Academic literature on the topic 'Migratory poetry'

In this essay I draw from memory studies and Latin American cultural studies to reflect on Notas y Letras (Notes and Letters), a collaboration by the Nicaraguan band Nemi Pipali and the poet Adolfo Beteta. I analyze these artistic expressions, music and poetry, at their place of convergence—the city of Managua—making audible some of the mechanisms that combine symbolic universes in Nicaraguan culture. This transdisciplinary reading allows me to propose that 1) music becomes a social marker of performative memory, transmitted by sounds present in hybrid Latin American cities, and 2) the migrant subject is displaced and divided between the center and the periphery. Citation: Monte Casablanca, Antonio. “Notes and Letters”: Music of the City in Flight / Trans-Migratory Poetry. Translated by Crystal Neill, with Amanda Minks and Lila Ellen Gray. Ethnomusicology Translations no. 11. Bloomington, IN: Society for Ethnomusicology, 2021. Originally published in Spanish as “‘Notas y Letras’: Música de la ciudad en fuga / Poesía transmigratoria.” Revista de Historia (Instituto de Historia de Nicaragua y Centroamérica) 33/34 (2015): 108-129.

“Ovid’s Old Age” is a sung poem written by the Polish poet and musician Jacek Kaczmarski (1957–2004) which engages with the myth of Ovid’s exile. Kaczmarski’s works were heavily influenced both by classical culture and his experience of political emigration during the communist era. He was famed as an unofficial bard of the opposition movement, but is as yet little known to classical reception scholars. This paper presents Kaczmarski’s creative engagement with Ovid as both a deeply personal reflection on the nature of exile and at the same time a universal commentary on poetry under authoritarian regimes. Our interpretation is based on a thematic analysis of the poem, including landscape, imperialism, displacement, “national” poets in exile, nostalgia, and the force of poetry. We set the reception in its social, political, and biographical context, with reference to several mediating receptions of the Ovidian exile. In Kaczmarski’s poem, the Ovidian voice helps the poet to express the trials of emigration and reveals their effect on his art. It shows how engagements with classical culture may flourish, even while the formal discipline of Classics has been undernourished. We provide a bilingual translation of “Ovid’s Old Age” to foster the understanding of migratory experiences in contemporary poetry and enrich international scholarship on the reception of Ovid with a response from communist Poland.

The first few frames of the Belgian comic-strip artist Raymond Macherot's work “Les Croquillards” (1957) provide a shorthand for some of the issues that concern environmentally oriented criticism, one of the most recent fields of research to have emerged from the rapidly diversifying matrix of literary and cultural studies in the 1990s. A heron is prompted to a lyrical reflection on the change of seasons by a leaf that gently floats down to the surface of his pond (see the next p.): “Ah! the poetry of autumn … dying leaves, wind, departing birds…” This last thought jolts him back to reality: “But—I'm a migratory bird myself! … Good grief! What've I been thinking?” And off he takes on his voyage south, only to be hailed by the protagonists, the field rats Chlorophylle and Minimum (the latter under the spell of a bad cold), who hitch a ride to Africa with him. “Are you traveling on business?” he asks his newfound passengers. “No, for our health,” they answer.

Abstract This article examines ways of seeing China in Isaac Julien's nine-screen film installation Ten Thousand Waves (2010), which represents a migratory aesthetic based on evocative translocality and mobile spectatorship. As Julien reconstructs the legend of compassionate Mazu (played by Maggie Cheung) and memories of Old and New Shanghai (both enacted by Zhao Tao), his screen images and sounds enter a constant circulation and form an intriguing multidirectional dialogue across a variety of media and genres: cinema, art photography, calligraphy, painting, poetry, and star performance. In addition to evaluating new concepts and new techniques at work in the cross-fertilization of cinema and other visual media in the new millennium, this article complicates Julien's celebrated political poetics by highlighting his problematic reception by ethnic Chinese spectators and by reckoning with the specter of orientalism that refuses to go away despite his previously audacious repudiation of stereotypes and clichés and his professed engagement with cosmopolitanism and globalization.

