{"id":17153,"date":"2025-09-13T18:52:07","date_gmt":"2025-09-13T16:52:07","guid":{"rendered":"https:\/\/sites.uclouvain.be\/narramuse\/?page_id=17153"},"modified":"2025-11-28T12:56:52","modified_gmt":"2025-11-28T11:56:52","slug":"raccolta-degli-abstracts","status":"publish","type":"page","link":"https:\/\/sites.uclouvain.be\/narramuse\/it\/raccolta-degli-abstracts\/","title":{"rendered":"Raccolta degli abstracts"},"content":{"rendered":"\n<div class=\"wp-block-group is-content-justification-center is-nowrap is-layout-flex wp-container-core-group-is-layout-f56f9fcf wp-block-group-is-layout-flex\"><nav class=\"is-responsive items-justified-center wp-block-navigation is-content-justification-center is-layout-flex wp-container-core-navigation-is-layout-3e41869c wp-block-navigation-is-layout-flex\" aria-label=\"Navigation 2\" \n\t\t data-wp-interactive=\"core\/navigation\" data-wp-context='{\"overlayOpenedBy\":{\"click\":false,\"hover\":false,\"focus\":false},\"type\":\"overlay\",\"roleAttribute\":\"\",\"ariaLabel\":\"Menu\"}'><button aria-haspopup=\"dialog\" aria-label=\"Ouvrir le menu\" class=\"wp-block-navigation__responsive-container-open\" \n\t\t\t\tdata-wp-on--click=\"actions.openMenuOnClick\"\n\t\t\t\tdata-wp-on--keydown=\"actions.handleMenuKeydown\"\n\t\t\t><svg width=\"24\" height=\"24\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 24 24\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M4 7.5h16v1.5H4z\"><\/path><path d=\"M4 15h16v1.5H4z\"><\/path><\/svg><\/button>\n\t\t\t\t<div class=\"wp-block-navigation__responsive-container\"  id=\"modal-1\" \n\t\t\t\tdata-wp-class--has-modal-open=\"state.isMenuOpen\"\n\t\t\t\tdata-wp-class--is-menu-open=\"state.isMenuOpen\"\n\t\t\t\tdata-wp-watch=\"callbacks.initMenu\"\n\t\t\t\tdata-wp-on--keydown=\"actions.handleMenuKeydown\"\n\t\t\t\tdata-wp-on--focusout=\"actions.handleMenuFocusout\"\n\t\t\t\ttabindex=\"-1\"\n\t\t\t>\n\t\t\t\t\t<div class=\"wp-block-navigation__responsive-close\" tabindex=\"-1\">\n\t\t\t\t\t\t<div class=\"wp-block-navigation__responsive-dialog\" \n\t\t\t\tdata-wp-bind--aria-modal=\"state.ariaModal\"\n\t\t\t\tdata-wp-bind--aria-label=\"state.ariaLabel\"\n\t\t\t\tdata-wp-bind--role=\"state.roleAttribute\"\n\t\t\t>\n\t\t\t\t\t\t\t<button aria-label=\"Fermer le menu\" class=\"wp-block-navigation__responsive-container-close\" \n\t\t\t\tdata-wp-on--click=\"actions.closeMenuOnClick\"\n\t\t\t><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 24 24\" width=\"24\" height=\"24\" aria-hidden=\"true\" focusable=\"false\"><path d=\"m13.06 12 6.47-6.47-1.06-1.06L12 10.94 5.53 4.47 4.47 5.53 10.94 12l-6.47 6.47 1.06 1.06L12 13.06l6.47 6.47 1.06-1.06L13.06 12Z\"><\/path><\/svg><\/button>\n\t\t\t\t\t\t\t<div class=\"wp-block-navigation__responsive-container-content\" \n\t\t\t\tdata-wp-watch=\"callbacks.focusFirstElement\"\n\t\t\t id=\"modal-1-content\">\n\t\t\t\t\t\t\t\t<ul class=\"wp-block-navigation__container is-responsive items-justified-center wp-block-navigation\"><li class=\"wp-block-navigation-item wp-block-navigation-link\"><a class=\"wp-block-navigation-item__content\"  href=\"https:\/\/sites.uclouvain.be\/narramuse\/it\/ricerca\/\"><span class=\"wp-block-navigation-item__label\">Ricerca<\/span><\/a><\/li><li class=\"wp-block-navigation-item wp-block-navigation-link\"><a class=\"wp-block-navigation-item__content\"  href=\"https:\/\/sites.uclouvain.be\/narramuse\/it\/membri\/\"><span class=\"wp-block-navigation-item__label\">Chi siamo<\/span><\/a><\/li><li data-wp-context=\"{ &quot;submenuOpenedBy&quot;: { &quot;click&quot;: false, &quot;hover&quot;: false, &quot;focus&quot;: false }, &quot;type&quot;: &quot;submenu&quot;, &quot;modal&quot;: null, &quot;previousFocus&quot;: null }\" data-wp-interactive=\"core\/navigation\" data-wp-on--focusout=\"actions.handleMenuFocusout\" data-wp-on--keydown=\"actions.handleMenuKeydown\" data-wp-on--pointerenter=\"actions.openMenuOnHover\" data-wp-on--pointerleave=\"actions.closeMenuOnHover\" data-wp-watch=\"callbacks.initMenu\" tabindex=\"-1\" class=\"wp-block-navigation-item has-child open-on-hover-click wp-block-navigation-submenu\"><a class=\"wp-block-navigation-item__content\" href=\"https:\/\/sites.uclouvain.be\/narramuse\/it\/eventi-futuri\/\"><span class=\"wp-block-navigation-item__label\">Eventi<\/span><\/a><button data-wp-bind--aria-expanded=\"state.isMenuOpen\" data-wp-on--click=\"actions.toggleMenuOnClick\" aria-label=\"Sous-menu Eventi\" class=\"wp-block-navigation__submenu-icon wp-block-navigation-submenu__toggle\" ><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" viewBox=\"0 0 12 12\" fill=\"none\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M1.50002 4L6.00002 8L10.5 4\" stroke-width=\"1.5\"><\/path><\/svg><\/button><ul data-wp-on--focus=\"actions.openMenuOnFocus\" class=\"wp-block-navigation__submenu-container wp-block-navigation-submenu\"><li class=\"wp-block-navigation-item wp-block-navigation-link\"><a class=\"wp-block-navigation-item__content\"  href=\"https:\/\/sites.uclouvain.be\/narramuse\/it\/eventi-futuri\/\"><span class=\"wp-block-navigation-item__label\">Prossimi eventi<\/span><\/a><\/li><li class=\"wp-block-navigation-item wp-block-navigation-link\"><a class=\"wp-block-navigation-item__content\"  href=\"https:\/\/sites.uclouvain.be\/narramuse\/it\/eventi-passati-2\/\"><span class=\"wp-block-navigation-item__label\">Eventi passati<\/span><\/a><\/li><li class=\"wp-block-navigation-item wp-block-navigation-link\"><a class=\"wp-block-navigation-item__content\"  href=\"https:\/\/sites.uclouvain.be\/narramuse\/it\/convegno-internazionale\/\"><span class=\"wp-block-navigation-item__label\">Convegno internazionale NarraMuse<\/span><\/a><\/li><\/ul><\/li><li class=\"wp-block-navigation-item wp-block-navigation-link\"><a class=\"wp-block-navigation-item__content\"  href=\"https:\/\/sites.uclouvain.be\/narramuse\/actualites\/\"><span class=\"wp-block-navigation-item__label\">News<\/span><\/a><\/li><li class=\"wp-block-navigation-item wp-block-navigation-link\"><a class=\"wp-block-navigation-item__content\"  href=\"https:\/\/sites.uclouvain.be\/narramuse\/it\/contatto\/\"><span class=\"wp-block-navigation-item__label\">Contattaci<\/span><\/a><\/li><\/ul>\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div><\/nav>\n\n<div class=\"widget widget_polylang\"><label class=\"screen-reader-text\" for=\"lang_choice_polylang--1\">Choisir une langue<\/label><select name=\"lang_choice_polylang--1\" id=\"lang_choice_polylang--1\" class=\"pll-switcher-select\">\n\t<option value=\"https:\/\/sites.uclouvain.be\/narramuse\/catalogue-abstracts\/\" lang=\"fr-FR\" selected='selected' data-lang=\"{&quot;id&quot;:0,&quot;name&quot;:&quot;Fran\\u00e7ais&quot;,&quot;slug&quot;:&quot;fr&quot;,&quot;dir&quot;:0}\">Fran\u00e7ais<\/option>\n\t<option value=\"https:\/\/sites.uclouvain.be\/narramuse\/en\/book-abstracts\/\" lang=\"en-US\" data-lang=\"{&quot;id&quot;:0,&quot;name&quot;:&quot;English&quot;,&quot;slug&quot;:&quot;en&quot;,&quot;dir&quot;:0}\">English<\/option>\n\t<option value=\"https:\/\/sites.uclouvain.be\/narramuse\/de\/abstract-sammlung\/\" lang=\"de-DE\" data-lang=\"{&quot;id&quot;:0,&quot;name&quot;:&quot;Deutsch&quot;,&quot;slug&quot;:&quot;de&quot;,&quot;dir&quot;:0}\">Deutsch<\/option>\n\t<option value=\"https:\/\/sites.uclouvain.be\/narramuse\/it\/raccolta-degli-abstracts\/\" lang=\"it-IT\" data-lang=\"{&quot;id&quot;:0,&quot;name&quot;:&quot;Italiano&quot;,&quot;slug&quot;:&quot;it&quot;,&quot;dir&quot;:0}\">Italiano<\/option>\n\n<\/select>\n<script>\n\t\t\t\t\tdocument.getElementById( \"lang_choice_polylang--1\" ).addEventListener( \"change\", function ( event ) { location.href = event.currentTarget.value; } )\n\t\t\t\t<\/script><\/div><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Raccolta degli abstracts<\/h2>\n\n\n\n<div class=\"wp-block-file aligncenter\"><a id=\"wp-block-file--media-2d8ba032-16f1-4f66-9eed-c6a28cb00d4d\" href=\"https:\/\/sites.uclouvain.be\/narramuse\/wp-content\/uploads\/2025\/09\/Book_Abstracts_IT_PDF.pdf\">Book_Abstracts_IT_PDF<\/a><\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Giorno 1 \u2014 17\/09\/2025<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>1. Conferenza plenaria \u201cExperiences as Literacy. Storytelling in a Postmigrant World\u201d \u2014 Marc Hill (Universit\u00e4t Innsbruck)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Stories are closely linked to everyday experiences and form the basis for creative thinking. In my presentation, I will use the drama \u201cVienna Arabesque. A Ride on the Ferris Wheel\u201d as an example to show how stories can highlight the diversity of city life. Particularly relevant to the drama are the performances of the Viennese hip-hop duo EsRAP (\u201cWhat rules apply here?\u201d). Esra and Enes \u00d6zmen are the siblings behind EsRAP. With their songs and interview collages, they provide the context for the story. The artist Kaj Osteroth created drawings for the story in the style of Response*able Drawing. I first encountered this style in a workshop by Sarah Hegenbart and Kaj Osteroth in Qxford. Overall, \u201cVienna Arabesque\u201d thrives on art-based teaching and research, theoretical borrowings and quotations from the art world, ongoing publication projects, student contributions and socially critical perspectives. I chose this example for this lecture because it comes from my own performative teaching and research practice and offers a postmigration perspective on storytelling about education and diversity in the city.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>2. Sessioni parallele 1<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione A \u201cParcours genr\u00e9s du soi postmigrant\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cL\u2019identit\u00e9 de la troisi\u00e8me g\u00e9n\u00e9ration d\u2019immigr\u00e9s harkis dans&nbsp;<em>L\u2019art de perdre<\/em>&nbsp;d\u2019Alice Zeniter\u201d \u2014 Jihyun Kim (Sogang University)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>L\u2019art de perdre&nbsp;<\/em>(2017), cinqui\u00e8me \u0153uvre de la romanci\u00e8re, dramaturge, sc\u00e9nariste et traductrice Alice Zeniter, est un roman qui reconstitue l\u2019histoire de trois g\u00e9n\u00e9rations de harkis rapatri\u00e9s en France juste apr\u00e8s l\u2019ind\u00e9pendance de l\u2019Alg\u00e9rie. La question des harkis, immigr\u00e9s de nationalit\u00e9 fran\u00e7aise, est non seulement tr\u00e8s controvers\u00e9e dans l\u2019histoire contemporaine fran\u00e7aise et alg\u00e9rienne, mais aussi un th\u00e8me majeur dans la r\u00e9cup\u00e9ration et la reconstruction des exp\u00e9riences et des souvenirs li\u00e9s \u00e0 la guerre d\u2019Alg\u00e9rie. Ce roman de Zeniter partage de nombreuses caract\u00e9ristiques avec les r\u00e9cits de harkis qui ont \u00e9merg\u00e9 en grand nombre au d\u00e9but des ann\u00e9es 2000 comme ceux de&nbsp;Fatima Besnaci-Lancou, Zahia Rahmani, mais il s\u2019en distingue \u00e9galement \u00e0 plusieurs \u00e9gards. Ces \u0153uvres avant Zeniter ont souvent servi \u00e0 mettre en avant ce programme en exposant la discrimination injuste subie par la g\u00e9n\u00e9ration de son p\u00e8re et la deuxi\u00e8me g\u00e9n\u00e9ration de harkis gr\u00e2ce \u00e0 la v\u00e9racit\u00e9 inh\u00e9rente \u00e0 l\u2019\u00e9criture autobiographique. Ils ont \u00e9galement eu tendance \u00e0 mettre l\u2019accent sur la r\u00e9habilitation de la premi\u00e8re g\u00e9n\u00e9ration de harkis sous forme de reportage ou de fiction. Cependant, l\u2019approche de Zeniter concernant les \u00ab&nbsp;histoires personnelles non racont\u00e9es&nbsp;\u00bb et les \u00ab&nbsp;histoires oubli\u00e9es&nbsp;\u00bb diff\u00e8re des approches historicistes et \u00e9thiques qui identifient les auteurs et les victimes de l\u2019histoire et corrigent les perceptions erron\u00e9es. Cette diff\u00e9rence provient de la perspective de la troisi\u00e8me g\u00e9n\u00e9ration de harkis qui s\u2019interrogent sur leur propre identit\u00e9.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Na\u00efma, le personnage principal du roman, la troisi\u00e8me g\u00e9n\u00e9ration, s\u2019identifie comme fran\u00e7aise parce qu\u2019elle n\u2019a jamais pass\u00e9 de temps dans un camp et qu\u2019elle s\u2019est assimil\u00e9e \u00e0 la soci\u00e9t\u00e9 fran\u00e7aise plus naturellement que la g\u00e9n\u00e9ration de son p\u00e8re. En outre, elle n\u2019a jamais \u00e9t\u00e9 inform\u00e9e des d\u00e9tails de l\u2019histoire de ses grands-parents et de la famille harki de son p\u00e8re, qui ont \u00e9t\u00e9 rapatri\u00e9s en France. Pour Na\u00efma, le pass\u00e9 d\u2019une \u00ab&nbsp;g\u00e9n\u00e9ration sans pass\u00e9&nbsp;\u00bb conduit \u00e0 la t\u00e2che de reconstruire une Alg\u00e9rie inconnue de diff\u00e9rentes mani\u00e8res. Tout d\u2019abord, l\u2019exp\u00e9rience de Na\u00efma, la troisi\u00e8me g\u00e9n\u00e9ration \u00e0 reconstituer l\u2019histoire de sa famille, est caract\u00e9ris\u00e9e par la pr\u00e9sence d\u2019une narratrice \u00e0 la premi\u00e8re personne qui sert en fin de compte d\u2019alter ego \u00e0 l\u2019auteur. Comme le montre le prologue, la narratrice pose la question de l\u2019identit\u00e9 de Na\u00efma et, pour la r\u00e9soudre, se rend dans l\u2019Alg\u00e9rie des ann\u00e9es 1930 pour \u00e9voquer la vie de son grand-p\u00e8re Ali. Au d\u00e9but du roman, l\u2019identit\u00e9 de la narratrice \u00e0 la premi\u00e8re personne qui appara\u00eet abruptement n\u2019est pas claire. Cependant, au fur et \u00e0 mesure que le roman progresse, il devient \u00e9vident que la narratrice joue le r\u00f4le d\u2019historien, d\u2019arch\u00e9ologue, d\u2019observatrice d\u00e9sint\u00e9ress\u00e9e et m\u00eame de \u00ab&nbsp;romanci\u00e8re&nbsp;\u00bb qui \u00e9crit l\u2019histoire de la famille de Na\u00efma. En outre, les multiples fils et perspectives qui composent ce r\u00e9cit soulignent la polyphonie des exp\u00e9riences individuelles et des histoires collectives. Par exemple, Na\u00efma consulte \u00ab&nbsp;harki&nbsp;\u00bb sur le site Wikip\u00e9dia et r\u00e9sume le trait\u00e9 d\u2019\u00c9vian dans un fichier Word. De m\u00eame, les graffitis harkis, les r\u00e9cits et les t\u00e9moignages de la d\u00e9portation et de la vie dans les camps sont des sources compl\u00e9mentaires et parfois contradictoires qui tissent l\u2019histoire. Ainsi,&nbsp;<em>L\u2019art de perdre<\/em>&nbsp;pr\u00e9sente de mani\u00e8re particuli\u00e8re les complexit\u00e9s historiques, sociales et culturelles des immigr\u00e9s alg\u00e9riens \u00e0 travers un r\u00e9cit unique de la migration dans lequel \u00ab&nbsp;the postmemory&nbsp;\u00bb fabrique l\u2019histoire de harkis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cInt\u00e9gr\u00e9es, inassimilables: r\u00e9cits crois\u00e9s &amp; r\u00e9sonnances de femmes dans l\u2019Europe post-coloniale\u201d \u2014 Sarra El Idrissi (Universit\u00e9 de Haute-Alsace)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette contribution a pour objet de mettre en r\u00e9cit cinq trajectoires de femmes \u2014 Leila, Yara, Julie, Meryem et moi-m\u00eame \u2014 toutes rencontr\u00e9es \u00e0 Mulhouse, ville frontali\u00e8re que mes travaux de th\u00e8se en sociologie de l\u2019urbain m\u2019ont amen\u00e9e \u00e0 penser comme un \u00ab&nbsp;petit Chicago de l\u2019Est fran\u00e7ais&nbsp;\u00bb. \u00c0 travers ces r\u00e9cits, j\u2019interroge les mani\u00e8res dont se r\u00e9invente la narration de soi et du monde dans les soci\u00e9t\u00e9s europ\u00e9ennes pluralistes, et comment des femmes \u00e0 la fois \u00ab&nbsp;parfaitement int\u00e9gr\u00e9es et parfaitement inassimilables&nbsp;\u00bb (Sayad, 1999) donnent \u00e0 voir de nouveaux rapports au religieux, \u00e0 l\u2019islam, et \u00e0 l\u2019appartenance.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ces trajectoires crois\u00e9es, saisies \u00e0 diff\u00e9rentes temporalit\u00e9s de mes quatre ann\u00e9es de th\u00e8se, r\u00e9v\u00e8lent des r\u00e9sonances (Rosa, 2018) g\u00e9n\u00e9rationnelles et transnationales&nbsp;: Nada, la s\u0153ur de Leila, rest\u00e9e marqu\u00e9e par son enfance en Italie&nbsp;; les enfants de Meryem, n\u00e9s en Gr\u00e8ce&nbsp;; les trajectoires crois\u00e9es de Lina et Sofia, cousines belgo-marocaines, ou encore les alliances conjugales qui deviennent vecteurs d\u2019ancrage identitaire voire religieux. Lorsque le rapport \u00e0 la religion se construit hors d\u2019un ancrage culturel stable (pays d\u2019origine, traditions transmises), c\u2019est parfois par le mariage ou la conversion qu\u2019un appui symbolique, voire une l\u00e9gitimation identitaire se (re)cr\u00e9e.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette narration s\u2019inscrit dans une d\u00e9marche de recherche-cr\u00e9ation communautaire, collective&nbsp;: les r\u00e9cits sont nourris d\u2019archives personnelles, de photos, de dessins, de vers, et constituent autant de fragments de vies mises en commun.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>R\u00e9f\u00e9rences<\/em><br>Sayad, Abdelmalek.&nbsp;<em>La double absence. Des illusions de l\u2019\u00e9migr\u00e9 aux souffrances de l\u2019immigr\u00e9<\/em>. Paris&nbsp;: Le Seuil, coll. \u00ab&nbsp;Liber&nbsp;\u00bb, 1999.<br>Rosa, Hartmut.&nbsp;<em>R\u00e9sonance. Une sociologie de la relation au monde<\/em>. Traduit de l\u2019allemand par Sacha Zilberfarb, avec la collaboration de Sarah Raquillet. Paris&nbsp;: La D\u00e9couverte, coll. \u00ab&nbsp;Th\u00e9orie critique&nbsp;\u00bb, 2018.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cExpression des masculinit\u00e9s et h\u00e9ritage religieux: tensions et ambivalences dans l\u2019\u0153uvre de Magyd Cherfi\u201d \u2014 Serena Finotello (UCLouvain)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette communication explore la repr\u00e9sentation des masculinit\u00e9s dans l\u2019ouvrage&nbsp;<em>Livret de famille<\/em>&nbsp;de Magyd Cherfi (2004), auteur et chanteur du groupe Zebda, au prisme de la postmigration et de la transmission religieuse. H\u00e9ritier d\u2019une identit\u00e9 alg\u00e9rienne et musulmane, Cherfi d\u00e9peint les tensions entre les mod\u00e8les virils du quartier, les prescriptions de l\u2019islam familial et les valeurs la\u00efques de la soci\u00e9t\u00e9 fran\u00e7aise dominante. En prenant appui sur les concepts de pluralit\u00e9 des masculinit\u00e9s de Raewyn Connell et sur la sociologie dispositionnaliste-contextualiste de Bernard Lahire, l\u2019expos\u00e9 essaie de montrer comment l\u2019\u00e9criture de Cherfi d\u00e9voile des subjectivit\u00e9s masculines complexes, fragment\u00e9es et parfois contradictoires. Loin de figer une identit\u00e9 masculine unique, Cherfi donne \u00e0 voir des exp\u00e9riences ambivalentes entre maintien et rupture, silence et parole, pudeur et lib\u00e9ration, offrant ainsi un \u00e9clairage original sur les dynamiques identitaires propres \u00e0 la postmigration.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cDire l\u2019indicible: r\u00e9cit postmigrant, homosexualit\u00e9 et qu\u00eate de soi dans les autofictions de Rachid O.,&nbsp;<em>Analphab\u00e8tes<\/em>, et d\u2019Abdellah Ta\u00efa<em>, Une m\u00e9lancolie arabe<\/em>\u201d \u2014 Jihane Haddouchi (Universit\u00e9 de Caen Normandie)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette communication propose une lecture crois\u00e9e de&nbsp;<em>Analphab\u00e8tes<\/em>&nbsp;de Rachid O. et de&nbsp;<em>Une m\u00e9lancolie arabe<\/em>&nbsp;d\u2019Abdellah Ta\u00efa, deux r\u00e9cits autofictionnels marqu\u00e9s par la postmigration, l\u2019\u00ab&nbsp;entre-deux&nbsp;\u00bb et la qu\u00eate de nouvelles configurations identitaires.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00c0 travers une \u00e9criture de l\u2019intime, les auteurs mettent en sc\u00e8ne des narrateurs n\u00e9s au Maroc et ayant immigr\u00e9 en France, pris dans une triple tension&nbsp;: entre h\u00e9ritage familial et r\u00e9invention de soi, entre assignation h\u00e9t\u00e9rosexuelle et d\u00e9sir homosexuel, entre langue maternelle et langue d\u2019\u00e9criture. Ces r\u00e9cits refusent n\u00e9anmoins de se laisser enfermer dans des cadres binaires fixes, et revendiquent la complexit\u00e9 et la fluidit\u00e9 des identit\u00e9s postmigrantes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La langue litt\u00e9raire devient ici un espace de r\u00e9sistance, permettant de dire l\u2019indicible, de transgresser les tabous li\u00e9s au genre, \u00e0 la sexualit\u00e9 et \u00e0 la filiation. Loin de r\u00e9cits victimaires, ces textes exp\u00e9rimentent de nouvelles formes d\u2019expression de la fluidit\u00e9 de soi, o\u00f9 la m\u00e9moire familiale, le corps sexu\u00e9 et l\u2019exil int\u00e9rieur s\u2019entrelacent.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019objectif est de montrer en quoi ces r\u00e9cits litt\u00e9raires de la postmigration d\u00e9construisent les binarismes h\u00e9rit\u00e9s (autochtone\/immigr\u00e9, masculin\/f\u00e9minin, arabe\/fran\u00e7ais) et proposent une nouvelle narration de l\u2019identit\u00e9 diasporique, entre fragmentation, r\u00e9appropriation et d\u00e9sir.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019analyse s\u2019appuiera sur une approche \u00e0 la fois narratologique et th\u00e9matique, attentive aux strat\u00e9gies d\u2019\u00e9criture autofictionnelles, aux figures de l\u2019intime et aux repr\u00e9sentations du corps, dans une perspective queer et postcoloniale.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione B \u201cPostmigration und Ost-West-Dialog\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cUwe Johnsons Romanzyklus \u2018Jahrestage\u2019 (1971-1983). Eine textanalytische Erkundung aus postmigrantischer Perspektive\u201d&nbsp;\u2014 Yvonne Delhey (Radboud Universiteit Nijmegen)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Uwe Johnsons \u201eJahrestage &#8211; Aus dem Leben von Gesine Cresspahl\u201c ist ein Romanzyklus, der zum Kanon der deutschsprachigen Literatur z\u00e4hlt und umfassend in literaturwissenschaftlichen Studien untersucht wurde. Die in den 1980er Jahren aufgekommene Diskussion um literarische Texte der Migration spielt dabei keine Rolle, auch wenn sowohl Inhalt und Struktur des Romans wie auch das Leben des Autors reichlich Ankn\u00fcpfungspunkte f\u00fcr eine Diskussion aus postmigrantischer Perspektive bieten. Johnson (geb. 1934) kam aus Mecklenburg-Vorpommern, verlie\u00df 1959 die DDR um zun\u00e4chst in West-Berlin, sp\u00e4ter in New York und schlie\u00dflich in Sheerness (UK) zu leben, wo er 1984 starb. Der Romanzyklus gilt als sein Hauptwerk. Wie der Untertitel schon andeutet, steht das Leben Gesine Cresspahls im Vordergrund. Sie stammt ebenfalls aus Mecklenburg-Vorpommern, lebt aber inzwischen mit ihrer zehnj\u00e4hrigen Tochter Marie in New York.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Im Wesentlichen lassen sich zwei Erz\u00e4hlebenen unterscheiden, die sich durch den gesamten Romanzyklus ziehen und durch Gesine miteinander verbunden sind: Auf der ersten Ebene wird tagebuchartig und \u00fcber ein Jahr hinweg vom 21. August 1967 bis zum 20. August 1968 \u00fcber den Alltag Gesines und ihrer Tochter berichtet. Auf der zweiten Erz\u00e4hlebene wird \u00fcber Gesines Herkunft und das Leben ihrer Eltern und Gro\u00dfeltern vom Beginn des 20. Jahrhunderts an reflektiert. Die Struktur des Romans gestattet es wichtige historische Ereignisse wie die weltpolitische Lage der 1960er Jahre aufzugreifen. Besondere Bedeutung hat dabei die Demokratiebewegung in der Tschechoslowakei der 1960er Jahre: Gesine arbeitet bei einer amerikanischen Bank als \u00dcbersetzerin, lernt Tschechisch und wird am Ende in geheimer Mission nach Prag geschickt.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mit der Diskussion um die postmigrantische Gesellschaft etablierte sich in der Literaturwissenschaft der Begriff der postmigrantischen Literatur. Er wird allgemein auf Texte der Gegenwartsliteratur bezogen, die sich mit Fragen der individuellen Entwicklung wie der sozialen und kulturellen Zugeh\u00f6rigkeit in Gesellschaften, die sich an pluralistisch-demokratischen Werten orientieren, auseinandersetzen. Seltener sind Ans\u00e4tze, die \u00e4ltere und kanonische Texte in diese Diskussion einbeziehen. Gleichwohl stellt sich gerade im Fokus auf literarische Texte die Frage, woran sich ihre literarische Qualit\u00e4t messen l\u00e4sst und wie dabei die Frage des gemeinsamen Miteinanders im Text zur Sprache kommt. Genau darauf zielt dieser Beitrag, der Duncan Bells Vorschlag, \u00fcber den Begriff \u201amythscape\u2019 gesellschaftliches Engagement (\u201asocial agency\u2019) im transnationalen Kontext zu denken, anhand konkreter Textbeispiele diskutieren wird.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cPostmigrantisches Gef\u00fcge. Zu den alten und neuen Narrativen in den Texten Autor:innen polnischer Herkunft\u201d&nbsp;\u2014 Eliza Szyma\u0144ska (Uniwersytet Gda\u0144ski)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Der Begriff \u201epostmigrantisch\u201c hat in der Literaturwissenschaft in j\u00fcngerer Zeit zunehmende Beachtung gefunden. Aus der Theaterwissenschaft stammend \u2014 gepr\u00e4gt von Shermin Langhoff, die den Begriff verwendete, um all jene Menschen zu beschreiben, die selbst keine Migrationserfahrung gemacht haben, aber dennoch von deren Auswirkungen und Narrativen gepr\u00e4gt sind (Langhoff 2010, 2018) \u2014 fand der Begriff \u201epostmigrantisch\u201c allm\u00e4hlich seinen Weg in die literaturwissenschaftlichen Studien. Einen markanten Zwischenh\u00f6hepunkt dieser Entwicklung stellt die j\u00fcngst im Springer-Verlag von Nazli Hodaie und Michael Hofmann initiierte Buchreihe&nbsp;<em>Postmigration und Literatur<\/em>&nbsp;dar. Der erste Band mit dem Titel&nbsp;<em>Postmigrantische Literatur. Grundlagen, Analysen, Positionen<\/em>ist im Januar 2025 erschienen und bietet Anhaltspunkte zur theoretischen Fundierung sowie zur analytischen Erschlie\u00dfung dieses Forschungsfeldes. In der Einf\u00fchrung des Bandes hei\u00dft es, dass \u2014 anders als im herk\u00f6mmlichen Migrationsdiskurs \u2014 das postmigrantische Paradigma eine gegenhegemoniale Wissensproduktion anstrebe, mit dem Ziel, Migration neu zu erz\u00e4hlen und statisch-bin\u00e4re Kategorien der (Nicht-)Zugeh\u00f6rigkeit zugunsten migrationsgesellschaftlicher Uneindeutigkeiten und Hybridit\u00e4ten in Frage zu stellen (vgl. Hodaie\/Hoffman 2024, S. 3).Gleichzeitig wird 2024 das Buch&nbsp;<em>Eure Heimat ist unser Alptraum<\/em>&nbsp;neu ver\u00f6ffentlicht, dessen Ausgangspunkt \u2014 wie der Titel bereits nahelegt \u2014 eben der Binarismus \u201eSie-Wir\u201c ist. Von den insgesamt 17 Autor:innen, die Beitr\u00e4ge zu Themen wie Arbeit, Beleidigung, Vertrauen, Privilegien, Zuhause oder Sprache leisten, sind die meisten entweder \u201ePostmigrant:innen\u201c oder als Kleinkinder von ihren Eltern nach Deutschland \u201emigriert worden\u201c (Zduniak-Wiktorowicz 2019).&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In diesem Zusammenhang stellt sich die Frage, ob der vielfach geforderte Verzicht auf das Erz\u00e4hlen von (Nicht-)Zugeh\u00f6rigkeit \u00fcberhaupt realisierbar ist \u2014 eine \u00dcberlegung, die unmittelbar die identit\u00e4ren Erz\u00e4hlmuster der postmigrantischen Literatur in den Fokus r\u00fcckt. Dar\u00fcber hinaus m\u00fcssen Fragen nach text\u00e4sthetisch-strukturellen Entscheidungen, den thematischen Schwerpunkten dieser als postmigrantisch bezeichneten Literatur sowie nach den narrativen Verfahren, durch die diese Inhalte vermittelt werden, gestellt werden. All diese Fragen wurden f\u00fcr mich zum Anlass, anhand der Analyse fiktionaler und faktualer Texte von Autor:innen polnischer Herkunft \u2014 Mithu Sanyal, Margarete Stokowski (beide sind in dem oben genannten&nbsp;<em>Heimat<\/em>-Buch vertreten), Matthias Nawrat und Adam Soboczynski \u2014 die man allesamt der postmigrantischen Literatur zuordnen kann, Fragen nach den Grundlagen und (Dis-)Positionen dieser Texte, um die von Hodaie und Hofmann genannten Kategorien nochmal aufzugreifen, zu stellen. In meinem Beitrag werden daher die Fragen erl\u00e4utert, innerhalb welcher Schreibstrategien und Erz\u00e4hlformen diese Literatur entsteht (text\u00e4sthetisch-strukturelle Ebene), was ihre Themen und konstitutiven Merkmale sind (thematisch-inhaltliche Ebene) und welche die in ihr dominierenden Identit\u00e4tsprojekte (biographisch-referentielle Ebene) sind.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In meinem Beitrag wird gezeigt, wie sich im Fall der postmigrantischen Literatur polnischer Provenienz die zuvor skizzierten Ebenen zu einem Gef\u00fcge verbinden, in dem neue Narrative mit \u00e4lteren Migrationsdiskursen verflochten sind. Diese Verflechtungen dienen einerseits der Erfassung migrationsgesellschaftlicher Hybridit\u00e4ten, Uneindeutigkeiten und \u00dcberschneidungen, andererseits aber auch der kritischen Reflexion fortbestehender Br\u00fcche und Diskriminierungsstrukturen.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cZwischenstationen in Zwischenr\u00e4umen. Der postmigrantische Familienroman \u2018Dschinns\u2019 von Fatma Aydemir\u201d \u2014 Erika Hammer (University of P\u00e9cs)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Theorieans\u00e4tze der Postmigration sind diskurskritische Versuche traditionelle Denkmuster zu \u00fcberwinden. Im Fokus stehen dabei bin\u00e4re Logiken und Grenzregime. Diese sollen im Roman von Aydemir nachgewiesen werden, wenn entlang von Reflexionen auf Dichotomien, haupts\u00e4chlich anhand von Konstruktionen des Eigenen und des Anderen allgemein postmigrantische Strukturen im Roman nachgewiesen werden. Es geht dabei um zwei Hauptpunkte:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Aufgedeckt werden soll erstens, wie dichotomische Ordnungen wie Heimat und Fremde in den Focus ger\u00fcckt und zugleich demontiert werden. Es geht um eine Geschichte der Migration, in der sind aber keine idyllischen Vergangenheiten als Herkunfts- und Sehnsuchtsorte, denen das neue Land dichotomisch gegen\u00fcbergestellt wird, denn jeder Ort ist von Fremdheiten, Nichtverstehen, Missbrauch etc. durchdrungen. Die Aufl\u00f6sung von herk\u00f6mmlichen Grenzregimen soll auch durch die Demontage von Heimkehrinszenierungen nachgewiesen werden. Statt Heimat und Fremde kann hier die Ankunft in dritten R\u00e4umen erkenntlich gemacht werden. Gezeigt werden soll, dass g\u00e4ngige Diskurse, Ressourcen, biographische Orientierungen zwar rezitiert werden (wie z.B. die Sehnsucht der ersten Generation in die T\u00fcrkei zur\u00fcckzukehren), zugleich wird aber darauf verwiesen, dass jede Bewegung nur in Zwischenr\u00e4ume und Zwischenstationen f\u00fchrt. Das triadische Muster Heimat \u2014 Migration \u2014 R\u00fcckkehr, das dem anthropologischen Modell Ordnung-\u00dcbergang-Neue Ordnung entspricht, l\u00e4uft hier in die Leere. Das Erz\u00e4hlen ist von permanenter Liminalit\u00e4t beherrscht, und macht Figurationen von Offenheit sichtbar. Der Text kann als Wartetext gelesen werden, der aber keine utopische Reunion mehr kennt, sondern im Bild des Erdbebens nur den Zusammenbruch der herk\u00f6mmlichen Ordnungen inszenieren kann. G\u00e4ngige Diskurse von Herkunft, Identit\u00e4t aber auch Geschlecht werden zugunsten der postmigrantischen Perspektive unterminiert.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Reflektiert werden soll zweitens, wie der herk\u00f6mmliche Migrationsdiskurs dadurch hinterfragt wird, dass der Gattung des Familienromans inh\u00e4rent ist, dass Otherness nicht allein kulturell zu verorten ist. Die sechs Erz\u00e4hlerstimmen der einzelnen Familienmitglieder, die ohne Hierarchisierung nebeneinanderstehen, betonen dieses Otherness innerhalb der Familie, also im vermeintlich Eigenen, wodurch transdifferente Verschr\u00e4nkungen und irritierende Mehrdeutigkeiten nachgewiesen werden k\u00f6nnen, die vom Nebeneinander der Stimmen bis zu einer Koexistenz narrativer Muster (z.B. Road Novel) reichen.