Gotowe bibliografie tematyczne / Deportation – Fiction

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Gotowa bibliografia na temat „Deportation – Fiction”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Deportation – Fiction"

Honcharenko, Nadiia. "The Deportation of 1944 in the Cultural Memory of Crimean Tatar People (the Case of Literary Works of Ervin Umerov and Shamil Aladin)". Culturology Ideas, nr 17 (1'2020) (2020): 139–48. http://dx.doi.org/10.37627/2311-9489-17-2020-1.139-148.

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The article deals with the coverage in works of literature of the forceful deportation of Crimean Tatar people in May, 1944. Here, literary works are seen as functioning elements of cultural memory of the people. The works in question are Ervin Umerov’s short stories Loneliness, The Black Trains, The Permit, and Shamil Aladin’s novels Invitation to Devil’s Banquet and I’m Your King and God, recently published in Ukrainian translations. The importance of Ukrainian publications of works of Crimean Tatar literature, telling i. a. about the deportation of 1944, is determined by the persistence of negative stereotypes and anti-Crimean Tatar bias cultivated for decades. In the XXI century, much has been accomplished by scholars and journalists in order to deconstruct historic myths, i. a. the Stalinist black legend about Crimean Tatars’ “treachery” during the 2nd World War. True facts about the deportation of 1944 were publicized as well. Back in Soviet times, when telling the truth about tragic past directly was impossible, Crimean Tatar writers saw their mission in preserving at least some of the people’s memories in their works of fiction. The emotional and aesthetic power of historic fiction is of key importance in bringing images of the past to contemporary readers. Memories of the deportation of May, 1944 were parts of their life experiences both for Umerov (1938–2007) and Aladin (1912–1996). In their works written mostly during Soviet period, they transformed into fictional accounts both their own experience and tragic memories of their compatriots, using multi-layered plots, subtext and Aesopian language so as to bypass Soviet censorship.

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Abdulaziz, Hanan Talib, i Luma Ibrahim Shakir. "Voluntary Exile and Deportation in Sebastian Barry's On Canaan's Side". JOURNAL OF LANGUAGE STUDIES 6, nr 2 (31.01.2023): 89–102. http://dx.doi.org/10.25130/jls.6.2.7.

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In recent times, exile and deportation have shaped the insights and works of many authors, because the current era is the era of political crises and immigration in which people migrate voluntarily or forcibly. Exile is often framed by the idea of disconnect. Thus, one of the key ideas that the study tries to prove is exile conceived as a connection rather than a separation. The experiences of voluntary exile and deportation, for political reasons, influence the human psyche and change the way humans perceive life. Therefore, the study sheds light on the psychological effects of these confusing experiences, and the way they were developed to be adapted in fiction. By analyzing the contemporary Irish novel Sebastian Barry's On Canaan Side (2011), the analysis provides insight into the psychological effects of voluntary exile and deportation from a psychopolitical point of view. This novel demonstrates how political events have an impact on people's lives even when they are not directly involved in any political conflicts but are nonetheless negatively affected by them. Thus, the study concludes that voluntary exile and deportation are primarily political phenomena, and innocent people become the first victims of these phenomena.

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Camerlynck, Nathalie. "Raymond Federman, Dying with Beckett". Samuel Beckett Today / Aujourd’hui 33, nr 1 (19.07.2021): 152–64. http://dx.doi.org/10.1163/18757405-03301010.

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Abstract Raymond Federman (1928–2009), known as a Beckett scholar, postmodern theorist and avant-garde novelist, was singularly devoted to the one he called Sam. Having escaped death, deportation in the Holocaust, his fiction recounts his experiences from the day of his “birth into death,” the 16th of July 1942. Writing what he called surfiction, fiction which exposes the fictionality of reality, Federman fashioned himself as a Beckett creature. This article outlines aspects of his devotion and its links to death and dying, starting with how he used Beckett’s words to confront his terminal illness.

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Łyjak, Konrad. "History, Culture and Memory in the Novel "Grunowen oder Das vergangene Leben" by Arno Surminsk". Lublin Studies in Modern Languages and Literature 48, nr 1 (12.04.2024): 31–41. http://dx.doi.org/10.17951/lsmll.2024.48.1.31-41.

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Arno Surminski is a writer who was born in the former German province of East Prussia. His life and tough experiences at the end of World War II had an enormous influence on his literature. The novels of Surminski are not only full of references to his biography, but they are also the author’s commentary to lots on many other topics, e.g. the evacuation of East Prussia due to fear of the Red Army, the forced displacement of German civilians, the deportation to Siberia or mass rapes committed by the Soviet Army. The aim of the article is to analyse the novel Grunowen oder Das vergangene Leben by Arno Surminski not only as a literary fiction in the form of a travel novel, but most of all as Surminski’s contribution to the discussion about the history and culture of East Prussia.