Africa’s bitter historical experience of slavery and racial discrimination influences diasporic literary writers in their representation of home and its exigencies. This is due to the sordid effect of racial conflicts culminating in disillusionment of writers, who engage in the nostalgic longing for their country of origin, notwithstanding the influences of the host country on African migrants. By exploring Warsan Shire’s poetry, this study, through the lens of modernity and globalization, examines the concept of home while x-raying locations of the African immigrant in diaspora. The research utilised the Postcolonial theory and the qualitative method of analysis to examine how diasporic immigrants, particularly female subalterns struggle to grapple with the intricacies of dwelling in a hostile clime which situates the “Us” and “Them” binary opposition on their lived conditions. It analysed Shire’s poems as a product of the transcultural identity formation of the poet, illustrating her migratory experiences through the notion of “unhomely” (in her home country) and “Homeliness” (in her host country) as dilemmas that bisect her quest for return home because of war. The study, thus, submits that globalization alternates the idea of situating home as a place of origin.

El artículo examina algunos aspectos de la la obra del escritor argentino contemporáneo Washington Cucurto, seudónimo de Norberto Santiago Vega, director de la editorial Eloísa Cartonera. En particular, los relacionados con el desplazamiento, la migración y la poesía, mediante un contraste con otras representaciones de la diáspora dominicana. La poesía de Cucurto constituye un intento literario por crear un espacio para la exploración de los lazos de unión entre migración, cultura, crimen y sexo, elementos reunidos subsecuentemente para crear una estética del robo discursivo, de algún modo análoga a la economía del usufructo que se puede apreciar en su proyecto editorial. De este modo, la obra de Cucurto muestra el vínculo entre el activismo cultural y la migración económica, en particular esos movimientos migratorios que rara vez antes recibieron atención académica o mediática en Argentina. Palabras clave: Washington Cucurto, Eloísa Cartonera, Junot Díaz, Mario Vargas Llosa, migración, diáspora dominicana en la Argentina. This article examines certain aspects of the work of the contemporary Argentine writer, Washington Cucurto, the pseudonym of Norberto Santiago Vega, director of the cardboard recyclers’ publishing collective, Eloísa Cartonera, in particular those related to displacement, migration and poetry, by means of a contrast with other representations of the Dominican Republican Diaspora. Cucurto’s poetry offers a literary attempt to create a space to explore the connections between migration, culture, crime and sex, elements that come together to create an aesthetic of discursive theft, analogous to the economics of usufruct found in his publishing project. Thus Cucurto’s work demonstrate the link between cultural activism and economic migration, in particular those migratory movements which have as yet received little academic or media attention in Argentina. Keywords: Washington Cucurto, Eloísa Cartonera, Junot Díaz, Mario Vargas Llosa, migration, Dominican Republican diaspora in Argentina.