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione C \u201cImmagini che insegnano: dalla graphic novel alla didattica della postmigrazione\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cViaggi di carta: quale narrazione della migrazione e della postmigrazione nei fumetti e nei libri illustrati italiani\u201d \u2014 Francesca Romana Camarota<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La complessa, drammatica e vitale realt\u00e0 della migrazione e della postmigrazione in Italia trova una affascinante e ricca possibilit\u00e0 narrativa nei fumetti e nei libri illustrati. Forse in ritardo rispetto alla produzione francese, da sempre capofila in questo ambito, ma con esiti certamente interessanti e diversificati: dai fumetti e libri per bambin* alle produzioni per adolescenti e per adulti: come ha mostrato magistralmente Art Speigelman in&nbsp;<em>Maus&nbsp;<\/em>, il fumetto pu\u00f2 esprimere tutto anche l\u2019orrore della Sho\u00e0, lo strazio dei sopravvissuti&nbsp;&nbsp;e la forza contraddittoria della vita. La produzione italiana sulla migrazione e postmigrazione \u00e8 varia: autori ed autrici (Laura Scarpa, Paolo Castaldi, Pino Oliva, Daniele Bonaiuti, Alessandro Cripsia, Armin Greder\u2026), importanti case editrici ed editoria di nicchia (Feltrinelli comics, Orecchio acerbo, Becco giallo, Coconino press\u2026), opere di committenza laica ma anche religiosa (Bao publishing, Fondazione Migrantes, Amnesty international\u2026) tematiche forti trattate con ironia ma anche con dolore e rabbia (<em>Cina<\/em>,&nbsp;<em>Brodo di sassi<\/em>,&nbsp;<em>Emigrania. I fiori del mare, L\u2019immigrazione spiegata ai bambini, Storie migranti<\/em>), storie del passato ma anche del presente (<em>Macaroni, Non stancarti di andare, Il sentiero\u2026<\/em>)\u2026 E\u2019 molto stimolante anche l\u2019offerta di testi provenienti da altre realt\u00e0 linguistiche e culturali, alcune delle quali presentano solo immagini ma potentissime ed incisive. A questo riguardo si possono ricordare&nbsp;<em>Migranti<\/em>&nbsp;di Issa Watanabe,&nbsp;<em>Mediterraneo<\/em>&nbsp;di Armin Greder,<em>&nbsp;L\u2019approdo&nbsp;<\/em>di Shaun Tan,&nbsp;<em>Khat storia di un rifugiato<\/em>&nbsp;di Ximo Abadi\u00e0: in quest\u2019opera le parole, poche e strettamente funzionali alla narrazione, sono quasi vanificate dalla pastosit\u00e0 drammatica e primordiale dei colori.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nell\u2019apparente semplicit\u00e0 di mezzi (disegni, poche parole, linguaggio colloquiale) sta la potenza del messaggio in questi fumetti e libri illustrati: la forma comunicativa scelta, di estrema raffinatezza ma mai manierata, diventa un linguaggio universale che pu\u00f2 esprimere con icastica permanenza la complessit\u00e0 vitale del contenuto.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cProblematica dell\u2019inclusione scolastica delle seconde generazioni in Italia: Note su&nbsp;<em>Il mio migliore amico \u00e8 fascista<\/em>&nbsp;di Takoua Ben Mohamed\u201d \u2014 Ir\u00e9n\u00e9e Fogno Ch\u00e9djou<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il tema delle seconde generazioni \u00e8 molto complesso dal punto di vista definitorio ed anche sensibile nel senso che affronta aspetti dell\u2019identit\u00e0 e della vita di numerosi minorenni con background migratorio nati o cresciuti in Italia. Secondo i dati Istat (2020), al 1\u00b0 gennaio 2018, in Italia, i minori di seconda generazione, stranieri o italiani per acquisizione, sono 1 milione e 316 mila: di questi il 75% \u00e8 nato in Italia (991 mila, seconda generazione in senso stretto). Sono bambini e ragazzi, la cui integrazione sociale ed inclusione scolastica \u00e8 una delle sfide decisive per il futuro dell\u2019Italia.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il nostro intervento porter\u00e0 su&nbsp;<em>Il mio migliore amico \u00e8 fascista<\/em>, un&nbsp;<em>grafic novel<\/em>&nbsp;pubblicato nel 2021 da Takoua Ben Mohamed in cui racconta con sorriso e ironia, la sua storia, e indirettamente quella delle difficolt\u00e0 che ragazze e ragazzi di seconda generazione affrontano nel loro percorso scolastico e di crescita. Si tratta di una storia che parla di pregiudizi, stereotipi, razzismo, scuola, amicizia e persino del bullismo.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cPlurilinguismo e multimodalit\u00e0 per un approccio narrativo nei contesti di apprendimento in ambito migratorio\u201d \u2014 Cecilia Bartoli (Universit\u00e0 di Palermo)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nel quadro odierno identit\u00e0 e culture vengono considerate come processi formativi e performativi di ibridazione e meticciamento culturale, religioso e linguistico, sottolineando le esperienze del nomadismo transculturale e delle appartenenze multiple (Burgio 2013).&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il focus nei contesti pedagogici, si sposta cos\u00ec da una \u201cconoscenza dell\u2019altro\u201d e della sua cultura, alla \u201ccoscienza dell\u2019altro\u201d (Abdallah-Pretceille 2017). La diversit\u00e0 si connota in senso singolare e plurale: culturale, ma anche di genere, di status sociale, di lingue, di condizione famigliare, di background specifico ecc. (Granata 2018).&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nel contesto di apprendimento con persone dal background migratorio si costituiscono&nbsp;<em>comunit\u00e0 trasversali alle comunit\u00e0<\/em>&nbsp;(Bartoli Lotano 2025) all\u2019interno delle quali pu\u00f2 trovare spazio anche la rielaborazione identitaria che l\u2019esperienza migratoria porta con s\u00e9.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Un approccio narrativo che dia spazio alle voci, alle storie e ai saperi di ciascuno \u00e8 ci\u00f2 che consente a questa pluralit\u00e0 di esprimersi e renderci consapevoli e capaci del contesto plurilingue e pluriculturale che abitiamo, dentro e fuori gli spazi della formazione. Tuttavia, in ambito migratorio questo \u00e8 realizzabile soltanto se si d\u00e0 particolare attenzione alle dimensioni del plurilinguismo e della multimodalit\u00e0.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La costruzione di un contesto di&nbsp;<em>multilinguismo fluido<\/em>&nbsp;(Lupke 2023) consente la costruzione collettiva dei significati e l\u2019attivazione dei repertori plurilingue di ciascuno, mediante processi di traduzione, translaguaging e mediazione (Picardo 2022, Garcia 2017).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Inoltre, la narrazione \u00e8 per sua natura multimodale e la multimodalit\u00e0 facilit\u00e0 la narrazione, per questo \u00e8 necessario sia l\u2019arricchimento delle risorse semiotiche nel contesto, con una pluralit\u00e0 di linguaggi espressivi (utilizzando materiali, oggetti, immagini ecc.) che l\u2019attenzione alle dimensioni co-verbali della comunicazione (Fontana Mignosi 2023).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A partire dalle narrazioni e dagli elaborati degli studenti,&nbsp;presenter\u00f2 la dimensione del laboratorio espressivo\/narrativo come concepito e sviluppato dall\u2019associazione Asinitas di Roma, esempio di buona pratica e setting pedagogico&nbsp;in grado di organizzare la complessit\u00e0 (Bartoli, Lotano 2024) attraverso una metodologia che tiene insieme plurilinguismo, multimodalit\u00e0 e narrazione e raccoglie le tracce delle esperienze migratorie degli studenti, le loro memorie, l\u2019espressione delle loro appartenenze multiple.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Riferimenti<\/em><br>Abdallah-Pretceille, M. (2017).&nbsp;<em>L\u2019\u00e9ducation interculturelle<\/em>. Presses Universitaires de France.&nbsp;<br>Bartoli C., Lotano L. (2024). \u201cLa didattica laboratoriale dell\u2019associazione Asinitas nelle classi di italiano come lingua non materna con giovani e adulti dal background migratorio\u201d, in<em>&nbsp;Pedagogia delle differenze<\/em>, 53, 1, pp.&nbsp;6.<br>Bartoli Lotano (2025)&nbsp;<em>Drammaturgie della presenza. Il teatro ad Asinitas: dall\u2019apprendimento linguistico all\u2019acquisizione di presenza personale e collettiva.&nbsp;<\/em>Scenario Journal 18-2-2025.<br>Burgio G. (2013).&nbsp;<em>I tamil e gli altri migranti. Sincretismo e intercultura a Palermo,&nbsp;<\/em>in E. Pace (a cura di)&nbsp;<em>Le religioni nell\u2019Italia che cambia<\/em>, Roma, Carocci.<br>Burgio G. (2015).&nbsp;<em>Sul travaglio dell\u2019intercultura. Manifesto per una pedagogia postcoloniale.&nbsp;<\/em>Studi sulla formazione. 18. 2-2015. 10.13128\/Studi_Formaz-18018.<br>Fontana S., Mignosi E. (2023), \u201cTra esplicito e implicito: comunicazione multimodale e relazione intersoggettiva nei contesti di apprendimento\u201d<em>,<\/em>&nbsp;in<em>&nbsp;Italiano LinguaDue<\/em>, 15, pp.&nbsp;154-164.<br>Garcia O. (2017), \u201cProblematizing linguistic integration of migrants: the role of translanguaging and language teachers. Some lessons from the research\u201d, in Beacco J.-C., Krumm H.-J., Little D. , Thalgott B. (Eds.),&nbsp;<em>The Linguistic Integration of Adult Migrants<\/em>, De Gruyter Mouton, Berlino, pp.&nbsp;11-26.<br>Granata A. (2018).&nbsp;<em>La ricerca dell\u2019altro. Prospettive di pedagogia interculturale.&nbsp;<\/em>Roma, Carocci.<br>L\u00fcpke F., Ciss\u00e9 I. A. H. (2023), \u201cLegitimising fluid multilingual practices: a challenge for formal education worldwide\u201d, in Reilly C., Chimbutane F., Clegg J., Rubagumya C., Erling E. (Eds.),&nbsp;<em>Multilingual learning: assessment, ideologies and policies in sub-Saharan Africa<\/em>, Routledge, Londra, pp.&nbsp;43-64.<br>Piccardo E. (2022), \u201c<em>The Mediated Nature of Plurilingualism\u201d<\/em>&nbsp;in Piccardo E., Germain-Rutherford A., Geoff L. (Eds.),&nbsp;<em>The Routledge handbook of plurilingual language education<\/em>, Routledge, Londra, pp.&nbsp;65-80.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cL\u2019autobiografia linguistica come dispositivo glottodidattico\u201d \u2014 Paolo Nitti (Universit\u00e0 degli Studi dell\u2019Insubria)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019autobiografia linguistica identifica una pratica narrativa e autoriflessiva in cui il parlante rievoca il proprio vissuto linguistico e glottomatetico, ricostruendo le tappe principali dell\u2019apprendimento, delle interazioni e delle rappresentazioni legate alle lingue conosciute e usate (Anfosso, Salvadori, Polimeni 2016). Questo dispositivo, oggi ampiamente impiegato nella didattica delle lingue moderne, si configura come uno strumento potente per la promozione della consapevolezza metalinguistica, in grado di far emergere dinamiche di alterit\u00e0 e appartenenza, memorie linguistiche implicite e rappresentazioni ideologiche sul linguaggio (Nitti 2023). In ambito glottodidattico, le potenzialit\u00e0 dell\u2019autobiografia risiedono nella possibilit\u00e0 di personalizzare il percorso formativo, attivando un confronto tra lingue, culture, identit\u00e0 e ruoli sociali, e favorendo la decostruzione di stereotipi attraverso il racconto individuale, successivamente didattizzato (Eloy 2023). La consapevolezza linguistica, che tale dispositivo attiva, costituisce una fase avanzata del processo di apprendimento e ne rappresenta una sua condizione preliminare: imparare a riconoscere il proprio repertorio, a nominarne le variet\u00e0, i registri, le fratture e le continuit\u00e0, \u00e8 il primo passaggio per qualunque riflessione linguistica autentica (C\u00e9spedes Gallego 2006). Questo vale anche per l\u2019apprendente nativo, che spesso d\u00e0 per scontato il funzionamento della propria lingua materna e non \u00e8 portato, dalla scuola, a riflettere sulla variabilit\u00e0, sulla negoziazione dei significati, sull\u2019impatto sociale delle scelte linguistiche. In tal senso, l\u2019autobiografia linguistica rappresenta un\u2019occasione formativa anche nei contesti di educazione linguistica in L1, in quanto permette di accedere alla dimensione latente e non problematizzata dell\u2019uso quotidiano della lingua, sollecitando interrogativi su norme, devianze, potere, esclusione e riconoscimento. La proposta, pertanto, intende esplorare i diversi tipi di autobiografia linguistica \u2014 da quelle cronologiche a quelle tematiche, da quelle individuali a quelle collettive \u2014 mettendo in luce come ogni approccio possa essere calibrato sulla base del profilo dell\u2019apprendente: L1, L2 o LS, studenti in contesto monolingue o plurilingue, bambini o adulti, italofoni nativi o apprendenti con background migratorio (Cavagnoli 2014). Saranno discusse le principali tecniche di elicitazione dei dati autobiografici: domande-guida per la ricostruzione della biografia linguistica (es. \u201cQual \u00e8 la tua prima memoria linguistica?\u201d, \u201cHai mai provato vergogna o orgoglio per come parli una lingua?\u201d, \u201cHai mai cambiato modo di parlare per adattarti a qualcuno?\u201d). La pratica dell\u2019autobiografia sar\u00e0 considerata anche in riferimento alle dinamiche di alterit\u00e0 linguistica, in quanto il contatto con altre lingue \u2014 e con gli altri che le parlano \u2014 produce spesso disallineamenti identitari, percezioni di inclusione o esclusione, conflitti o aperture (Cavagnoli 2021). L\u2019autobiografia linguistica, in questo senso, pu\u00f2 costituire un punto di partenza per un\u2019educazione linguistica critica e affettiva, capace di accogliere la pluralit\u00e0 dei repertori e di valorizzare la complessit\u00e0 dei vissuti individuali, stimolando nell\u2019apprendente la costruzione di un sapere linguistico non solo tecnico, ma anche etico, plurale e critico.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Riferimenti<\/em><br>Anfosso, Giampaolo; Salvadori, Eleonora; Polimeni, Giuseppe (a cura di).&nbsp;<em>Parola di s\u00e9: le autobiografie linguistiche tra teoria e didattica<\/em>. FrancoAngeli, Milano, 2016.<br>Cavagnoli, Stefania. \u201cL\u2019autobiografia linguistica fra plurilinguismo e affettivit\u00e0\u201d. In: Landolfi, Liliana (a cura di),&nbsp;<em>Crossroads: Languages in (E)motion<\/em>. Photo City Edizioni \u2013 University Press, Napoli, 2014, pp.&nbsp;179-188.<br>Cavagnoli, Stefania. \u201cL\u2019autobiografia linguistica come strumento per l\u2019apprendimento delle lingue: i\/le docenti\u201d. In: Gatti, Maria Cristina (a cura di),&nbsp;<em>Dalla glottodidattica alla formazione dei docenti: dall\u2019universit\u00e0 alla scuola<\/em>. AITLA, Milano, 2021, pp.&nbsp;47-60.<br>C\u00e9spedes Gallego, Jos\u00e9. \u201cNuevos elementos para el estudio de la autobiograf\u00eda\u201d.&nbsp;<em>Revista de Investigaci\u00f3n Ling\u00fc\u00edstica<\/em>, vol. 9, 2006, pp.&nbsp;25-40.<br>Eloy, Jean-Michel. \u201cNaissance du d\u00e9sir, naissance de la langue: Pour une autobiographie linguistique critique\u201d. In: Feliu, Francesc (a cura di),&nbsp;<em>Desired Language: Languages as objects of national ideology<\/em>. John Benjamins, Amsterdam, 2023, pp. 69-95.<br>Nitti, Paolo.&nbsp;<em>Linguistica popolare e ideologia linguistica<\/em>. AlboVersorio, Milano, 2023.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>3. Sessioni parallele 2<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione A \u201cIn Search of a Literary Aesthetic of Postmigration\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c\u2018Background noise\u2019, \u2018sheet lightning\u2019, \u2018life line\u2019: Language, form and the contingency of postmigrant aftermaths in Natascha Wodin\u2019s \u0153uvre\u201d \u2014 Eva Ulrike Pirker (Vrije Universiteit Brussel)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Born in 1945 in a DP camp in Bavaria to Ukrainian parents who had been uprooted as part of the Nazi\u2019s Enslaved Labour workforce, Natascha Wodin gained fame in the German literary scene with her multiple award-winning book&nbsp;<em>Sie kam aus Mariupol<\/em>&nbsp;(2017). The reception of this particular work in the context of the recent Russo-Ukrainian war to some degree eclipses Wodin\u2019s reiterative treatment of the subject of postmigrancy. Indeed, at closer inspection,&nbsp;Natascha Wodin as well as the situations and characters she conjures up in her autofictional oeuvre seem to constitute an eloquent \u2018example\u2019 of an engagement with postmigrancy. No matter if we understand postmigrancy as condition into which a person may have been born; as biographical experience or situation which has arisen as a consequence of an individual or collective process of migration; or as a parameter of identity ascription: all these various understandings are reflected in her works as elements which characters and narrators contend with, from her debut&nbsp;novel&nbsp;<em>Die gl\u00e4serne Stadt<\/em>&nbsp;(1983) to the more recent work&nbsp;<em>Nastjas Tr\u00e4nen<\/em>&nbsp;(2021), and they also feature in her short prose.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Reading Wodin and her writing as a \u2018case\u2019 or \u2018example\u2019, however, may imply taking away some of the pronounced urgency of her literary quest of self in\/and the world. In this quest, postmigrancy as an experience of destabilised situatedness (\u201cnicht nur ein Mensch ohne Zukunft, sondern auch einer ohne Vergangenheit\u201d) and as a complexly fraught performative space is a continuously recurring element. In my paper I aim to highlight Wodin\u2019s multifaceted engagement with the \u2018dramas of postmigrancy\u2019 by drawing attention to her recurring attempts across genres (including her less well-known poems) at finding a form and language that might contain them, ranging from autoethnographic and documentary acts of \u2018worlding\u2019 (Cheah 2017) to transmuted abstractions.<strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cAesthetics of Postmigration? \u2014 Exploring Postmigrant Identities and Belonging in Candice Carty-Williams\u2019&nbsp;<em>Queenie<\/em>&nbsp;(2019)\u201d&nbsp;<\/strong><strong>\u2014&nbsp;<\/strong><strong>Gizem Do\u011frul (Universit\u00e4t Wien)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At first glance, the questions of \u2018Where are you from?\u2019 or \u2018Where do you belong?\u2019 appear simple, yet in postcolonial and postmigrant contexts, they become increasingly difficult to answer. In the UK, where the Windrush scandal and \u2018hostile environment\u2019 policies have reshaped national discourse, literary scholars have turned their attention to how contemporary texts provide nuanced insights on belonging, particularly for the postmigrant generation. This paper addresses how Candice Carty-Williams\u2019&nbsp;<em>Queenie<\/em>&nbsp;(2019) explores the complexities of postmigrant belonging (cf. Bromley) through its form and storytelling, questioning whether we can speak of an \u2018aesthetics of postmigration\u2019 (cf. Hallensleben &amp; Schramm). Drawing on theories of cultural identity (Hall), and the politics of belonging (Yuval-Davis), I analyse how the protagonist of the novel, Queenie, a 25-year-old British Jamaican woman, navigates her life in a post-Brexit London. Queenie\u2019s crises \u2014 racial and sexual fetishisation, workplace discrimination and unstable relationships \u2014 culminate in her feelings of \u2018homelessness\u2019 (cf. Bhabha). The novel\u2019s fragmented narration and narrative voice mirror the protagonist\u2019s fragmented nature of what I consider the postmigrant condition. Unlike traditional \u2018migrant literature\u2019,&nbsp;<em>Queenie<\/em>&nbsp;embodies the plurality of minority experiences in the UK and actively redefine what it means to be British. Carty-Williams resists singular answers to the question of belonging, instead portraying it as unstable, dynamic and ever-changing. Through this, she challenges the single representation of migration, exposing why the question of belonging persists even in plural societies.&nbsp;<em>Queenie<\/em>&nbsp;does not answer the question of belonging; rather, it compels us to sit with the discomfort of postmigrant realities, positioning belonging not as a resolution but as an ongoing process of negotiation.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cThe Literary Exploration of Postmigrant Experiences of Class in Caryl Phillips\u2019s&nbsp;<em>In The Falling Snow<\/em>(2009)\u201d \u2014<\/strong><strong>&nbsp;Ceydanur Temurok&nbsp;<\/strong><strong>(Vrije Universiteit Brussel)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Caryl Phillips\u2019s&nbsp;<em>In The Falling Snow&nbsp;<\/em>(2009) explores the complexities of migration, class stratification, and social mobility faced by Caribbean migrants and their descendants in Britain. Unlike Sam Selvon\u2019s classic novel of migration&nbsp;<em>The Lonely Londoners&nbsp;<\/em>(1956) and some of Phillips\u2019s own novels,&nbsp;<em>In the Falling Snow&nbsp;<\/em>focuses on the experiences of the second generation. Whereas Selvon\u2019s novel shows that for migrants, the use of a distinct language can become a home away from home for migrants navigating systemic racism and social exclusion in London, Phillips\u2019s&nbsp;<em>In The Falling Snow&nbsp;<\/em>presents a more subtle negotiation of language by staging the internal conflict of its English-born protagonist Keith a government officer who has the power to make policies regarding race relations, his success and upward mobility masks his sense of alienation and unstable belonging. Keith\u2019s increasing speechlessness shows that experiences of exclusion and fractured identity of postcolonial Britishness persist for subsequent generations. In addition, their situation is often characterised by a lack of access to their parents\u2019 source culture. For generations following the first arrivals, abandoning the source cultural space can become mandatory in order to advance in the target society. The resulting schism appears to be the cost for upward class mobility and respect and points to the social forms and hierarchies at play against the backdrop of identity formations. According to Caroline Levine, hierarchies interfere with one\u2019s capacity of organising the world (<em>Forms&nbsp;<\/em>86). In that sense, the novel raises questions about possibilities of resistance to a dominant target culture\u2019s meritocratic myths. The promise of upward social mobility is enmeshed with cultural norms and inflexible notions of class. This study will show how Phillips depicts Keith\u2019s upward mobility and the social constellations he navigates to work through the implications of inflexible social stratification for the postmigrant subject.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cThe Future of Hispanism and its Globalization (Postmigrant Communities)<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Josebe Mart\u00ednez (<\/strong><strong>Universidad del Pa\u00eds Vasco)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As the specialist critics indicate (Berlage, 2016 and Saavedra, 2018), confirmed by the international literary market, the future of Hispanism revolves around its globalization. It is precisely the de\/relocation of its literature which boosts its value in the present day. We are at a turning point or a sea change in literature written in Spanish, which uses this language as a sign of its identity and a key to its resilience in its diasporic global future, both in the United States and in Europe. This is a new situation which draws all the critics\u2019 attention, despite their lack of categories to interpret it, because it has caused a literary sensation, that has yet to set its own norms, nor does it stand as hegemonic literature, but which is nevertheless the literature arousing the greatest interest among academics and the publishing market: the emerging Latin American literature in Spanish in Europe and in the USA by migrants and postmigrant individuals. The communication explores, based on an interdisciplinary research, the themes and strategies of representation generated from and around the de\/relocation of Latin America female subjects (or socialized as such) in Europe and North America. As we highlight throughout the paper, despite the fact that is precisely in the diasporic de\/relocation of Hispanism where the rising value of its literature resides, the myriad complexities of this field of research has not been considered within the European or American scope. And a gender perspective is yet to be carried out, a gaze that we are proposing in this communication.&nbsp;The objective is to explore the thematic, semiotic, pragmatic, linguistic, and narrative strategies employed by each genre to recount and interrogate the experiences of postmigrant (and migrant) individuals and societies.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione B \u201cVerflechtung von Gender und Postmigration\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cPostmigrantische Stimmen zwischen Zentrum und Peripherie: R\u00e4ume, Gender Identit\u00e4tskreativit\u00e4t<\/strong><strong>\u201d \u2014<\/strong><strong>Gloria Coscia (UCLouvain)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Im Verlauf dieses Vortrags werden wir die narrativen Techniken analysieren, die es erm\u00f6glichen, identit\u00e4re Grenzen in der Literatur queerer Autor*innen der postmigrantischen Generation zu \u00fcberschreiten. Der Vortrag schl\u00e4gt einen vergleichenden literaturwissenschaftlichen Ansatz vor, der Romane in franz\u00f6sischer, deutscher und italienischer Sprache untersucht:&nbsp;<em>La Petite Derni\u00e8re<\/em>(2020) der franz\u00f6sischen Autorin algerischer Herkunft Fatima Daas,&nbsp;<em>Ministerium der Tr\u00e4ume<\/em>&nbsp;(2022) der deutschen Autor*in iranischer Herkunft Hengameh Yaghoobifarah sowie&nbsp;<em>Hijra<\/em>&nbsp;(2024) des italienischen Autors Saif ur Rehman Raja. Zun\u00e4chst richten wir den Fokus auf das, was wir als \u201equeere Identit\u00e4ten\u201c innerhalb eines heteronormativen Gendersystems definieren, das f\u00fcr eurozentrische Gesellschaften charakteristisch ist. Anschlie\u00dfend wird gezeigt, wie der Raum, in dem sich die dargestellten Protagonist*innen bewegen, ihre Identit\u00e4tskonstruktion beeinflusst \u2014 sei es in ihrem Verh\u00e4ltnis zum Gendersystem oder in Bezug auf die Razzifizierung, deren beide Mechanismen als Erbe des europ\u00e4ischen Kolonialdenkens verstanden werden und deren Auswirkungen die Protagonist*innen ausgesetzt sind. Abschlie\u00dfend wird untersucht, wie der \u00dcbergang von der Peripherie\/Vorstadt zur Hauptstadt\/zu zentralen St\u00e4dten eine Form kreativer Identit\u00e4tsbildung erm\u00f6glicht, in deren Rahmen die g\u00e4ngigen Grenzen und Kategorien durchl\u00e4ssig und flexibel werden \u2014 ein Merkmal sowohl queerer Theorien als auch postmigrantischer Dynamiken.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cPost-postmigrantisch? \u2014 Translinguale und transmediale \u00c4sthetiken in Literatur aus ex-jugoslawischen Kontexten\u201d \u2014 Rajka Stani\u0107 (<\/strong><strong>LMU M\u00fcnchen\/FAU Erlangen-N\u00fcrnberg)<\/strong><strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Barbi Markovi\u0107s episodischer Roman Minihorror als postmigrantische Gesellschaftssatire Barbi Markovi\u0107s Minihorror bietet ein originelles literarisches Format zur Auseinandersetzung mit gesellschaftlichen Realit\u00e4ten in einer postmigrantischen Gegenwart. Der episodische Roman nutzt magischen Realismus, comichaften Humor und Horror, um scheinbar banale Alltagsszenen in groteske, phantastisch \u00fcberzeichnete Erz\u00e4hlungen kippen zu lassen. Inhaltlich thematisiert Minihorror strukturelle Probleme wie Integration, Diskriminierung, Prekarit\u00e4t und kapitalistische Lebensrealit\u00e4ten in einem urbanen Setting (Wien). Dabei reflektiert das Werk, wie migrantische Biografien in einer scheinbar offenen Gesellschaft dennoch an Grenzen sto\u00dfen \u2014 sei es durch unsichtbare Normen oder durch subtile Exklusionsmechanismen. Die Protagonisten Mini und Miki, ein binationales Paar, fungieren als universell erkennbare Identifikationsfiguren, die vertraute Popkultur-Ikonen ironisch \u00fcberformen. Der Text l\u00e4dt so zur Reflexion \u00fcber kulturelle Zuschreibungen, normative Erwartungen und das Scheitern von Integrationsversprechen ein. Gesellschaftskritische Lesarten lassen sich hier mit Perspektiven der Kulturwissenschaften, der feministischen Theorie und der Gender Studies verbinden \u2014 etwa im Hinblick auf prek\u00e4re Selbstst\u00e4ndigkeit oder die Konstruktion von Geschlecht und Herkunft als Differenzkategorien. Sprachlich zeichnet sich das Werk durch ein hybrides Erz\u00e4hlen aus, das mit Code-Switching zwischen Deutsch und Serbisch arbeitet. Der Wechsel der Sprache \u2014 mal \u00fcbersetzt, mal nicht \u2014 schafft nicht nur Authentizit\u00e4t, sondern reflektiert auch Fragen von Zugeh\u00f6rigkeit, Sprachmacht und Sichtbarkeit. Die ironisch gebrochene Erz\u00e4hlinstanz kommentiert das Geschehen mit feinem Witz und kritischer Distanz.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dabei wird deutlich, dass Sprache hier nicht blo\u00df Medium ist, sondern ein politischer Raum, in dem Identit\u00e4t, Macht und Marginalisierung verhandelt werden. Formal-\u00e4sthetisch Die einzelnen Episoden gleichen Kurzfilmen, die vom Allt\u00e4glichen schleichend ins Abgr\u00fcndige f\u00fchren. Inspiriert von Comic-\u00c4sthetik und Popkultur (z.\u2009B. Disney, Splatterfilm), unterl\u00e4uft Minihorror lineare Narration und psychologische Figurenzeichnung zugunsten allegorischer Verdichtung und grotesker \u00dcberzeichnung. Die im Anhang versammelten \u201e105 weitere[n] m\u00f6gliche[n] Horrors mit Mini und Miki\u201c erweitern das Werk ins Visuelle und Intermediale, was die Form zus\u00e4tzlich experimentell aufl\u00e4dt. Die N\u00e4he zur Graphic Novel, zum Horrorfilm und dem satirischen Theater macht das Buch zu einem mehrdimensionalen Beitrag zur aktuellen postmigrantischen Literaturproduktion. Die Analyse versteht Minihorror als literarische Versuchsanordnung, in der gesellschaftliche Missst\u00e4nde und Identit\u00e4tsfragen auf innovative Weise verhandelt werden \u2014 jenseits stereotypisierender Migrationsnarrative, die Autorinnen und Autoren aus dem ex-jugoslawischen Raum oft zugeschrieben werden. Durch die Verbindung von Inhalt, Sprache und Form entwickelt Markovi\u0107 ein vielschichtiges Erz\u00e4hlen, das Kategorien wie \u201epostmigrantisch\u201c oder \u201eanders\u201c zugleich nutzt, unterl\u00e4uft und hinterfragt.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cFamily Matters. Figures of Allegiance and Release<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Isabel Jacobs (LMU M\u00fcnchen)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The multiple possible meanings of the title of Sharon Dodua Otoo\u2019s award-winning&nbsp;<em>Ada\u2019s Raum&nbsp;<\/em>(2021)\u2014evident in its U.K. and U.S. translations&nbsp;<em>Ada\u2019s Realm&nbsp;<\/em>and&nbsp;<em>Ada\u2019s Room<\/em>\u2014signal the novel\u2019s engagement with competing ontologies and understandings of belonging (somewhere). Written in German by a British author-activist of Ghanaian heritage, the multilingual text exposes European modernity and its colonial legacies as shaped by long-standing histories of migration and entanglement through a literary practice of Sankofa\u2014the Akan philosophy of retrieving the past to reimagine the present. Through this materialist understanding of history as a loop, the text interweaves four female figures from precolonial Ghana and Victorian Britain to a Nazi concentration camp and contemporary Berlin, resisting colonial amnesia in today\u2019s Germany.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">My presentation explores how&nbsp;<em>Ada\u2019s Raum&nbsp;<\/em>challenges inherited narratives of origin, belonging, and national identity by unsettling the very structures of memory on which those narratives rely. I argue that, through a feminist Sankofarration (Sankofa + narration, Brooks et. Al 2016), the novel reflects the epistemic conditions of narrating and understanding collective history and in doing so, contributes to the postmigrant reconfiguration of German society. Through a focus on the looped herstories of maternal figures\u2014both mothers, and not mothers (Heti)\u2014and the patriarchal and racist violence that connects their lives, the text calls for forms of solidarity and belonging beyond the master narratives of founding fathers and the nation state. It offers a vision of belonging beyond the dialectics of belonging\/not belonging that underly conventional national, diasporic, and sometimes postmigrant discourses. This vision, as I would like to show, is akin to Johanna Garvey\u2019s formulation of queer (un)belonging as an \u201cundoing of belonging\u201d (2011) and exemplifies how postmigrant literature like Ada\u2019s Raum reworks both individual and collective self-narratives, making visible the violent and entangled histories that continue to shape Europe.