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Gruner, Wolf. "The Factory Action and the Events at the Rosenstrasse in Berlin: Facts and Fictions about 27 February 1943 — Sixty Years Later". Central European History 36, nr 2 (czerwiec 2003): 179–208. http://dx.doi.org/10.1163/156916103770866112.

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On 27 February 1943 in Nazi Germany the Gestapo brutally arrested more than ten thousand Jewish men and women. Martin Riesenburger, later the Chief Rabbi of the German Democratic Republic, recalled that day as “the great inferno.” This large-scale raid marked the beginning of the final phase of the mass deportations, which had been under way since October 1941. Also interned in Berlin were people who, according to NS terminology, lived in so-called mixed marriages. But new documents show that no deportation of this special group was planned by the Gestapo. In the past decade, in both the German as well as the American public, quite a bit of attention has been paid to the fact that non-Jewish relatives publicly demonstrated against the feared deportation of their Jewish partners. The scholarly literature as well has pictured this protest as a unique act of resistance that prevented the deportation of these Jews living in mixed marriages. The fact that during this raid an untold number of Jews, both women and men, fled and went underground has so far been ignored. Since we still know much too little, the following article will discuss all the events of the spring of 1943 and their background.

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Yarova, Aliona. "Haunted by Humans: Inverting the Reality of the Holocaust in Markus Zusak’s The Book Thief". Papers: Explorations into Children's Literature 24, nr 1 (1.01.2016): 54–81. http://dx.doi.org/10.21153/pecl2016vol24no1art1110.

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Inversion in The Book ThiefIn Gabriel García Márquez’s A Very Old Man with Enormous Wings a strange angel-like man appears in the human world. A different kind of other-worldly visitor features in Markus Zusak’s The Book Thief 1. In this text it is Death who takes a journey into the hellish realms of Nazi Germany to discover the humanity of the humans who were dehumanised in the Holocaust. The Book Thief is the story of a nine-year-old Liesel Meminger who lives in Germany during the escalation of World War II. The novel has several levels of the plot development: Liesel’s life during war; her relationships with her foster parents Hans and Rosa, the other residents of their neighbourhood, and a Jewish fist-fighter Max, who avoids deportation by hiding in her home; Liesel’s book thievery (as the title suggests) and the power of storytelling. The novel is set in a realistically depicted German town and could belong to the genre of historical realism were it not that Liesel’s story is narrated by the other-worldly character: Death. Death is the only unreal character in this otherwise realistic novel, and though he does not interact with real human characters, we see all the events through his eyes. This ‘magical’ narrator unveils a broader history of the war and the Holocaust by questioning: What is real? What is normal? What is humane? The inversion enables Zusak to present horror that would otherwise be too complex to grasp. As Hegerfeldt comments: ‘The world is an absurd place where [...] anything is more believable than the truth. Magic realist fiction proposes that such a topsy-turvy reality requires a similarly inverted approach’ (Hegerfeldt 2005, p. 339).

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Oziewicz, Marek. "Bloodlands Fiction: Cultural Trauma Politics and the Memory of Soviet Atrocities inBreaking Stalin's Nose,A Winter's Day in 1939andBetween Shades of Gray". International Research in Children's Literature 9, nr 2 (grudzień 2016): 146–61. http://dx.doi.org/10.3366/ircl.2016.0199.

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The field of trauma theory emerged in the 1990s out of the confluence of psychoanalysis, deconstruction and Holocaust studies. It soon consolidated into a trauma paradigm with hegemonic pretensions, which was ill-equipped to recognise traumatic experiences of non-Western and postcolonial groups or nations. It likewise tended to dismiss from trauma fiction any narratives that deviated from the aporetic model of normative trauma aesthetic. These limitations were exposed by the postcolonial turn in history and memory studies, which made it incumbent upon trauma theory to expand its focus to other literatures that bear witness to the so-far neglected, minoritarian trauma traditions. This essay introduces one such tradition, which is the recently emerged body of historical fiction about Soviet deportations, atrocities, genocide and other forms of persecution meant to subdue or eliminate entire ethnic or national groups in Eastern Europe between 1930 and the late 1950s. The genre of Bloodlands fiction, as I have called it elsewhere,1first exploded in national literatures of Eastern Europe in the mid-1990s, after fifty years of suppression of cultural memory under the Communist regimes. About a decade later works of Bloodlands fiction became available in English, often written by diaspora authors. Starting with a challenge to the conventional definition of trauma fiction, this essay argues for a wider model that accommodates genres including Bloodlands fiction. Readings of Breaking Stalin's Nose (2013) by Russian American Eugene Yelchin, A Winter's Day in 1939 (2013) by Polish New Zealander Melinda Szymanik and Between Shades of Gray (2011) by Lithuanian American Ruta Sepetys are used to illustrate some of the key features, textual strategies and cognitive effects of Bloodlands fiction as a genre of global trauma fiction.