Relevance of the study. The revealing of methodological effectiveness of integration interaction of different methods of analysis and scientific reflections for analytical procedures is relevant in the context of the intersection of interests of studies of harmony and musical semantic. Main objective of the study – to designate semantic aspects of harmony in conditions of unlocked structures on material of romances of the nineteenth century. Methodology. An integrative methodological projection of algorithms of study tonally-harmonic and compositional processes on the procedure of musical semantic analysis is proposed. General outline of the analytical operations deployed in several discourses: • functional-harmonic and compositional analysis of the piece in its entirety, taking into account the poetic framework; examine the nature of the interaction of harmonic and compositional logic; • the isolation of the verbal text of the key signs of poetry - semantic words; determination of their compositional arrangement in musical form; • segmentation of musical intonation tokens, their selection from the text of the work, revealing the breadth of contextual coverage of meanings and semantic potential; correlation with the semantics of «migratory genre and intonation formulas»; • detection of specificity of implement semantic elements within the analyzed text or composing style, revealing of aspects of particular musical semantics; detection meaning of harmonic connection tokens, wich unlock structure, with the word and the melodic intonation; definition of internal, external and immanent, extramusical nature of the phenomenon; establishing its degree of semantic activity. Results. Varieties of unlocked structures are systematized: with system-logical parameters – functionally, subsystemically and modulation unlocked structures; with phonic parameters – dissonance and consonance unlocked structures; with causal parameters – potentially and principally unlocked structures. External or extramusical and internal, immanent-harmonic motivations of their forming are identified. Among the external factors of unlocking are articulated: the impact of the poetic word as the source of empathy; irreversible course of imaginative mutations; retention of states innuendo, incompleteness, undecidability, anxiety, confusion, fear; semantic marks of question, surprise, regret. The gap of functional balance in the phase of clotting of harmonic integrity is seen as a reaction to the motion of meaning. Among the internal factors the unlocking are highlighted: density and irreversibility of modulation streams; phenomena of modal variability; the impact of modal experience of regulation of harmonic processes; the power of cyclic unity; inner aspiration to an open form as allusion of infinity. Functional inversion, and the special status of the tonal system with reduced centripetal potential (Y. Holopov) are listed as an important incentive of the unlocking. The phenomenon of the unlocking as a principle (the mechanism) the organization of text units of harmony is investigated in conjunction with the semantic field of piece, music tokens, artistic word and meaning. Factors of the displacement of semantic connotations fixing of keywords, semantics of "migratory genre and intonation formulas" (L. Shaimukhametova) during the formation of the vertical layers of music are considered. Three positions based on analysis of the works of R. Schumann, F. Liszt, G. Mahler, P. Tchaikovsky, M. Mussorgsky, illustrating the semantic nature of the harmonic disjunction are allocated. Position 1: harmony as meaning generator. It acts at the level of the formation of intonation and harmonic tokens – pitch compacted units of musical sense, elements of particular musical semantics. It forms a zone of high concentration of semantic elements in a vertical cut of music. It is fixed in vocal miniatures: R. Schumann’s «Im wunderschonen Monat Mai», F. Liszt’s «Verlassen», M. Mussorgsky‘s «Orphan». Position 2: harmony as a regulator of meaning. It acts at the level of the changes of emotional amplitudes. It provides strength and depth of emotional impulse. It revealed in F. Liszt’s romances and songs: «J’ai perdu ma force et ma vie», «Sonetto XC», «La?t mich ruhen», «Was Liebe sei?», «Einst». Position 3: harmony as a modulator of meaning. It affects to the level of tonal drama, transformation of semantic field of piece. It transforms the track of pitch content irreversibly. It appears in the case of a harmonic unlocking of the modulating type, wich running contrary to the idea of rounding tone frame. It shifts whole pitch platform of musical piece under the combined influence of intonation, word, number of plot and drama of movement of meanings. It forms in vocal works: F. Liszt’s «Gebet», P. Tchaikovsky’s «We were sitting with you», M. Mussorgsky’s «General», G. Mahler «Erinnerung».

: Sociological studies pay special attention to the mechanisms of cultural change and development, as well as the main factors that determine such dynamics. Zyhdi Dervishi (2011) considers cultural diffusion as one of the most influential factors of cultural development. Referring to the sociological literature consulted for this study, it is founded that Albanian culture is described as a mosaic of diverse subcultures, which differ greatly from one another. This sub-cultural diversity is evidenced in all components of cultural system; the docks, customs, manner of speaking, clothing, lifestyle, religious and pagan rituals and ceremonials, art, music, poetry, norms, values, symbols, elements of material culture etc. There are a number of factors that have contributed significantly in shaping the features of Albanian culture and its sub-cultural diversity. One of these factors is migration. It is noticed that migratory movements affect social and cultural development; major changes occur in family relationships, lifestyle, tendency for new cultural values acquisition, etc. This is more evident in rural- urban migration, as well as in international migration phenomenon. New economic resources, new working devices, system of social relationship in host society comprise an important source in transforming people's lives. Over the past twenty years Albanian society has experienced a number of economic, social and cultural changes, caused especially by increasing flows of internal and international migrants. Significant cultural changes are evidenced in social and cultural environment of Korça city, which is characterized by the phenomenon of massive displacement of population from rural areas to the city, as well as migration phenomenon in Greece. Taking into consideration the complexity of migration phenomenon and the consequences it brings in cultural plan, we intend to highlight and examine elements of sub-cultural diversity in Korça city, caused by internal and international migration. This paper draws on a research in Korça city, located in southeast of Albania, 35 km to the Greek border, which reflects a cultural environment where are intertwined trends of the cultural change, caused by migration from rural areas within the city and emigration process to neighboring Greece. In- depth interviews and observation will be used for data collection. Combined analysis of qualitative and quantitative methods will be used for data processing. This enables making comparisons and identifying problems. This paper aims to identify and analyze the impact of migration in sub-cultural diversity and aspects of the coexistence between rural subculture, urban subculture and the one of people having migration experience to Greece.