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>References<\/em><br>Brooks, Kinitra D., et al. \u201cSPECULATIVE SANKOFARRATION: Haunting Black Women in Contemporary Horror Fiction.\u201d&nbsp;<em>Obsidian<\/em>, vol. 42, no. 1\/2, 2016, pp.&nbsp;237\u201348.&nbsp;<em>JSTOR<\/em>, http:\/\/www.jstor.org\/stable\/44489515. Accessed 30 Apr. 2025.<br>Garvey, Johanna X. K.\u201cSpaces of violence, desire, and queer (un)belonging: Dionne Brand\u2019s urban diasporas.\u201d&nbsp;<em>Textual Practice,&nbsp;<\/em>vol. 24, no. 4, 2011, pp.&nbsp;757\u2013777.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione C \u201cDiscorsi di postmigrazione nella letteratura e nel cinema italiano 1\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>Memoria culturale delle narrazioni africane e del Medio Oriente nella letteratura attuale in Occidente e in Italia\u201d \u2014 Loreta de Stasio (Universidad del Pa\u00eds Vasco)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il nostro studio si concentra sulle forme letterarie adottate da autori e autrici immigrati\/e in Europa, in particolare provenienti dal Medio Oriente e dall\u2019Africa subsahariana. Le loro opere contribuiscono alla costruzione di una memoria culturale alternativa rispetto alla narrazione dominante di matrice coloniale. Si tratta di scrittori, scrittrici, poeti e poetesse la cui produzione artistica \u00e8 fortemente radicata nell\u2019oralit\u00e0, tradizionalmente considerata il principale veicolo di trasmissione della memoria e del sapere nelle culture di origine.<strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Questi testi, pur essendo spesso redatti in forma scritta, sono pensati per essere vissuti attraverso la performance: vengono raccontati, declamati, cantati, drammatizzati e rappresentati. Non si tratta, quindi, di opere pensate per la sola lettura silenziosa, ma di creazioni letterarie che prendono vita nel momento della loro esecuzione. Per questo motivo, raramente esiste una documentazione scritta completa: si tratta piuttosto di canovacci, ovvero tracce testuali che fungono da guida per lo sviluppo creativo in fase di rappresentazione.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Questa caratteristica avvicina tali produzioni alla tradizione italiana della Commedia dell\u2019Arte, anch\u2019essa basata sull\u2019oralit\u00e0, sull\u2019improvvisazione e sull\u2019interazione con il pubblico. In entrambi i casi, il testo non \u00e8 un\u2019entit\u00e0 chiusa e definitiva, ma un punto di partenza per la costruzione collettiva del significato.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In tal senso, le opere di questi autori e autrici esiliati\/e si configurano come \u201cspettacoli letterari\u201d, espressione di una letteratura viva, dinamica e profondamente legata all\u2019identit\u00e0 culturale e alla memoria diasporica. Attraverso l\u2019oralit\u00e0, esse sfidano i confini del testo scritto e propongono nuove modalit\u00e0 di narrazione e di espressione che arricchiscono il panorama letterario contemporaneo italiano ed europeo.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>Dal cinema oltre il cinema: muri che si infrangono nelle narrazioni postmigratorie\u201d \u2014 Maria Laura Marinaccio (Universidad del Pa\u00eds Vasco\/Universit\u00e0 di Foggia)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il cinema italiano, intendendo per \u201citaliano\u201d un attributo riferibile a coloro che vivono e operano all\u2019interno del paese, annovera ancora pochi contributi di cineasti immigrati di prima o seconda generazione. Nella logica di superamento della limitante partizione binaria tra l\u2019essere o non migranti, la componente multiculturale, costitutiva del nostro paese, dall\u2019epoca dell\u2019Impero Romano in poi, necessita di avere voce e identit\u00e0 nelle forme di rappresentazione culturale e cinematografica. Le poche testimonianze rintracciabili sono in grado di fornire uno sguardo inedito e punti di vista significativi su spaccati di vita che incarnano realt\u00e0 e dinamiche sociali di vissuti di un\u2019umanit\u00e0 traboccante, che meritano di essere indagati. E\u2019 il caso del giovane cineasta Suranga Deshapriya Katugampala, che con la sua opera d\u2019esordio \u201cPer un figlio\u201d (2016), mette in luce le difficolt\u00e0 di due generazioni (quella di una madre e del figlio) che faticano a trovare una definizione del loro esserci in una realt\u00e0 che avvertono, per motivi diversi, come estranea. E\u2019 anche il racconto di mondi femminili paralleli che si lambiscono sul terreno della quotidianit\u00e0, finendo per essere solitudini che trovano conforto in una dimensione maternale che le congiunge. Altra opera interessante \u00e8 \u201cBangla\u201d (2019), del regista Phaim Bhuiyan originario del Bangladesh: sulla cornice delle vicende di vita di un giovane bengalese venuto a vivere in Italia, si innestano riflessioni profonde su una generazione che vive contraddizioni culturali e desideri di affrancamento rispetto ai rigidi dettami religiosi della comunit\u00e0 di appartenenza. Questi sono alcuni dei temi che saranno sviluppati, per operare un\u2019indagine profonda sul cinema contemporaneo italiano che si \u00e8 arricchito del contributo di prospettive e approcci artistico-culturali e sociali che devono essere posti in luce e valorizzati.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cPostmigrazione: Il caso particolare di M\u00f3nica Maff\u00eda\u201d \u2014 Jos\u00e9 Mar\u00eda Nadal (Universidad del Pa\u00eds Vasco)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il caso di M\u00f3nica Maff\u00eda mostra una traiettoria culturale e sociologica di \u201cde-emigrazione\u201d e di \u201cde-post-emigrazione\u201d.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">M\u00f3nica Maff\u00eda \u00e8 una scrittrice, regista teatrale e attrice argentina le cui due nonne erano spagnole (di Burgos e Palencia), il cui nonno paterno era un italiano di Salerno, e il cui nonno materno era figlio di un immigrato, anche lui italiano, dal Piemonte. Se i suoi antenati recenti sono immigrati dalla Spagna e dall\u2019Italia in Argentina, e se lei vive l\u00ec, tuttavia svolge molto spesso la sua attivit\u00e0 teatrale come autrice e come regista in Spagna; e in Inghilterra come autrice, regista e specialista di Shakespeare. A M\u00f3nica Maff\u00eda viene data la condizione di post-migrante, per la sua famiglia, e di \u201cmigrante intermittente\u201d, per l\u2019esercizio internazionale della sua professione, con esibizioni non solo in Argentina, Spagna e Inghilterra, ma anche negli Stati Uniti e in Canada.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Studiamo gli aspetti legati alla post-migrazione nell\u2019opera di M\u00f3nica Maff\u00eda, concentrandoci su tre opere teatrali:&nbsp;<em>Cimbellino en Patagonia<\/em>,&nbsp;<em>La urdimbre e la trama<\/em>,<em>&nbsp;<\/em>e&nbsp;<em>Contrapasso<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Se la scrittura e la pubblicazione di testi teatrali implica di solito il possesso di un certo grado di cultura, nelle opere citate esse evidenziano, tra gli altri aspetti, il livello culturale del mittente implicito e del suo destinatario, il lettore (o spettatore) implicito. Ci\u00f2 \u00e8 legato, ad esempio, alla presenza della mitologia greco-romana; alla comparsa della mitologia biblica o parabiblica; al dispiegamento argomentativo o tematico delle tradizioni e dei miti fondatrici delle culture precolombine o delle prime culture coloniali; all\u2019uso delle opere di Shakespeare e della sua biografia; alle procedure descritte dalla teoria letteraria moderna o impiegate nella letteratura o nell\u2019arte recente; ecc.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Questi elementi, tra le altre missioni, possono indicare sia la volont\u00e0 di rivendicare l\u2019appartenenza o la conoscenza della cultura del Paese in cui si vive come post-migrante; sia la volont\u00e0 di rendere omaggio alla cultura di origine dei nonni e dei genitori; nonch\u00e9 la volont\u00e0 di non limitare la propria identificazione con queste due fonti culturali, ma anche di collegarla alla cultura anglosassone e internazionale; ecc. Questa \u00e8 la parte fondamentale della nostra analisi concreta dei testi di M\u00f3nica Maff\u00eda.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dal punto di vista storico-biografico e sociologico, in Argentina, i fratelli, i genitori e i nonni di M\u00f3nica Maff\u00eda sono appartenuti e appartengono a una borghesia colta e professionalmente privilegiata: avvocati, analisti dei conti, artisti, professori universitari\u2026 Pertanto, la vita di M\u00f3nica Maff\u00eda non implica in nessun caso l\u2019ascesa da un livello economico, sociale e culturale inferiore.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Non sappiamo ancora se la promozione economica sia stata raggiunta dai nonni dopo il loro arrivo in Argentina, o se fossero gi\u00e0 in qualche modo benestanti prima di emigrare dall\u2019Italia e dalla Spagna. Inoltre, non sappiamo ancora se il loro livello culturale sia stato acquisito principalmente in Argentina o se avessero gi\u00e0 una buona cultura prima di emigrare.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Come abbiamo riassunto all\u2019inizio, il caso di M\u00f3nica Maff\u00eda esemplifica uno dei tanti modi che esistono per smettere di essere, in termini sociologici e culturali, figlia o nipote di immigrati.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c50% bangla 50% Italia 100% Torpigna: scene di citt\u00e0 e di quartiere\u201d \u2014 Paola Populin (Universidad del Pa\u00eds Vasco) &amp; Phaim Bhuiyan (attore, regista e sceneggiatore)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il racconto della postmigrazione spesso \u00e8 caratterizzato da elementi che rappresentano le difficolt\u00e0 delle nuove generazioni, la presa di coscienza di vivere a cavallo di due mondi, la questione del doppio sguardo sulla realt\u00e0 di se stessi e degli altri, la possibilit\u00e0 di conciliare linguaggi, lingue e abitudini. Se tutto questo \u00e8 espresso con il tono della commedia, come accade nell\u2019ottimo film di Bhuiyan, l\u2019aspettativa dello spettatore, depistato, non si compie in un disperato dramma, ma si afferma in una lettura del reale pi\u00f9 condivisa e familiare. Il dialogo fra generazioni, provenienti da luoghi e tempi diversi, \u00e8 affrontato con precisione secondo tutti i modelli narrativi abituali, ma con la novit\u00e0 del comico-umoristico talora assente dai racconti a cui si \u00e8 abituati, e che pone in risalto la condivisione e non la separazione.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>4. Sessioni parallele 3<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione A \u201cEchoes of Memory in Postmigrant Forms\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c\u2018Kaj\u015b. A Tale of Upper Silesia\u2019 by Zbigniew Rokita and transcultural identification<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Daria Banasiewicz (Adam Mickiewicz University Pozna\u0144)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Kaj\u015b. Historia G\u00f3rnego \u015al\u0105ska (Kaj\u015b. A Tale of Upper Silesia<\/em><strong>)&nbsp;<\/strong>by Zbigniew Rokita is a prose that presents the complexity of the identity of Upper Silesia in an interdisciplinary way, combining elements of autobiography, reportage and historical essay. The author, who is Silesian by birth, describes mechanisms of identity construction in the transcultural, historical context of a region where Polish, German and Czech influences collide. In the book, Rokita avoids clear-cut definitions, portraying the identity of Silesians as a dynamic construct that is subjected to constant negotiation between history, collective memory and individual experience. Rokita not only reconstructs history, but also shows how literature can act as a tool for experiencing emotions related to space and memory, bringing the reader into the affective experience of Upper Silesia. In the background appears religion as a factor of Silesian culture, mainly Catholicism, which was one of the pillars of the local society. The book also relates in the context of collective and historical memory to nationality conflicts where religion has sometimes been utilized to justify who belonged to what identity (e.g., Silesians being identified as either German or Polish, depending upon the latest dominant national narrative). The author does not pay attention to religion as a motif but demonstrates it as a fragment of the Silesian heritage which is awaiting redefinition.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The article uses Rita Felski\u2019s literary theory of attachment and identification. I also reference Renate Eigenbrod\u2019s work on power relations between reader and text. She\u2019s interested in how knowledge is consumed but also how it\u2019s interpreted in a cultural context \u2014 across cultural borders. Felski, conversely, is more interested in the psychological or affective dimension of identification, without as much of an eye on power relations. I reinforce my work using the ideas of Wolfgang Welsh regarding transculturality while asking how the identity is (re)constructed in an environment where the definition of belonging to a specific ethnicity is blurred.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c\u2018Crossroads of Memory\u2019:&nbsp;<\/strong><strong>Responding to Contemporary Refugee Crisis with Lessons from the Holocaust<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Sahib Kapoor (Jawaharlal Nehru University)<\/strong><strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This paper explores the interconnectedness between the Holocaust and the current refugee crisis in Ari Folman\u2019s and Lena Guberman\u2019s graphic novel&nbsp;<em>Where ist Anne Frank<\/em>&nbsp;(2022). The graphic novel is a sequel to Ari Folman\u2019s award winning graphic novel&nbsp;<em>Anne Frank\u2019s Diary: The Graphic Adaptation<\/em>&nbsp;(2017). By turning to Michael Rothberg\u2019s&nbsp;<em>Multidirectional Memory<\/em>&nbsp;(2009), this paper will elucidate artists\u2019 strategies for bridging these seemingly disparate events, as depicted through the journey of Kitty, the personification of Anne\u2019s diary. The article sheds light on stimulating discussion on cultural memory and different forms of historical and current displacement. Example such as the notions on displacement and colour symbolism are discussed with through the lens of Holocaust memory to trace the points of intersection between with two pivotal events in human history that Folman and Guberman skilfully intertwine. This paper seeks to understand the notion of identity and belonging by underscoring the challenges faced by the two distinctive victim groups collectively.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>The Cultural Memory of Italian&nbsp;<em>Gastarbeiders<\/em>&nbsp;in the Netherlands: Postmigrant Narratives of the \u2018Spaghettirellen\u2019<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Monica Jansen (Utrecht University)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In September 1961 in Oldenzaal, in the textile region of Twente, ethnic riots occurred between Italian and Spanish guest workers and young Dutch workers, which have since then been remembered as the Twente riots or spaghetti riots. Broadly reported and discussed on (inter)national and local newspapers at the time, this incident was considered a failure of integration on both sides, and showed that overall the guest workers in the Netherlands were not happy (Schrover et al. 2018). Over the years, the Twente riots have become part of the Dutch history of labor migration, and of the cultural memory of \u201cgastarbeiders\u201d migration from Italy to the Netherlands. They are remembered and recontextualized in different media that reshape the storytelling of the Twente riots around anniversaries, and that connect different postmigrant communities and publics across time.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Recently a number of cultural productions, of which the theatre performance&nbsp;<em>Spaghettirellen<\/em>&nbsp;(2024, De Jonge Honden) and the film&nbsp;<em>Tegendraads<\/em>&nbsp;(2024, Ben Sombogaart), have shown a renewed interest in the Twente riots. This paper aims to investigate which social frames have determined the memorability of this local incident in the 1960s, and which cultural forms have shaped it into a \u201ccarrier of memory\u201d (Rigney 2021) across time, space, and cultures. Why does this story \u201cstick\u201d, and what new meanings are conveyed by its retellings in our present postmigrant society? Which social processes make it function as a \u201cmedium of memory\u201d (Erll 2011), and which genres and narrative structures code the collective remembrance of its subject matter? Does this story about Italians and&nbsp;<em>tukkers<\/em>&nbsp;in the 1960s allow to speak about issues of integration and othering in present society metaphorically, without labeling them directly? Or is this renewed interest in the memories of the generation of&nbsp;<em>gastarbeiders<\/em>&nbsp;part of the urgency to collect the traces of their cultural heritage for future generations?&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>Transnational memories and the experience of migration in&nbsp;<em>Persepolis&nbsp;<\/em>of Marjan Satrapi<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Amirpasha Tavakkoli (Sciences Po Toulouse)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As a young girl, Marjan starts to live in Europe during the period of war between Iran and Iraq. Her new life in Europe is quite different in comparison to her childhood in revolutionary Iran and she believed seriously that Vienna will be a sort of Utopia, which helps her to forget the dark years of revolution. The experience of mobility opens a new chapter in her life, in which her national identity as an Iranian young girl disappeared temporarily but after a couple of years, her Persian cultural memory returns and ruined her middle class teenager dreams and ideals. Theoretically, the question of cultural memory in&nbsp;<em>Persepolis&nbsp;<\/em>is not separated from that of post-immigration life experience in the whole book. Marjan\u2019s identity is in perpetual reconstruction between her post-immigration new life in Europe and her childhood in Iran, and she tries hardly to find a balance between these two different states of mind. Is it possible emotionally to go beyond the domination of local cultural memory, by choosing to live somewhere else, or to say it differently, can human being modify or sublime his or her original-local memories by living a post-immigration life experience? What are the emotional effects of remembering past cultural memories in a very new context of life? We will try to answer these questions by analyzing Marjan\u2019s experience of mobility in Europe of eighties, with a focus on her post-immigration experience of life in Vienna.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione B \u201cIslam et paradigme transm\u00e9diterran\u00e9en\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cErrance, r\u00e9volte et \u00e9mancipation: po\u00e9tique de la postmigration dans le roman marocain francophone\u201d \u2014 Tariq Afellah (Universit\u00e9 Cadi Ayyad)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00c0 travers une lecture crois\u00e9e de plusieurs romans marocains d\u2019expression fran\u00e7aise, cette communication se propose d\u2019explorer la symbolique de l\u2019errance, de la fuite, de la r\u00e9volte et du picaresque comme modalit\u00e9s narratives et existentielles de la postmigration. Ces r\u00e9cits litt\u00e9raires, marqu\u00e9s par une tension constante entre enracinement et d\u00e9placement, traduisent les bouleversements identitaires, culturels et sociaux v\u00e9cus par les protagonistes issus des trajectoires postmigrantes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le roman marocain francophone, en tant que genre canonique, devient un espace d\u2019\u00e9laboration d\u2019un imaginaire de la mobilit\u00e9, o\u00f9 les figures du vagabond, du rebelle, ou de l\u2019arpenteur d\u2019espaces (r\u00e9els et symboliques) incarnent une qu\u00eate d\u2019\u00e9mancipation face aux assignations identitaires et aux contraintes sociopolitiques. Ces r\u00e9cits ne se contentent pas de repr\u00e9senter un pass\u00e9 migratoire, ils investissent l\u2019apr\u00e8s \u2014 ce que l\u2019on pourrait appeler la \u00ab&nbsp;postmigrance&nbsp;\u00bb \u2014 comme un temps d\u2019errance cr\u00e9atrice, d\u2019inqui\u00e9tude ontologique, mais aussi de r\u00e9invention de soi et de nouvelles appartenances.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En m\u2019appuyant sur des \u0153uvres telles que&nbsp;<em>L\u2019Esp\u00e9rance macabre<\/em>&nbsp;de Fouad Laroui,&nbsp;<em>Le Pass\u00e9 simple<\/em>&nbsp;de Driss Chra\u00efbi, ou&nbsp;<em>Une ann\u00e9e chez les Fran\u00e7ais<\/em>&nbsp;de Fouad Laroui, je montrerai comment le roman postmigrant puise dans le registre du picaresque, dans une \u00e9criture souvent ironique et subversive, pour mettre en sc\u00e8ne une subjectivit\u00e9 en mouvement, tiraill\u00e9e entre h\u00e9ritage et rupture, m\u00e9moire et oubli, ici et ailleurs.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ces r\u00e9cits, \u00e0 la crois\u00e9e du personnel et du collectif, de l\u2019intime et du politique, agissent comme des laboratoires de l\u2019imaginaire postmigrant, capables de produire de nouveaux modes de narration, de m\u00e9moire et de spatialit\u00e9. Ils participent ainsi \u00e0 faire entendre des voix longtemps marginalis\u00e9es, \u0153uvrant \u00e0 la constitution d\u2019une nouvelle communaut\u00e9 imagin\u00e9e, fond\u00e9e sur le d\u00e9placement, l\u2019hybridation, et la pluralit\u00e9 des mondes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cR\u00e9\u00e9crire l\u2019exil: silence, m\u00e9moire et r\u00e9invention identitaire dans la litt\u00e9rature marocaine postmigratoire\u201d \u2014 Salma Rouyett (Universit\u00e9 Mohammed V de Rabat)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dans cette communication, nous interrogerons la mani\u00e8re dont la litt\u00e9rature marocaine postmigratoire transforme la m\u00e9moire de l\u2019exil en une mati\u00e8re instable, o\u00f9 identit\u00e9 et r\u00e9cit se recomposent sans cesse. Comment \u00e9crire l\u2019exil quand il est transmis sous forme de silences, d\u2019ellipses, de souvenirs fragment\u00e9s&nbsp;? Comment dire ce qui a \u00e9t\u00e9 tu, oubli\u00e9 ou volontairement effac\u00e9&nbsp;? Les \u00e9crivains postmigratoires marocains ne se contentent pas d\u2019archiver la m\u00e9moire de leurs a\u00een\u00e9s&nbsp;: ils la d\u00e9construisent, la r\u00e9inventent, la dispersent dans une narration \u00e9clat\u00e9e o\u00f9 le pass\u00e9 ne se livre jamais pleinement. Dans&nbsp;<em>Les Clandestins&nbsp;<\/em>de Youssouf Amine Elalamy, les voix des disparus, priv\u00e9es de s\u00e9pulture et d\u2019histoire, surgissent dans un r\u00e9cit polyphonique qui brouille les fronti\u00e8res entre t\u00e9moignage et fiction.&nbsp;<em>Un moment d\u2019oubli&nbsp;<\/em>d\u2019Abdelkader Djema\u00ef met en sc\u00e8ne un personnage hant\u00e9 par un exil qu\u2019il ne parvient pas \u00e0 nommer, o\u00f9 la m\u00e9moire devient un jeu de traces, de r\u00e9miniscences fugaces. Dans&nbsp;<em>Nos silences ne sont pas les m\u00eames<\/em>, Rahma Bena\u00efssa interroge la transmission interg\u00e9n\u00e9rationnelle \u00e0 travers une fille qui cherche \u00e0 comprendre une m\u00e8re marocaine dont l\u2019histoire ne se raconte qu\u2019en creux, en non-dits, en gestes \u00e9vit\u00e9s. Quant \u00e0 Siham Bouhlal, dans&nbsp;<em>Loin du bruit du monde,&nbsp;<\/em>elle fait du langage un territoire mouvant, o\u00f9 l\u2019exil est autant g\u00e9ographique que linguistique, transformant l\u2019absence en po\u00e9sie. Ces auteurs ne se contentent pas de raconter l\u2019exil&nbsp;: ils le transforment en un espace d\u2019incertitude o\u00f9 la m\u00e9moire n\u2019est jamais stable, o\u00f9 les h\u00e9ritiers doivent r\u00e9apprendre \u00e0 lire entre les lignes du pass\u00e9. \u00c0 travers ces r\u00e9cits, nous verrons comment l\u2019\u00e9criture postmigratoire marocaine fait du silence un moteur narratif, o\u00f9 l\u2019identit\u00e9 ne se re\u00e7oit pas mais se reconstruit, \u00e0 la lisi\u00e8re de l\u2019oubli et de la r\u00e9invention.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cCitoyennet\u00e9s et religiosit\u00e9s europ\u00e9ennes musulmanes en r\u00e9cit\u201d: entre dispositions, autonomie et comp\u00e9tences chez Isma\u00ebl Saidi, e.a.\u201d \u2014 Brigitte Mar\u00e9chal (UCLouvain)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">TBA<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cL\u2019islam en r\u00e9cits: hybridit\u00e9 litt\u00e9raire, subjectivit\u00e9s postmigrantes et po\u00e9tique de la recomposition\u201d \u2014 Ali Mostfa (Universit\u00e9 Catholique de Lyon)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette proposition vise \u00e0 examiner, \u00e0 travers le prisme de l\u2019\u00ab&nbsp;engagement intellectuel&nbsp;\u00bb, con\u00e7u comme un travail de relecture critique et de r\u00e9interpr\u00e9tation active des normes culturelles et religieuses \u2014 \u00e0 l\u2019image de l\u2019\u00ab&nbsp;interpretive commitment&nbsp;\u00bb chez R. Cover, \u2014 les modalit\u00e9s narratives par lesquelles des auteurs issus de la culture musulmane reconfigurent, dans leurs \u0153uvres, les tensions entre transmission religieuse, construction identitaire individuelle et inscription dans l\u2019espace social fran\u00e7ais.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00c0 partir d\u2019un corpus incluant notamment Mehdi Charef, Fa\u00efza Gu\u00e8ne, A\u00efcha Bechir et Nina Bouraoui, il s\u2019agira de montrer comment ces \u00e9crivains \u00e9laborent une po\u00e9tique du croisement, o\u00f9 l\u2019islam \u2014 en tant que r\u00e9f\u00e9rence, ancrage, culture ou croyance \u2014 ne se r\u00e9duit ni \u00e0 un signe religieux fig\u00e9, ni \u00e0 un enjeu exclusivement politique. Il devient un vecteur de subjectivation critique, travers\u00e9 par des interrogations intimes, esth\u00e9tiques et sociales.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La probl\u00e9matique centrale est la suivante&nbsp;: comment ces r\u00e9cits articulent-ils la question de l\u2019islam \u00e0 une narration de soi en mutation, dans un contexte o\u00f9 la religion se pr\u00e9sente \u00e0 la fois comme ressource identitaire, facteur de stigmatisation, champ de r\u00e9invention narrative et objet, chez les m\u00eames auteurs, d\u2019une d\u00e9construction de certaines de ses prescriptions injonctives&nbsp;?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00c0 travers l\u2019\u00e9tude de strat\u00e9gies textuelles telles que l\u2019hybridit\u00e9 langagi\u00e8re, la polyphonie, la fragmentation narrative, le recours \u00e0 l\u2019autofiction, l\u2019intertextualit\u00e9, la relecture des figures coraniques, ou encore le renversement des st\u00e9r\u00e9otypes dominants, cette communication mettra en lumi\u00e8re la mani\u00e8re dont l\u2019\u00e9criture devient le r\u00e9ceptacle d\u2019une v\u00e9ritable r\u00e9volution du sens. Ce processus permet aux auteurs d\u2019interroger simultan\u00e9ment un h\u00e9ritage religieux et culturel souvent transmis dans le silence ou le non-dit, ainsi que le regard stigmatisant port\u00e9 sur l\u2019islam dans l\u2019espace public. En ce sens, ces r\u00e9cits \u0153uvrent \u00e0 la fois \u00e0 la d\u00e9construction des assignations identitaires et \u00e0 l\u2019\u00e9laboration d\u2019un espace po\u00e9tique o\u00f9 la parole minor\u00e9e devient acte de subjectivation.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione C \u201cDiscorsi di postmigrazione nella letteratura e nel cinema italiano 2\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cMemoria e identit\u00e0 nella narrazione letteraria della postmigrazione\u201d \u2014&nbsp;Antonia Giacobbe&nbsp;(Universidad del Pa\u00eds Vasco)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nel contesto postcoloniale e diasporico, la lingua della societ\u00e0 di accoglienza implica sempre un atto di riscrittura identitaria.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nel caso della seconda generazione, per\u00f2, non si tratta di abbandono deliberato della cultura d\u2019origine, ma di una necessaria adesione a un codice linguistico di appartenenza che per\u00f2 comporta l\u2019invisibilizzazione delle proprie radici.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La lingua della seconda generazione diviene, spesso, il luogo primario di costituzione del s\u00e9, ma al tempo stesso anche il campo di tensione in cui si manifestano fratture affettive, genealogiche e culturali.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In particolare, la lingua scritta nella societ\u00e0 d\u2019arrivo \u2014 spesso appresa come lingua madre\/primaria \u2014 si impone come strumento di pensiero e di rappresentazione, ma pu\u00f2 diventare segno di una distanza crescente dalla storia familiare e narrazione di un vissuto di straniamento rispetto al luogo di nascita.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La lingua della scrittura, in questo quadro, assume un molteplice significato: \u00e8 atto di fondazione identitaria in quanto rappresentazione del luogo di appartenenza; al contempo \u00e8 tentativo di nominare l\u2019assenza dell\u2019origine e, non in ultimo, recupero della memoria di un passato in cui il legame con il presente \u00e8 stato interrotto.&nbsp;Esemplare a riguardo \u00e8 il romanzo di Sabrina Efionayi:&nbsp;<em>Addio, a domani.&nbsp;<\/em>In esso l\u2019autrice, nata in Italia da madre nigeriana e cresciuta affidata a una famiglia italiana, si racconta nella lingua che \u00e8 sua per acquisizione, non per discendenza, e che diventa per\u00f2 strumento di affermazione e insieme di esilio.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>L\u2019emigrato immaginato. Storia, memorie e miti della diaspora italiana\u201d<\/strong><strong>&nbsp;\u2014&nbsp;<\/strong><strong>Carmen Petruzzi (Universit\u00e0 di Foggia)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La Grande Migrazione italiana (1876\u20131915), che interess\u00f2 oltre 25 milioni di individui, ha profondamente inciso sulla costruzione dell\u2019identit\u00e0 nazionale e diasporica, generando un articolato immaginario collettivo stratificato su narrazioni familiari, corrispondenze epistolari, fotografie, racconti orali e simboli condivisi. Al di l\u00e0 della sua dimensione demografica ed economica, la migrazione italiana costituisce un fenomeno antropologico e culturale complesso, in cui storia, memoria e mitografia si intrecciano nella formazione di archetipi identitari \u2014 il lavoratore instancabile, il padre sacrificante, il sognatore in esilio \u2014 che tendono a sovradeterminare, quando non a distorcere, le traiettorie storiche reali.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">All\u2019interno di questo quadro, la scrittura autobiografica degli emigrati \u2014 diari, lettere, memoir \u2014 rappresenta una fonte preziosa e metodologicamente rilevante, poich\u00e9 consente di accedere a una dimensione soggettiva dell\u2019esperienza migratoria, spesso elusa dalla storiografia tradizionale. Testimonianze come&nbsp;<em>The Schoolmaster of the Great City<\/em>&nbsp;(1917) di Angelo Patri e&nbsp;<em>The Heart is the Teacher<\/em>(1958) di Leonard Covello, entrambi educatori e direttori scolastici di origine italoamericana, offrono narrazioni intime capaci di illuminare i processi di negoziazione identitaria, ibridazione culturale e adattamento educativo all\u2019interno delle comunit\u00e0 diasporiche di New York nella prima met\u00e0 del XX secolo.