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Destination Italy

Representing Migration in Contemporary Media and Narrative

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Edited By Emma Bond, Guido Bonsaver and Federico Faloppa

Italy is one of the most recent immigratory destinations in Europe, having long been one of the continent’s most important sources of emigration. Due to its strategic position in the Mediterranean, the Italian peninsula is a crossroads of complex transnational movements and represents a unique and dynamic context for the study of contemporary migration and its representation through the diverse channels of media, literature and film.
The product of a two-year interdisciplinary research project into representations of migration to Italy, this volume brings together scholarly contributions from the fields of migration studies, linguistics, media, literature and film studies as well as essays by practitioners and activists. It provides both a multi-faceted snapshot of how diverse representations of immigration capture experiences and affect decision-making dynamics and an in-depth study of how media, literature and cinema contribute to the public perception of migrants within the destination culture.
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New Postcolonial Art Forms: Timira as Multi-Genre Object Between Cinema and Literature

← 269 | 270 →DANIELE COMBERIATI AND LINDE LUIJNENBURG← 270 | 271 →

Extract

Several different studies have been published in recent years on writers originating from former Italian colonies.1 Even if many of these contributions have been extremely pertinent, a critical reference text is still required to deal with fundamental issues such as the category in which one might situate these writers. Timira, by Wu Ming 2 and Mohamed Antar, offers a new way to analyse these arguments, but, at the same time, is itself the result of several years of studies and discussions about those very themes. We would argue that Timira is more the outcome of these studies than of postcolonial Italian literature itself. As Silvia Contarini has written in an article about Timira, in the ‘closing credits’, a fundamental and structural element of the novel, there is no mention of postcolonial Italian writers, which the authors are certainly aware of.2 What is the reason for this ‘empty page’?

← 271 | 272 →Il riconoscimento del debito, a mio parere essenziale non tanto per l’ispirazione di scene o personaggi ma per il fatto stesso di scrivere oggi questo romanzo, sarebbe stato giusto: con la pubblicazione di Timira, Wu Ming si inserisce volontariamente ed esplicitamente nell’ambito della letteratura migrante e postcoloniale italiana che si sta imponendo all’attenzione di lettori e critici, in Italia e all’estero […]. Credo si tratti di scelta e non di dimenticanza da parte di Wu Ming. In una scena del romanzo, Isabella Marincola, cittadina italiana, di madre e marito somali, che abita a Mogadiscio ma non parla somalo, incontra...

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