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Journal articles on the topic 'Children of illegal aliens – Fiction'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

Durand, Jorge, and Douglas S. Massey. "Desenmascarando la migración irregular a Estados Unidos." Migración y Desarrollo 20, no. 38 (2022): 71–93. http://dx.doi.org/10.35533/myd.2038.jd.dsm.

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Mexicans have been migrating to the United States in large numbers since the early 20th century and over time the share classified as irregular has varied sharply depending on the social, economic, and political circumstances prevailing north of the Mexico-U.S. border. Here we unmask the reality that irregular migration is more of a socio-political construction than a well-defined legal category. Over time, the share of Mexicans classified as legal immigrants, temporary legal workers, or irregular migrants has varied widely. Since 2008, however, unauthorized migration from Mexico has waned and

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2

Bick, Ilsa J. "Aliens Among US: A Representation of Children in Science Fiction." Journal of the American Psychoanalytic Association 37, no. 3 (1989): 737–59. http://dx.doi.org/10.1177/000306518903700308.

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3

Patiño, Jimmy. "“You Don’t Know Exactly Which Country You Have to Belong To”." Pacific Historical Review 89, no. 3 (2020): 347–78. http://dx.doi.org/10.1525/phr.2020.89.3.347.

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This article examines the 1931 desegregation case based in Southeast San Diego County, Roberto Alvarez v. Lemon Grove Independent School District, through the lens of the deportation regime. This analysis reveals the ways new pressures from deportation-based immigration policies initiated in the 1920s complicated widely shared notions of transnational Mexicano identity and emphasized differences in nativity and citizenship status. The practice of apprehending individuals identified as “illegal aliens” took on a new form during the repatriation efforts of the Great Depression—removal. Within th

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Carrasco Carrasco, Rocío. "Alien Invasions and Identity Crisis: Steven Spielberg’s The War of the Worlds (2005)." Revista Alicantina de Estudios Ingleses, no. 29 (November 15, 2016): 7. http://dx.doi.org/10.14198/raei.2016.29.01.

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The idea of national identity as threatened by foreign invasions has been at the centre of many popular Science Fiction (SF) films in the United States of America. In alien invasion films, aggressive colonisers stand for collective anxieties and can be read “as metaphors for a range of perceived threats to humanity, or particular groups, ranging from 1950s communism to the AIDS virus and contemporary ‘illegal aliens’ of human origin” (King and Krzywinska, 2000: 31-2). Such films can effectively tell historical and cultural specificities, including gender concerns. In them, the characters’ sens

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Pennebaker, Stuart. "Rental Units." After Dinner Conversation 5, no. 1 (2024): 52–62. http://dx.doi.org/10.5840/adc2024515.

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Should everyone be a parent, at least for a summer? In this work of philosophical short story fiction, the narrator lives in a dystopian future where climate change has made it illegal to have children without government permission. This has given rise to super realistic robot children that can be purchased or, for those that can’t afford to purchase, rented. The narrator has a strong desire to be a mother and has, for the last 10 years, rented the same seven- and five-year-old robot girls each summer to parent. It’s an expensive habit, but she loves her summers taking her “children” to the lo

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Moura, Hudson. "Hollywood’s Viral Outbreaks and Pandemics: Horror, Fantasy, and the Political Entertainment of Film Genres." Revista Légua & Meia 13, no. 1 (2022): 97–129. http://dx.doi.org/10.13102/lm.v13i1.7710.

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Films revolving around big natural catastrophes, the end of the world, and global pandemics are viral in Hollywood. Some authors claim that 9/11 enticed the proliferation of disasters, zombies, and apocalyptical narratives. Will the coronavirus further increase these narrative tropes? A cinematic apocalypse takes many shapes, including zombie infestation, nuclear war devastation, and aliens’ attack. Watching films such as Twelve Monkeys (1995), Children of Men (2006), or Contagion (2011) during a real-life global pandemic creates a much different viewing experience than when these films were r

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7

Prieto Stambaugh, Antonio. "La performa extraña de la ciencia ficción chicana." Investigación Teatral. Revista de artes escénicas y performatividad 14, no. 24 (2023). http://dx.doi.org/10.25009/it.v14i24.2750.

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Este artículo aborda el imaginario de ciencia ficción en obras de teatro y performance realizadas por El Teatro Campesino, el grupo chicano Asco y el grupo La Pocha Nostra, los cuales se valieron de los tropos del robot y el extraterrestre para cuestionar el miedo que genera en la sociedad dominante un grupo social visto como extranjero y amenazante, integrado por “illegal aliens”. Sus obras ponen en escena performas extrañas que materializan la otredad mediante personajes distópicos que juegan con los estereotipos del latinoamericano invasor. El robot y alienígena extraterrestre sirven para a

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8

Hyman, Andrew T. "Originalism, Illegal Immigration, and the Citizenship Clause." British Journal of American Legal Studies, April 17, 2025. https://doi.org/10.2478/bjals-2025-0011.