&nbsp;Lo studio della diaspora italiana, alla luce delle scritture autobiografiche, permette inoltre una fruttuosa comparazione con le migrazioni contemporanee, offrendo chiavi di lettura critiche e strumenti formativi per una cittadinanza plurale.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il contributo intende dimostrare come si possa partire da una prospettiva pedagogica per verificare che la memoria migratoria non \u00e8 solo oggetto di commemorazione ma pu\u00f2 diventare uno strumento educativo attivo: le autobiografie migranti si configurano come dispositivi narrativi attraverso cui stimolare la riflessione critica su appartenenza, alterit\u00e0 e cittadinanza.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cStrumenti di (ri)costruzione dell\u2019identit\u00e0 in base a&nbsp;<em>Cassandra a Mogadiscio<\/em>&nbsp;di Igiaba Scego\u201d \u2014 Rafa\u0142 Wodzy\u0144ski (Nicolaus Copernicus University in Toru\u0144)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019opera di Igiaba Scego costituisce una parte significativa del fenomeno della postmigrazione. La scrittrice \u00e8 nata a Roma, da genitori costretti a lasciare la Somalia. Tutti i suoi procedimenti narrativi contengono un disperato e doloroso tentativo di (ri)costruire la propria identit\u00e0. Scego, mettendo a confronto le tracce della memoria familiare e filtrandole attraverso la propria sensibilit\u00e0, cerca di riunire elementi provenienti sia dalla cultura somala sia da quella italiana: elementi talvolta riconciliabili, talvolta in contraddizione tra loro.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019obiettivo della presente relazione \u00e8 individuare una&nbsp;<em>differentia specifica&nbsp;<\/em>degli strumenti attraverso i quali la scrittrice cerca di (ri)costruire la propria identit\u00e0. Poich\u00e9 il processo di acquisizione della consapevolezza della propria identit\u00e0 richiede una sorta di specchio che rifletta l\u2019idea di s\u00e9 stessi [Buber 1972, L\u00e8vinas 1999; Ricoeur 1993], per i figli degli immigrati tale specchio rappresenta la societ\u00e0 di un paese ricevente, con la sua lingua e la sua cultura. Tuttavia, questo ruolo pu\u00f2 essere svolto anche dai membri della comunit\u00e0 d\u2019origine. Dal punto di vista antropologico, sia per una che per l\u2019altra comunit\u00e0 pu\u00f2 risultare difficile accettare individui che si identificano con un\u2019identit\u00e0 mista, ibrida; ossia coloro che non sono in grado di definirsi completamente con una sola di esse.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le riflessioni di Igiaba Scego sulla possibilit\u00e0 di esprimere s\u00e9 stessa attraverso l\u2019italiano \u2014 lingua madre e allo stesso tempo lingua dei colonizzatori \u2014, sulla complessa storia che lega le due nazioni, restituiscono anche un quadro della societ\u00e0 italiana che, pur possedendo i suoi problemi identitari, cerca di affrontare emozioni che derivano dallo scontro con ci\u00f2 che \u00e8 diverso, sconosciuto, incerto: dallo scontro con l\u2019Altro. Quell\u2019Altro che \u00e8 ormai diventato parte di questa societ\u00e0 in mutuo cambiamento.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cLa negoziazione del significato nella narrativa post-migrante: un\u2019analisi di due autrici di origine somala\u201d \u2014 Jovana Karanikikj Josimovska (Goce Delchev University Shtip)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il presente contributo analizza il concetto di&nbsp;<em>negoziazione del significato&nbsp;<\/em>come strategia letteraria adottata da autrici spesso classificate come \u201cmigranti\u201d, con particolare riferimento a due scrittrici di origine somala: Igiaba Scego con&nbsp;<em>Cassandra a Mogadiscio&nbsp;<\/em>(Saga Egmont, 2023) e Saba Anglana con&nbsp;<em>La signora Meraviglia&nbsp;<\/em>(Sellerio, 2024). Entrambe le opere sono state incluse nella dozzina del Premio Strega, riconoscimento che testimonia una crescente attenzione del panorama letterario italiano verso le scritture post-migratorie. Oltre alla comune origine somala, le due autrici condividono una marcata componente autoriflessiva, che si intreccia con la rielaborazione della memoria familiare e collettiva.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La prima parte dell\u2019articolo introduce il concetto di&nbsp;<em>negoziazione del significato<\/em>, termine mutuato dalla linguistica interazionale e dall\u2019analisi della conversazione, per esplorarne le potenzialit\u00e0 applicative in ambito letterario. L\u2019obiettivo \u00e8 mostrare come, nei testi analizzati, tale negoziazione emerga in forma testuale e paratestuale attraverso strategie linguistiche, grafiche e narrative che rendono evidente la tensione tra sistemi semantici differenti \u2014 spesso radicati in contesti culturali plurimi.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nel caso di&nbsp;<em>Cassandra a Mogadiscio<\/em>, ad esempio, il concetto di&nbsp;<em>jirro&nbsp;<\/em>\u2014 termine somalo denso di implicazioni identitarie e spirituali \u2014 viene reso oggetto di una precisa operazione di mediazione semantica e culturale. La sua presenza nel testo non \u00e8 solo indicativa di un\u2019eredit\u00e0 linguistica diasporica, ma svolge un ruolo cruciale nella comprensione dell\u2019intera narrazione. Analogamente,&nbsp;<em>La signora Meraviglia&nbsp;<\/em>si configura come spazio narrativo in cui i significati legati all\u2019appartenenza, alla lingua e alla memoria sono continuamente rinegoziati e ridefiniti, suggerendo un modello di lettura attento alla molteplicit\u00e0 e all\u2019ibridazione.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Giorno 2 \u2014 18\/09\/25<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>1. Conferenza plenaria \u201cLiterature Teaching Concepts in the Postmigrant Society\u201d \u2014 Nazli Hodaie (PH Schw\u00e4bisch Gm\u00fcnd)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Regarding the construction of \u201cus\u201d and \u201cothers\u201d at the level of the educational institution, migration-related processes of societal change require different responses which do not reproduce conventional binary logics and existing hierarchies. Nevertheless, a hegemonic binary system of order that marks migration as a dimension of difference \u2014 and thus distinguishes between a non-migrant \u201cus\u201d and migrant \u201cothers\u201d \u2014 still dominates the educational institutional context today.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Against this backdrop, the keynote speech uses the post-migrant paradigm to argue for a post-migrant didactics of literature, the main features of which will be examined further here. With a view to the selection of objects, methods and approaches, it will also be outlined what consequences a post-migrant perspective on the primary target group of literature teaching may lead to.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Drawing on empirical data from the BMBF-funded PoLiS project, the next step is to show the extent to which the reception and use of (children\u2019s and YA) literature (attributed as \u201cpost-migrant\u201d) opens up aesthetically-pleasing spaces of memory, of experience, of negotiation and of possibility for young recipients. These, in turn, contribute to making marginalised perspectives visible.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The keynote concludes with the question of how far this is consistent with the concept of post-migrant literature teaching.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>2. Sessioni parallele 4<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione A \u201cMouvements postmigratoires intra-europ\u00e9ens\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cLa mise en r\u00e9cit du v\u00e9cu postmigratoire ritalien. L\u2019\u00e9cho d\u2019une histoire \u00e0 refaire chez Anne Plantagenet et Laura Ulonati\u201d \u2014 Martina Guccione (Universit\u00e0 di Catania)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00ab&nbsp;La France est un pays d\u2019immigration qui s\u2019ignore&nbsp;\u00bb, telle est la formule employ\u00e9e par la sociologue Dominique Schnapper (1991&nbsp;: 13) afin d\u2019accuser le manque d\u2019une v\u00e9ritable r\u00e9flexion postmigratoire au pays des Lumi\u00e8res. Les descendants des Italiens immigr\u00e9s en France, au cours du si\u00e8cle dernier, connaissent tr\u00e8s bien le sentiment d\u2019invisibilisation qui en d\u00e9coule, bien que l\u2019\u00ab&nbsp;invasion&nbsp;\u00bb (Bertrand 1927) de leurs a\u00efeux ne soit pas pass\u00e9e inaper\u00e7ue \u00e0 l\u2019\u00e9poque.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Les voix&nbsp;<em>ritaliennes&nbsp;<\/em>d\u2019Anne Plantagenet (<em>D\u2019origine italienne<\/em>, 2019) et de Laura Ulonati (<em>Dans tout le bleu<\/em>, 2021) tentent ainsi d\u2019arracher une parole au silence qui entoure \u00ab&nbsp;cet ailleurs jamais nomm\u00e9&nbsp;\u00bb (Plantagenet 2019&nbsp;: 16) qui est une Italie lointaine s\u2019exprimant d\u00e9sormais dans \u00ab&nbsp;cette langue devenue \u00e9trang\u00e8re&nbsp;\u00bb (Ulonati 2021&nbsp;: 12) et parcourue, \u00e0 rebours, sur cette \u00ab&nbsp;route de l\u2019exil&nbsp;\u00bb (Plantagenet 2019&nbsp;: 29) entreprise par leurs grands-parents. Par le biais d\u2019une enqu\u00eate men\u00e9e au fil des entretiens avec leurs propres m\u00e8res, ces auteures \u2014 dans un effort de fouilles historiques et g\u00e9n\u00e9alogiques \u2014 reconstruisent une Histoire effac\u00e9e, voire refoul\u00e9e, par la m\u00e9moire collective et individuelle de chacun afin de r\u00e9\u00e9crire leur propre r\u00e9cit existentiel personnel et r\u00e9tablir, par la m\u00eame occasion, leur identit\u00e9\u0301 d\u2019origine.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette communication vise ainsi \u00e0 relire et analyser, sous l\u2019angle ethnologique et sociologique de la postm\u00e9moire&nbsp;<em>ritalienne<\/em>, ces r\u00e9cits de famille et de filiation qui puisent leurs racines dans les diff\u00e9rents terrains offerts par les r\u00e9\u00e9critures de Soi. D\u00e9passants le trauma personnel fait de x\u00e9nophobie, de culture patriarcale et de pauvret\u00e9, Anne Plantagenet et Laura Ulonati atteignent une dimension collective, comparable \u00e0 l\u2019autoth\u00e9orie, qui pourrait se d\u00e9finir universelle puisqu\u2019elle fraye le chemin du \u00ab&nbsp;r\u00e9cit de [la] [re]construction [et non plus de l\u2019] arrachement&nbsp;\u00bb (Plantagenet 2019&nbsp;: 29).<strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>R\u00e9f\u00e9rences<\/em><br>Bertrand, L. (1927).&nbsp;<em>L\u2019invasion \u2014 Roman contemporain<\/em>. Paris&nbsp;: Fayard.<br>Plantagenet, A. (2019).&nbsp;<em>D\u2019origine italienne<\/em>. Paris&nbsp;: Stock.<br>Schnapper, D. (1991).&nbsp;<em>La France de l\u2019int\u00e9gration. Sociologie de la nation en 1990<\/em>. Paris&nbsp;: Gallimard.<br>Ulonati, L. (2021).&nbsp;<em>Dans tout le bleu<\/em>. Arles&nbsp;: Actes Sud.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cExploration et investissement litt\u00e9raire des lieux de la postmigration: les fl\u00e2neries p\u00e9riurbaines d\u2019Anne Weber\u201d \u2014 Christine Meyer (Universit\u00e9 de Picardie Jules Vernes)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Anne Weber, \u00e9crivaine et traductrice allemande vivant \u00e0 Paris, publie ses livres parall\u00e8lement en fran\u00e7ais et en allemand. \u00c9crivant d\u2019abord en allemand, elle se traduit elle-m\u00eame en fran\u00e7ais avant de revenir au texte allemand pour le retravailler, si bien que chaque version peut \u00eatre consid\u00e9r\u00e9e \u00e0 la fois comme un original et comme une traduction&nbsp;: les textes se r\u00e9pondent mais ne sont pas strictement \u00e9quivalents, et chacun garde trace de cette f\u00e9condation r\u00e9ciproque, t\u00e9moin de la \u00ab&nbsp;surconscience linguistique&nbsp;\u00bb (L. Gauvin) propre aux \u00e9crivains extraterritoriaux et plurilingues, par des renvois r\u00e9currents, plus ou moins obliques, \u00e0 l\u2019autre langue.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Son dernier livre, auquel sera consacr\u00e9e notre communication, est intitul\u00e9 en fran\u00e7ais&nbsp;<em>Neuf-Trois<\/em>, appellation famili\u00e8re du d\u00e9partement de Seine-Saint-Denis par ses habitants eux-m\u00eames, alors qu\u2019il porte en allemand un titre aux connotations \u00e0 la fois surann\u00e9es et plus brutales&nbsp;:&nbsp;<em>Bannmeilen<\/em>. Dans son acception historique, \u00ab&nbsp;Bannmeile&nbsp;\u00bb est l\u2019exact pendant du vieux terme fran\u00e7ais&nbsp;<em>banlieue<\/em>, qui d\u00e9signait \u00e0 l\u2019origine l\u2019espace d\u2019environ une lieue autour d\u2019une ville sur lequel s\u2019\u00e9tendait le ban dans la soci\u00e9t\u00e9 f\u00e9odale, avant de d\u00e9signer \u00e0 l\u2019\u00e8re industrielle le territoire p\u00e9riurbain des m\u00e9tropoles, habit\u00e9 majoritairement par une population \u00e9conomiquement pr\u00e9caire, en grande partie issue de l\u2019immigration. \u00c0 cette signification premi\u00e8re, qui fait de&nbsp;<em>Bannmeilen&nbsp;<\/em>une traduction d\u00e9cal\u00e9e (\u00e9tymologiquement correcte mais anachronique) du fran\u00e7ais \u00ab&nbsp;banlieue&nbsp;\u00bb, se superpose le sens moderne de \u00ab&nbsp;p\u00e9rim\u00e8tre de s\u00e9curit\u00e9&nbsp;\u00bb, d\u00e9signant une zone o\u00f9 les rassemblements publics et notamment les manifestations politiques sont interdits. Dans chacune de ces deux acceptions, l\u2019id\u00e9e d\u2019expulsion, de rel\u00e9gation forc\u00e9e (\u00ab&nbsp;ban&nbsp;\u00bb), qui ne subsiste qu\u2019\u00e0 l\u2019\u00e9tat de trace d\u2019un \u00ab&nbsp;refoul\u00e9 collectif&nbsp;\u00bb (A. Rey) dans le terme fran\u00e7ais moderne, passe au premier plan dans le vocable allemand.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">R\u00e9cit \u00e0 la premi\u00e8re personne d\u2019une s\u00e9rie de p\u00e9r\u00e9grinations p\u00e9destres \u00e0 travers le d\u00e9partement de Seine-Saint-Denis,&nbsp;<em>Neuf-Trois\/Bannmeilen&nbsp;<\/em>alterne les r\u00e9flexions personnelles de l\u2019autrice-narratrice sur les lieux travers\u00e9s avec les dialogues qu\u2019elle m\u00e8ne tout en marchant avec l\u2019ami documentariste franco-alg\u00e9rien qui lui sert de guide. Consciente de son ignorance de ce territoire aussi proche (g\u00e9ographiquement) de son propre lieu de vie qu\u2019il en est \u00e9loign\u00e9 socialement et symboliquement, l\u2019\u00e9crivaine parisienne d\u2019origine allemande a entrepris cette exploration pour se d\u00e9faire des id\u00e9es re\u00e7ues transmises par les m\u00e9dias sur la banlieue. D\u00e9sireuse de \u00ab&nbsp;s\u2019impr\u00e9gner&nbsp;\u00bb de cet espace de prime abord inhospitalier et d\u00e9shumanis\u00e9, elle d\u00e9couvre un territoire contrast\u00e9 qui rec\u00e8le les traces d\u2019une histoire m\u00e9connue \u2014 transnationale et postcoloniale \u2014 de la soci\u00e9t\u00e9 fran\u00e7aise contemporaine, comprise dans son entier comme \u00ab&nbsp;postmigratoire&nbsp;\u00bb, au sens o\u00f9 l\u2019immigration en constitue une dimension intrins\u00e8que et constitutive (cf. Foroutan, 2019). Dans le m\u00eame temps, elle se d\u00e9couvre elle-m\u00eame, pourtant \u00ab&nbsp;\u00e9trang\u00e8re&nbsp;\u00bb sur le sol fran\u00e7ais, depuis ce hors-champ de la France officielle, comme une incarnation de la soci\u00e9t\u00e9 majoritaire, blanche et eurocentriste.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Au croisement de la fl\u00e2nerie litt\u00e9raire, de l\u2019anthropologie urbaine et de l\u2019ethnopo\u00e9tique, le \u00ab&nbsp;roman itin\u00e9rant&nbsp;\u00bb (sous-titre) d\u2019Anne Weber appr\u00e9hende ainsi la Seine-Saint-Denis, ce territoire embl\u00e9matique des d\u00e9fis de l\u2019int\u00e9gration r\u00e9publicaine, non pas comme l\u2019un de ces \u00ab&nbsp;non-lieux&nbsp;\u00bb dont Marc Aug\u00e9 a fait le sympt\u00f4me de la \u00ab&nbsp;surmodernit\u00e9&nbsp;\u00bb, mais comme le creuset d\u2019une m\u00e9moire \u00ab&nbsp;multidirectionnelle&nbsp;\u00bb invisibilis\u00e9e (M. Rothberg).&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nous proposons d\u2019envisager ce projet scriptural hybride, fond\u00e9 sur un ethos, une pens\u00e9e et une po\u00e9tique du d\u00e9centrement, comme un \u00ab&nbsp;laboratoire&nbsp;\u00bb (pour reprendre les termes de l\u2019appel \u00e0 communications) visant \u00e0 \u00ab&nbsp;exp\u00e9rimenter de nouvelles configurations de l\u2019identit\u00e9, de la m\u00e9moire et de l\u2019espace, qui restent largement \u00e0 construire dans les soci\u00e9t\u00e9s pluralistes contemporaines&nbsp;\u00bb. Nous examinerons le produit de ce projet exp\u00e9rimental au prisme des enjeux \u00e9thiques, politiques et esth\u00e9tiques qui le sous-tendent.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>R\u00e9f\u00e9rences<\/em><br>Aug\u00e9, Marc.&nbsp;<em>La Travers\u00e9e du Luxembourg<\/em>. Paris&nbsp;: Hachette, Collection Histoire des gens, 1985.<br>Aug\u00e9, Marc.&nbsp;<em>Non-lieux. Introduction \u00e0 une anthropologie de la<\/em>&nbsp;<em>surmodernit\u00e9<\/em>. Paris&nbsp;: Seuil, 1991.<br>Benjamin, Walter.&nbsp;<em>Das Passagen-Werk<\/em>. In:&nbsp;<em>Gesammelte Schriften<\/em>. Band V in zwei Teilb\u00e4nden; hrsg. von Rolf Tiedemann und Hermann Schweppenh\u00e4user, unter Mitwirkung von Theodor W. Adorno und Gershom Scholem. Frankfurt a. M.&nbsp;: Suhrkamp, 1982.<br>B\u00f6ttiger, Helmut. \u201eAnne Webers Roman&nbsp;<em>Bannmeilen<\/em>: Erkundung der absoluten Gegenwart\u201c.&nbsp;<a href=\"https:\/\/taz.de\/Anne-Webers-Roman-Bannmeilen\/!6001348\/\">taz.de<\/a>. 16.04.2024. Consult\u00e9 le 17 avril 2025.<br>Boutin, Aim\u00e9e. \u201eRethinking the Fl\u00e2neur: Fl\u00e2nerie and the Senses\u201c.&nbsp;<em>Dix-Neuf<\/em>&nbsp;16, 2 (July 2012)&nbsp;: 124-32.<br>Brandel, Andrew.&nbsp;<em>Moving Words: Literature, Memory, and Migration in Berlin<\/em>. Toronto&nbsp;: University of Toronto Press, 2023.<br>Certeau, Michel de. \u00ab&nbsp;Marches dans la ville&nbsp;\u00bb.&nbsp;<em>EcoRev\u2019<\/em>&nbsp;27, no 2 (2007)&nbsp;: 7-9.<br>Fanchette, Fr\u00e9d\u00e9rique. \u00ab&nbsp;Anne Weber et les fl\u00e2neurs du \u201cNeuf-trois\u201d&nbsp;\u00bb.&nbsp;<em>Lib\u00e9ration<\/em>. Consult\u00e9 le 13 avril 2025.&nbsp;<a href=\"https:\/\/www.liberation.fr\/culture\/livres\/anne-weber-et-les-flaneurs-du-neuf-trois-20250119_CV2CEUQZXBB3DGXSFB3MK2AWNQ\/\">https:\/\/www.liberation.fr\/culture\/livres\/anne-weber-et-les-flaneurs-du-neuf-trois-20250119_CV2CEUQZXBB3DGXSFB3MK2AWNQ\/<\/a><br>Foroutan, Naika.&nbsp;<em>Die postmigrantische Gesellschaft. Ein Versprechen der pluralen Demokratie<\/em>. Bielefeld&nbsp;: Transcript, 2019.<br>K\u00f6hler, Andrea. \u201eIm Roman Bannmeilen geht Anne Weber in Paris dorthin, wo niemand sonst hingeht\u201c.&nbsp;<em>Neue Z\u00fcrcher Zeitung<\/em>. 07.04.2024.<br>Legnaro, Aldo. \u201e\u00dcber das Flanieren als eine Methode der empirischen Sozialforschung: Gehen \u2014 Spazieren \u2014 Flanieren\u201c.&nbsp;<em>Sozialer Sinn<\/em>&nbsp;11, 2 (1 Nov. 2010)&nbsp;: 275-88.&nbsp;<br>Gauvin, Lise.&nbsp;<em>Des litt\u00e9ratures de l\u2019intranquillit\u00e9<\/em>. Paris&nbsp;: Karthala, 2023.<br>Gauvin, Lise (dir.).&nbsp;<em>L\u2019\u00e9crivain francophone \u00e0 la crois\u00e9e des langues&nbsp;: Entretiens<\/em>. Paris&nbsp;: Karthala, 2009.<br>Nesci, Catherine.&nbsp;<em>Le Fl\u00e2neur et les fl\u00e2neuses&nbsp;: Les femmes et la ville \u00e0 l\u2019\u00e9poque romantique<\/em>. Grenoble&nbsp;: UGA \u00c9ditions, 2007.<br>Neumeyer, Harald.&nbsp;<em>Der Flaneur. Konzeptionen der Moderne<\/em>. 1. Aufl. W\u00fcrzburg&nbsp;: K\u00f6nigshausen &amp; Neumann, 1999.<br>Nuvolati, Giampaolo. \u00ab&nbsp;Le fl\u00e2neur dans l\u2019espace urbain&nbsp;\u00bb. Traduit par Cl\u00e9ment Rivi\u00e8re. G\u00e9ographie et cultures, no 70 (1 juillet 2009)&nbsp;: 7-20.<br>Raulin, Anne&nbsp;; Conord, Sylvaine&nbsp;; Berthomi\u00e8re, William&nbsp;; Ebilitigu\u00e9, Ines&nbsp;; F\u00e4rber, Alexa. \u00ab&nbsp;Migrations and Metropolises: Photographic Views&nbsp;\u00bb.&nbsp;<em>Revue Europ\u00e9enne Des Migrations Internationales<\/em>&nbsp;32, 3-4 (Dec. 2016).<br>Rey, Alain. \u00ab&nbsp;Banlieues, lieux bannis&nbsp;?&nbsp;\u00bb&nbsp;<em>Journal fran\u00e7ais de psychiatrie<\/em>&nbsp;34, no 3 (2009)&nbsp;: 27-29.&nbsp;https:\/\/doi.org\/10.3917\/jfp.034.0027.<br>Rothberg, Michael.&nbsp;<em>Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization<\/em>. Stanford&nbsp;: Stanford University Press, 2009.<br>Rubercy, Eryck de. \u00ab&nbsp;Conversation avec Anne Weber&nbsp;\u00bb.&nbsp;<em>Revue des Deux Mondes<\/em>, 2002&nbsp;: 113-21.<br>Schmitt, Amandine. \u00ab&nbsp;<em>Neuf-trois<\/em>, par Anne Weber&nbsp;: pourquoi les Parisiens n\u2019ont-ils aucune curiosit\u00e9 pour la banlieue&nbsp;?&nbsp;\u00bb Consult\u00e9 le 14 avril 2025.&nbsp;<a href=\"https:\/\/www.nouvelobs.com\/bibliobs\/20250325.OBS101901\/neuf-trois-par-anne-weber-%20%20pourquoi-les-parisiens-n-ont-ils-aucune-curiosite-pour-la-banlieue.html\">https:\/\/www.nouvelobs.com\/bibliobs\/20250325.OBS101901\/neuf-trois-par-anne-weber-pourquoi-les-parisiens-n-ont-ils-aucune-curiosite-pour-la-banlieue.html<\/a><br>Weber, Anne.&nbsp;<em>Bannmeilen. Ein Roman in Streifz\u00fcgen<\/em>. Berlin&nbsp;: Matthes &amp; Seitz, 2024.<br>Weber, Anne.&nbsp;<em>Neuf-Trois<\/em>. Paris&nbsp;: Philippe Rey, 2025.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cTraduire le pass\u00e9 dans&nbsp;<em>Margherita. Une enfance sicilienne<\/em>&nbsp;de Carmelo Virone: retour sur la pr\u00e9migration\u201d \u2014 Catia Nannoni (Universit\u00e0 di Bologna)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette \u00e9tude porte sur le r\u00e9cit que Carmelo Virone (n\u00e9 \u00e0 Seraing en 1957 dans une famille d\u2019origine sicilienne) a r\u00e9cemment consacr\u00e9 \u00e0 la m\u00e9moire de sa m\u00e8re et aux ann\u00e9es qu\u2019elle a v\u00e9cues en Sicile avant d\u2019\u00e9migrer en Belgique&nbsp;:&nbsp;<em>Margherita. Une enfance sicilienne<\/em>&nbsp;(2024).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019id\u00e9e de cette \u0153uvre \u2014 un r\u00e9cit postmigrant tourn\u00e9 vers la phase de la pr\u00e9migration \u2014 na\u00eet d\u2019un double constat, exprim\u00e9 par l\u2019auteur dans son Avant-propos&nbsp;: d\u2019abord, le fait que dans les discours sur la migration l\u2019on a moins \u00e9voqu\u00e9 ce qui s\u2019est pass\u00e9 avant le d\u00e9part du pays natal, et, ensuite, qu\u2019\u00e0 l\u2019int\u00e9rieur de la question migratoire le volet f\u00e9minin a \u00e9t\u00e9 moins explor\u00e9. Toujours dans le p\u00e9ritexte, l\u2019auteur d\u00e9clare quel a \u00e9t\u00e9 son modus operandi, \u00e9tablissant ainsi d\u2019embl\u00e9e un pacte de lecture avec ses destinataires (francophones)&nbsp;: il affirme avoir recueilli les propos de sa m\u00e8re, formul\u00e9s en dialecte sicilien, et les avoir traduits en fran\u00e7ais, veillant \u00e0 respecter la musique de sa langue \u00e0 elle&nbsp;; il dit avoir compos\u00e9 les souvenirs maternels dans une textualit\u00e9 qui, bien que n\u00e9cessaire pour assurer leur lisibilit\u00e9, ne d\u00e9figure pas l\u2019intention de l\u2019\u00e9nonciatrice.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tout en inscrivant ce r\u00e9cit dans le contexte de la Rital-litt\u00e9rature de Belgique (\u00e0 l\u2019int\u00e9rieur de laquelle des \u00e9chos s\u2019imposent), et plus largement dans la litt\u00e9rature postmigratoire, nous chercherons \u00e0 d\u00e9gager les sp\u00e9cificit\u00e9s de&nbsp;<em>Margherita. Une enfance sicilienne<\/em>, en creusant le dispositif narratif et linguistique mis en place pour donner voix \u00e0 la protagoniste et pour r\u00e9aliser la \u00ab&nbsp;traduction r\u00e9-\u00e9nonciative&nbsp;\u00bb qui est affirm\u00e9e \u00eatre \u00e0 l\u2019origine de l\u2019ouvrage.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nous analyserons, en outre, comment est orchestr\u00e9e l\u2019\u00e9vocation des langues de l\u2019enfance de Margherita \u2014 le sicilien et l\u2019italien \u2014 aux endroits du texte o\u00f9 elles demeurent perceptibles, accompagn\u00e9es ou non de traductions intratextuelles, d\u2019explications s\u00e9mantiques ou de commentaires m\u00e9talinguistiques dans la langue de r\u00e9daction du r\u00e9cit, le fran\u00e7ais. Le lecteur est ainsi constamment confront\u00e9 \u00e0 une rupture de l\u2019illusion de la transparence traductive et sensibilis\u00e9 \u00e0 une pratique de la communication bi\/plurilingue, inh\u00e9rente \u00e0 toute histoire migratoire.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>Traces italiennes en territoire lorrain: un croisement entre r\u00e9cit litt\u00e9raire et m\u00e9moire postmigrante\u201d \u2014&nbsp;<\/strong><strong>Roberta Sapino (Universit\u00e0 di Torino)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Publi\u00e9 aux \u00c9ditions du Sonneur en 2022, laur\u00e9at du Festival du Premier Roman de Chamb\u00e9ry et r\u00e9compens\u00e9 de plusieurs prix dont le Prix Premi\u00e8res Paroles 2023, le roman&nbsp;<em>Berline<\/em>&nbsp;de C\u00e9line Righi constitue une narration dense et stratifi\u00e9e de l\u2019exp\u00e9rience des plusieurs milliers d\u2019italiens (Pinna, 2009) qui, depuis 1890, ont quitt\u00e9 leur pays natal pour travailler dans les bassins miniers et sid\u00e9rurgiques de Lorraine. N\u00e9e et grandie&nbsp;en Meurthe-et-Moselle, elle-m\u00eame issue d\u2019une famille de mineurs d\u2019origine italienne, C\u00e9line Righi s\u2019inspire de la vie r\u00e9elle de ses deux grands-p\u00e8res pour \u00e9crire un roman \u00ab&nbsp;hybride&nbsp;\u00bb qui m\u00eale fiction, t\u00e9moignage et travail documentaire.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette communication propose une analyse sociologique du roman (voir&nbsp;Perrotta e Toscano, 2017&nbsp;; Giap Parini, 2017), envisag\u00e9 non seulement comme objet esth\u00e9tique, mais comme dispositif narratif capable de restituer des formes de subjectivation et de socialisation propres aux parcours migratoires et postmigratoires. \u00c0 partir d\u2019une s\u00e9lection d\u2019entretiens biographiques r\u00e9alis\u00e9s entre 2024 et 2025 aupr\u00e8s de descendants de migrants italiens en Meurthe-et-Moselle dans le cadre d\u2019une enqu\u00eate sur les effets sociaux et \u00e9cologiques de la d\u00e9sindustrialisation (avec Luca Pezzini, Universit\u00e0 di Torino, en partenariat avec l\u2019entreprise Sea Marconi France \u2014 Hom\u00e9court), l\u2019analyse met en relation la structure narrative et les th\u00e9matiques de&nbsp;<em>Berline<\/em>&nbsp;avec les r\u00e9cits de vie locaux.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Associer l\u2019analyse litt\u00e9raire \u00e0 l\u2019\u00e9tude empirique permet de d\u00e9passer la stricte opposition entre le t\u00e9moignage subjectif et l\u2019analyse sociologique et de valoriser les modalit\u00e9s narratives par lesquelles l\u2019exp\u00e9rience de la migration est relat\u00e9e, re-signifi\u00e9e, voire r\u00e9invent\u00e9e dans des contextes sociaux et m\u00e9diatiques diff\u00e9rents.&nbsp;&nbsp;Dans cette perspective,&nbsp;<em>Berline<\/em>&nbsp;acquiert une valeur de t\u00e9moignage social indirect, contribuant non seulement \u00e0 faire conna\u00eetre les modes de vie des immigr\u00e9s italiens de premi\u00e8re g\u00e9n\u00e9ration, mais \u00e9galement \u00e0 r\u00e9v\u00e9ler les tensions \u00e0 l\u2019\u0153uvre dans le contexte postmigrant contemporain&nbsp;: notamment, pour ce qui concerne les clivages entre l\u2019int\u00e9gration et l\u2019alt\u00e9rit\u00e9, entre l\u2019espace g\u00e9ographique et l\u2019espace symbolique v\u00e9cu, et entre la fragmentarit\u00e9 des t\u00e9moignages et la n\u00e9cessit\u00e9 des nouvelles g\u00e9n\u00e9rations de se situer dans une histoire familiale et territoriale aux contours d\u00e9finis (Viart, 2011 et 2024).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Notre contribution vise ainsi \u00e0 interroger le potentiel \u00e9pist\u00e9mologique de la litt\u00e9rature dans la recherche sociologique en contexte postmigratoire, et \u00e0 montrer comment l\u2019articulation entre sources litt\u00e9raires et enqu\u00eate de terrain peut produire un savoir sociologique situ\u00e9.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione B \u201cWeitergabe und Zugeh\u00f6rigkeit\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>Die L\u00e4ssigkeit des Kosmopolitismus und die Traurigkeit des Bin\u00e4ren. Berlin, Istanbul, London, Zypern: Yad\u00e9 Karas Romane \u2018Cafe Cyprus\u2019 und \u2018Selam Berlin\u2019\u201d \u2014 Bettina Rabelhofer (Karl-Franzens-Universit\u00e4t Graz)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In Yad\u00e9 Karas Roman \u201eCafe Cyprus\u201d scheint der deutsch-t\u00fcrkische Protagonist Hasan den Debatten \u00fcber Migration und Zugeh\u00f6rigkeit \u00fcberdr\u00fcssig geworden zu sein. Hatte schon Karas Debutroman \u201e<em>Selam Berlin\u201c<\/em>&nbsp;den Blick auf eine durch den Migrationsprozess in ihren Grundfesten ersch\u00fctterte Familienkonstellation und die damit einhergehende Selbstinitiation des Protonisten trotz aller Verluste nicht ins Entweder-Oder, sondern ins Sowohl-Als auch&nbsp;&nbsp;gelenkt., so dient jetzt ein Caf\u00e9 als (mitunter riskanter) diskursiver M\u00f6glichkeitsraum, in dem sich eine Exil-Gemeinschaft von in London lebenden Zyprioten am Zypern-Konflikt abarbeitet, Grenzen nach innen und au\u00dfen zieht, \u2014 w\u00e4hrend drau\u00dfen der Alltag einer Gro\u00dfstadt jenseits kultureller Binarismen pulsiert. Hasan und seine Generation sind fasziniert von der changierenden Lebendigkeit der Londoner Metropole, w\u00e4hrend die Elterngeneration noch auf \u201aHeimkehr\u2019 hofft und das Gef\u00fchl von Heimatlosigkeit kulinarisch bes\u00e4nftigt. Die Komplexit\u00e4t der zu bew\u00e4ltigenden Anforderungen in psychischen wie psycho-sozialen Umbruchsituationen bedingt vielschichtige Aushandlungsprozesse, die Autorit\u00e4ten und die Position in der Generationenfolge in Frage stellen. In der Doppelmatrix entwicklungspsychologischer und kultureller Dynamiken wird Hasan noch ein Zus\u00e4tzliches an Integrationsleistung abverlangt. Ob und wie Neues oder \u201aDrittes\u2019 entstehen kann, h\u00e4ngt von der Macht (bewusster und unbewusster) Identifizierungen als intergenerationellem Einfluss (und damit konservativem Faktor), aber auch von der intragenerationellen Auseinandersetzung mit Lebensvorstellungen, Sehns\u00fcchten und Selbstentw\u00fcrfen, die bisher noch keinen Eingang in innere M\u00f6glichkeitsr\u00e4ume gefunden haben, ab.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>Die Perspektive erweitern \u2014 Postmigrantische Erz\u00e4hlperspektiven im Literaturunterricht\u201d \u2014 Martina Kofer (Universit\u00e4t Potsdam)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In der Mehrzahl postmigrantisch perspektivierter literarischer Texte kann man von einem Erz\u00e4hlen \u201eaus der Perspektive und Erfahrung der Migration\u201c sprechen, das \u201emarginalisierte und ignorierte Wissensformen sichtbar\u201c (Y\u0131ld\u0131z, 2022, 82) werden l\u00e4sst. Die gew\u00e4hlte(n) Erz\u00e4hlperspektive(n) und ihre narrative(n) Gewichtung(en) ist\/sind dabei entscheidend f\u00fcr eine hegemoniekritische \u201eInfragestellung bestimmter weltanschaulicher, gesellschaftlicher oder \u00e4sthetischer Wertvorstellungen\u201c (Schmeling, 1991, 99). Im schulischen Literaturunterricht ist in der Regel die Perspektive eines vermeintlich \u201enatio-ethno- kulturellen\u201c Wirs (Mecheril, 2010, 12-14) der \u201aMehrheitsgesellschaft\u2019 dominierend. Dies betrifft auch die Auswahl literarischer Texte. Hier werden nur selten Erz\u00e4hltexte thematisiert und analysiert, welche aus der Perspektive der \u201eMigrationsanderen\u201c (ebd., 17) erz\u00e4hlen und marginalisierten gesellschaftlichen Gruppen so die Deutungshoheit \u00fcber Themen wie Migrationserfahrung der Eltern, Diskriminierung und Zugeh\u00f6rigkeit zur Dominanzgesellschaft zusprechen. Sch\u00fcler*innen lernen so gerade nicht, dass \u201eGef\u00fchle, Wahrnehmungen, Handlungsmotive, Gedanken und \u00c4u\u00dferungen literarischer Figuren als&nbsp;<em>eine&nbsp;<\/em>[eigene Herv., M.K.] perspektivische Sicht auf die dargestellte Welt zu verstehen\u201c (Zabka et al., 2022, 55) sind. So k\u00f6nnen beispielsweise eurozentristische und&nbsp;<em>wei\u00df&nbsp;<\/em>normierte Sichten auf Welt nicht relativiert werden und Handlungsm\u00f6glichkeiten der Figuren mit Bezug auf ihre gesellschaftliche Privilegierung oder Marginalisierung abgeglichen werden, sondern erscheint die dominanzgesellschaftliche Perspektive als \u201awahre\u2019 und universal g\u00fcltige Sicht von Welt. Am Beispiel von postmigrantisch perspektivierten Erz\u00e4hltexten wie z.B. von Fatma Aydemir, Shida Bazyar oder Rasha Khayat soll der Beitrag aufzeigen, wie sich hegemoniekritische Erz\u00e4hlperspektiven \u00e4sthetisch \u00e4u\u00dfern und was in der didaktischen Vermittlung zu beachten ist, um diese zu erschlie\u00dfen und die literarische Kompetenz Perspektivenverstehen bei den Sch\u00fcler*innen zu f\u00f6rdern und f\u00fcr gesellschaftliche Dichotomien und Ungleichheitsverh\u00e4ltnisse zu sensibilisieren.