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the University of Osnabrueck in 1995. She taught at high schools, at Ohio State University, the University of Osnabrueck, the Goethe Institute in Göttingen, and for many years at the undergraduate college of the University of Bielefeld. She has published several essays on racism and feminism, is co-editor of the book Schwarze Frauen der Welt – Europa und Migration [Black Women of the World – Europe and Migration], author of the book The African Continuum and African American Women Writers , the collection of essays Empowering Encounters with Audre Lorde and co

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recount the visible and invisible suffering of the poor and the powerless during historical changes. Often read as works of ‘magical realism’, Beloved and The Famished Road draw on the supernatural and the magical in such a manner as to highlight some internal structures and funda- mental characteristics of African life and thinking. Explaining the boundaries between the living and the dead in Beloved, Morrison says that ‘[t]he gap between Africa and Afro-America and the gap between the living and the dead and the gap between the past and the present does not

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had restricted women’s opportunities for self-expression. The history of Italian American women’s literature can be viewed as a synthesis of the transition from emblematic to latent ethnicity. This process is exemplified by the two groups of women writers that have been taken into consideration here: Mari Tomasi and Marion Benasutti re-elaborate the form of the pre-war immigrant novel in a somewhat nostalgic fashion, as well as rewriting in a female key the founding myths established by men during the pre-war years. On the other hand, Dorothy Bryant and Rita Ciresi

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District 9 where there seems to be an effort on the part of the writers to render the alien as equal to humans? While Dijkstra would argue that mistaken scientific theorems are placed into popular culture film thereby perpetuating the construction of race and racial stigmatization, District 9 seems at first sight to use this practice in order to critique it. District 9 opens as a faux-documentary that relates the events of the past twenty years during which time an alien mothership stalls over Johannesburg, South Africa. As the aliens appear to be suffering from

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people to apes dates back to the colonial era as a way of legitimizing racial discrimination. The ‘Black-Ape’ metaphor reflected the view of the time that Black people were evolutionary intermediates, and not fully evolved as human beings. In fact, the first article of the U.S. Constitution in 1787 even went so far as to declare that African American slaves should be counted as three fifths of a person. Although the likening of African peoples to apes is by no means a uniquely American phenomenon and has been documented in Arab militia communications about sub

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metropolitan canons, zig-zagging between European and American bestsellers. It is only when a Caribbean or Caribbean-British writer gains an international distinction (Walcott, Naipaul) or becomes a worldwide publishing sensation (Zadie Smith, Andrea Levy) that their books are translated. Exceptions to this rule, such as the solitary Polish editions of Caryl Phillips’ A Distant Shore (Muza, 2006), and Kei Miller’s The Last Warner Woman (Świat Książki, 2012), or single Francophone Caribbean novels 4 , are few and far between. To the best of my knowledge, the poetry of

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locked in stasis. Added to the contexts of culture and power, notions of space and mapping, and the confrontation between self, self-discovery, and otherness combine in this chapter to shed light on Oates’s engagement with Eastern Europe. Escape Lines In the final part of this collection, we present three chapters united by utopian impulses mapped onto various locations and transits – concretely, onto the African American experiences of travel, exile, escape, and community-building in racialized sites; the journey motif in epic poems by ‘beat’ American women writers

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Africa. They have set forth a vital critical agenda drawing attention to the modes of representation of women in these literatures as well as to the many forms of gender violence inflicted during colonialism and its aftermath. Pointing out the inequality underpinning the conditions of production, circula- tion and reception of texts by female writers in the many different parts of the so- called Lusophone world, critical work in the field has prompted important debates exposing the pivotal role of colonial and revolutionary patriarchy in the different socio

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: Peter Hammer Verlag, 2000. Habermas, Jürgen. Erkenntnis und Interesse . Frankfurt am Main: Suhrkamp, 6th edition, 1981. ← 306 | 307 → Hartwig, Jimmy. Ich bin ein Kämpfer geblieben. Meine Siege, meine Krisen, mein Leben . Berlin: Siebenhaar Verlag, 2010. Hügel-Marshall, Ika. Daheim unterwegs. Ein deutsches Leben . Frankfurt am Main: Fischer Taschenbuchverlag, 2001. Münster: Unrast Verlag, 2012. ——. Invisible Woman: Growing Up Black in Germany . Frankfurt am Main: Peter Lang, 2001. Kraft, Marion. The African Continuum and African-American Women Writers – Their

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song are (1) an acknowledgement of suppressing systems on poor youth and (2) an insertion of eschatological graspings. Eboni Marshall Turman is an Assistant Professor of Theology and African American Religion at Yale Divinity School. Her work converges on the intersections of womanist and feminist liberation theologies and ethics, Black radical ← 264 | 265 → traditions, Black women and theological liberalisms, Black womanist aesthetics and dogmatics in the African American Christian tradition (“Yale Divinity School”). She is also ordained in the National Baptist