In this article, we discuss the migratory movement of retreatants from northeastern Brazil in the 20th century, represented in poetic form by João Cabral de Melo Neto, which appears symbolized in the metaphor of travel as a representation of human life. Severino de Jesus' pilgrimage takes place in an atmosphere of darkness, with a very strong culture of death persisting as a backdrop until the moment when life breaks out, unexpectedly, thus changing the entire psychological scenario of the retiree. It is this sudden event that the author invokes indirectly, in this Christmas literary piece, as a parallel with the outbreak of Jesus Christ in human history, as a light in the midst of darkness, capable of triggering an attitude of hope.

The relevance of the article is determined by the appeal to the debatable issues of stylistic differentiation of the works by Claude Debussy and Maurice Ravel as the French musical culture leading representatives of the late 19th and the first third of the 20th centuries. The research reflections about the connections betwen Debussy and Ravel on the principle “for / against” have not subsided for more than a hundred years. This testifies to the special urgency of this problem and the need to search for modern approaches to understanding the artistic identity of two brilliant contemporaries.Scientific novelty. For the first time, the multidirectionality of the composing strategies by Debussy and Ravel is indicated through the the concept of style in its interdisciplinary philosophicalcategorical status and the explanationof its functions of identification and communication in the general cultural understanding (O. Ustyugova). For the first time the difference between the cultural phenomena processes integration in the era of modernism into the new artistic wholes, with unique properties, which is appropriate to define as “Debussy’s style” and “Ravel’s style”, is revealed.The purpose of the article is to reveal the multidirectionality of the composing strategies of Debussy and Ravel through an appeal to the main stylistic functions of identification and communication in general cultural understanding (O. Ustyugova); to designate the non-coincidence of channels of integration of cultural phenomena in the era of modernism into new artistic wholes, which have unique properties such as “Debussy’s style” and “Ravel’s style”.The research methodology includes the use of historical, stylistic, comparative methods.Main results and conclusions. The existing musicological literature emphasizes the influence of romanticism, post-romanticism, impressionism, symbolism, neoclassicism, Art Nouveau, moderne style on the formation of the individual style of Debussy and Ravel. Each of these directions had a certain reflection in the work of composers. However, let us try to highlight in the conceptual space of the many-sided “isms” of the cultural context of the era of modernism the hidden sources of the deployment of the creative intentions of the both brilliant contemporaries. We will choose the fundamental work of E. Ustyugova “Style and Culture: Experience of Building a General Theory of Style” (2003) as a methodological basis for this. E. Ustyugova proposes to go beyond the understanding style as a “migratory structure” (term by J. Rebane) and a convenient “classification tool” (J. Burnham) in structural and typological studies of art and move on to a comprehensive study of the essence of this phenomenon. For this, according to the researcher, it is necessary to carry out two analytical procedures. The first is based on the awareness of the experience of the mismatch between the object and the subject. The second involves considering the style in the aspect of intersubjective communication.With this view on the problem of identifying the patterns of formation and development of cultural phenomena, it is not the nominative parameters and the “herbarization” of genrelinguistic units that come to the fore, but the comprehension of the multilevel subject-object relations that formed these phenomena; “live reproduction” of the matrix of the world perception as channels of communication between the “I” and everything that appears as “not-I”.The creative paths of Debussy and Ravel represent diferent creative strategies. The “pure meaning”, unspeakable by words and free from all earthly, to which Debussy aspired, creates parallels with the texts of symbolist poets and destroy the boundaries between “I” and “not-I”.
 In the fundamental monographs of French researchers dedicated to the composer an idea has long been entrenched: the composer’s creative laboratory was poetry, and Debussy’s address to the poetic word throughout all his creative decades constantly expanding the semantic horizons of his “artistic realities”.Debussy’s spiritual intentions merged into a single sound-glow in the indivisible space of being. The word in all its dimensions (from literal to metaphysical) indicated the stages of the process of dissolving the personal “I” and going beyond (au-délà) the established forms of artistic expression. Therefore, various kinds of the names (or “afterwords”, as in the Preludes), epigraphs, numerous super-detailed directions remained an integral part of an integral sound structure. His musical language, destroying the connections in time between the past and the future (rejection of the system of functional gravities that should be “stretched” in musical