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Literatur<\/em><br>Mecheril, Paul (2010): Migrationsp\u00e4dagogik. Hinf\u00fchrung zu einer Perspektive. In: Ders.\/Mar\u00eda do Mar Castro Varela\/\u0130nci Dirim\/Annita Kalpaka\/Claus Melter (Hg.):&nbsp;<em>Migrationsp\u00e4dagogik<\/em>. Weinheim\/Basel, S. 7-22.<br>Schmeling, Manfred (1991): \u201eWir wollen keine Philister sein\u201c: Perspek0venvielfalt bei Hoffmann und Tieck. \u201ePerspektive\u201c in der Erz\u00e4hltheorie. In: Frank, Armin Paul\/M\u00f6lk, Ulrich (Hg.):&nbsp;<em>Fr\u00fche Formen mehrperspektivischen Erz\u00e4hlens von der Edda bis Flaubert: ein Problemaufri\u00df<\/em>. Berlin, S. 97-101.<br>Y\u0131ld\u0131z, Erol (2022): Vom Postkolonialen zum Postmigrantischen. Eine neue Topographie des M\u00f6glichen. In: Alk\u0131n, \u00d6mer\/Geuer, Lena (Hg.):&nbsp;<em>Postkolonialismus \u2013 Postmigration<\/em>. M\u00fcnster, S. 71-98.<br>Zabka, Thomas\/Winkler, Iris\/Wieser, Dorothee\/ Pieper, Irene (2022):&nbsp;<em>Studienbuch Literaturunterricht. Unterrichtspraxis analysieren, reflektieren und gestalten<\/em>. Hannover.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>Lebensborn-M\u00fctter als postmigrantische Figuren: Erz\u00e4hltes Schweigen und fragile Zugeh\u00f6rigkeit in der deutschsprachigen Literatur\u201d \u2014 Joanna Bednarska-Rydzewska (University of Lodz)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Die Figur der Lebensborn-Mutter erscheint in der deutschsprachigen Gegenwartsliteratur nicht nur als Symbol f\u00fcr nationalsozialistische Rassenpolitik, sondern auch als Projektionsfl\u00e4che f\u00fcr postmigrantische Erfahrungen weiblicher Subjekte. Der Vortrag untersucht literarische Darstellungen von Frauen, die im Rahmen des Lebensborn-Programms Kinder zur Welt brachten, deren Mutterschaft gewaltsam unterbrochen wurde und deren Spuren sich nach dem Krieg in neue kulturelle, soziale oder symbolische R\u00e4ume verlagern.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Im Fokus stehen drei Romane:&nbsp;<em>Der Silberfuchs meiner Mutter<\/em>&nbsp;(2021) von Alois Hotschnig,&nbsp;<em>Das Ged\u00e4chtnis der L\u00fcge<\/em>&nbsp;(2006) von Rebecca Abe und&nbsp;<em>Die Verwandelten<\/em>&nbsp;(2023) von Ulrike Draesner. In allen drei Texten geht es um M\u00fctter, deren Kinder ihnen entrissen wurden \u2014 sei es durch soziale Stigmatisierung, Entf\u00fchrung durch eine Lebensborn-Mitarbeiterin oder institutionalisierte Gewalt. Die Kinder wachsen in neuen kulturellen Kontexten auf und erfahren erst sp\u00e4t ihr tats\u00e4chliches Herkunftsnarrativ. In Hotschnigs Roman begibt sich ein Sohn auf die Spur seiner norwegischen Mutter, w\u00e4hrend in den Romanen von Abe und Draesner die Enkelinnen die fragmentierten Familiengeschichten rekonstruieren \u2014 zwischen Sprachen, Grenzen und Generationen.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Der Beitrag argumentiert, dass Lebensborn-M\u00fctter als literarische Figuren eine spezifische Form postmigrantischer Subjektivit\u00e4t verk\u00f6rpern: zwischen politischen Systemen, Erinnerungskulturen und sprachlichen Welten existierend \u2014 oft ohne Stimme, ohne Status, ohne Narrativ. In den literarischen Re-Konstruktionen der Nachgeborenen spiegeln sich postmigrantische Fragen nach Zugeh\u00f6rigkeit, Identit\u00e4t und der M\u00f6glichkeit des Erinnerns jenseits nationaler und genealogischer Ordnung.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>Ensembles des Dazugeh\u00f6rens: Muslimisch\u2013j\u00fcdische Musikproduktion als postmigrantische Intervention\u201d \u2014&nbsp;<\/strong><strong>Dekel Peretz (Max Planck Institute for the Study of Religious and Ethnic Diversity, G\u00f6ttingen)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The concept of&nbsp;<em>postmigration&nbsp;<\/em>challenges the binary of migrants versus non-migrants by emphasizing how diverse forms of migration shape societies from within. Through the binary lens migration stories are often framed as one-way encounters between minorities and a static majority. This paper shifts the focus to the dynamic interactions between minority groups\u2014specifically Jews and Muslims\u2014as a site for postmigrant storytelling and self-positioning.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Drawing on field research conducted since 2021 including participant observation at concerts, dialogue events, and jam sessions as well as interviews with Jewish and Muslim musicians, DJs, and cultural producers\u2014mainly first-generation migrants from Israel and the MENAT region\u2014this paper explores how collaborative music-making in Berlin becomes a prism for re-narrating identity, belonging, and interdependence. These cultural creators navigate a dense web of political and emotional expectations rooted in personal histories, international conflict, and Germany\u2019s complex memory culture around antisemitism, Islamophobia, and the Israel-Palestine conflict.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Berlin\u2019s unique cultural landscape, particularly its folk music and techno scenes, offer a utopian space for reimagining community and overcoming inherited divisions. At the same time, collaborations are strained by distrust, accusations of cultural appropriation, geopolitical tensions\u2014especially since the start of the October 7 War\u2014and fears of professional or familial repercussions. The tensions between the local and the global reveal the fragility and potential of postmigrant storytelling: the city becomes a stage where hybrid identities are negotiated and publicly performed and national mythologies and dominant identity scripts are questioned.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione C \u201cAscoltare la postmigrazione: voci che risuonano\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c\u2018Loud in our laughter, silent in our sufferin\u2019\u2019. La poetica postmigrante tra rumore e silenzi\u201d \u2014 Letizia Sassi (UCLouvain)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il rap si fonda su due pilastri: la forza del messaggio e l\u2019innovazione linguistica che lo veicola. Questo genere si \u00e8 affermato come uno degli spazi pi\u00f9 democratici per l\u2019espressione giovanile, dove la parola diventa strumento di rivendicazione e sperimentazione.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In questo scenario, \u00e8 interessante analizzare quelle situazioni in cui questi due pilastri vacillano. Quando il messaggio si svuota di significato, si perde in banalit\u00e0, risulta poco curato nella sua forma, o si rifugia nel silenzio e nel rifiuto di una comunicazione chiara e diretta, le critiche, sia da parte degli addetti ai lavori sia da quella di un pubblico pi\u00f9 ampio (compresi i fan stessi) si scatenano, puntando il dito contro la presunta scarsa qualit\u00e0.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Questo intervento esplora i&nbsp;<em>\u201cmomenti afasici\u201d<\/em>&nbsp;nel rap postmigrante, analizzandone forme e ricorrenze nelle opere di quattro artisti \u2014 due inglesi (Central Cee, Dave) e due italiani (Ghali, Baby Gang). Particolarmente significativo \u00e8 lo spettro dentro al quale si muovono queste forme afasiche: dall\u2019eccesso di rumore a forme di un silenzio musicale ossimorico. \u00c8 in questa dialettica tra assenza e saturazione di comunicazione che gli artisti ridefiniscono le proprie identit\u00e0.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il rifiuto della comunicazione diretta si configura cos\u00ec come una poetica postmigrante: una riflessione critica sul ruolo della comunicazione stessa, sulle sue potenzialit\u00e0 e sui suoi limiti nell\u2019era del rap mainstream, dove il pubblico \u00e8 sempre pi\u00f9 eterogeneo e globale. Attraverso l\u2019analisi di questi \u201cvuoti\u201d espressivi, l\u2019intervento intende mostrare come il silenzio e il rumore possano diventare strumenti di resistenza e reinvenzione identitaria.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cIronia nel rap postmigrante italiano\u201d \u2014 Costantino Maeder (UCLouvain)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">TBA<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cLingua, identit\u00e0 e media digitali: racconti postmigranti nei podcast in lingua tedesca\u201d \u2014 Maurizio Basili (Universit\u00e0 \u201cGabriele D\u2019Annunzio\u201d Chieti-Pescara)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Negli ultimi anni, i podcast e i social media si sono affermati come spazi privilegiati per la narrazione postmigrante in area germanofona. A partire da esempi come&nbsp;<em>Kanackische Welle<\/em>,&nbsp;<em>Chai Society<\/em>&nbsp;o&nbsp;<em>BBQ \u2014 Der Black Brown Queere Podcast<\/em>, si osserva come questi formati digitali consentano a soggettivit\u00e0 postmigranti \u2014 spesso anche queer e femministe \u2014 di raccontare esperienze personali e collettive in una lingua tedesca riplasmata, inclusiva e situata.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Questo contributo intende analizzare tali narrazioni orali e digitali come pratiche discorsive ibride, che sovvertono la dicotomia tra \u201clingua madre\u201d e \u201clingua dell\u2019Altro\u201d attraverso l\u2019uso consapevole di code-switching, prestiti linguistici, variazioni diastratiche e stilistiche. I contenuti analizzati si configurano come forme di&nbsp;<em>auto-mediazione linguistica<\/em>, in cui il racconto del s\u00e9 si intreccia con una riflessione implicita sul potere della lingua di includere o escludere.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019obiettivo dell\u2019intervento \u00e8 duplice: da un lato, mettere in luce le strategie linguistiche e retoriche impiegate dai\/dalle creatori\/trici di contenuti postmigranti per costruire un\u2019identit\u00e0 plurale, spesso situata al crocevia tra appartenenze culturali, linguistiche e sessuali; dall\u2019altro, evidenziare come questi spazi narrativi contribuiscano a ridefinire la lingua tedesca stessa come lingua postmigrante, aperta alla contaminazione e al rinnovamento.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019approccio \u00e8 intersezionale e si basa su un corpus selezionato di episodi podcast e post social che verranno analizzati attraverso strumenti della linguistica pragmatica e testuale. L\u2019intervento intende cos\u00ec contribuire alla riflessione sulla postmigrazione non solo come condizione storica, ma anche come pratica linguistica e mediale che ridefinisce le modalit\u00e0 del raccontarsi nelle societ\u00e0 europee contemporanee.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c\u2018In cerca di un paese, in cerca di rivalsa\u2019. Il racconto della migrazione nel rap in lingua italiana\u201d \u2014 Matteo Mirabella (Universit\u00e0 degli Studi di Palermo)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il presente contributo mira ad approfondire la veste linguistica delle canzoni rap italiane nelle quali sono raccontate esperienze di migrazione e post-migrazione, che siano testimonianze del vissuto degli autori o liberamente ispirate a fatti reali. Il genere musicale-testuale del rap fin dagli albori combina un impianto formale in rima con un andamento narrativo frutto di un\u2019\u201cintenzionalit\u00e0 istituzionalmente prosastica\u201d (Giovannetti 2008: 196). Tale inclinazione alla narrativit\u00e0 (nel gergo del rap denominata&nbsp;<em>storytelling<\/em>) va spesso di pari passo con il marcato autobiografismo caratteristico del genere, alla base del quale vi \u00e8 l\u2019idea di riportare in musica il proprio vissuto a partire dal contesto di provenienza, rendendo il linguaggio uno \u201cspecchio fedele del parlato spontaneo\u201d (Cartago, Fabbri 2016: 279); in alcuni casi, la modalit\u00e0 compositiva dello&nbsp;<em>storytelling&nbsp;<\/em>consente di sospendere la sovrapposizione fra l\u2019autore e l\u2019io protagonista delle vicende caratteristica del rap, e aprire prospettive alternative legate a scenari fittizi, ma realistici. Per osservare in diacronia il racconto della migrazione e della post-migrazione nel rap e fornire una lettura linguistica del fenomeno, nello studio proposto, inscritto in un progetto di dottorato dedicato alle modalit\u00e0 narrative nella declinazione italiana del genere musicale, sar\u00e0 selezionato un campione di brani prodotti fra il 1990 e il 2025: infatti, dagli anni Novanta, nel rap italiano vi sono autori (fra i quali Nuovi Briganti, Piombo a Tempo, Il Comitato) che hanno affrontato il tema focalizzandosi sulle migrazioni interne al Paese (soprattutto dal Sud al Nord Italia), talvolta inserendo parole o inserti dialettali per richiamare i luoghi di provenienza; negli ultimi dieci anni, arco di tempo in cui il rap italiano si \u00e8 affermato a livello commerciale, vi \u00e8 stata una crescita esponenziale di rapper \u201cfigli dell\u2019immigrazione in Italia\u201d (Ferrari 2018: 155) (prevalentemente dal Nord Africa ma anche dall\u2019Est Europa), da Simba La Rue e Baby Gang a Sosa Priority e Doppelganger, che, per rappresentare nei brani la loro identit\u00e0 multiculturale hanno fatto uso delle lingue dei paesi d\u2019origine.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Riferimenti<\/em><br>G. ADDAZI, F. POROLI,&nbsp;<em>\u201cBasta la met\u00e0\u201d. Osservazioni sulla lingua della trap italiana<\/em>, in B. ALDI-NUCCI&nbsp;<em>et al.<\/em>&nbsp;(a cura di),&nbsp;<em>Parola. Una nozione unica per una ricerca multidisciplinare<\/em>, Siena, UniStraSi Press, 2019, pp. 213-223.<br>A. BRADLEY,&nbsp;<em>Book of rhymes. The poetics of hiphop<\/em>, New York, Basic Civitas, 2009.<br>G. CARTAGO, F. FABBRI,&nbsp;<em>La lingua della canzone<\/em>, in I. BONOMI, S. MORGANA (a cura di),&nbsp;<em>La lingua<\/em>&nbsp;<em>italiana e i mass media<\/em>, Roma, Carocci, 2016, pp. 257-290.J. FERRARI,<em>&nbsp;La lingua dei rapper figli dell\u2019immigrazione in Italia<\/em>, in \u00abLingue e culture dei media\u00bb n. 2.1 (2018), pp. 155-172.<br>P. GIOVANNETTI,&nbsp;<em>Dalla poesia in prosa al rap: tradizione e canoni metrici nella poesia italiana contemporanea<\/em>, Novara, Interlinea edizioni, 2008.<br>Y. MARTARI, B. SAMU (a cura di),&nbsp;<em>La canzone (t)rap per l\u2019educazione linguistica plurilingue e interculturale<\/em>, in \u00abRassegna Italiana di Linguistica Applicata\u00bb, 1 (2024), pp. 39-175.<br>A. SCHOLZ,&nbsp;<em>Subcultura e lingua giovanile in Italia.<\/em>&nbsp;<em>Hip hop e dintorni<\/em>, Aracne, Roma, 2005.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>3. Sessioni parallele 5<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione A \u201cThe Europeanisation of postmigration studies?\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>Postmigrant literary history and the example of Austria\u201d \u2014 Wiebke Sievers (\u00d6sterreichische Akademie der Wissenschaften)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The paper presents the basic tenets of postmigrant literary history and applies this approach to the Austrian literary field. The aim of postmigrant literary history is to understand how literary fields change through migration. The first step towards such a postmigrant perspective is migrantising literary history, i.e. rewriting it from a perspective that includes migrants also when they had no access to literary fields. This analysis grants insight into how migrants came to be excluded from literary fields in the process of their nationalisation. The second step is telling the history of how migrants overcame this exclusion in postmigrant alliances with other actors, such as publishers and critics, and tried to influence the discourse of migration with their writing. Four authors were of particular importance in this process in the Austrian context: Vladimir Vertlib broke the silence on migration in the Austrian literary field in the early 1990s. Dimitr\u00e9 Dinev established a new way of narrating about migrants without reducing them to others. Julya Rabinowich questioned the strict distinction between non-migrants and migrants. Anna Kim moved beyond migration by opening Austrianness for people of colour and writing world literature in German that raises awareness of human suffering worldwide. All four were important for changing the Austrian literary field, but they only marginally succeeded in changing the understanding of migration, as the reviews of their works illustrate. The paper will highlight where postmigrant literary history in the Austrian literary field coincides with developments in other fields and where it differs.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c\u2018<\/strong><strong>The decade of postmigration is over\u2019? A cultural history of progress and conflict in Germany\u201d \u2014 Moritz Schramm (University of Southern Denmark)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the first part of the podcast \u201cWem geh\u00f6rt Deutschland?\u201d [Who owns Germany?], German writer Max Czollek and political studies scholar Naika Foroutan discus the emergence of the concept of postmigration in the German theatre and art scene, before considering whether the decade of postmigration is already over again: Was this label merely part of a superficial celebration of diversity\u2014symbolic but lacking structural impact\u2014and has it been overtaken by recent political shifts, particularly the rise of the far-right in countries such as Germany? Or can we still use the concept of postmigration as a critical approach, supporting the idea of a plural society? Building on this discussion, this paper aims to tell a broader story of progress and conflict in Germany, especially within the cultural and literary fields. Viewed historically, the current political backlash has to be seen as reaction against the history of progress, which has been the result of longstanding and insistent struggles for recognition and participation of formerly marginalized persons and positions. This paper wants to track down some of the major developments in the literary and cultural field in Germany from the 1980s onward and compare them with other countries such as the U.K. and Denmark. The paper concludes with some considerations of the present and future challenges for postmigration studies, including the Europeanisation of the research field.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>Imagining Citizenship: Anti-Racism Campaigning and British Public Relations\u201d \u2014 Sarah Samira El-Taki (University of Copenhagen)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This paper examines political posters and adverts from three UK state-affiliated organisations\u2014Greater London Council (1981-1986), Commission for Racial Equality, (1994-2002) and Operation Black Vote (1997-2021)\u2014to explore how visual campaigns have shaped anti-racist discourse and the negotiation of citizenship. While anti-racist histories often centre policy and representation, this project foregrounds visual material as a key site of public engagement. Through these images, the paper traces how race and civic duty were communicated, how ideas of Britishness were contested and reimagined, and how visual culture contributed to shifting national narratives around inclusion and identity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>Against plurality: postmigration and anti-immigrant discourse in contemporary French literature\u201d \u2014 \u00c1lvaro Luna-Dubois (New York University Abu Dhabi)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In European literary studies, postmigration has, among other applications, served to trace the recognition of marginalised authors (Sievers 2024), recover neglected migration histories within narratives (Luna-Dubois 2021), and reflect alliances within the literary field (Cramer et al 2023), thus underscoring literary processes of recognition and transformation. This paper addresses the literary articulation of backlash and resistance to migration. Drawing on Foroutan\u2019s notion of postmigrant societies (2019), which she deems as increasingly polarized, I centre on the \u2018antagonists\u2019\u2014those actors and narratives that refuse to engage with plurality and seek to form \u2018moral majorities\u2019 (Hall 1997). While much scholarship on this sector focuses on political manifestations (e.g., right-wing populism, nativism, xenophobia, anti-Muslim rhetoric), the literary production promoting and circulating these discourses remains understudied. Using France as a case study, I trace a genealogy of some of this literature, historicising contemporary examples within a longer tradition, from early antisemitic literature to 1970s fiction framing migrants and minorities as criminal threats, influenced in part by racialised American literature. Central texts include Jean Raspail\u2019s&nbsp;<em>Le Camp des saints<\/em>&nbsp;(1973), depicting Indian migrants as destructive invaders; Renaud Camus\u2019s&nbsp;<em>Le Grand Remplacement<\/em>&nbsp;(2011), articulating the far-right \u2018great replacement\u2019 theory; and their echoes in Julien Suaudeau\u2019s&nbsp;<em>Dawa<\/em>&nbsp;(2016) and Michel Houellebecq\u2019s&nbsp;<em>Soumission<\/em>&nbsp;(2015) (Dutton 2020), critically contrasted with Sabri Louatah\u2019s science fiction. This corpus demonstrates how literature not only reflects but fuels political discourse, positioning migration as a scapegoat for societal insecurities. It offers a crucial intervention into postmigration studies by centring literature as an active force in shaping polarized understandings of migration and belonging.<strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione B \u201cEuropes noires\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>S\u00e9miotique de l\u2019hybridit\u00e9 post-migratoire: D\u00e9construction narrative et ontologique chez Le Cl\u00e9zio et Adichie\u201d \u2014&nbsp;Daniel Tia (Universit\u00e9 F\u00e9lix Houphouet-Boigny)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette \u00e9tude s\u2019aventure dans les d\u00e9dales s\u00e9miotiques de l\u2019hybridit\u00e9 post-migratoire, scrutant avec acuit\u00e9 les romans&nbsp;<em>L\u00e0 o\u00f9 les tigres sont en sucre<\/em>&nbsp;de Jean-Marie Gustave Le Cl\u00e9zio et&nbsp;<em>Americanah<\/em>&nbsp;de Chimamanda Ngozi Adichie. Ces \u0153uvres litt\u00e9raires sondent les intrications identitaires des sujets post-migratoires au sein des soci\u00e9t\u00e9s europ\u00e9ennes et nord-am\u00e9ricaines pluralistes. Si d\u2019\u00e9rudites ex\u00e9g\u00e8ses ont d\u00e9j\u00e0 circonscrit certains aspects de ces romans, une exploration approfondie de la d\u00e9construction narrative et ontologique \u00e0 l\u2019\u0153uvre dans leur sillage demeure un champ sp\u00e9culatif f\u00e9cond. Le probl\u00e8me de recherche se cristallise dans la mani\u00e8re dont les modalit\u00e9s narratives et les repr\u00e9sentations s\u00e9miotiques orchestrent la complexit\u00e9 de l\u2019hybridit\u00e9 culturelle et la fluidit\u00e9 ontologique des protagonistes post-migratoires. D\u00e8s lors, la question lancinante qui \u00e9merge est&nbsp;: Comment les strat\u00e9gies discursives et les syst\u00e8mes de signes employ\u00e9s par Le Cl\u00e9zio et Adichie d\u00e9mant\u00e8lent-ils les conceptions monolithiques de l\u2019identit\u00e9 et du Soi dans le contexte de la post-migration ? Cette investigation vise \u00e0 \u00e9lucider les m\u00e9canismes par lesquels ces auteurs subvertissent les binarismes identitaires et mettent en exergue la nature intrins\u00e8quement hybride de la subjectivit\u00e9 post-migratoire. La m\u00e9thode d\u2019analyse privil\u00e9gi\u00e9e est la s\u00e9miotique compar\u00e9e, adoss\u00e9e \u00e0 l\u2019herm\u00e9neutique postcoloniale. Cette approche permettra de d\u00e9crypter les syst\u00e8mes de signes, les structures narratives et les figures stylistiques qui fa\u00e7onnent la repr\u00e9sentation de l\u2019hybridit\u00e9. Sa pertinence r\u00e9side dans sa capacit\u00e9 \u00e0 r\u00e9v\u00e9ler les substrats id\u00e9ologiques et les dynamiques de pouvoir sous-jacents aux constructions identitaires. La pr\u00e9sente \u00e9tude s\u2019articulera autour de deux axes compl\u00e9mentaires&nbsp;: La narrativit\u00e9 de l\u2019hybridit\u00e9 culturelle et l\u2019ontologie du Soi post-migratoire. Le premier point explorera la mani\u00e8re dont les romans les deux romans mettent en r\u00e9cit les dynamiques complexes de l\u2019hybridit\u00e9 culturelle post-migratoire. Quant au deuxi\u00e8me point, il examinera la reconfiguration de l\u2019\u00eatre et de la (re)d\u00e9finition de l\u2019identit\u00e9 des individus dans le contexte migratoire et de l\u2019hybridit\u00e9 culturelle.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cL\u2019esth\u00e9tique du remaillage ou la reconfiguration du Sujet dans la litt\u00e9rature du trauma:&nbsp;<em>Tous tes enfants dispers\u00e9s&nbsp;<\/em>et<em>&nbsp;Le Convoi<\/em>&nbsp;de Beata Umubyeyi Mairesse\u201d \u2014 Mihaela St\u0103nic\u0103 (University of Bucharest)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette recherche, centr\u00e9e sur le fonctionnement de ce que nous appellerons l\u2019esth\u00e9tique du remaillage dans les romans de Beata Umubyeyi Mairesse,&nbsp;<em>Tous tes enfants dispers\u00e9s<\/em>&nbsp;(paru en 2019 et laur\u00e9at du Prix des Cinq Continents de la Francophonie) et&nbsp;<em>Le Convoi<\/em>, (paru en 2025, texte fronti\u00e8re, travers\u00e9 par la volont\u00e9 de reconstitution d\u2019un Sujet en qu\u00eate de coh\u00e9rence identitaire), vise \u00e0 interroger les valences de cette technique, \u00e0 l\u2019\u0153uvre dans ces r\u00e9cits impr\u00e9gn\u00e9s par la violence du g\u00e9nocide rwandais. Transform\u00e9e en v\u00e9ritable dispositif textuel, la technique du remaillage appara\u00eet comme faisant partie des strat\u00e9gies de r\u00e9silience d\u00e9ploy\u00e9es par le Sujet face au traumatisme historique, au d\u00e9chirement violent du r\u00e9el, sachant que \u00ab&nbsp;notre nation avait \u00e9t\u00e9 d\u00e9chir\u00e9e en lambeaux, et qu\u2019il lui faudrait une ou deux g\u00e9n\u00e9rations pour se recoudre&nbsp;\u00bb.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">C\u2019est cette esth\u00e9tique du remaillage destin\u00e9e \u00e0 apprivoiser la violence et l\u2019indicible de l\u2019Histoire, qui devient op\u00e9rante dans cette s\u00e9rie de r\u00e9cits entrecrois\u00e9s transg\u00e9n\u00e9rationnels \u00e0 travers lesquels ce n\u2019est pas seulement la convergence entre la microhistoire et la macrohistoire qui est reconstitu\u00e9e, mais aussi les points de passage entre la litt\u00e9rature migrante et celle de la postmigration. Les diff\u00e9rents r\u00e9cits produits par ceux qui composent une saga familiale qui s\u2019\u00e9tend sur quatre g\u00e9n\u00e9rations nous permettront d\u2019identifier les strat\u00e9gies narratives tout comme les m\u00e9canismes cognitifs \u00e0 travers lesquels le Sujets partag\u00e9 entre plusieurs cultures et d\u00e9chiquet\u00e9 par le trauma inflig\u00e9 par l\u2019Histoire, cherchera \u00e0 trouver de nouvelles mani\u00e8res d\u2019habiter le monde. Et, \u00e0 force de le faire, on va s\u2019interroger si ces strat\u00e9gies qui cartographient un espace interstitiel (<em>the third space<\/em>&nbsp;th\u00e9oris\u00e9 par Homi Bhabha), cette esth\u00e9tique de remaillage ne pourrait \u00eatre repr\u00e9sentative pour les transformations subies par le Sujet m\u00e9tis dans le contexte de la postmigration.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">D\u2019ailleurs, toute cette d\u00e9marche sera sous-tendue par une interrogation du pouvoir de la litt\u00e9rature \u00e0 r\u00e9parer le monde, alors que l\u2019auteure semble nous proposer une nouvelle grille d\u2019intelligibilit\u00e9 de ce monde saisi au-del\u00e0 de la lin\u00e9arit\u00e9 textuelle et ontologique, un monde d\u00e9fini par \u00ab&nbsp;l\u2019art de d\u00e9tisser son existence&nbsp;\u00bb. Cette nouvelle grille d\u2019intelligibilit\u00e9 est-elle symptomatique du d\u00e9cloisonnement cat\u00e9goriel de la pens\u00e9e de la postmigration&nbsp;?<strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cR\u00e9cit d\u2019une fracture postmigrante: corps noir, m\u00e9moire et marginalit\u00e9 dans&nbsp;<em>Je ne suis pas un homme qui pleure<\/em>&nbsp;de Fabienne Kanor\u201d \u2014 Vincent Obidiegwu (Purdue University)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Publi\u00e9 en 2016,&nbsp;<em>Je ne suis pas un homme qui pleure<\/em>&nbsp;de Fabienne Kanor s\u2019impose comme un r\u00e9cit litt\u00e9raire embl\u00e9matique de la condition postmigrante, port\u00e9 par la voix d\u2019une femme noire carib\u00e9enne vivant \u00e0 Paris. Ce roman autofictionnel met en sc\u00e8ne une rupture amoureuse entre la narratrice et un homme blanc fran\u00e7ais, qui devient peu \u00e0 peu le r\u00e9v\u00e9lateur d\u2019une fracture plus profonde li\u00e9e aux rapports de race, de genre, de classe et \u00e0 l\u2019h\u00e9ritage colonial dans la France contemporaine. Ce moment d\u2019intimit\u00e9 bless\u00e9e ouvre un espace de parole critique o\u00f9 s\u2019expriment les tensions de l\u2019invisibilit\u00e9, du rejet et du d\u00e9racinement que vivent de nombreuses femmes issues de la migration postcoloniale. L\u2019objectif de cette \u00e9tude est de montrer comment Kanor transforme une douleur personnelle en un geste politique et po\u00e9tique, r\u00e9v\u00e9lant les limites de l\u2019universalisme r\u00e9publicain et les contradictions du r\u00e9cit national. Le roman fonctionne ainsi comme un laboratoire de la postmigration, o\u00f9 le corps, la langue et l\u2019espace de la narratrice deviennent des terrains de r\u00e9sistance. Cette analyse s\u2019appuie sur une approche intersectionnelle (race, genre, classe) en croisant les outils de la critique postcoloniale et de l\u2019\u00e9tude de l\u2019autofiction, mobilisant notamment les pens\u00e9es de Frantz Fanon, Stuart Hall et \u00c9douard Glissant. L\u2019\u00e9tude du style fragment\u00e9, lyrique et engag\u00e9 de Kanor met en lumi\u00e8re la violence symbolique inflig\u00e9e aux sujets racialis\u00e9s dans l\u2019espace m\u00e9tropolitain. En d\u00e9construisant les mythes de l\u2019amour neutre et de l\u2019int\u00e9gration harmonieuse, le roman revendique une esth\u00e9tique de la rupture et de la reconqu\u00eate.&nbsp;<em>Je ne suis pas un homme qui pleure<\/em>&nbsp;s\u2019inscrit ainsi dans une litt\u00e9rature francophone de la postmigration qui redonne voix aux marginalis\u00e9s et reconfigure les imaginaires de l\u2019identit\u00e9, de la m\u00e9moire et de l\u2019appartenance en contexte postcolonial.