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Ochrem, Marek. "An Iron Grip on Society in Vladimir Voinovich’s Moscow 2042: The Historical Context of Dystopia". Rusycystyczne Studia Literaturoznawcze 33 (22.11.2023): 1–29. http://dx.doi.org/10.31261/rsl.2023.33.10.

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In his article, Marek Ochrem discusses the issue of control over society in Vladimir Voinovich’s dystopian novel Moscow 2042 against the background of Aldous Huxley’s Brave New World and George Orwell’s 1984. The analysis focuses on methods of subordinating people to the will of the rulers and manipulating them. Ochrem is interested in the impact of the oppressive features of the fictional city-state on citizens: the cult of personality (Genialissimus), poor living conditions, the threat of deportation of dissidents, lack of access to information and entertainment, influencing the shape of the family, promoting universal spying, using religion for propaganda purposes, and censorship. Ochrem also shows analogies between the worlds of fictional dystopian and totalitarian regimes and actual ones.

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Predoiu, Grazziella. "Die Essayistik Herta Müllers". Germanistische Beiträge 48, nr 1 (1.12.2022): 34–49. http://dx.doi.org/10.2478/gb-2022-0002.

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Abstract The article follows the two volumes of essays The King Bows and Kills (2003) and Always the same snow and always the same uncle (2011) written by Herta Müller. Politics and aesthetics define the Nobel laureate’s writing, with her essays anchored in Romania’s recent history. They are of a political nature, offer retrospectives on their life in Romania beyond the Iron Curtain, insights into the dictatorial past, persecution by the secret service, the betrayal of closest friends, but also contain reflections on the role of the language, the preference for Romanian, on the use of “The King” in their fictional texts, explain their “alien gaze”. Always the same snow and always the same uncle focuses on the deportation of the Romanian Germans to the Ukraine, with the information serving as a companion work to the novel Hunger angel. The betrayal of closest friends is also discussed, whereby the insight into their files and the past of Oskar Pastior/Otto Stein’s files are used.

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David Ramos. "Shared experiences among Mexican American mixed-status families". International Journal of Science and Research Archive 11, nr 2 (30.04.2024): 2013–22. http://dx.doi.org/10.30574/ijsra.2024.11.2.0727.

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The purpose of this research is to gain an in-depth understanding of the lived experiences, beliefs, values, and norms among Mexican-American mixed-status families, living in the Californian cities of South Los Angeles, South Gate, and Santa Ana. Through a qualitative approach, 5 Mexican-American mixed-status family members were interviewed and given the opportunity to tell their story and share their unique experiences. The qualitative data was then analyzed to search for patterns, in which 3 themes emerged. The main findings from this study revealed that Mexican-American mixed-status families are conscious of their undocumented status, however, they manage to separate their uncertainties of deportation from living ordinary, and productive lives with their children. These findings suggest a high level of resilience, which was facilitated through the heavy utilization of coping resources, which included the ethnic immigrant enclave, companionship or fictive kin, transnational ties, and their children’s language and cultural skills.

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Książki na temat "Deportation – Fiction"

Ashley, Bernard. 10 days to zero. London: Orchard, 2008.

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Müller, Herta. Atemschaukel. Augsburg, Germany: Weltbild, 2010.

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Makhmaevich, Basnakaev Said-Khasan, red. Uvi︠a︡dshai︠a︡ roza: (biograficheskai︠a︡ povestʹ). Ėlista: Dzhangar, 2007.

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Singer, Randy. Directed verdict: A novel. Colorado Springs, Colo: WaterBrook Press, 2002.

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Mignot, Andree-Paule. Nous reviendrons en Acadie! Montreal: Hurtubise HMH, 2000.

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Lagasse, Mary Helen. The fifth sun: A novel. Willimantic, Conn: Curbstone Press, 2004.

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Straight, Susan. Highwire moon: A novel. New York: Anchor Books, 2001.

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Straight, Susan. Highwire moon: A novel. Boston: Houghton Mifflin, 2001.

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Kraft, Helga. Representations of World War II refugee experiences in memoirs, fiction, and film: Studies in flight and displacement. Lewiston, N.Y: Edwin Mellen Press, 2011.

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Sepetys, Ruta. Between shades of gray. New York: Philomel Books, 2011.

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Części książek na temat "Deportation – Fiction"

Davis, Colin. "Testimony/Literature/Fiction". W Traces of War, 165–92. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940421.003.0010.