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Abstract The Citizenship Clause of the Fourteenth Amendment confers birthright citizenship in cases of lawfully domiciled aliens, but not in cases of illegal immigration or legal visitation by aliens. The best reading of the original understanding in the 1860s is that the Clause impliedly requires parental domicile in the United States, domicile in turn requires some degree of allegiance, but parents who have not been received into the U.S. cannot pay any allegiance, so these requirements can only be reconciled by domicile de jure — that is, the domicile must be legal. This dichotomy between d

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9

"Huseini v. Ministry of Justice and Public Security." International Law Reports 181 (2019): 419–35. http://dx.doi.org/10.1017/9781108562522.007.

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Aliens — Asylum seekers — Detention of migrant children — Family detained in detention centre — Conditions in detention centre — European Convention on Human Rights, 1950, Articles 3, 5 and 8 — Jurisprudence of European Court of Human Rights — Convention on the Rights of the Child, 1989, Articles 3 and 37 — Whether detention of migrant children and their parents illegal — Whether Norway violating international obligations and Constitution of Norway — Whether damages appropriateHuman rights — Prohibition of torture and inhuman or degrading treatment or punishment — Whether detention of children

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10

Borle, Sean. "We’re All Wonders by R. Palacio." Deakin Review of Children's Literature 7, no. 2 (2017). http://dx.doi.org/10.20361/g25h4w.

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Palacio, R.J. We’re All Wonders. Alfred A. Knopf, 2017This is one of several picture books which R.J. Palacio has spun off her bestselling novel, Wonder, which introduced Auggie, a boy missing his left eye. There are few picture books about children with facial deformities, so this is a welcome addition. In condensing the novel into a picture book, however, much of the positive content has been lost. This is a sad story. Auggie is not accepted by other children. When he feels sad he puts helmets on his dog and himself to isolate himself from people’s stares. However, a child and dog with helme

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11

Dzhurova, Albena. "The politics of language: Exploring the DREAMers as the “alien other” in the narratives of immigration." Politics & Policy, October 21, 2023. http://dx.doi.org/10.1111/polp.12562.

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AbstractRecently, the Biden administration banned federal agencies from using the phrase “illegal alien,” replacing it with a less dehumanizing expression (e.g., noncitizen, undocumented immigrant, etc.). This article delves into the origins of the alien reference by surveying the case of the DREAMers—a small subset of immigrants brought to the United States as children. Designated as aliens in the broader immigration context, the DREAMers epitomize a problematic narrative depicting the overall “otherness” as deep‐seated in America. I impose Agamben‘s image of the homo sacer onto the conceptua

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Apostolides, Anastasia. "The sacralisation of popular culture as adolescent lived spirituality." STJ | Stellenbosch Theological Journal 3, no. 1 (2017). http://dx.doi.org/10.17570/stj.2017.v3n1.a01.

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Many adolescents are drawn to the fantasy, science fiction and urban fantasy genres (movies and books), genres whose main characters include witches, wizards, vampires, ghosts, angels, demons, aliens and various other supernatural beings and events. Books and movies such as The Hobbit, Lord of the Rings (film series), Harry Potter (film series), X-Files, Twilight (film series), Star Wars (film series), and so on, are not only fervently consumed by some adolescents but have also, in some instances, been sacralised by adolescents (see Hopper 2005:116, McAvan 2012:5–10, Kirby 2013:2). In this art

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13

Herb, Annika. "Non-Linear Modes of Narrative in the Disruption of Time and Genre in Ambelin Kwaymullina’s The Interrogation of Ashala Wolf." M/C Journal 22, no. 6 (2019). http://dx.doi.org/10.5204/mcj.1607.

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While Young Adult dystopian texts commonly manipulate expectations of time and space, it is largely in a linear sense—projecting futuristic scenarios, shifting the contemporary reader into a speculative space sometimes only slightly removed from contemporary social, political, or environmental concerns (Booker 3; McDonough and Wagner 157). These concerns are projected into the future, having followed their natural trajectory and come to a dystopian present. Authors write words and worlds of warning in a postapocalyptic landscape, drawing from and confirming established dystopian tropes, and af

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14

Busse, Kristina, and Shannon Farley. "Remixing the Remix: Fannish Appropriation and the Limits of Unauthorised Use." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.659.

