This article focuses on the Greek community of Alexandria, a socially and territorially bounded Diaspora entity that articulates a sense of connection to place through claims of a historically continuous socio-spatial connection to both Egypt and Greece. Through analyses of visual material collected and produced during fieldwork, I explore the spatial and social boundaries of the community before and after Nasser’s 1952 revolution and highlight discontinuities in the narratives and imaginings of the city articulated by different generations. Studying the creation of new borders, I reveal how restriction to, and isolation within, the ‘golden cage’ of Greek areas is both willingly embraced and a source of frustration. I conclude by outlining how spatial and ideological boundaries overlap and how they are shifted and defended by Greek and non-Greek inhabitants of the city.
The Making of the 'Golden Cage'
Building on a long-term, multi-sited ethnographic research project, this article illustrates and interprets the transformation processes and empowerment strategies pursued by an originally Zazaki-speaking, multigenerational Alevi family in the Turkish-German transnational context. The family, which includes a number of Alevi priests (seyyid or dede), hails from the Dersim4 region of eastern Anatolia, and their family biography is closely bound up with a traumatic mass murder and crime against humanity that local people call “Dersim 38“ or “Tertele.“ Against the background of this tragedy, the family experienced internal migration (through forced remigration and settlement) thirty years before its labor migration to Germany. This family case study accordingly examines migration as a multi-faceted process with plural roots and routes. The migration of people from Turkey neither begins nor ends with labor migration to Germany. Instead, it involves the continuous, nonlinear, and multidirectional movement of human beings, despite national border regimes and politics. As a result, we can speak of migration processes that are at once voluntary and forced, internal and external, national and transnational. 5 In this particular case, the family members, even the pioneer generation labor migrants who have since become shuttle migrants, maintain close relationships with Dersim even as they spend most of their lives in a metropolitan German city. At the same time, they confront moments of everyday in- and exclusion in this transnational migration space that define them as both insiders and out- siders. Keeping these asymmetrical attributions in mind, I examine the family's sociocultural, religious, and political practices and resources from a transna- tional perspective, paying close attention to their conceptualization of identity and belonging as well as their empowerment strategies.
chairs we sit on are closely packed together to maximize audience space, and yet even as I bang elbows with those on either side of me and feel my knees pressed up against the seat in front of me, the excited and jovial mood of the surrounding crowd
Curating Social Diversity after Ethnic Cleansing
Erica Lehrer and Monika Murzyn-Kupisz
Looking beyond Poland’s internationally lauded new Jewish museums, this article asks how Jews are represented in longer-standing folk and ethnographic museums whose mandates have been to represent the historical culture of the Polish nation. How have such museums navigated growing internal pressures to incorporate Jews and reconsider the boundaries of “Polishness” alongside external pressures to rethink the function and approach of ethnographic museology? Based on three museums that have taken three different approaches to Jewishness—what we call cabinet of Jewish curiosities, two solitudes, and ambivalent externalization—we assess the roles played by inherited discourses and structures as well as human agents within and beyond the museum. We illuminate how social debate about the character of the nation (and Jews’ place in it) plays out in museums at a moment in their transition from nineteenth- to twenty-first-century paradigms and how a distinctively Polish path toward a “new museology” is emerging in conversation with and resistance to its Western counterparts.
On the Motif of the Cube-panel in Inside Mœbius
self-evident ‘code’ that has enhanced its own plausibility by dressing itself up in learned terminology. Thus, the inventory of the ‘code’ of comics resources invariably includes the panel, the speech balloon, the multiframe, the inter-frame space
by providing a space for younger, living creators. A few years before Gifford launched Sloper , American comix had taken root in Britain. Hunt Emerson was its most striking success, emerging from the Birmingham Arts Lab scene and publications like
The Louvre and the Bande Dessinée
Margaret C. Flinn
This article concerns the eight albums currently available in a series of bandes dessinées commissioned by the Louvre from established, well-respected bédéistes and co-published with Futuropolis since 2005. This successful, high-profile series has elicited positive critical response, but that response has also exposed persistent mutual antagonisms between bande dessinée and the establishment art world as represented by the Louvre Museum. These tensions between 'high' and 'low' culture can be read within the narratives of the albums themselves, in which we see reflexivity used to highlight bande dessinée's artistic value, and various types of obstruction and sensory impairments (realist and supernatural) are used to disrupt quotidian relationships to museum space.
A Battle That Raged during the Spanish Transition
In mid-1970s Spain, many new satirical magazines featured a strong political stance opposing Francisco Franco’s regime and in favour of democracy. Magazines with a significant amount of comics-based content constituted a space for political and social critics, as humour allowed them to go further than other media. However, legal authorities tried to censor and punish them. This article analyses the relationship between the Spanish satirical press and censorship and focuses on the difficulties their publishers and authors encountered in expressing their criticism of the country’s social changes. Various cartoonists have been interviewed, and archival research carried out. In-depth analysis of the magazines’ contents is used to gain an overview of a political and social period in recent Spanish history, in which the satirical press uniquely tackled several issues.
Politics, Editorial Cartoons and Bande dessinée in the French Satirical Newspaper Charlie hebdo
The weekly French satirical newspaper, Charlie hebdo, which originally ran from 1969 to 1982, pending a revival in 1992, distinguishes itself through its bête et méchant ['stupid and nasty'] humorous heritage, defined in its parent publication, Hara-Kiri, as the freedom to make jokes on potentially any subject, however taboo. Whilst this satirical ethos predominated in Charlie hebdo up to 1982, its enduring place in the publication has become more ambiguous since 1992, with the abrupt sacking of Siné in July 2008 seemingly belying its vigorous defence of provocative humour in the context of the 2006 Danish caricature affair. An important underlying continuity nonetheless remains in Charlie hebdo and transcends the bête et méchant project: that of negotiating a space for satirical expression that has continuously engaged with both elements of bande dessinée and the rich French tradition of polemical editorial cartooning and caricature.
Mark McKinney and Hervé (Baru) Baruleau
This is the second portion of an interview with Hervé Barulea, or Baru, one of the most accomplished French cartoonists living today, conducted at his home in France on 15 July 2011. The first part of the interview was published in European Comic Art 4.1 (fall 2011), 213-237. Baru talks here about a broad range of important topics, including autobiography, the roles of work and leisure in his comics, boxing (his focus in two comics), the society of the spectacle, representations of women and minorities in comics, the heritage of classic French and Belgian comics (series such as Tintin, Yves-le-Loup ['Ivan-the-Wolf'] and Spirou) and the clear-line drawing style, experimentation by Oubapo, space, his drawing style and techniques for making comics, his current and future projects, his former teaching position in the Ecole des beaux-arts in Nancy, and the relationship of comics to fine art.