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At the time of his deportation to Buchenwald, Semprun was a member of the Communist Resistance. His political beliefs appear to have sustained him through the experience, scarred but not traumatized. The experience only becomes traumatic, in the sense of radically destabilizing his identity and beliefs, when his Communist convictions are tested and finally broken in the early 1960s. His subsequent literary writing revolves around the trauma of war and its continuing disruptive effect.

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"“Deportation Creek” and the Iron Memorial: Fact or Fiction". W Sods, Soil, and Spades, 200–203. McGill-Queen's University Press, 2004. http://dx.doi.org/10.1515/9780773572393-023.

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"4 Uninvited Visitors: Immigration, Detention and Deportation in Science Fiction". W Cinema of the Dark Side, 115–45. Edinburgh University Press, 2014. http://dx.doi.org/10.1515/9780748694617-007.

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Davis, Colin, i Elizabeth Fallaize. "Recalling the past: Jorge Semprun’s La Montagne blanche (1986)". W French Fiction in the Mitterrand Years, 61–82. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198159568.003.0004.

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Abstract As we saw in the previous chapter, the buried trauma around which the events of Pennac’s Au bonheur des ogres turn out to revolve originates in the Occupation. Pennac’s novel is thus picking up on one of the major problems of writing and film-making in the 1970s and 1980s: the painful recovery of a forgotten past, in particular the semi-occluded memory of the Second World War. Jorge Semprun’s La Montagne blanche takes this problem as its central, obsessive theme, describing the effects of recovered memory on a survivor of Buchenwald. Forty years after his deportation, the protagonist of the novel finds that his repressed past erupts into the present and leads to his suicide.

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Fulbrook, Mary. "Inner Emigration and the Fiction of Ignorance". W Bystander Society, 310—C10P65. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197691717.003.0011.

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Abstract Reich citizens were collectively mobilized in service of their country at war regardless of their opinions about the Nazi regime. This chapter explores how soldiers from the Reich perceived and interpreted mass killings in the east, often through the lens of Nazi ideology. Some became more actively involved in acts of perpetration, and tried to justify the murders even of small children and babies. Many participants and witnesses sent home letters and photographs of what was going on; and from late 1941 onwards, German citizens could hardly avoid knowledge of atrocities, however fragmentary or secondary this knowledge might be. Growing knowledge that deportation meant almost certain death would lead a few victims to opt for the risky strategy of ‘going underground’ and trying to survive in hiding or under a false identity. Those ‘Aryans’ who were opposed to Nazism might try to escape into ‘inner emigration’, but the supposed neutrality of being a bystander was no longer an option.

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Hanley, Will. "Bad Subjects". W Identifying with Nationality, 217–35. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231177627.003.0011.

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“Bad subject” is a pooled, transnational category used to describe recidivists, forgers, vagrants, indigents, and mendicants. Authorities applied a common set of sanctions to bad subjects: deportation, banishment, and removal of protection. “Bad subjecthood” was nationality’s double: a status category that turned subjective description into an official determinant of life chances, a legal fiction that became an article of official consensus. By the First World War, explicit reference to bad subjects had largely disappeared, as its social control functions were absorbed into nationality.

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Bhartia, Aashti. "Fictions of Law". W The Deportation Regime, 329–50. Duke University Press, 2010. http://dx.doi.org/10.1215/9780822391340-013.

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BHARTIA, AASHTI. "Fictions of Law:". W The Deportation Regime, 329–50. Duke University Press, 2010. http://dx.doi.org/10.2307/j.ctv120qtc1.16.

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"11. Fictions of Law: The Trial of Sulaiman Oladokun, or Reading Kafka in an Immigration Court". W The Deportation Regime, 329–50. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822391340-014.

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Escolar, Marisa. "Happily Ever after Redemption". W Allied Encounters, 66–90. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284504.003.0004.

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This chapter introduces two popular romance novels (romanzi rosa) by Luciana Peverelli. Published while the occupation of Rome was unfolding, La lunga notte (1944; The Long Night) and its sequel Sposare lo straniero (1946; Marry the Foreigner) treat those traumas using a hybrid form that results in arguably the earliest Italian fictional Holocaust narrative that represents the deportation of the Jews to camps and the Fosse Ardeatine massacre; unconscious of how its own anti-Semitic logic facilitates the deportation that it condemns, La lunga notte’s paradoxical treatment of Judaism aligns with dominant postwar Italian attitudes. Set during the Allied occupation, the sequel argues for the hybrid genre’s privileged position in narrating the transition back to “reality,” when the heroines become war brides, an often-vilified figure who proves an adept intercultural intermediary. Challenging preconceptions of the romance, La lunga notte and Sposare lo straniero alter the requisite happy ending for those “redeemed” by marriage.

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