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In August 2006 the LiveJournal (hereafter LJ) community sga_flashfic posted its bimonthly challenge: a “Mission Report” challenge. Challenge communities are fandom-specific sites where moderators pick a theme or prompt to which writers respond and then post their specific fan works. The terms of this challenge were to encourage participants to invent a new mission and create a piece of fan fiction in the form of a mission report from the point of view of the Stargate Atlantis team of explorers. As an alternative possibility, and this is where the trouble started, the challenge also allowed to

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15

Mills, Brett. "Those Pig-Men Things." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.277.

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Since its return in 2005 the science fiction series Doctor Who (BBC1) has featured many alien creatures which bear a striking similarity to non-human Earth species: the Judoon in “Smith and Jones” (2007) have heads like rhinoceroses; the nurses in “New Earth” (2006) are cats in wimples; the Tritovores in “Planet of the Dead” (2009) are giant flies in boilersuits. Yet only one non-human animal has appeared twice in the series, in unrelated stories: the pig. Furthermore, alien races such as the Judoon and the Tritovores simply happen to look like human species, and the series offers no narrative

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16

Starrs, Bruno. "Hyperlinking History and Illegitimate Imagination: The Historiographic Metafictional E-novel." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.866.

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‘Historiographic Metafiction’ (HM) is a literary term first coined by creative writing academic Linda Hutcheon in 1988, and which refers to the postmodern practice of a fiction author inserting imagined--or illegitimate--characters into narratives that are intended to be received as authentic and historically accurate, that is, ostensibly legitimate. Such adventurous and bold authorial strategies frequently result in “novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages” (Hutcheon, A Poetics 5). They can be so entertaining and

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17

Phillips, Jennifer Anne. "Closure through Mock-Disclosure in Bret Easton Ellis’s Lunar Park." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.190.

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In a 1999 interview with the online magazine The AV Club, a subsidiary of satirical news website, The Onion, Bret Easton Ellis claimed: “I’ve never written a single scene that I can say took place, I’ve never written a line of dialogue that I’ve heard someone say or that I have said” (qtd. in Klein). Ten years later, in the same magazine, Ellis was reminded of this quote and asked why most of his novels have been perceived as veiled autobiographies. Ellis responded:Well, they are autobiographical in the sense that they reflect who I was at a particular moment in my life. There was talk of a me

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18

Franks, Rachel. "Building a Professional Profile: Charles Dickens and the Rise of the “Detective Force”." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1214.

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IntroductionAccounts of criminals, their victims, and their pursuers have become entrenched within the sphere of popular culture; most obviously in the genres of true crime and crime fiction. The centrality of the pursuer in the form of the detective, within these stories, dates back to the nineteenth century. This, often highly-stylised and regularly humanised protagonist, is now a firm feature of both factual and fictional accounts of crime narratives that, today, regularly focus on the energies of the detective in solving a variety of cases. So familiar is the figure of the detective, it se

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19

Brien, Donna Lee. "Demon Monsters or Misunderstood Casualties?" M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2845.

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Over the past century, many books for general readers have styled sharks as “monsters of the deep” (Steele). In recent decades, however, at least some writers have also turned to representing how sharks are seriously threatened by human activities. At a time when media coverage of shark sightings seems ever increasing in Australia, scholarship has begun to consider people’s attitudes to sharks and how these are formed, investigating the representation of sharks (Peschak; Ostrovski et al.) in films (Le Busque and Litchfield; Neff; Schwanebeck), newspaper reports (Muter et al.), and social media

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20

Rintoul, Suzanne. "Loving the Alien." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2408.

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In a 2003 Rolling Stone review of David Bowie’s 1972 concept album The Rise and Fall of Ziggy Stardust and the Spiders From Mars, one critic looks back and argues that “[the creation of] Ziggy was a shrewd move because it presented Bowie, the fledgling artiste, as an established rock star.” Bowie’s shrewdness, the author muses, lies in the fact that he created in Ziggy “rock’s first completely prepackaged persona,” and inscribed it over his own. Whether or not Ziggy was indeed the first such persona (one asks oneself if all celebrities are not, to a degree, prepackaged personae), Bowie’s self-

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21

Nolan, Huw, Jenny Wise, and Lesley McLean. "The Clothes Maketh the Cult." M/C Journal 26, no. 1 (2023). http://dx.doi.org/10.5204/mcj.2971.

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Introduction Many people interpret the word ‘cult’ through specific connotations, including, but not limited to, a community of like-minded people on the edge of civilization, often led by a charismatic leader, with beliefs that are ‘other’ to societal ‘norms’. Cults are often perceived as deviant, regularly incorporating elements of crime, especially physical and sexual violence. The adoption by some cults of a special uniform or dress code has been readily picked up by popular culture and has become a key ‘defining’ characteristic of the nature of a cult. In this article, we use the semiotic

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