memory), created a certain correspondence (“here and now”) with the phenomenon of being.Hence the following characteristics of the composer’s musical works: 1) the impeccable construction of the whole, which is “thought out to the smallest detail” (E. Denisov), subtle multilevel “correspondences” and symmetries; 2) total thematization of texture (K. Zenkin); 3) selfsufficient semantic expressiveness of the “pure sound forms” (K. Zenkin), which became the embodiment of “an agonizing thirst for undeniably pure” (S. Velikovsky).These properties of Debussy’s style open up the possibility to get into the spiritual dimensions filled with pure beauty, which so attracted the followers of Baudelaire. Using the typology of teh subject-object relations proposed by E. Ustyugova, Debussy’s style can be attributed throughout the paradigm of hidden subjectivity. Debussy was well aware of his “non-romantic” position.The artistic aspirations of Maurice Ravel more clearly resonate with the creative attitudes of Art Nouveau artists, who were looking for new forms of plastic expressiveness mainly in spatial forms of art. It seems that it is with this direction that a special feeling of the plasticity of the musical material and the entire musical composition as a unique phenomenon is associated, which determines the composer’s creative credo.The concept of “plasticity” indicates such a connection between coordinated phenomena, which appears through the reincarnation (transformation) of a certain material substance, when we keep in memory its output characteristics. Ballet works and the reliance on dance genres (and more broadly, various types of plasticity of gesture and movement) reveal the hidden basis of the composer’s thinking. This approach allows one to re-evaluate Ravel’s connections with the ancient heritage (it is symptomatic that the composer called his first “adult” work, devoted to the press, “Antique Minuet”) and to understand the meanings of constant antique reminiscences with which he filled his life.Like a real dandy who lets the vibrations of the world pass through himself, Ravel is sensitive to them and “cuts off” random, “ugly”, “unnecessary” ones. Hence — the special beauty of the artistic structures created by the composer. They are built not in a “filtered” ideal-beautiful dimension, but in the space of shimmering opposites (the corporeal — free from the corporeal, the familiar — the unknown). Ravel’s inherent tendency towards the graphic relief of the melodic line creates parallels with the “famous lines of Art Nouveau” (Fahr-Becker Gabriele) and is especially distinct, characterizes the composer’s later works.The non-everyday register of semantic reverberations of what is happening in the process of metamorphosis in the composer’s music (his plastic questioning about the existential nature of the source material) demanded a special listener’s responsiveness. Mistifications, hiding behind a mask, playing with the listener are Ravel’s usual communication strategies. Therefore, according to the typology of the subject-object relations proposed by E. Ustyugova, we can speak here of the paradigm of “open subjectivity”, which is characterized by the direct orientation of the subject towards himself. Hence — the principle of auto-citation characteristic of Ravel. The quintessence of its use are the composer’s later works — the opera Child and Magic, as well as the Piano Concerto in G major — the Dandy summa summarum of the composer’s previous career.The game of “correspondences” (Baudelaire) was manifested by composers in various ways and conditioned various channels of communication. Debussy makes the semantics of sound education a semantic unit, appeals to the listener with the expressiveness of the structure itself. Therefore he always emphasizes, appeals to the elite listener. Ravel, on the other hand, hides behind masks and theatrical illusions. He needs a listener who has a culture of distance (who owns wide meaning contextual fields). The contextual layers associated with musical texts express that “degree of distance” from the object of attention, which the composer himself chooses and whose parameters are constantly changing. Therefore, Ravel never turns twice in the genre, style or stylistic model he has already used.So, if the works by Debussy can be perceived “from scratch” because of their structural completeness and semantic tightness, then the works by Ravel require the listener to know the musical context and readiness to lay it out “fold by fold” (J. Deleuze) in new semantic projections.At the turn of the 19th and 20th centuries, French culture was looking for a means of creating a “state of resonance” (G. Bachelard) as an extraordinary impression, “awakening”, without which a person cannot take place. Debussy and Ravel moved in this direction. Therefore, only through the identification of all the “correspondences” of the era of a total change of creative guidelines and a departure from unambiguous stylistic “avatars” can one feel its essential discoveries. The study of the lines of intersection of the Debussy music and the Ravel music with various artistic phenomena of the past and the present illuminates certain reflections of the “style of the era”. However understanding the deep patterns of the creative manner of the two contemporaries requires differentiating the definitions of “Debussy’s style” and “Ravel’s style” and their further studying.