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cAppr\u00e9hender l\u2019espace public par le souffle dans le roman britannique contemporain postmigrant (<em>The Selfless Act of Breathing<\/em>&nbsp;de JJ Bola<em>, In Our Mad and Furious City<\/em>&nbsp;de Guy Gunaratne, et&nbsp;<em>Open Water<\/em>&nbsp;de Caleb Azumah Nelson)\u201d \u2014 Amanda Benmouloud (ENS Lyon)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019espace public peut \u00eatre d\u00e9fini comme une r\u00e9alit\u00e9 g\u00e9ographique construite selon une logique politique (Lefebvre, 20) qui serait \u00ab&nbsp;institutionnalis\u00e9e et coagul\u00e9e&nbsp;\u00bb (Berdoulay, da Costa Gomes, et Lolive, 27). Nous proposons d\u2019\u00e9tudier, au travers des romans&nbsp;<em>The Selfless Act of Breathing<\/em>&nbsp;de JJ Bola,&nbsp;<em>In Our Mad and Furious City&nbsp;<\/em>de Guy Gunaratne, et&nbsp;<em>Open Water<\/em>&nbsp;de Caleb Azumah Nelson, la mani\u00e8re dont cette cristallisation institutionnelle a un effet sur les corps et les exp\u00e9riences des personnes issues de la postmigration, notamment au travers d\u2019un \u00e9l\u00e9ment narratif&nbsp;: le souffle.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dans les \u0153uvres du corpus, l\u2019accessibilit\u00e9 \u00e0 l\u2019espace public est remise en question, les personnes racis\u00e9es \u00e9tant rel\u00e9gu\u00e9es \u00e0 certains espaces ou ne pouvant acc\u00e9der \u00e0 d\u2019autres. L\u2019espace public pr\u00e9sente \u00e9galement un danger perp\u00e9tuel en raison de la violence qui l\u2019habite, qui peut \u00eatre d\u2019origine polici\u00e8re ou non. Dans les trois romans, il est frappant de noter que les interactions des personnages avec l\u2019espace public sont rendues narrativement par des changements dans leur capacit\u00e9 \u00e0 respirer. En particulier, les romans contribuent \u00e0 montrer que l\u2019espace public londonien est fig\u00e9 dans une logique politique qui emp\u00eache les personnes issues de la postmigration de respirer pleinement au sein de leur propre ville.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En nous appuyant entre autres sur les travaux d\u2019Henri Lefebvre, de Jacques Ranci\u00e8re, et de Vincent Berdoulay, Paul da Costa Gomes et Jacques Lolive, nous t\u00e2cherons de montrer en quoi la respiration comme outil narratif permet de \u00ab&nbsp;retisser la fabrique du sensible&nbsp;\u00bb (Ranci\u00e8re, 61) et ainsi repr\u00e9senter l\u2019espace public tel qu\u2019il est per\u00e7u par les personnes issues de la postmigration. En analysant son (ir)respirabilit\u00e9, le roman britannique contemporain postmigrant engage un dialogue sur l\u2019espace public et invite \u00e0 red\u00e9finir la notion en soulignant la n\u00e9cessit\u00e9 d\u2019inclure l\u2019exp\u00e9rience v\u00e9cue.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>R\u00e9f\u00e9rences<\/em><br>Berdoulay, Vincent, Paulo C. Da Costa Gomes, and Jacques Lolive. \u00ab&nbsp;Chapitre 1. L\u2019espace public, ou l\u2019incontournable spatialit\u00e9 de la politique&nbsp;\u00bb. In&nbsp;<em>L\u2019espace public \u00e0 l\u2019\u00e9preuve<\/em>, \u00e9dit\u00e9 par Vincent Berdoulay, Paulo C. Da Costa, and Jacques Lolive. Maison des Sciences de l\u2019Homme d\u2019Aquitaine, 2004.&nbsp;<br>Lefebvre, Henri. \u00ab&nbsp;La production de l\u2019espace&nbsp;\u00bb.&nbsp;<em>L\u2019 Homme et la soci\u00e9t\u00e9&nbsp;<\/em>31, no. 1 (1974)&nbsp;: 15\u201332.&nbsp;<br>Ranci\u00e8re, Jacques, and Peter Engelmann.&nbsp;<em>Politics and Aesthetics.<\/em>&nbsp;Traduit par Wieland Hoban. Polity Press, 2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione C \u201cStrategie sovversive nei language memoirs 1\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cLanguage Memoirs e strategie sovversivo-produttive<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Simona Bartoli Kucher (Karl-Franzens-Universit\u00e4t Graz)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il nostro intervento si propone di suggerire un rapporto dialogico tra universit\u00e0, scuola e agenzie pubbliche al fine di incoraggiare sfide educative e socioculturali basate sull\u2019educazione alla transculturalit\u00e0 e alla cittadinanza globale, per promuovere i diritti umani e condividere preoccupazioni e responsabilit\u00e0 (Delanoy 2022).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sulla base di testi letterari e di film transculturali (Laila Wadia. (2024).&nbsp;<em>Identitalie\/Identitalies e LA STANZA DEGLI OSPTI\/and THE GUEST ROOM.&nbsp;<\/em>Vita Activa- (2010).&nbsp;<em>come diventare italiani in 24 ore il diario di un\u2019aspirante italiana<\/em>. Lorenzo Barbera editore;&nbsp;Jhumpa Lahiri. (2024)&nbsp;<em>Perch\u00e9 l\u2019italiano? Storia di una metamorfosi<\/em>. Einaudi), la formazione degli insegnanti di lingua straniera pu\u00f2 contribuire alla comprensione di identit\u00e0 ibride e di questioni globali (OECD 2016).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lavorando con&nbsp;<em>language memoirs&nbsp;<\/em><a>(Kaplan 1994; Kramsch 2004)&nbsp;<\/a>dalla lingua sovversiva, divergente dalle strutture in uso (Bhabha 1994), che crea nuovi spazi di immaginazione,<em>&nbsp;<\/em>il gruppo di apprendenti pu\u00f2 lavorare in un&nbsp;<em>third space<\/em>&nbsp;(Kramsch, 2009) in cui gli studenti riflettono \u201con their context and on their own and others epistemological and ontological assumptions\u201d (Andreotti 2014, 22) per scoprire gli obiettivi e le sfide della cittadinanza globale. La competenza della mediazione (Volume Complementare-QCER 2020) rappresenta il filo rosso delle attivit\u00e0 di cui renderemo conto nella presentazione.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cDie weibliche Deklination der&nbsp;<em>Sechzig Namen der Liebe<\/em>: Subversives postmigrantisches Storytelling von drei Generationen italophoner Schriftstellerinnen (1990-2023)<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Dagmar Reichardt (Latvian Academy of Culture in Riga)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ausgehend von Tahar Lamris (2006) bekanntestem Roman \u00fcber die Liebe im Zeitalter der fortgeschrittenen Postmigration in Italien zeugen subversive Schreib- und Erz\u00e4hlstrategien \u2014 drei italophone Schriftstellerinnengenerationen lang (von den 1990er Jahren bis heute) \u2014 von einer paradigmatischen sowohl narratologischen als auch ideologischen Kehrtwende in der&nbsp;<em>Letteratura della migrazione<\/em>(seit 1990). Dieser transkulturelle, mit einer transdisziplin\u00e4ren Genderthematik eng verkn\u00fcpfte Paradigmenwechsel innerhalb eines kanonischen, migrationsliterarisch bedingten&nbsp;<em>Turns<\/em>&nbsp;l\u00e4sst sich mithilfe von jeweils drei Vertreterinnen besagter Generationen, die \u00fcber einen postmigrantischen Hintergrund verf\u00fcgen, und mittels jeweils einem Kernwerk \u00fcber eine drei Jahrzehnte umfassende Publikationsspanne exemplarisch illustrieren: Maraini (1990), Lahiri (2015) und Scego (2023).&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Beispielhaft fokussiert der Beitrag bislang unerforschte transmediale Schnittstellen und kulturarchivarische Verflechtungen zwischen literarischer Erinnerungskultur, Subversion des m\u00e4nnlich kodierten Liebestopos und emanzipatorischen Meilensteinen in den Bereichen des feministischen Theaters (Maraini), translatorischer Sprachgrenzen zwischen linguistischen und lebensweltlich fluide angesiedelten Kommunikationsformen (Lahiri) und offenen, ebenso historisch wie medial relevanten antirassistischen Gegendiskursen (Scego) aus komparatistischer Sicht. In den ausgew\u00e4hlten Werken flie\u00dfen postmigrantische Traumen, Autobiographien und Narrative der Liebe in neuen Konstellationen zu einem Storytelling zusammen, das sich anhand paralleler \u00c4quivalente in kulturwissenschaftlichen Theoremen konzeptuell spiegelt, darunter insbesondere die der&nbsp;<em>Language Memoirs<\/em>&nbsp;(Kaplan 1994), Transkulturalit\u00e4t (Welsch 1999) und Postmigration (Yildiz\/Hill 2018). Auf diese Weise soll hinterfragt werden, inwiefern die jeweiligen methodischen Ans\u00e4tze dabei behilflich sind, innovative Potenziale der \u2014 fast ausschlie\u00dflich von Frauen verfassten \u2014 postmigrantischen italophonen Literatur sichtbar zu machen, und zu definieren, welche Art von \u201eSprache\u201c sie in die Erinnerungskultur der (sp\u00e4ten) Postmoderne einschreiben.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Literatur<\/em><br>Kaplan, Alice (1994).&nbsp;<em>French Lessons: A Memoir<\/em>, Chicago, University Press.<br>Lahiri, Jhumpa (2015).&nbsp;<em>In altre parole<\/em>,&nbsp;Parma, Guanda.<br>Lamri, Tahar (2006).&nbsp;<em>I sessanta nomi dell\u2019amore<\/em>, Roma, Fara Editore.<br>Maraini, Dacia (1990).&nbsp;<em>La lunga vita di Marianna Ucr\u00eca<\/em>, (La Scala), Milano, Rizzoli.<br>Scego, Igiaba (2023).&nbsp;<em>Cassandra a Mogadiscio<\/em>, Milano, Bompiani.<br>Welsch, Wolfgang (1999). \u201eTransculturality: The Puzzling Form of Cultures Today\u201c. In:&nbsp;Mike Featherstone \/ Scott Lash (Hrsg.):&nbsp;<em>Spaces of Culture: City, Nation, World<\/em>, London et al., Sage, S. 194-213.<br>Yildiz, Erol\/Hill, Marc (Hrsg.) (2018).&nbsp;<em>Postmigrantische Visionen. Erfahrungen\u2014Ideen\u2014Reflexionen<\/em>, Bielefeld, Transcript.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>La storia di apprendimento dell\u2019italiano di Gholam Najafi\u201d \u2014&nbsp;Elvira Carlotti (Karl-Franzens-Universit\u00e4t Graz)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il presente contributo indaga criticamente la storia di apprendimento dell\u2019italiano di Gholam Najafi, arrivato in Italia nel 2006 come MSNA e autore di varie opere autobiografiche. Nei diciannove anni trascorsi in Italia, Gholam Najafi ha iniziato a studiare l\u2019italiano L2 da \u201canalfabeta\u201d nella sua L1, ha frequentato la scuola media presso un centro di istruzione per adulti e ha proseguito con successo gli studi superiori e universitari che lo hanno portato a intraprendere la carriera di scrittore e giornalista. La sua prima opera in particolare,&nbsp;<em>Il mio Afghanistan<\/em>&nbsp;(2016) rappresenta un esempio di language memoir (Kramsch, 2004). Questa tipologia di testi \u00e8 particolarmente adatta per ricostruire l\u2019evoluzione del rapporto con la lingua e l\u2019identit\u00e0 (Pavlenko, 2001). I dati di questa ricerca sono desunti da questa opera insieme a tre interviste semi-strutturate e riflessioni scritte oggetto di analisi del discorso (Gao, 2010).&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tale analisi si \u00e8 focalizzata sull\u2019identificazione e l\u2019interpretazione di figure retoriche (ad esempio metafore e similitudini) per descrivere la propria relazione con la L2 e l\u2019evoluzione di tale relazione nel tempo. I risultati sono stati poi oggetto di confronto con l\u2019autore e raggruppati tematicamente. I temi principali individuati sono: la volont\u00e0 di far diventare il nuovo contesto la sua \u201cnuova casa\u201d, la consapevolezza dell\u2019opportunit\u00e0 di trasformazione di s\u00e9, il rapporto con altri significativi, il rapporto ambivalente con parlanti madrelingua ed emozioni associate all\u2019apprendimento dell\u2019italiano. La discussione evidenzia in particolare il ruolo delle famiglie d\u2019origine, dei network sociali e affettivi e dei fattori psicologici individuali, tra cui la resilienza, nel sostegno alla motivazione e all\u2019investimento nella L2, al fine di trarre implicazioni pedagogico-didattiche utili alla pratica di insegnamento.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cMemorie, identit\u00e0 e attivismo narrativo: educare alla cittadinanza globale attraverso parole e immagini<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Cinzia Zadra (Libera Universit\u00e0 di Bolzano-Bozen)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il contributo propone una riflessione su due forme di narrazione transculturale \u2014 il giornalismo e il giornalismo grafico \u2014 come strumenti educativi capaci di attivare processi trasformativi all\u2019interno dell\u2019educazione alla cittadinanza globale. Vengono presentati i testi giornalistici di Gentiana Minga, autrice e traduttrice albanese residente in Italia, che scrive in italiano, intrecciando dimensione biografica, memorie e postmemorie, per esplorare la vulnerabilit\u00e0 umana e la responsabilit\u00e0 etica in un mondo segnato da identit\u00e0 ibride e connessioni globali. La sua scrittura militante, in lingua d\u2019adozione denuncia le contraddizioni del presente e invita a ripensare la relazione con s\u00e9, con gli altri e con il mondo.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In parallelo, si analizza l\u2019opera grafico-giornalistica di Takoua Ben Mohamed, illustratrice e attivista di origini tunisine, che nei suoi reportage a fumetti documenta con efficacia visiva realt\u00e0 globali complesse e spesso trascurate come il traffico di esseri umani o il turismo sessuale. Le sue tavole diventano testimonianza e strumento di attivazione sociale, agendo come forza generatrice di consapevolezza e postura critica.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Entrambe le autrici offrono materiali narrativi che, se integrati in percorsi educativi, permettono di affrontare temi come identit\u00e0, differenza, solidariet\u00e0 e responsabilit\u00e0 dell\u2019agire. Il contributo intende mostrare come queste forme di scrittura possano essere utilizzate per affrontare le sfide pedagogiche poste dal multilinguismo e multiculturalismo dalle classi delle societ\u00e0 postmigranti europee.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il contenuto include l\u2019analisi delle considerazioni di studenti e studentesse che, attraverso letture guidate e scritture riflessive, riconoscono nei testi delle due autrici un potenziale trasformativo riguardo al potenziale trasformativo: non solo testimonianze sovversive e denunce sociali, ma dispositivi capaci di allenare a codici plurali, ibridi e contaminati, stimolando processi di disorientamento e re-identificazione.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Questi testi invitano a prendere coscienza della propria identit\u00e0 narrativa e della storia personale e collettiva, inclusa quella coloniale, promuovendo un approccio critico, militante e postcoloniale.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le narrazioni abbattono la distanza fra le autrici e i lettori\/le lettrici, prefigurando nuove comunit\u00e0 intersoggettive in cui chi legge \u00e8 chiamato a capire chi \u00e8 e chi vuole diventare.<strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>4. Sessioni parallele 6<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione A \u201cBridging Worlds: Identity Between Asia and Europe, Literature and Sociology\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cRepresentations of South Korean Transracial Adoptees in Scandinavian Literature\u201d \u2014&nbsp;Emilio Calvani (Universit\u00e0 di Firenze), Edoardo Checcucci (Universit\u00e0 degli Studi di Milano) &amp; Luca Gendolavigna (Sapienza Universit\u00e0 di Roma)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This proposal aims to investigate how adoptees from South Korea are represented in&nbsp;<em>Scandinavian transnational adoption literature<\/em>(Iven\u00e4s 2018).&nbsp;Focusing on the intersection of race, identity, and national belonging in the postmigrant condition in Scandinavia (Jagne-Soreau 2021; Sarrimo 2025), we examine four autobiographically inspired works by adopted authors born in South Korea: The poetry collections&nbsp;<em>Find Holger Danske<\/em>&nbsp;(Find Holger the Dane) by Maja Lee Langvad (2006), and&nbsp;<em>Kvit, norsk mann<\/em>&nbsp;(White, Norwegian man) by Brynjulf Jung Tj\u00f8nn (2022), and the novels&nbsp;<em>Gul utanp\u00e5<\/em>&nbsp;(Yellow on the outside) and&nbsp;<em>Fj\u00e4rilsv\u00e4gen<\/em>&nbsp;(Butterfly Road) by Patrik Lundberg (2013; 2020).&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Each text reflects on the adoptees\u2019 experience of growing up in white-majority societies, where cultural proximity often clashes with racial difference (H\u00fcbinette 2004). Although transracial adoptees are commonly raised within white middle-class families, and are frequently not seen as minorities in sociocultural terms&nbsp;(Rasmussen &amp; Sorensen 2011), their racial visibility marks them as \u201cother\u201d in the public sphere (Osanami T\u00f6rngren 2022).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Langvad deconstructs nationalist discourse and problematizes essentialist notions of Danishness through linguistic subversion and anger, addressing how the Danish adoption system mirrors broader ideological mechanisms of exclusion. Similarly, Tj\u00f8nn critiques whiteness and its norms by portraying a persistent yearning for acceptance and \u201cbecoming white\u201d as a symptom of structural marginalisation. Lundberg situates adoption within the socio-political framework of the Swedish welfare state, exploring the tensions between race, class, and the ideals of a multicultural society.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In consonance with the research lines of the conference, the narratives considered here will be investigated as means of representation, recognition, and as responses to ethnifying ascriptions (Sarrimo 2025), through the&nbsp;analytical lens of both postmigration studies (Schramm et al. 2019; Gaonkar et al. 2021) and whiteness studies as applied to transracial adoptees (Iven\u00e4s 2017; H\u00fcbinette 2004; 2007; Eriksen 2020).&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Through a comparative close reading of each text, the study tries to reveal how South Korean adoptees occupy ambiguous positions within the national imaginary (H\u00fcbinette 2019), by challenging hegemonic definitions of belonging, and complicating the understanding of national identity in present-day Scandinavia.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>References<\/em><br>Eriksen, Kasper Emil Rosbj\u00f8rn, 2020, \u201cA Great Desire for Children: The Beginning of Transnational Adoption in Denmark and Norway during the 1960\u2019s\u201d,&nbsp;<em>Genealogy<\/em>, 4: 1-19.<br>Gaonkar, Anna Meera, Astrid Sophie \u00d8st Hansen, Hans Christian Post &amp; Moritz Schramm (eds.), 2021,&nbsp;<em>Postmigration. Art, Culture, and Politics in Contemporary Europe<\/em>, Bielefeld, transcript Verlag.<br>H\u00fcbinette, Tobias, 2004, \u201cAdopted Koreans and the development of identity in the \u2018third space\u2019\u201d,&nbsp;<em>Adoption &amp; Fostering<\/em>, 28 (1): 16-24.<br>H\u00fcbinette, Tobias, 2007, \u201cDisembedded and Free-Floating Bodies Out of Place and Out of Control: Examining the Borderline Existence of Adopted Koreans\u201d,&nbsp;<em>Adoption &amp; Culture<\/em>, 1(1): 129-162.<br>H\u00fcbinette, Tobias, 2011, \u201dAtt \u00f6verskrida ras: En introduktion till begreppet transrasialitet speglad genom transrasiala erfarenheter och fantasier\u201d,&nbsp;<em>Kvinder, k\u00f8n &amp; forskning<\/em>, 3 (4): 45-53.<br>H\u00fcbinette, Tobias, 2019,&nbsp;<em>Att skriva om svenskheten \u2014 studier i de svenska rasrelationerna speglade genom den icke \u2014 vita svenska litteraturen<\/em>, Malm\u00f6, Arx F\u00f6rlag.<br>Iven\u00e4s, Sabina, 2017, \u201cWhite Like Me: Whiteness in Scandinavian Transnational Adoption Literature\u201d,&nbsp;<em>Scandinavian Studies<\/em>, 89 (2): 240 265.<br>Iven\u00e4s, Sabina, 2018, \u201cTravelling Home: The Scandinavian Transnational Adoptee Identity on the Move\u201d,&nbsp;<em>Scandinavian-Canadian Studies\/\u00c9tudes scandinaves au Canada<\/em>, 25: 154-173.<br>Jagne-Soreau, Ma\u00efmouna, 2021,&nbsp;<em>Postinvandringslitteratur i Norden. Den litter\u00e4ra gestaltningen av icke-vita f\u00f6dda och uppvuxna i Norden<\/em>, doktorsavhandling, Helsingfors, Helsingin yliopisto.<br>Osanami T\u00f6rngren, Sayaka, 2022, \u201cIf I Can\u2019t Say I Am Swedish, What Am I? Freedom within Limits of Choosing Identity\u201d,&nbsp;<em>Journal of Critical Mixed Race Studies<\/em>,&nbsp;1 (2): 129-144.<br>Rasmussen, Kim Su &amp; Eli Park Sorensen, 2011, \u201cMinor Subjects\/Minor Literature: Maja Lee Langvad\u2019s&nbsp;<em>Find Holger Danske<\/em>&nbsp;and the Search for Danishness\u201d,&nbsp;<em>Journal of Korean Adoption Studies<\/em>, 54: 225-249.<br>Sarrimo, Cristine, 2025, \u201cNegotiations of Ethnifying Distinctions and Cultural Capital in the Swedish Literary Field: From Immigrant Writer to Racialization and the Impact of Aesthetic Value\u201d,&nbsp;<em>Scandinavian Studies<\/em>, 97 (2): 93-115.<br>Schramm, Moritz, Sten Pultz Moslund &amp; Anne Ring Petersen (eds.), 2019,&nbsp;<em>Reframing Migration, Diversity and the Arts. The Postmigrant Condition<\/em>, New York, Routledge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cIntercultural Flexibility and Postmigrant Voice: Taiwanese Narratives in Germany and France\u201d \u2014&nbsp;Hong-Chi Shiau (Shih-Hsin University)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This proposal investigates the postmigrant experiences and intercultural narratives of Taiwanese families who settled in Germany and France from the 1980s onward, often through educational migration, skilled labor, or marriage. Based on personal encounters through university teaching and broader diasporic observations, the paper explores how first-generation migrants and their descendants articulate hybrid identities shaped by both European and Taiwanese cultural-political contexts.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The initial migration patterns reveal a deliberate strategy: many Taiwanese viewed Europe\u2014particularly Germany and France\u2014as offering greater political neutrality, legal stability, and educational opportunity compared to the geopolitically fraught landscape of East Asia. Migrants leveraged EU structures while keeping connections to the U.S. and Taiwan, cultivating a cosmopolitan fluency that extends across continents. Their children, growing up multilingual and culturally bifocal, have become increasingly vocal about Taiwanese identity and cross-Strait politics. These narratives\u2014shared across kitchen tables, alumni circles, and transnational business ventures\u2014often reflect deep emotional and political investment in Taiwan\u2019s future, despite physical distance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Particularly noteworthy is the transnational pragmatism this group embodies. Many have been able to \u201chedge\u201d global risks: maintaining multiple citizenships, navigating educational and economic systems across borders, and developing cross-cultural competencies that transcend simple assimilation. Yet this flexibility also introduces personal and political ambivalence\u2014how to belong fully when belonging is always provisional?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Drawing on narrative theory, diaspora studies, and interviews, the paper frames these stories through the lenses of postmemory, strategic transnationalism, and intercultural storytelling. It examines how Taiwanese migrants in Germany and France negotiate both invisibility and influence, displacement and voice. In doing so, it contributes to broader understandings of postmigration not only as settlement or return but as a continuous, multilingual negotiation of identity, heritage, and belonging in pluralistic societies.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c\u2018Chinas of the Mind\u2019: Postmigrant Identity and Empowerment in Contemporary British Chinese Children\u2019s Literature\u201d \u2014&nbsp;Judith Neder (Technische Universit\u00e4t Dresden)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The plot of Maisie Chan\u2019s children\u2019s book series&nbsp;<em>Tiger Warrior<\/em>&nbsp;(2021-) usually follows the same structure: Jack, the child protagonist, has to leave his British home to go on a mission as the eponymous \u2018Tiger Warrior\u2019\u2014a role he inherited from his grandfather and father. His missions invariably lead him to the \u2018Jade Kingdom\u2019, a \u201cworld that is beyond our eyes and senses\u201d (42), a \u201cmagical world\u201d (46) where mythic creatures roam and the Jade Emperor rules. After mastering adventures and defeating adversaries with the help of the Chinese zodiac animals, Jack then returns to his British home, having acquired new skills and grown in self-confidence. In a similar vein, Jenny Lee, one of the protagonists of Crystal Sung\u2019s&nbsp;<em>Spellcasters&nbsp;<\/em>(2023-), channels the powers of \u2018Ancient China\u2019 through a bracelet \u201cpassed down in [her] family for generations\u201d (73) in order to fight a mysterious enemy that threatens her British hometown.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This talk discusses the constructions of Chinese heritage in British Chinese children\u2019s literature and their representation of \u2018Ancient China\u2019 as a source of self-empowerment for the postmigrant subject. I argue that&nbsp;<em>Tiger Warrior&nbsp;<\/em>and&nbsp;<em>Spellcasters&nbsp;<\/em>share a central aspect with ostensibly contrastive representations in British Chinese children\u2019s and YA literature that produce \u2018China\u2019 as \u2018other\u2019, such as Sue Cheung\u2019s novels. In both cases\u2014as a source of self-empowerment or self-definition through \u2018othering\u2019\u2014\u2019China\u2019 never represents an actual place but functions, instead, as an \u2018imaginary homeland\u2019 (Rushdie 1992). Essentially, these \u2018Chinas of the mind\u2019\u2014to borrow from Salman Rushdie (1992, 10)\u2014serve as a projection screen through which the protagonists\u2019 own postmigrant sense of identity is negotiated.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, in doing so, the novels frequently resort to an \u2018Orientalist\u2019 (Said 1978) and even \u2018tourist gaze\u2019 (Urry 1990), stereotyping \u2018Ancient China\u2019 as an imaginary, mythical place from which the protagonists can draw confidence, pride, and literally superpowers\u2014thereby reproducing marginalising discourses two which the protagonists are themselves subjected. Furthermore, the novels\u2019 insistence on \u2018blood lineage\u2019 for the transmission of this exclusively \u2018Chinese\u2019 superpower tends to equate biological and cultural heritage, making the empowerment promoted in the novels a double-edged sword.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>References<\/em><br>Chan, Maisie.&nbsp;<em>Tiger Warrior: Attack of the Dragon King<\/em>. Orchard, 2021.<br>Rushdie, Salman.&nbsp;<em>Imaginary Homelands: Essays and Criticism 1981-1991<\/em>. Penguin, 1992.<br>Said, Edward.&nbsp;<em>Orientalism<\/em>. Vintage Books, 1978.<br>Sung, Crystal.&nbsp;<em>Spellcasters<\/em>. Orchard, 2023.<br>Urry, John.&nbsp;<em>The Tourist Gaze: Leisure and Travel in Contemporary Societies<\/em>. Sage P, 1990.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cPostmigrant narratives of guestworker migration to Germany: A sociological reading of Fatma Aydemir\u2019s&nbsp;<em>Dschinns<\/em>\u201d \u2014&nbsp;P\u0131nar G\u00fcm\u00fc\u015f Mantu (JLU Giessen)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In her second novel&nbsp;<em>Dschinns&nbsp;<\/em>(2022), Fatma Aydemir tells the story of a guestworker family, which has settled in Germany following the father\u2019s employment within the framework of guestworker agreement between German and Turkey in 1970s. Throughout the narrations of the stories of the four children and the parents in separate chapters, the novel deals with experiences of these characters in relation to living in Germany with a migration history from Turkey, such as feelings of (non)belonging, class-based inequalities, everyday racism, and gendered stereotypes. The novel chooses 1999 as the present time (interrupted by flashbacks to earlier periods), referring to an era characterized by the rise of official migration-integration discourses in Germany, particularly regarding people with migration background from Turkey. This work can be read as a literary account of this social context by its author Fatma Aydemir, who has also grown up in Germany as the daughter of a guestworker family from Turkey.&nbsp;<em>Dschinns&nbsp;<\/em>attracted significant public attention and described mostly as a generational and family novel, with a focus on migration history.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From a sociological point of view, the novel presents a variety of possibilities to discuss the ways in which postmigrant generations revisit their migration history and accordingly (re)negotiate their positionalities in today\u2019s pluralistic dynamics of European societies. Departing from this point, this paper will produce a close reading of this novel from a cultural sociology perspective by bringing in conceptual discussions on issues of belonging, otherness, and social difference with reference to the field of critical reflexive migration studies. Looking closer at Aydemir\u2019s postmigrant narrative of a family migration history, this paper will also trace new ways of a sociological understanding of the migration phenomenon beyond disciplinary boundaries, by following the broader question of what sociology can learn from literature in case of postmigrant narratives.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione B \u201cMarginalit\u00e9s, r\u00e9sistances et engagement\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cTunisie: des rites de passage et des r\u00e9cits de rapatri\u00e9s\u201d \u2014 Foued Ghorbali (Universit\u00e9 de Gafsa)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le r\u00eave de partir vers l\u2019Europe s\u2019est progressivement transform\u00e9 en un \u00ab&nbsp;r\u00eave sacr\u00e9&nbsp;\u00bb pour une jeunesse tunisienne marqu\u00e9e par le d\u00e9sespoir et l\u2019incertitude de l\u2019avenir. Pour une large frange de cette jeunesse, la Tunisie est per\u00e7ue comme une \u00ab&nbsp;grande prison&nbsp;\u00bb gouvern\u00e9e par des \u00e9lites vieillissantes et gangren\u00e9e par des r\u00e9seaux de corruption, une situation qui perdure au-del\u00e0 des espoirs suscit\u00e9s par l\u2019Intifada du 14 janvier 2011. Huit ans apr\u00e8s la r\u00e9volution, les promesses de changement se sont \u00e9vanouies, et la jeunesse se r\u00e9fugie dans des discours quotidiens sur la \u00ab&nbsp;hijja&nbsp;\u00bb, terme tunisien d\u00e9signant la migration irr\u00e9guli\u00e8re. Ce ph\u00e9nom\u00e8ne de migration ne se limite pas \u00e0 un simple d\u00e9sir d\u2019\u00e9vasion, mais s\u2019apparente \u00e0 un acte symbolique de rupture avec une r\u00e9alit\u00e9 jug\u00e9e inacceptable et insoutenable. Pour ces jeunes, la migration irr\u00e9guli\u00e8re constitue une forme de protestation et de r\u00e9sistance contre un syst\u00e8me qu\u2019ils per\u00e7oivent comme r\u00e9pressif. Leurs aspirations ne sont pas fond\u00e9es sur l\u2019acquisition de richesses, mais sur la qu\u00eate d\u2019une vie digne, fond\u00e9e sur l\u2019acc\u00e8s \u00e0 l\u2019emploi, \u00e0 la reconnaissance sociale et \u00e0 l\u2019int\u00e9gration. Dans leurs pays d\u2019origine, ils se sentent d\u00e9valoris\u00e9s et invisibles, confront\u00e9s \u00e0 une pr\u00e9carit\u00e9 omnipr\u00e9sente et \u00e0 une absence d\u2019opportunit\u00e9s r\u00e9elles. En ce sens, l\u2019Europe incarne pour eux non seulement une terre d\u2019opportunit\u00e9s, mais aussi un lieu d\u2019espoir et d\u2019\u00e9mancipation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019\u00e9ducation, institution fondamentale de la soci\u00e9t\u00e9 tunisienne, a perdu depuis les ann\u00e9es 1990 sa l\u00e9gitimit\u00e9 en raison du ch\u00f4mage \u00e9lev\u00e9 parmi les jeunes dipl\u00f4m\u00e9s. Ce ph\u00e9nom\u00e8ne a conduit \u00e0 l\u2019abandon scolaire de plus de 120000 jeunes chaque ann\u00e9e, un nombre qui ne cesse d\u2019augmenter, accentuant ainsi la pr\u00e9carisation de cette g\u00e9n\u00e9ration. Dans ce contexte, l\u2019\u00e9cole publique, jadis consid\u00e9r\u00e9e comme un vecteur d\u2019\u00e9mancipation, a c\u00e9d\u00e9 le pas \u00e0 l\u2019\u00e9ducation priv\u00e9e, aliment\u00e9e par les pressions des r\u00e9formes \u00e9conomiques impos\u00e9es par les institutions internationales. L\u2019immigration irr\u00e9guli\u00e8re, notamment celle des \u00ab&nbsp;harragas&nbsp;\u00bb, jeunes migrants prenant le risque de traverser la mer pour rejoindre l\u2019Europe, se pr\u00e9sente comme un v\u00e9ritable rite de passage. Elle n\u2019est pas simplement un d\u00e9placement g\u00e9ographique, mais un processus symbolique, un acte de r\u00e9sistance et de r\u00e9appropriation de leur destin\u00e9e face \u00e0 un syst\u00e8me qu\u2019ils per\u00e7oivent comme ali\u00e9nant. Ces jeunes, dans leur qu\u00eate de sens et d\u2019autonomie, rejettent les formes traditionnelles d\u2019int\u00e9gration propos\u00e9es par leur soci\u00e9t\u00e9 et s\u2019engagent dans une aventure risqu\u00e9e mais pleine de sens pour eux.