◽  
Jennifer Mogannam ◽  
Rana Sharif

MELUS ◽  
2016 ◽  
Vol 41 (3) ◽  
pp. 199-203
Author(s):  
Cathy J. Schlund-Vials

2020 ◽  
Vol 23 (3) ◽  
pp. 282-285
Author(s):  
Filipe Degani-Carneiro
Keyword(s):  

2021 ◽  
Vol 14 (2) ◽  
pp. 371-390
Author(s):  
Sedef Arat-Koc

This paper interrogates the challenges and potentials for solidarity between refugees and Indigenous peoples by bringing decolonial, anti-colonial and anti-imperialist critiques in different parts of the world, including in white settler colonies and in the Third World, into conversation with each other and with Refugee Studies. The first section of the paper offers two analytical steps towards decolonizing mainstream Refugee Studies. The first step involves identifying, analyzing and problematizing what we may call “an elephant in the room,” a parallax gap between Refugee Studies and studies of International Politics. The second analytical step is problematizing and challenging the popular discourses of charity and gratitude that dominate refugee discourses and narratives in the Global North. The second section of the paper engages in a more direct and detailed discussion about challenges to and possibilities for solidarity between refugees and Indigenous peoples. Articulating historical and contemporary parallels between refugee displacement from land and Indigenous dispossession of land, this section demonstrates that there are nevertheless no guarantees for political solidarity. It argues that potentials for solidarity are contingent on a politics of place, as articulated by Indigenous and non-Indigenous scholars; and also possibly on a reconceptualization and reorientation of refugee identity different from the ways it has been constituted in colonial discourses.


Author(s):  
Jocelyn Szczepaniak-Gillece

This coda briefly describes the end of Schlanger’s life and the loss of his personal archives. It then points to later examples of neutralization’s impact in screen technologies such as IMAX of the early 1980s. Finally, it argues that neutralization helped shape not only the movie theater at mid-century, but an entire dimension of twenty-first-century spectatorship that insists on a disappearing space to privilege a screen. The coda gestures toward the abiding relevance of Schlanger’s theatrical ideals and the aporia of the optical vacuum they present: at once an every space, everywhere, and a no space, nowhere. To make a house for this still confusing and new thing of the cinema meant also imagining its eventual demise.


Sign in / Sign up

Export Citation Format

Share Document