A partir de la obra del poeta migrante surgen distintas preguntas. ¿Es la poesía el género adecuado para exhibir el distanciamiento? En cuyo caso, ¿se pueden detectar marcas expresivas que definan la poesía de los desplazados? Nuestra investigación se interesa por la relación entre la escritura poética y la extranjería, a través del análisis de la obra de tres poetas latinoamericanos desplazados: Jorge Boccanera (1952), argentino exiliado en México y extranjero, años después, en Costa Rica; Fabio Morábito (1955), italomexicano que escribe en español, una lengua adoptada tras su arribo a México; y el peruano Eduardo Chirinos (1960-2016), exiliado circunstancial en EEUU, donde se traslada por motivos académicos y laborales. La poesía de estos migrantes profundiza en una dispersión existencial, que repercute en una identificación desubicada, más allá de la identidad nacional. Su «poesía migratoria» transita la extranjería, convirtiendo la palabra en hogar en movimiento, en rechazo, o incluso en integración. Por medio de marcas espaciotemporales, referencias temáticas al bestiario y a la infancia, y reflejos de la retórica, el texto poético es capaz de evocar el viaje y ser viaje.<br>Building on the poetic works of the migrant poet questions arise. Is poetry the appropriate genre to exhibit displacement? In which case, is it possible to identify the expressive traits to define the poetry of displaced poets? Our research is focusing on the relation between the poetic writing and foreignness, through the analysis of the works of three Latin American displaced poets: Jorge Boccanera (1952), Argentine exiled in Mexico and abroad, and years later in Costa Rica; Fabio Morábito (1955), Italo-Mexican who writes in Spanish, a language which was adopted after settling in Mexico; and the Peruvian Eduardo Chirinos (1960-2016), circumstantial exiled in the United States, where he moved due to academic and professional reasons. The poetry of these migrants deepens into an existential dispersion, which has impacts on a disorientated identification, beyond national identity. Their «migratory poetry» transits through foreignness, turning the word into a moving home, into rejection, or even into integration. By means of temporary space traits, thematic references to the bestiary and to childhood, and reflections of the rhetoric, the poetic text is able to evoke the travel and also able to be a travel itself.