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dans le cadre de cette \u00e9tude, nous avons men\u00e9 une enqu\u00eate de terrain aupr\u00e8s des jeunes rapatri\u00e9s d\u2019Europe vers la Tunisie, en nous concentrant sur les villes de Sfax, Gafsa, Nabeul et Tunis. Cette enqu\u00eate visait \u00e0 recueillir leurs t\u00e9moignages et perceptions sur leur parcours migratoire et les raisons profondes de leur retour. Les r\u00e9sultats de cette \u00e9tude montrent la persistance d\u2019un sentiment de d\u00e9sillusion, une perception g\u00e9n\u00e9ralis\u00e9e de l\u2019\u00e9chec des \u00e9lites politiques et des institutions \u00e0 r\u00e9pondre aux attentes de la jeunesse tunisienne, et un d\u00e9sir encore vif de partir, malgr\u00e9 les risques. D\u00e8s lors, comment expliquer le maintien de ce d\u00e9sir de d\u00e9part, m\u00eame apr\u00e8s un retour forc\u00e9&nbsp;? Quels m\u00e9canismes sociaux, \u00e9conomiques et psychologiques continuent de nourrir ce r\u00eave d\u2019Europe, malgr\u00e9 la confrontation avec la r\u00e9alit\u00e9 de l\u2019immigration irr\u00e9guli\u00e8re et de ses \u00e9checs&nbsp;? Cette interrogation soul\u00e8ve des questions essentielles sur les dynamiques de l\u2019exclusion sociale, de l\u2019ill\u00e9galisme et de la d\u00e9sillusion dans le contexte post-r\u00e9volutionnaire tunisien.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c\u2018Jamais je n\u2019aurais imagin\u00e9 que \u00e7a m\u2019arriverait, et je me rends compte que n\u2019importe qui peut devenir un \u2018r\u00e9fugi\u00e9\u2019\u2019: post-migration, imaginaires et exp\u00e9rience v\u00e9cue dans la bande dessin\u00e9e documentaire&nbsp;<em>L\u2019Odyss\u00e9e d\u2019Hakim<\/em>&nbsp;de Fabien Toulm\u00e9\u201d \u2014 Catherine Muller (Universit\u00e9 Grenoble Alpes)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Interpell\u00e9 par l\u2019absence de r\u00e9actions \u00e0 l\u2019annonce de naufrages en mer M\u00e9diterran\u00e9e en 2015, qu\u2019il attribue \u00e0 un manque de proximit\u00e9 et d\u2019identification, Fabien Toulm\u00e9 formule le projet de faire conna\u00eetre l\u2019histoire d\u2019une famille en situation d\u2019exil, afin d\u2019en donner une image incarn\u00e9e, \u00e0 l\u2019encontre de l\u2019anonymat de chiffres transmis par les informations. Sa bande dessin\u00e9e documentaire en trois tomes&nbsp;<em>L\u2019Odyss\u00e9e d\u2019Hakim<\/em>&nbsp;(2018, 2019, 2020) rel\u00e8ve de \u00ab&nbsp;la bande dessin\u00e9e du r\u00e9el&nbsp;\u00bb (Lesage, 2022) et de la bande dessin\u00e9e de la migration (Woerly, 2024). La d\u00e9marche de l\u2019auteur, m\u00fb par une vis\u00e9e compr\u00e9hensive consciente des enjeux de la cat\u00e9gorisation (Martiniello &amp;<strong><\/strong>Simon, 2005), s\u2019inscrit dans une perspective post-migrante (Geiser, 2008) en ce qu\u2019elle s\u2019emploie \u00e0 sortir d\u2019un dualisme qui opposerait migrants et non-migrants pour mettre en avant l\u2019humanit\u00e9 des \u00ab&nbsp;personnes en mouvement&nbsp;\u00bb&nbsp;(Agier, 2023).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La bande dessin\u00e9e repose sur le t\u00e9moignage d\u2019Hakim, qui relate son p\u00e9riple de trois ans de la Syrie \u00e0 la France. En recueillant et mettant en sc\u00e8ne cette exp\u00e9rience v\u00e9cue, Fabien Toulm\u00e9&nbsp;int\u00e8gre des \u00e9l\u00e9ments de la litt\u00e9rature relationnelle&nbsp;qui \u00ab&nbsp;embarque le lecteur dans son questionnement&nbsp;\u00bb (Viart, 2019&nbsp;: \u00a7 36) \u00e0 travers un r\u00e9cit d\u2019enqu\u00eate (Demanze, 2019). On retrouve une \u00ab&nbsp;\u00e9thique projectionniste&nbsp;\u00bb (Gefen, 2017) marqu\u00e9e par une empathie de l\u2019auteur. Le propos de ce r\u00e9cit visuel est bien de passer des migrants&nbsp;en tant qu\u2019entit\u00e9 \u00e0 une exp\u00e9rience v\u00e9cue singuli\u00e8re \u00e0 port\u00e9e universelle.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Je chercherai \u00e0 montrer comment l\u2019auteur confronte les imaginaires des migrants dans l\u2019opinion publique \u00e0 l\u2019exp\u00e9rience v\u00e9cue par Hakim, contribuant ainsi \u00e0 d\u00e9passer la binarit\u00e9 entre migrants et non-migrants. Le r\u00e9cit donne \u00e0 voir la r\u00e9silience d\u2019Hakim face aux \u00e9preuves en Syrie et dans les diff\u00e9rentes \u00e9tapes de son parcours. Il met en \u00e9vidence l\u2019imaginaire du protagoniste, marqu\u00e9 par la pens\u00e9e d\u2019un d\u00e9placement bref. La perception de l\u2019alt\u00e9rit\u00e9 se situe au c\u0153ur de la bande dessin\u00e9e, avec l\u2019enjeu pour Hakim de&nbsp;\u00ab&nbsp;montrer qui on est vraiment&nbsp;\u00bb (Toulm\u00e9, 2018&nbsp;: 19), des \u00ab&nbsp;\u00eatres humains avec des parcours, des histoires, des destins qui ne peuvent \u00eatre r\u00e9duits \u00e0 ce mot d\u00e9sincarn\u00e9 de \u00ab\u00a0r\u00e9fugi\u00e9s\u00a0\u00bb&nbsp;\u00bb (Toulm\u00e9, 2019&nbsp;: 7).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>R\u00e9f\u00e9rences<\/em><br>Agier, M. (2023).&nbsp;<em>Les migrants et nous. \u00c9loge de Babel<\/em>. CNRS \u00e9ditions. &lt;https:\/\/shs.cairn.info\/les-migrants-et-nous&#8211;9782271147608?lang=fr&gt;<br>Demanze L. (2019).&nbsp;<em>Un nouvel \u00e2ge de l\u2019enqu\u00eate<\/em>. Corti.&nbsp;<br>Gefen, A. (2017).&nbsp;<em>R\u00e9parer le monde. La litt\u00e9rature fran\u00e7aise face au XXIe si\u00e8cle<\/em>. Jos\u00e9 Corti.<br>Geiser, M. (2008). \u00ab&nbsp;La \u201clitt\u00e9rature beur\u201d comme \u00e9criture de la post-migration et forme de \u201clitt\u00e9rature monde\u201d&nbsp;\u00bb.&nbsp;<em>Expressions Maghr\u00e9bines<\/em>,&nbsp;<em>7<\/em>(1), p.&nbsp;121-139.<br>Lesage, S. (2022). Bande dessin\u00e9e et histoire.&nbsp;<em>Soci\u00e9t\u00e9s &amp; Repr\u00e9sentations<\/em>,&nbsp;<em>53<\/em>(1), p.&nbsp;15-38.<br>Martiniello, M.<strong>&nbsp;<\/strong>&amp;<strong>&nbsp;<\/strong>Simon, P. (2005). \u00ab&nbsp;Les enjeux de la cat\u00e9gorisation&nbsp;\u00bb,&nbsp;<em>Revue europ\u00e9enne des migrations internationales<\/em>,&nbsp;<em>21<\/em>&nbsp;(2). &lt;<a href=\"https:\/\/doi.org\/10.4000\/remi.2484\">https:\/\/doi.org\/10.4000\/remi.2484<\/a>&gt;<br>Toulm\u00e9, F. (2018).&nbsp;<em>L\u2019odyss\u00e9e d\u2019Hakim 1. De la Syrie \u00e0 la Turquie<\/em>. Delcourt.&nbsp;<br>Toulm\u00e9, F. (2019).&nbsp;<em>L\u2019odyss\u00e9e d\u2019Hakim 2. De la Turquie \u00e0 la Gr\u00e8ce.<\/em>&nbsp;Delcourt.&nbsp;<br>Toulm\u00e9, F. (2020).&nbsp;<em>L\u2019odyss\u00e9e d\u2019Hakim 3. De la Mac\u00e9doine \u00e0 la France<\/em>. Delcourt.&nbsp;<br>Viart,&nbsp;D. (2019).&nbsp;\u00ab&nbsp;Terrains de la litt\u00e9rature&nbsp;\u00bb.&nbsp;<em>Elfe XX-XXI<\/em>&nbsp;(8).&nbsp;&lt;<a href=\"https:\/\/doi.org\/10.4000\/elfe.1136\">https:\/\/doi.org\/10.4000\/elfe.1136<\/a>&gt;<br>Woerly, D.&nbsp;(2024). \u00ab&nbsp;Le continuum h\u00e9t\u00e9rolingue dans les bandes dessin\u00e9es de la migration&nbsp;: de l\u2019effet de r\u00e9el \u00e0 l\u2019exp\u00e9rience plurilingue&nbsp;\u00bb.&nbsp;<em>Language Education and Multilingualism<\/em>&nbsp;\u2014&nbsp;<em>The Langscape Journal<\/em>,&nbsp;<em>7<\/em>, p.&nbsp;14-29.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cDe la migration Nord-Sud: anthropologie d\u2019une m\u00e9moire coloniale oubli\u00e9e\u201d \u2014 Lamine Tour\u00e9 (Universit\u00e9 Assane Seck de Ziguinchor)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019homme a toujours \u00e9t\u00e9 marqu\u00e9 par des mouvements dans l\u2019espace et dans le temps, ce qui fait de lui, naturellement, un \u00eatre \u00ab&nbsp;migrant&nbsp;\u00bb \u00e0 la recherche de mieux \u00eatre \u00e0 tout point de vue. Or, malgr\u00e9 cela, ce terme de \u00ab&nbsp;migration&nbsp;\u00bb ne suscite plus d\u2019int\u00e9r\u00eat aujourd\u2019hui que quand il s\u2019agit de parler des flux d\u2019humains du Sud vers le Nord notamment de l\u2019Afrique vers l\u2019Occident. Pourtant, l\u2019histoire consigne dans sa m\u00e9moire les nombres flux effectu\u00e9s de l\u2019Occident vers les pays du Sud notamment en Afrique&nbsp;; en t\u00e9moignent le commerce triangulaire, la migration des bordelais dans la commercialisation de l\u2019arachide au S\u00e9n\u00e9gal (P\u00e9haut, 1983), les coop\u00e9rants au S\u00e9n\u00e9gal pendant et apr\u00e8s la colonisation (Cosquer, 2023). Inscrit dans la suite de ce qui pr\u00e9c\u00e8de, il nous a sembl\u00e9 opportun, depuis 2018, de recueillir les r\u00e9cits de vie de ressortissants occidentaux, r\u00e9sidents au S\u00e9n\u00e9gal particuli\u00e8rement \u00e0 Ziguinchor souvent appel\u00e9s \u00ab&nbsp;expatri\u00e9s&nbsp;\u00bb ou \u00ab&nbsp;touristes&nbsp;\u00bb au lieu de \u00ab&nbsp;migrants&nbsp;\u00bb \u2014 parce que y r\u00e9sidant en permanence \u2014 pour mieux interroger et comprendre la dynamique des soci\u00e9t\u00e9s europ\u00e9ennes dans leur rapport avec celles africaines en termes migratoires. Au regard de leur contenu, ces entretiens d\u00e9voilent aussi bien la confusion dans les politiques publiques migratoires des pays occidentaux envers les pays africains que celle dans l\u2019acception du mot \u00ab&nbsp;migration&nbsp;\u00bb, entendu dans le sens des flux Nord-Sud (expatri\u00e9s, touristes) et Sud-Nord (migrants). Le probl\u00e8me ainsi pos\u00e9 suscite des interrogations sur ce concept de migration et les r\u00e9alit\u00e9s politico-\u00e9conomiques qui le sous-tendent tout en convoquant la m\u00e9moire collective liant l\u2019Occident \u00e0 l\u2019Afrique sur cette question.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cLe r\u00e9cit collectif post-migratoire de la nouvelle g\u00e9n\u00e9ration maghr\u00e9bine et les formes d\u2019engagement politique en France\u201d \u2014 Seghier Tab (EHESS)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Aujourd\u2019hui, quasiment toutes les soci\u00e9t\u00e9s europ\u00e9ennes, et en particulier la France en tant que plus ancien pays d\u2019immigration en Europe, ont vu changer la composition de leur population et l\u2019\u00e9volution d\u00e9mographique. Avec l\u2019arriv\u00e9e en France d\u2019une nouvelle immigration extra-europ\u00e9enne et puis son installation dans la dur\u00e9e, l\u2019immigration maghr\u00e9bine est devenue aujourd\u2019hui une minorit\u00e9 dynamique et visible en qu\u00eate d\u2019une participation politique durable.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pour ce colloque important, je voudrais proposer une communication qui me semble pertinente. Elle est peu exploit\u00e9e dans ce champ de recherche. Cette question importante qui concerne&nbsp;l\u2019engagement et la participation politique de la nouvelle g\u00e9n\u00e9ration maghr\u00e9bine post-migratoire en France&nbsp;est li\u00e9e \u00e0 l\u2019influence du r\u00e9cit migratoire collectif&nbsp;et de m\u00e9moire postcoloniale de la minorit\u00e9 maghr\u00e9bine. Nous sommes face \u00e0 un ph\u00e9nom\u00e8ne bas\u00e9 sur une m\u00e9moire migratoire interg\u00e9n\u00e9rationnelle, transmise par les r\u00e9cits familiaux et l\u2019exp\u00e9rience de migration v\u00e9cue. Une des composantes importantes de la minorit\u00e9 maghr\u00e9bine est l\u2019\u00e9l\u00e9ment religieux, \u00ab&nbsp;la religion&nbsp;musulmane&nbsp;\u00bb. Dans son parcours migratoire et son installation au sein de la soci\u00e9t\u00e9 fran\u00e7aise, cette minorit\u00e9 a subi des formes de racisme, des discriminations, des contr\u00f4les au faci\u00e8s, et des stigmatisations politiques et dans les m\u00e9dias, etc. Dans un nouveau contexte politique marqu\u00e9 par l\u2019intol\u00e9rance \u00e0 l\u2019alt\u00e9rit\u00e9 et des actes hostiles \u00e0 l\u2019\u00e9gard des Fran\u00e7ais de confession musulmane, ce traitement injuste a engendr\u00e9 des tensions sociales, des m\u00e9fiances et des difficult\u00e9s d\u2019int\u00e9gration.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La nouvelle g\u00e9n\u00e9ration maghr\u00e9bine post-migratoire qui a grandi dans les banlieues ou les quartiers populaire a ressenti l\u2019id\u00e9e que la minorit\u00e9 maghr\u00e9bine reste marginalis\u00e9e et une des moins accept\u00e9es en France. Une fraction de cette nouvelle g\u00e9n\u00e9ration d\u00e9nonce le racisme, les discriminations syst\u00e9miques, les violences polici\u00e8res et la marginalisation. Afin de d\u00e9passer le repli identitaire, elle a choisi la voie de l\u2019engagement associatif et politique, puis d\u2019int\u00e9grer les partis politiques pour une participation citoyenne. En d\u00e9pit de ces d\u00e9marches, elle reste marqu\u00e9e par une m\u00e9moire intra-minoritaire et une&nbsp;politisation de marge.&nbsp;\u00c0 partir de ce postulat, nous allons tenter d\u2019analyser l\u2019influence du r\u00e9cit migratoire de la minorit\u00e9 maghr\u00e9bine sur les formes d\u2019engagement politique de cette nouvelle g\u00e9n\u00e9ration post-migratoire. Nous allons voir comment l\u2019h\u00e9ritage migratoire et le v\u00e9cu de la minorit\u00e9 maghr\u00e9bine en France influencent les formes d\u2019engagement et de participation politique et aussi le regard pos\u00e9 sur cette g\u00e9n\u00e9ration engag\u00e9e. Cette attitude est peut-\u00eatre le r\u00e9sultat d\u2019un affrontement entre des valeurs citoyennes, des pr\u00e9jug\u00e9s \u00e0 l\u2019\u00e9gard de l\u2019islam, et aussi certaines pratiques religieuses et sociales li\u00e9es \u00e0 au r\u00e9cit migratoire.&nbsp;<strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione C \u201cStrategie sovversive nei language memoirs 2\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>Memorie e incontri transculturali. Storie autobiografiche, romanzi a fumetti e il&nbsp;<em>graphic journalism<\/em>&nbsp;di Takoua Ben Mohamed nelle classi dell\u2019italiano come lingua straniera\u201d \u2014&nbsp;Stefanie Faustmann (Masaryk University)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Questo intervento si concentra sulle graphic novel di Takoua Ben Mohamed, come&nbsp;<em>Sotto il velo<\/em>&nbsp;(2016),&nbsp;<em>La rivoluzione dei gelsomini<\/em>(2018) e&nbsp;<em>Un\u2019altra via per la Cambogia&nbsp;<\/em>(2022), che rappresentano un esempio emblematico della produzione postmigrante italiana, in cui la memoria personale e colletiva assume un ruolo centrale nella costruzione dell\u2019identit\u00e0 (Spadaro 2020). L\u2019autrice tunisina e italiana utilizza il romanzo a fumetti non solo come narrazione grafica, ma anche per documentare eventi storici e sociali rilevanti (Bartoli-Kucher \/ Zadra 2023). In&nbsp;<em>Un\u2019altra via per la Cambogia<\/em>&nbsp;(2022) Ben Mohamed esplora le esperienze di volontariato e attivismo globali, mettendo in evidenza il valore dei diritti umani e dei valori democratici.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In questo contesto emergono le dimensioni autobiografiche, transculturali e plurilingui della memoria e la loro traduzione nel medium (Caserta 2023). Diventa chiaro che le graphic novel transculturali e il&nbsp;<em>graphic journalism<\/em>&nbsp;sono strumenti pedagogici efficaci per l\u2019insegnamento dell\u2019italiano come lingua straniera. Inoltre, si pone l\u2019accento sulla promozione delle competenze linguistiche, inter- e transculturali, simboliche e globali (Bartoli-Kucher 2021) e su questioni culturalmente rilevanti come la democrazia, l\u2019uguaglianza e la dignit\u00e0 umana (Bartoli-Kucher\/ Zadra 2019). Infine, vengono proposte attivit\u00e0 creative, orientate all\u2019azione con l\u2019obiettivo di implementare la narrazione autobiografica nelle lezioni di italiano (P\u00f6ltzleitner\/Penz\/Maierhofer 2019; K\u00f6nig, 2021).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cLingua madre, lingua altra: genealogie plurilingui, emozione e trasformazione<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Ada Plazzo (Universitat Aut\u00f2noma de Barcelona)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il presente contributo si inserisce nell\u2019ambito delle narrazioni letterarie della postmigrazione e si propone di indagare alcune pratiche testuali che mettono in crisi i presupposti monolinguistici e identitari dell\u2019appartenenza nazionale. Attraverso l\u2019analisi comparata di&nbsp;<em>Lingua materna<\/em>&nbsp;(Arendt, 1993),&nbsp;<em>Lingua e essere<\/em>&nbsp;(G\u00fcm\u00fc\u015fay, 2021) e&nbsp;<em>Il segreto di Pietramala<\/em>&nbsp;(Moro, 2018), si esplora come la lingua diventi spazio di dislocazione e, al contempo, di reinvenzione del s\u00e9, dando forma a soggettivit\u00e0 plurilingui, relazionali e transnazionali.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le opere analizzate si inscrivono in una genealogia di scritture in cui l\u2019esperienza linguistica si intreccia profondamente con quella emotiva ed esistenziale. In questa prospettiva la riflessione filosofica, la scrittura saggistica e la finzione linguistica si configurano come dispositivi attraverso cui la dislocazione si traduce in trasformazione (Kramsch 2004, 2).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A partire dai testi proposti si elabora una critica all\u2019ideologia dell\u2019autenticit\u00e0 linguistica e all\u2019idea di un\u2019identit\u00e0 coerente e univoca, mettendo in scena narrazioni segnate da molteplicit\u00e0, dissenso e tensioni tra lingue, memorie e appartenenze.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In un contesto segnato da crisi identitarie, le suddette pratiche testuali si configurano come forme di resistenza culturale e politica, capaci di aprire spazi di riconfigurazione immaginativa dell\u2019identit\u00e0 nelle societ\u00e0 postmigranti contemporanee.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>Strategie sovversive di neoplurilinguismo in&nbsp;<em>La straniera<\/em>&nbsp;di Claudia Durastanti\u201d \u2014&nbsp;Michele Cribari (Karl-Franzens-Universit\u00e4t Graz)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il presente intervento si propone di analizzare il memoir&nbsp;<em>La straniera&nbsp;<\/em>(2019) di Claudia Durastanti come esempio emblematico di \u201clanguage memoir\u201d (Kaplan 1994; Kramsch 2004) in chiave transculturale e plurilingue, ponendo particolare attenzione alle strategie sovversive di costruzione dell\u2019identit\u00e0 narrativa e linguistica. L\u2019autrice, figlia di genitori sordi, nata negli Stati Uniti e cresciuta in Basilicata, si muove in un costante spazio di frontiera linguistica e culturale, dando vita a una narrazione che sfida norme linguistiche, estetiche e identitarie.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019intervento mette in dialogo la dimensione letteraria dell\u2019opera con la teoria del neoplurilinguismo di Massimo Vedovelli (2014), che interpreta la pluralit\u00e0 linguistica non come frammentazione ma come nuova configurazione strutturante del contesto italiano. In questo senso,&nbsp;<em>La straniera<\/em>&nbsp;\u00e8 letta come un testo che incarna tale paradigma, dove la pluralit\u00e0 linguistica non \u00e8 ridotta a un dato sociologico ma viene attivamente performata, trasformata in strategia estetica e discorsiva.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nel quadro teorico delineato da Welsch (2012) e Bhabha (1994),&nbsp;<em>La straniera<\/em>&nbsp;appare come un esempio di \u201cpatchwork identity\u201d e di&nbsp;<em>Mimikry&nbsp;<\/em>linguistica: la scrittura si appropria dei codici dominanti solo per sovvertirli e generare nuovi spazi di immaginazione e di auto-rappresentazione. Il testo produce un&nbsp;<em>third space<\/em>&nbsp;(Kramsch 2009), uno spazio intermedio in cui lingua, identit\u00e0 e cultura si negoziano e si contaminano, aprendo alla possibilit\u00e0 di una cittadinanza transculturale e di una didattica linguistica orientata alla mediazione e all\u2019inclusione.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Attraverso questa lettura, si intende evidenziare il potenziale pedagogico e politico dei language memoirs nella formazione linguistica e interculturale, nonch\u00e9 la loro capacit\u00e0 di sfidare la norma per produrre nuovi sensi e nuove soggettivit\u00e0.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Riferimenti<\/em><br>Bartoli Kucher, S. 2019.&nbsp;<em>Scritture in Viaggio nel Mediterraneo. Proposte di didattica integrativa tra lingua, letteratura e film<\/em>, Ospedaletto-Pisa,&nbsp;Pacini.<br>Bhabha, H. K. 1994.&nbsp;<em>The location of culture<\/em>, London, Routledge.<br>Durastanti, C. 2019.&nbsp;<em>La straniera<\/em>, Milano, La nave di Teseo.<br>Kaplan, A.Y. 1994. On language memoir, in Bammer (eds.),&nbsp;<em>Displacements: Cultural identities in question<\/em>, Bloomington, Indiana University Press, pp.&nbsp;59-70.<br>Kramsch, C. 2004. The Multilingual Experience: Insights from Language Memoirs, in&nbsp;<em>Transit<\/em>&nbsp;1(1),&nbsp;<a href=\"https:\/\/escholarship.org\/uc\/item\/9h79g172\">https:\/\/escholarship.org\/uc\/item\/9h79g172<\/a>.<br>Kramsch, C. 2009. Third Culture and Language Education, in V. Cook, L. Wei&nbsp; eds.),&nbsp;<em>Contemporary Applied Linguistics<\/em>. Vol. 2, London, Continuum, pp.&nbsp;233-254.<br>Vedovelli, M. 2014. Il neoplurilinguismo italiano: una risorsa per il sistema produttivo, una sfida per la linguistica educativa, in&nbsp;<em>Il diritto al plurilinguismo<\/em>, Milano, Unicopli, pp.&nbsp;65-92.<br>Welsch, W. 2012. Was ist eigentlich Transkulturalit\u00e4t?, in D. Kimmich, S. Schahadat (eds.),&nbsp;<em>Kulturen in Bewegung. Beitr\u00e4ge zur Theorie und Praxis der Transkulturalit\u00e4t<\/em>, Bielefeld, transcript,&nbsp;pp.&nbsp;25-40.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<\/strong><strong>Scrittori&nbsp;<em>in between<\/em>. Forme, motivi e stili della letteratura expat italiana\u201d \u2014&nbsp;Niccol\u00f2 Amelii (Universit\u00e0 degli Studi \u201cG. d\u2019Annunzio\u201d Chieti-Pescara)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00c8 un dato oramai acquisito dalla critica, almeno da quindici anni a questa parte, che&nbsp;la narrativa italiana, dopo l\u2019esaurimento progressivo della temperie postmoderna, sia&nbsp;andata incontro a un condiviso quanto eterogeneo \u201critorno alla realt\u00e0\u201d. Da qui l\u2019esplosione di una costellazione di&nbsp;opere dalla fisionomia difficilmente disambiguabile, a forte trazione testimoniale e&nbsp;autobiografica, che mirano a porre in attrito racconto del s\u00e9 e radiografia del presente, riflessione saggistica e indagine socio-antropologica. All\u2019interno di un discorso critico votato a diagnosticare maniere, ragioni e strategie peculiari di questa vasta area di prosa ipercontemporanea a basso tasso di finzionalit\u00e0, un\u2019attenzione&nbsp;particolare&nbsp;deve oggi&nbsp;essere rivolta ai&nbsp;testi anfibi, spuri&nbsp;e&nbsp;ibridi che hanno al loro centro la figura dell\u2019expat.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Innanzitutto,&nbsp;per&nbsp;un fattore&nbsp;preminentemente quantitativo:&nbsp;negli&nbsp;ultimi&nbsp;dieci&nbsp;anni si \u00e8 andato&nbsp;moltiplicando&nbsp;il numero&nbsp;di narrazioniche&nbsp;raccontano,&nbsp;attraverso&nbsp;la&nbsp;parabola di personaggi ben connotati socialmente, il trasferimento e&nbsp;la vita all\u2019estero di studenti, laureati in cerca di impiego, lavoratori precari, nomadi digitali. Gli autori sono per la maggior parte scrittori e scrittrici appartenenti alla generazione dei&nbsp;<em>millennial,&nbsp;<\/em>accomunati dal sogno coltivato in giovane et\u00e0 di un\u2019Europa unita, senza frontiere, culturalmente fertile eche hanno vissuto in prima persona le&nbsp;esperienze di&nbsp;dislocazione geografica&nbsp;poi declinate in forme romanzesche, autobiografiche o autofinzionali.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019intervento ha come obiettivo principale quello di una prima ricognizione della letteratura italiana degli expat che ne individui innanzitutto temi ricorrenti, istanze formali, stilistiche e narratologiche, moduli figurativi e opzioni retorico-discorsive, al fine di verificare la possibilit\u00e0 di ragionare nei termini costitutivi di un vero e proprio sottogenere&nbsp;letterario,&nbsp;da&nbsp;accostare e porre&nbsp;in&nbsp;dialogo,dopo&nbsp;averne&nbsp;verificato&nbsp;la&nbsp;tenuta e la legittimit\u00e0, ad altri generi tipici della nostra contemporaneit\u00e0 come la&nbsp;<em>climate&nbsp;fiction,<\/em>l\u2019autosociobiografia o il cosiddetto&nbsp;romanzo-verit\u00e0.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Giorno 3 \u2014 19\/09\/25<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>1. Conferenza plenaria&nbsp;\u201c<\/strong><strong>Hybrid Writings and Plural Identities. Italian Second-Generation Voices Across Literature and Digital Cultures\u201d&nbsp;<\/strong><strong>\u2014 Jacopo Ferrari (Universit\u00e0 degli Studi di Milano)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This paper focuses on Italian second-generation (G2) literature, analyzing its authors, themes and distinctive characteristics. This literary production reveals a marked internal heterogeneity, divided between pioneers like Igiaba Scego and Sumaya Abdel Qader and emerging voices such as Sabrina Efionayi, Esp\u00e9rance Hakuzwimana, Djarah Kan, Leaticia Ouedraogo and Anna Osei. This narrative production distinguishes itself from that of their migrant parents both through its transmedial nature\u2014with authors transitioning from digital platforms (blogs, social media, podcasts) to print publications, attracting attention from major national publishers and overcoming the marginalization once reserved for migrant literature\u2014and through its choral writing style, which replaces the autobiographical approach typical of first-generation migrant narratives with a collective, politically engaged \u201cwe\u201d. Their Italian is flexible, rich, and full of expressive possibilities, drawing from a multilingual repertoire. We are witnessing the emergence of a new generation that, while rooted in Italian culture, critically reinterprets concepts of citizenship and belonging, creating a hybrid and innovative literature. Alongside narrative works, the contemporary G2 artistic movement includes musicians (Ghali, Mahmood), filmmakers (Phaim Bhuiyan, Antonio Dikele Distefano) and graphic novelists (Takoua Ben Mohamed, Saghar Khaleghpour), demonstrating how post-migration represents not just a historical phase but an existential condition through which to critically reinterpret identity, language and canon.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>2. Sessioni parallele 7<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione A \u201c(Re)Transmitting Postmigration: Media and Institutional Narratives\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cPeople with Migratory Background and Italian News Discourse: An Analysis of Perspectives through Computational Frame Semantics<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Serena Coschignano (Universit\u00e0 di Pavia)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This contribution explores contemporary representations of Italy as a postmigrant society through the analysis of Italian press articles concerning migrations and people with migratory background (PWMB). For this purpose, we conducted a Computational-Critical Discourse Study (Minnema et al., 2022) on a large corpus of ~100.000 news articles (199 newspapers, years 2014-2021, ~76 million tokens) automatically annotated for frames and semantic roles (Fillmore, 1985).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">First, we address the discursive attribution of agency among different social actors\u2014politicians, \u201cItalians\u201d, and PWMB\u2014and observe an imbalance in the agentive representation of political figures and other event participants, especially PWMB. Second, we investigate differences in the frames that characterize news providers differing in political and religious orientation, territorial diffusion, and periodicity of publication. Despite the variety of providers included in the sample, our analysis detects an overall homogeneity in the assumption of an institutional vantage point on recounted events, in which the internal perspective of PWMB is rarely detectable. The only notable exception is found in periodicals, which give more space to individual narratives and propose deeper readings of migratory phenomena. For instance, periodicals give wide coverage to the (strive for) active involvement of PWMB in the labor market of their country of residence and tentatively thematize their struggles in relation to their identity, including the dimension of skin color. Interestingly, blackness tends to be discussed in relation to national events, whereas the idea of whiteness is only brought into discourse when reporting on foreign or supranational contexts, such as institutionalized racism in Europe. Nonetheless, even periodicals often contextualize migration-related matters through political voices.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The observed recurring passivization and backgrounding of PWMB testifies their exclusion both as news producers and as intended recipients of news discourse. This calls for a (generational) shift in Italian mainstream journalism to move beyond its monolithic, anachronistic perspective.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>References<\/em><br>Fillmore, Charles J. (1985). Frames and the Semantics of Understanding.&nbsp;<em>Quaderni di Semantica&nbsp;<\/em>6(2), 222-254.&nbsp;<br>Minnema, Gosse, Gaetana Ruggiero, Marion Bartl, Sara Gemelli, Tommaso Caselli, Chiara Zanchi, Viviana Patti, Marco te Br\u00f6mmelstroet &amp; Malvina Nissim. (2022). Responsibility Framing under the Magnifying Lens of NLP: The Case of Gender-based Violence and Traffic Danger.&nbsp;<em>Computational Linguistics in the Netherlands Journal&nbsp;<\/em>12: 207-233.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cColonial Monuments and the Mythscape of Europe: A Cross-Historical Reading of Belgium and Italy as Postmigrant Societies<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Francesca Giuffredi (UCLouvain)<\/strong><strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This contribution focuses on one of the most controversial material heritages facing \u201cpostmigrant Europe\u201d: colonial monuments. By this term we refer to memorial objects that are present in public space, and that directly stimulate colonial memory (even when they do not explicitly refer to colonial history). The interest of the topic lies primarily in the ability of colonial monuments to highlight dissonances or ruptures in the collective memories of contemporary European societies. Moreover, public space is relevant to contemporary societies in that the dynamics of social inclusion and exclusion are often made tangible in it (Ashworth, 2008). This paper undertakes a histoire crois\u00e9e analysis (Conrad, 2023; Werner &amp; Zimmermann, 2004; Zimmermann, 2020) of two European countries and their colonial legacies: Belgium and Italy. In these countries, colonial monuments have long participated in a national mythology characterized by a highly selective and simplistic nature, in an attempt to impose a definite meaning on the nation\u2019s past (Bell, 2003). However, these monuments increasingly function today as a dissonant heritage (Conrad, 2016; Werner &amp; Zimmermann, 2004), enabling postmigrant activists, artists, and scholars to advocate for more inclusive national counter-narratives. Figures such as Igiaba Scego in Italy, or collectives such as CMCLD in Belgium, have been able to exploit heritage controversies to prompt new counter- narratives of colonial history and its influence on the contemporary world. However, heritage dissonance is not negotiated in the same way across Europe: national, regional and local specificities can profoundly influence collective memory and its construction processes. Hence the interest of a multidirectional, transnational study based on two countries with two very different national and colonial histories and two divergent postcolonial migration trajectories. By examining a selection of monuments and their counter-initiatives, this contribution explores how postmigration offers a lens for rethinking national belonging, colonial history, and the function of material heritage in contemporary Europe. To do so, the analysis draws on methodology from heritage studies, memory studies, and postcolonial theory.