Les œuvres des “poètes migratoires” génèrent un certain nombre de questions. La poésie, est-elle le genre littéraire adapté pour exhiber l’éloignement ? Et dans ce cas, est-il possible de déceler les marques expressives qui caractérisent la poésie des expatriés ? Notre recherche s’intéresse à la relation entre l’écriture poétique et l’étrangéité, à partir de l’analyse des œuvres de trois poètes latino-américains expatriés. Jorge Bocanera (1952), Argentin exilé au Mexique et installé des années plus tard au Costa Rica ; Fabio Morabito (1955) Italo-mexicain qui écrit en espagnol, langue qu’il adopte après son arrivée au Mexique ; et le Péruvien Eduardo Chirinos (1960-2016), “exilé” circonstanciel aux USA pour des raisons professionnelles. La poésie de ces migrants approfondit la visión d’un éparpillement existentiel, qui se ressent dans une identification désorientée, au-delà même de l’identité nationale. Leur “poésie migratoire” est habitée par cette “expatriation”, faisant du mot un foyer en mouvement, un rejet voire une intégration. Grace à des marques spatio-temporelles, à des références thématiques au bestiaire et à l’enfance, en plus des reflets de la rhétorique, le texte poétique est capable d’évoquer le voyage et de devenir voyage lui-même<br>Building on the poetic works of the migrant poet questions arise. Is poetry the appropriate genre to exhibit displacement? In which case, is it possible to identify the expressive traits to define the poetry of displaced poets? Our research is focusing on the relation between the poetic writing and foreignness, through the analysis of the works of three Latin American displaced poets: Jorge Boccanera (1952), Argentine exiled in Mexico and abroad, and years later in Costa Rica; Fabio Morábito (1955), Italo-Mexican who writes in Spanish, a language which was adopted after settling in Mexico; and the Peruvian Eduardo Chirinos (1960-2016), circumstantial exiled in the United States, where he moved due to academic and professional reasons. The poetry of these migrants deepens into an existential dispersion, which has impacts on a disorientated identification, beyond national identity. Their «migratory poetry» transits through foreignness, turning the word into a moving home, into rejection, or even into integration. By means of temporary space traits, thematic references to the bestiary and to childhood, and reflections of the rhetoric, the poetic text is able to evoke the travel and also able to be a travel itself<br>A partir de la obra del poeta migrante surgen distintas preguntas. ¿Es la poesía el género adecuado para exhibir el distanciamiento? En cuyo caso, ¿se pueden detectar marcas expresivas que definan la poesía de los desplazados? Nuestra investigación se interesa por la relación entre la escritura poética y la extranjería, a través del análisis de la obra de tres poetas latinoamericanos desplazados: Jorge Boccanera (1952), argentino exiliado en México y extranjero, años después, en Costa Rica; Fabio Morábito (1955), italomexicano que escribe en español, una lengua adoptada tras su arribo a México; y el peruano Eduardo Chirinos (1960-2016), exiliado circunstancial en EEUU, donde se traslada por motivos académicos y laborales. La poesía de estos migrantes profundiza en una dispersión existencial, que repercute en una identificación desubicada, más allá de la identidad nacional. Su «poesía migratoria» transita la extranjería, convirtiendo la palabra en hogar en movimiento, en rechazo, o incluso en integración. Por medio de marcas espaciotemporales, referencias temáticas al bestiario y a la infancia, y reflejos de la retórica, el texto poético es capaz de evocar el viaje y ser viaje

This chapter examines Burgos's migratory routes from Puerto Rico to Havana and New York by looking at her second and third poetry collections—Canción de la verdad sencilla (Song of the Simple Truth, 1939) and El mar y tú (The Sea and You, 1954)—as well as her little-studied letters to her sister. The poetry collections and letters reveal her conflicted relationship to Puerto Rico. Despite her patriotism, home and nation became limiting, restrictive, and repressive spaces. As such, Burgos attempted to create a home and a life for herself beyond the boundaries of the nation. The chapter then discusses and extends the term sexile, usually used to describe queer migration, to heterosexual women whose sexuality appears excessive in Caribbean morality, contributing to their departure from the island.

Dispossession and displacement have always afflicted life in the modern history of the Middle East and North Africa. Waves of people have been displaced from their homeland as a result of conflicts and social illnesses. At the end of the nineteenth century, Circassian Muslims and Jewish groups were dispossessed of their homes and lands in Eurasia. This was followed by the displacement of the Armenians and Christian groups in the aftermath of the First World War. They were followed by Palestinians who fled from their homes in the struggle for control over Palestine after the Second World War. In recent times, almost 4 million Iraqis have left their country or have been internally displaced. And in the summer of 2006, Lebanese, Sudanese and Somali refugees fled to neighbouring countries in the hope of finding peace, security and sustainable livelihoods. With the increasing number of refugees, this book presents a discourse on displacement and dispossession. It examines the extent to which forced migration has come to define the feature of life in the Middle East and North Africa. It presents researches on the refugees, particularly on the internally displaced people of Iran and Afghanistan. The eleven chapters in this book deal with the themes of displacement, repatriation, identity in exile and refugee policy. They cover themes such as the future of the Turkish settlers in northern Cyprus; the Hazara migratory networks between Afghanistan, Pakistan, Iran and the Western countries; the internal displacement among Kurds in Iraq and Palestinians in the West Bank and East Jerusalem; the Afghan refugee youth as a ‘burnt generation’ on their post-conflict return; Sahrawi identity in refugee camps; and the expression of the ‘self’ in poetry for Iran refugees and oral history for women Iraqi refugees in Jordan.