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cNarratives of the self in the postmigrant society: De-migratizing education through the voices of heritage language teachers<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Marta Guarda (Eurac Research, Bozen\/Bolzano) &amp; Johanna Mitterhofer (Eurac Research, Bozen\/Bolzano)<\/strong><strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In European postmigrant and postmultilingual societies (Foroutan 2019; Li 2018), educational institutions tend to be less receptive to the transformations brought about by migration experiences and the increasingly complex interweaving of languages. As a result, while the languages spoken by autochthonous communities are prioritized in school curricula, those lacking historical associations with a given territory tend to be structurally marginalized. The legitimacy of certain languages over others can reinforce uneven relationships between dominant and migratized (Tinsley-Kent &amp; Qureshi 2023) language communities. Within this scenario, the teaching and learning of heritage languages (HLs)\u2014i.e., the languages of first-, second- and third-generation speakers among transnational communities (Polinsky 2015)\u2014offers an interesting context for considering a postmigrant perspective on education.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This paper contributes to such perspective by reporting on the experiences of two volunteer teachers of Albanian as a HL in South Tyrol (Italy), a historically multilingual sub-state entity where hereditary educational institutions are not yet fully legitimized in institutionalized educational and political discourse. Drawing on data generated through semi-structured interviews and spontaneous narratives of life trajectories, the paper explores a)<strong>&nbsp;<\/strong>how the two teachers position themselves as language educators in a postmigrant and postmultilingual society, and b)<strong>&nbsp;<\/strong>their connection to two key dimensions of the postmigrant experience\u2014space and time. Their narratives unveil how the two HL teachers were able to reconfigure their identities as mediators across cultures, languages and societal structures and amidst the challenges and tensions associated with migration dynamics. By centering their emic experiences and narratives of self, this paper amplifies HL teachers\u2019 voices as legitimate contributors to a de- migratized perspective on education, i.e. one that views the teaching and learning of HLs as an integral component of postmigrant and postmultilingual societies.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>References<\/em><br>Foroutan, N. (2019).&nbsp;<em>Die postmigrantische Gesellschaft. Ein Versprechen der pluralen Demokratie<\/em>. Bielefeld: transcript.<br>Li, W. (2018). Translanguaging as a practical theory of language.&nbsp;<em>Applied Linguistics<\/em>, 39(1), 9\u201330.<br>Polinsky, M. (2015). Heritage languages and their speakers: State of the field, challenges, perspectives for future work, and methodologies.&nbsp;<em>Zeitschrift f\u00fcr Fremdsprachwissenschaft<\/em>, 26, 7\u201327.<br>Tinsley-Kent, J. &amp; Qureshi, F. (2023). Words matter. The framing of migrants in immigration policy.&nbsp;<em>Progressive Review<\/em>, 30(1), 15-20.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cThinking Critically Between Words and Images: Multimodality and the Representation of Migration in Graphic Novels<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Natalie Dupr\u00e9 (KU Leuven), Inge Lanslots (KU Leuven) &amp; Chiara Zampieri (KU Leuven\/Vrije Universiteit Brussel)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this contribution, we will introduce the didactic project \u201cThinking Critically Between Words and Images: Multimodality and the Representation of Migration in Graphic Novels\u201d. This initiative is part of KU Leuven\u2019s Junior College, designed to familiarize secondary school students with academic teaching and research. Recognizing that young people often lack critical and nuanced thinking about complex topics like migration\u2014partly influenced by political statements and negative media coverage\u2014we aim to foster critical and thoughtful reflection on such societal issues.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The project\u2019s goal is to develop an educational module for third-grade secondary school students (aged 17-18), providing them with essential theoretical frameworks and analytical skills to critically examine the representation of complex social issues, such as migration, in graphic narratives. It includes resource materials and guided analyses of selected excerpts from contemporary Francophone graphic novels on migration, such as&nbsp;<em>Les Nouvelles de la jungle (de Calais)<\/em>&nbsp;(2017) and&nbsp;<em>Les Mohamed<\/em>&nbsp;(2019). The choice of French as the foreign language is driven by the need for didactic materials in this language.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Through the didactic toolkits, students are encouraged to engage with visual literature to explore and analyse complex themes. These materials help students acquire key concepts from social sciences, literature, and modern languages\u2014specifically French within the Dutch-speaking Belgian context\u2014while also aiding their orientation among the diverse study paths available in the humanities. Additionally, the project aims to broaden students\u2019 perspectives by integrating multimodal approaches, combining textual and visual elements to deepen their understanding of migration. By examining graphic novels, students can appreciate the interplay between words and images, enhancing their ability to interpret and critique various forms of representation. This holistic approach not only enriches their academic experience but also prepares them for future research endeavours in the humanities.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione B \u201cSe raconter en contextes plurilingues et pluriculturels\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c\u2018<\/strong><strong>Se dire\u2019 en exil: r\u00e9cit de soi, apprentissage du FLE et reconstruction identitaire dans les DU Passerelle\u201d \u2014&nbsp;<\/strong><strong>Anne Prunet (Universit\u00e9 de Rennes 2) &amp; Cl\u00e9mence Jensen (juriste)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dans les universit\u00e9s europ\u00e9ennes, les \u00e9tudiants r\u00e9fugi\u00e9s occupent une position singuli\u00e8re, \u00e0 la crois\u00e9e de la pr\u00e9carit\u00e9 administrative, de la migration contrainte et de trajectoires biographiques marqu\u00e9es par la rupture.&nbsp;Les Dipl\u00f4mes Universitaires (DU) Passerelle, destin\u00e9s aux personnes en exil, visent \u00e0 faciliter leur inclusion dans l\u2019enseignement sup\u00e9rieur fran\u00e7ais.&nbsp;Cette communication interroge la mani\u00e8re dont,&nbsp;au-del\u00e0 de l\u2019acquisition linguistique, ces dispositifs offrent un espace o\u00f9 les \u00e9tudiants peuvent reconstruire leur identit\u00e9 \u00e0 travers le r\u00e9cit de soi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nous analysons comment le r\u00e9cit de soi \u2014 \u00e9crit, oral, fictionnel ou adress\u00e9 \u2014 devient un levier de subjectivation dans l\u2019apprentissage du FLE. Ce r\u00e9cit, produit dans des espaces p\u00e9dagogiques formels ou informels (cours, ateliers, portfolios, interactions), permet de passer d\u2019une position d\u2019assignation \u00e0 une position d\u2019\u00e9nonciation. Il aide \u00e0 reconstruire une continuit\u00e9 biographique malgr\u00e9 la discontinuit\u00e9 du parcours. Il est aussi un acte relationnel, travers\u00e9 par des attentes institutionnelles implicites (coh\u00e9rence, projet, r\u00e9silience), et par des tensions entre sinc\u00e9rit\u00e9, performativit\u00e9 et reconnaissance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette r\u00e9flexion s\u2019inscrit dans une perspective pleinement postmigrante&nbsp;: l\u2019universit\u00e9 y est analys\u00e9e comme une institution transform\u00e9e par l\u2019accueil de nouveaux publics. Les DU Passerelle deviennent alors des espaces d\u2019expression, mais aussi de confrontation aux normes. \u00c0 travers les r\u00e9cits d\u2019\u00e9tudiants en exil, nous mettons en lumi\u00e8re les \u00e9carts entre vuln\u00e9rabilit\u00e9 et inclusion, et proposons notre conception d\u2019une \u00ab&nbsp;\u00e9cologie du r\u00e9cit&nbsp;\u00bb&nbsp;: un cadre permettant aux voix postmigrantes d\u2019\u00e9merger, circuler et d\u2019\u00eatre reconnues.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cUne approche anthropologique du parcours de vie de jeunes belgo-japonais en Belgique\u201d \u2014 Marie Montenair (Universit\u00e9 de Li\u00e8ge)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ma communication proposera une contribution anthropologique bas\u00e9e sur un terrain ethnographique. Elle portera sur les parcours de vie de jeunes belgo-japonais ayant grandi au sein de familles mixtes (Varro, 2003) et transnationales (Bryceson &amp; Vuorela, 2002) en Belgique francophone. Les r\u00e9sultats de ma recherche proposent des pistes de compr\u00e9hension \u00e0 la th\u00e9matique de l\u2019identit\u00e9, peu explor\u00e9e dans les familles asiatiques r\u00e9sidant en Europe (Fresnoza-Flot &amp; Wang, 2021, p. 6). \u00c0 partir de l\u2019analyse de r\u00e9cits de vie (Bertaux, 2016) de ces jeunes et de mat\u00e9riaux ethnographiques vari\u00e9s, j\u2019interrogerai&nbsp;<em>la mani\u00e8re dont les discours des jeunes illustrent un sentiment d\u2019appartenance bi-culturel et bi-national marqu\u00e9 par l\u2019intervention de multiples acteurs et au carrefour d\u2019espaces sociaux et d\u2019\u00e9l\u00e9ments culturels h\u00e9t\u00e9rog\u00e8nes.&nbsp;<\/em>Tout d\u2019abord, le lieu sera abord\u00e9 comme \u00ab&nbsp;source d\u2019appartenance&nbsp;\u00bb (Olwig et Gull\u00f8v, 2003). Ensuite, l\u2019analyse des discours des jeunes et de leur&nbsp;<em>agency&nbsp;<\/em>aidera \u00e0 mieux comprendre leur cheminement identitaire, dans une famille mixte et transnationale, en tant que g\u00e9n\u00e9ration 2.5 (Karthick Ramakrishnan, 2004). Parall\u00e8lement, les tensions et les continuit\u00e9s issues de la transmission g\u00e9n\u00e9rationnelle seront d\u00e9velopp\u00e9es \u00e0 partir des r\u00e9cits de ces jeunes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette communication s\u2019appuie sur un terrain ethnographique de onze mois (2022) men\u00e9 en Belgique, et dont la m\u00e9thodologie \u00e9tait mixte. Celle-ci reposait essentiellement sur des r\u00e9cits de vie (Bertaux, 2016) et des conversations informelles (Swain et King, 2022) avec de jeunes \u00ab&nbsp;belgo-japonais&nbsp;\u00bb (trois gar\u00e7ons et six filles) r\u00e9sidant en Belgique francophone. De multiples rencontres, formelles et informelles, ainsi qu\u2019un&nbsp;<em>focus group<\/em>&nbsp;ont \u00e9t\u00e9 organis\u00e9s. Enfin, plusieurs \u00ab&nbsp;micro-terrains&nbsp;\u00bb ont \u00e9t\u00e9 men\u00e9s&nbsp;: parcours comment\u00e9 de la&nbsp;<em>Japanese School of Brussels<\/em>, visites \u00e0 domicile, repas partag\u00e9s au sein des familles, toutes activit\u00e9s qui m\u2019ont donn\u00e9 un certain acc\u00e8s \u00e0 \u00ab&nbsp;l\u2019intime&nbsp;\u00bb (Fresnoza-Flot, 2022).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>R\u00e9f\u00e9rences<\/em><br>Bertaux, D. (2016).&nbsp;<em>Le r\u00e9cit de vie (4e \u00e9d.)<\/em>. Armand Colin.<br>Bryceson, D., &amp; Vuorela, U. (2002).&nbsp;<em>The Transnational Family: New European frontiers and global networks<\/em>. Berg publishers.<br>Fresnoza-Flot, A., &amp; Wang, S. (2021).&nbsp;Asia-Europe intimate links: Family migrants, binational couples and mixed-parentage children.&nbsp;<em>Asian and Pacific Migration Journal<\/em>,&nbsp;<em>30<\/em>(1), 3\u201317.&nbsp;<br>Fresnoza-Flot, A. (2022).&nbsp;Homestay, Sleepover, and Commensality: Three Intimate Methods in the Study of \u201cMixed\u201d Families.&nbsp;<em>Genealogy<\/em>,&nbsp;<em>6<\/em>(2), 34.<br>Karthick Ramakrishnan, S. (2004).&nbsp;Second-Generation Immigrants? The \u201c2.5 Generation\u201d in the United States.&nbsp;<em>Social Science Quarterly<\/em>,&nbsp;<em>85<\/em>(2), 380\u2013399.&nbsp;<br>Olwig, K. F. &amp; Gull\u00f8v, E. (2003).&nbsp;<em>Children\u2019s place: Cross-cultural perspectives<\/em>. London: Routledge.<br>Swain, J. &amp; King B. (2022).&nbsp;Using Informal Conversations in Qualitative Research.&nbsp;<em>International Journal of Qualitative Methods<\/em>,&nbsp;<em>21<\/em>.<br>Varro, G. (2003).&nbsp;<em>Sociologie de la mixit\u00e9&nbsp;:<\/em>&nbsp;<em>De la mixit\u00e9 amoureuse aux mixit\u00e9s sociales et culturelles<\/em>. Belin.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cSe raconter au pluriel:&nbsp;<em>Viktor hilft<\/em>&nbsp;de Vladimir Vertlib, entre roman autofictionnel et r\u00e9cit collectif d\u2019une soci\u00e9t\u00e9 autrichienne postmigratoire\u201d \u2014 Alice Lacoue-Labarthe (Universit\u00e9 de Picardie Jules Verne\/Vrije Universiteit Brussel)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Marqu\u00e9 par sa propre trajectoire migratoire de l\u2019URSS \u00e0 l\u2019Autriche, l\u2019\u00e9crivain Vladimir Vertlib raconte dans son roman&nbsp;<em>Viktor hilft<\/em>[<em>Victor aide<\/em>], publi\u00e9 en 2018, le quotidien d\u2019un volontaire engag\u00e9 dans l\u2019accueil des r\u00e9fugi\u00e9\u00b7es arriv\u00e9\u00b7es en Europe de l\u2019Ouest dans les ann\u00e9es 2010. Dans la continuit\u00e9 de l\u2019\u0153uvre de l\u2019auteur, le roman interroge les continuit\u00e9s et les ruptures entre exp\u00e9riences d\u2019exil et de discrimination pass\u00e9es et pr\u00e9sentes au sein d\u2019une soci\u00e9t\u00e9 autrichienne postmigratoire, \u00e0 travers la figure de Viktor, issu d\u2019une famille juive d\u2019URSS et citoyen autrichien engag\u00e9 dans un centre d\u2019accueil \u00e0 la fronti\u00e8re germano-autrichienne.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette contribution vise \u00e0 montrer que lire&nbsp;<em>Viktor hilft<\/em>&nbsp;comme \u0153uvre autofictionnelle, loin de r\u00e9duire le roman \u00e0 une exp\u00e9rience biographique, permet d\u2019en saisir la vis\u00e9e po\u00e9tologique plus globale&nbsp;: mettre en lumi\u00e8re les \u00ab&nbsp;ombres&nbsp;\u00bb (Vertlib 2012), celles et ceux dont l\u2019histoire reste absente des r\u00e9cits nationaux parce que leurs parcours les ont plac\u00e9\u00b7es aux marges de la communaut\u00e9.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En repr\u00e9sentant des soci\u00e9t\u00e9s allemande et autrichienne profond\u00e9ment polaris\u00e9es, entre discours d\u2019extr\u00eame droite et humanisme aux accents paternalistes, Vertlib interroge les discours politiques et m\u00e9diatiques autour de la \u00ab&nbsp;crise des r\u00e9fugi\u00e9s&nbsp;\u00bb, tout en les repla\u00e7ant dans le temps long d\u2019une histoire transnationale de l\u2019exil, dont Viktor est l\u2019un des repr\u00e9sentants. Gr\u00e2ce \u00e0 une chronologie de l\u2019exil qui implique la figure de l\u2019auteur \u00e0 travers son alter ego Viktor, le roman met en sc\u00e8ne une posture auctoriale (cf. Meizoz 2007) engag\u00e9e et solidaire. Par-del\u00e0 son cadre germano-autrichien,&nbsp;<em>Viktor hilft<\/em>&nbsp;invite \u00e0 interroger une histoire europ\u00e9enne fond\u00e9e sur les migrations et l\u2019exil&nbsp;: ainsi, le r\u00e9cit am\u00e8ne \u00e0 consid\u00e9rer les voix de ces exclu\u00b7es, non comme marginales, mais comme l\u2019\u00ab&nbsp;essence&nbsp;\u00bb m\u00eame de l\u2019histoire europ\u00e9enne (Sievers 2024, 172).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>R\u00e9f\u00e9rences<\/em><br>Meizoz, J\u00e9r\u00f4me,&nbsp;<em>Postures litt\u00e9raires. Mises en sc\u00e8ne modernes de l\u2019auteur<\/em>, Gen\u00e8ve, Slatkine, 2007.<br>Sievers, Wiebke,&nbsp;<em>Postmigrantische Literaturgeschichte. Von der Ausgrenzung bis zum Kampf um gesellschaftliche Ver\u00e4nderung<\/em>, Bielefeld, transcript Verlag, 2024.&nbsp;<br>Vertlib, Vladimir, \u201eSchattenbild\u201c, in Vladimir Vertlib,&nbsp;<em>Ich und die Eingeborenen: Essays und Aus\u00e4tze<\/em>, Dresde, Thelem, 2012, 179\u2013184 [1999].<br>Vertlib, Vladimir,&nbsp;<em>Viktor hilft<\/em>, Vienne, Paul Zsolnay Verlag, 2018.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c<em>L\u2019accent c\u2019est ma langue maternelle<\/em>: l\u2019inscription de l\u2019hybridit\u00e9 dans&nbsp;<em>Tenir sa langue<\/em>, de Polina Panassenko\u201d \u2014 Meri Torras Frances (Universitat Aut\u00f2noma de Barcelona)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Polina Panassenko est n\u00e9e \u00e0 Moscou, mais sa famille s\u2019est d\u00e9plac\u00e9e en France, \u00e0 Saint-\u00c9tienne, o\u00f9 elle est devenue Pauline et elle a grandi comme une Fran\u00e7aise.&nbsp;<em>Tenir sa langue<\/em>&nbsp;est son premier roman (et pour l\u2019instant le seul), dans lequel elle raconte le processus de r\u00e9cup\u00e9ration de son pr\u00e9nom de naissance, Polina, de laquelle d\u00e9coule la r\u00e9cup\u00e9ration aussi d\u2019une identit\u00e9 qui existe sous rature et de laquelle est t\u00e9moin l\u2019accent russe de sa m\u00e8re quand elle parle en fran\u00e7ais. \u00ab&nbsp;La premi\u00e8re fois que je l\u2019entends l\u2019accent de ma m\u00e8re, je suis sur la banquette arri\u00e8re de la Renault 19 c\u00f4t\u00e9 place du mort. On rentre de Moscou. A\u00e9roport Saint-Exup\u00e9ry, parking longe dur\u00e9e P5. [\u2026]<em>.&nbsp;<\/em>C\u2019est l\u00e0 que je l\u2019entends. L\u2019accent russe de ma m\u00e8re. Les sons brillants qui glissent sur les syllabes fran\u00e7aises comme pour un essayage. [\u2026] Qu\u2019est-ce qui m\u2019a pris d\u2019\u00e9couter ma m\u00e8re en fran\u00e7ais au lieu de l\u2019\u00e9couter en russe&nbsp;?&nbsp;\u00bb (Panassenko, 2022&nbsp;: 120-121)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dans le cadre d\u2019une soci\u00e9t\u00e9 europ\u00e9enne b\u00e2tie \u00e0 partir des d\u00e9placements humains, sous la forme litt\u00e9raire d\u2019un r\u00e9cit auto(bio)graphique de la postmigration, trois axes seront pris en consid\u00e9ration au cours de l\u2019interpr\u00e9tation du texte de Panassenko&nbsp;: (1) le pr\u00e9nom comme un pont de passage d\u2019une langue \u00e0 l\u2019autre et comme vestige d\u2019un h\u00e9ritage familial&nbsp;; (2) l\u2019hybridit\u00e9 linguistique \u2014 voire le m\u00e9lange \u2014 et la pr\u00e9sence des mots en russe, autant que la cr\u00e9ation de nouveau mots fusionn\u00e9s des deux langues&nbsp;; et finalement, (3) la pr\u00e9sence\/absence de l\u2019accent&nbsp;: l\u2019accent pr\u00e9sent chez sa m\u00e8re, l\u2019accent perdu chez Polina, et l\u2019accent qui sonne \u00e0 la porte et devient un personnage du roman.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione C \u201cScritture, narrazioni e identit\u00e0 post-migranti: Sfide educative e traiettorie di plurilinguismo\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cLa scrittura come memoria, cura e progetto\u201d&nbsp;\u2014 Raffaele Tumino (Universit\u00e0 di Macerata)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Attraverso pratiche di scrittura molteplici, giunte da contesti culturali e vissuti diversi, l\u2019indagine critica di questo contributo mira a contribuire alla comprensione del fenomeno post-migratorio inteso come processo di negoziazione degli individui, e nel caso specifico di donne, di fronte a sfide globali che non si impongono mai solo sul piano simbolico e ideologico, ma anche su quello reale e materiale. Un conflitto sempre irrisolto tra estremi, faglie, luoghi che si scontrano e di cui il singolo cerca con l\u2019investitura di&nbsp;<em>un senso<\/em>&nbsp;un modo che possa sostenerne la ferita, lenire il dolore attraverso il ricordo, guardare al futuro. Pur nella diversit\u00e0 delle soluzioni la lotta che impegna Igiaba Scego,&nbsp;Kaha Mohamed Aden,&nbsp;Tawada Y\u014dko, Widad Tamimi, \u00e8 quella contro uno stereotipo del migrante: un oggetto sempre passivo e depotenziato. Nei racconti post-1990 di queste autrici di origine immigrata, si assiste a un confronto critico tra le diverse culture e i valori generazionali e alla rivendicazione di nuovi spazi e nuove soggettivit\u00e0, lungo le linee della figurazione nomade e transculturale proposte da Braidotti (2002), Vanvolsem (2013), De Lucia (2017) Curti (2018), Comberiati-Mengozzi (2022).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nelle scuole e nelle aule universitarie la lettura ad alta voce, la realizzazione di video-clip e l\u2019approccio transciplinare si pongono come dispositivi analitici e esperenziali per facilitare la comprensione dei testi,&nbsp;<em>Wo Europa anf\u00e4ngt<\/em>&nbsp;di Tawada Y\u014dko (1991);&nbsp;<em>Fra-Intendimenti<\/em>di Kaha Mohamed Aden (2010);&nbsp;<em>La mia casa \u00e8 dove sono<\/em>&nbsp;(2010) di Igiaba Scego; e&nbsp;<em>Le rose del vento<\/em>&nbsp;(2016) di Widad Tamimi. Le acquisizioni nel corso dell\u2019esperienza didattica consentiranno l\u2019affrancamento dai pregiudizi intorno ai \u201cmigranti\u201d; l\u2019abbandono di una visione monolitica della \u201ccultura\u201d, infine di liberarsi dall\u2019ossessione identitaria.&nbsp;&nbsp;L\u2019identit\u00e0 \u00e8 un puzzle complesso, che spesso cerchiamo di ridurre ai minimi termini in cerca di chiarezza. Ognuno di noi rappresenta un affascinante miscuglio di identit\u00e0 multiple. L\u2019acquisizione di un approccio analitico, comparativo e transdisciplinare ai testi narrativi qui scelti \u00e8 indispensabile al fine di giungere ad una visione delle narrazioni come insieme dinamico e capace di comunicare la complessit\u00e0 del s\u00e9 e dell\u2019altro. Inoltre, la curiosit\u00e0 e l\u2019empatia, possono essere alternative estremamente interessanti, se accolte come la possibilit\u00e0 di un arricchimento personale.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Riferimenti<\/em><br>Braidotti Rosi,&nbsp;<em>Nuovi soggetti nomadi. Transizioni e identit\u00e0 postnazionaliste<\/em>. Roma: Luca Sossella Editore, 2002.<br>Compberiati Daniele, Mengozzi Chiara,&nbsp;<em>Storie condivise nell\u2019Italia contemporanea. Narrazioni e performance transculturali<\/em>, Roma: Carocci, 2022.<br>Curti Lidia,&nbsp;<em>La voce dell\u2019altra. Scritture ibride tra femminismo e postcoloniale<\/em>. Milano: Meltemi, 2018.<br>De Lucia Stefania,&nbsp;<em>Scrittrici Nomadi. Passare i confini tra lingue e culture<\/em>. Roma: Sapienza Editrice Universitaria, 2017.<br>Vanvolsem S., \u201cVent\u2019anni di scritture migranti: una nuova letteratura, una nuova lingua\u201d.&nbsp;<em>Recherches. Culture et Histoire dans l\u2019Espace Roman<\/em>, n. 10, 2013, pp.&nbsp;103-111.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cNarrazioni e Rispecchiamenti postmigranti. Elementi biografici ed effetto back&amp;forward(ground)\u201d&nbsp;\u2014 Rosita Deluigi (Universit\u00e0 di Macerata)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019ascolto della voce dell\u2019alterit\u00e0 non pu\u00f2 essere una concessione o un\u2019intenzione orientata da uno sguardo benevolo ma deve avere la forza di ristabilire dinamiche di potere, di parola, di influenza e di azione&nbsp;(Freire, 2002; hooks, 2020). Tra marginalit\u00e0 generalizzate e definizioni collettivizzate e statiche, tese alla perifericit\u00e0 di chi&nbsp;custodisce o travalica background migratori intergenerazionali, emergono nuove storie capaci di:&nbsp;<em>deviare dal pericolo di un\u2019unica storia<\/em>&nbsp;(Adichie, 2020), tracciando sentieri non lineari da&nbsp;percorrere con un certo grado di rischio;&nbsp;<em>generare comunit\u00e0 e intersezioni riflessive<\/em>, in cui vi siano spazi di dialogo, di confronto e di co-costruzione di pensiero e di saperi, in tensione con le molteplici contemporaneit\u00e0;&nbsp;<em>ridefinire identit\u00e0<\/em>, a partire dal proprio nome e dalla decostruzione di rappresentazioni stereotipate e lasciate in ombra (Hakuzwimana, 2024), come prassi di razzismo \u201cleggero\u201d;&nbsp;<em>far attraversare universi paralleli<\/em>, in cui l\u2019essere parte del problema della discriminazione venga rimesso a tema criticamente (Ndiaye, 2024).&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le narrazioni e i rispecchiamenti postmigranti, per mezzo di oralit\u00e0 esperienziali e di scritture critiche, aprono nuovi interstizi di lettura attraverso cui immaginare, attuare e raccontare posizionamenti educativi capaci di generare l\u2019effetto&nbsp;<em>back&amp;forward(ground)<\/em>, ovvero di prendere in considerazione background&nbsp;identitari, relazionali, sociali differenti e opachi (Glissant, 2007), per promuovere azioni di&nbsp;compresenza identitaria in grado di costruire un terreno futuro di attraversamenti obliqui reciproci.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A partire da alcuni testi della letteratura attuale e da interventi didattici e formativi realizzati, si evidenzier\u00e0 quanto i dispositivi narrativi e della ricerca esperienziale (Deluigi, 2024) possano attivare e alimentare la riflessivit\u00e0 e la consapevolezza che orientano l\u2019agire educativo di insegnanti, educatori ed educatrici, tra ambiti scolastici e sociali, in un continuum di logiche attive e inquiete.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Riferimenti<\/em><br>Adichie, C.N. (2020).&nbsp;<em>Il pericolo di un\u2019unica storia<\/em>. Einaudi: Torino.<br>Deluigi, R. (2024).&nbsp;La ricerca esperienziale come luogo di sensi: strategie di innesco di paradigmi decoloniali,&nbsp;<em>Pedagogia e Vita<\/em>, 82.2, 102\u2013112.<br>Freire, P. (2002).&nbsp;<em>Pedagogia degli oppressi.&nbsp;<\/em>tr. it., Gruppo Abele: Torino.<br>Glissant, E. (2007).&nbsp;<em>Poetica della relazione. Poetica III<\/em>. Quodlibet: Macerata.&nbsp;<br>Hakuzwimana<em>,&nbsp;<\/em>E. (2024).&nbsp;<em>Tra i bianchi di scuola. Voci per un\u2019educazione accogliente<\/em>. Einaudi: Torino.<br>hooks, b. (2020).&nbsp;<em>Insegnare a trasgredire. L\u2019educazione come pratica di libert\u00e0<\/em>. tr. it., Meltemi: Milano.<br>Ndiaye, N. (2024).&nbsp;<em>Universo parallelo. Il paradigma del privilegio.&nbsp;<\/em>People: Busto Arsizio (VA).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cOnward Migration tra mantenimento e shift linguistico. Il caso delle famiglie di origini camerunensi\u201d&nbsp;\u2014&nbsp;Raymond Siebetcheu (Universit\u00e0 per Stranieri di Siena)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il contributo si prefigge di analizzare gli effetti delle identit\u00e0 linguistiche plurime dei cittadini italiani di origine camerunense prima della partenza dal paese d\u2019origine, durante i processi di inclusione sociale in Italia e in occasione di una successiva migrazione verso un altro paese dopo anni di residenza sul territorio italiano. L\u2019obiettivo \u00e8 quindi quello di porre l\u2019attenzione sul ruolo della lingua italiana, delle lingue ufficiali e locali del Camerun, nonch\u00e9 delle altre lingue appartenenti allo spazio linguistico delle famiglie prese in esame. I dati presentati nel contributo sono stati raccolti nell\u2019ambito di un\u2019indagine qualitativa che ha coinvolto, tramite questionari ed interviste, 15 famiglie di origine camerunense che, dopo un\u2019esperienza migratoria in Italia, hanno deciso di migrare rispettivamente in Belgio (4 famiglie), Germania (02), Francia (02), Canada (02), Svizzera (02), Stati Uniti d\u2019America (01) e di rientrare in Camerun (02). Dopo una ricostruzione dei repertori linguistici delle 15 famiglie, il contributo esplora il modo in cui l\u2019uso della narrazione delle post-migrazioni pu\u00f2 contribuire ad affrontare le sfide linguistiche ed educative poste dal plurilinguismo nelle famiglie delle societ\u00e0 postmigranti europee. Le famiglie coinvolte in questo doppio processo migratorio raccontano la loro esperienza prima da immigrati poi da nuovi italiani e infine da cittadini europei con un\u2019attenzione particolare alle ricadute linguistiche che ne derivano. I genitori riportano inoltre nelle loro narrazioni scritte e orali il passato, il presente e il futuro linguistico dei loro figli (nati in Camerun, in Italia o nel nuovo paese di migrazione) in relazione alle varie lingue in cui entrano in contatto. Dall\u2019analisi dei primi risultati emerge, da un lato, un arricchimento del potenziale linguistico delle famiglie (di origine camerunense, ma con cittadinanza italiana) prese in esame, dall\u2019altro, un rifiuto dell\u2019uso delle lingue locali camerunensi e una perdita (soprattutto nelle seconde generazioni) della competenza nella lingua italiana.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Riferimenti<\/em><br>Berruto G. 1993. Le variet\u00e0 del repertorio. In&nbsp;<em>Introduzione all\u2019italiano contemporaneo. La variazione e gli usi<\/em>, ed. Sorbrero A.A., Roma-Bari, Laterza, pp.&nbsp;3-36.<br>Berruto G. 1995.&nbsp;<em>Fondamenti di sociolinguistica<\/em>. Roma-Bari, Laterza.<br>Berruto G., Cerruti M., 2015,&nbsp;<em>Manuale di sociolinguistica<\/em>, Torino, Utet.<br>Goglia F., 2023. La onward migration di nuovi italiani in Inghilterra: ristrutturazione di repertori linguistici complessi e mantenimento linguistico. In&nbsp;<em>LinguaDue<\/em>, pp.&nbsp;65-81.<br>Mioni A.M. 1988. Standardisation processes and linguistic repertoires in Africa and Europe: some comparative remarks. In&nbsp;<em>Variation and convergence. Studies in social dialectology<\/em>, eds. Auer P. and Di Luzio A., Berlin, Mouton de Gruyter, pp.&nbsp;293-320.<br>Molinari C. 2005. Spazi francofoni europei. Dinamismi e polifonie. In&nbsp;<em>Europa plurilingue. Comunicazione e didattica, Vita e Pensiero<\/em>, eds. B. Cambiaghi, C. Milani and P. Pontani, Milano, Viata e Pensiero, pp.&nbsp;145-160.<br>Siebetcheu R., 2022. Language Attitudes of Cameroonian Immigrants Towards Italian Dialects. In&nbsp;<em>Italo-Romance Dialects in the Linguistic Repertoires of Immigrants in Italy<\/em>, eds. F. Goglia and M. Wolny, Palgrave Studies in Minority Languages and Communities, London, Palgrave MacMillan, pp.&nbsp;147-147.<br>Siebetcheu R., 2021. La camfranglophonie dans le monde&nbsp;: statistiques et s\u00e9miotique du contact linguistique. In&nbsp;<em>Le camfranglais dans le monde. Contextes migratoires et perspectives sociolinguistiques<\/em>, \u00e9ds. R. Siebetcheu et S. Machetti, Paris, L\u2019Harmattan.<br>Siebetcheu R. 2020. Atteggiamenti linguistici dei camerunensi in Italia. In&nbsp;<em>Lingue minoritarie tra localismi e globalizzazione<\/em>, eds. Dal Negro and A. Marra, Milano, Studi AItLA 11, pp.&nbsp;231-245.<br>Siebetcheu R., 2018. Le lingue bamil\u00e9k\u00e9 in Italia: repertori e atteggiamenti linguistici nella comunit\u00e0 camerunense. In&nbsp;<em>Le lingue extra-europee e l\u2019italiano: aspetti didattico-acquisizionali e sociolinguistici<\/em>, ed. A. Manco, Milano, Officina Ventura, pp.&nbsp;339-353.<br>Siebetcheu, R., 2016. Global linguistic heritage: The variation of Camfranglais in migration contexts. In&nbsp;<em>Gegenwaertige Sprachkontakte im Kontext der Migration<\/em>, eds. S. Ptashnyk, R. Beckert, P. Wolf-Farr\u00e9, and M. Wolny, Heidelberg, Universitaetsverlag C. Winter, pp.&nbsp;195-217.<br>Turchetta B., 1996. Lingua e diversit\u00e0. Multilinguismo e lingue veicolari. In&nbsp;<em>Africa occidentale<\/em>, Franco Angeli, Milano.<br>Vedovelli M., 2018. La neomigrazione italiana nel mondo: vecchi e nuovi scenari del contatto linguistico. In eds. C. Carotenuto, E. Cognigni, M. Meschini, F. Vitrobe, Pluriverso italiano, incroci linguistico-culturali e percorsi migratori in lingua italiana, Eum, Macerata, pp.&nbsp;37-57.<br>Villa-Perez V., 2022. Re-cat\u00e9gorisations sociolinguistiques et plurimobilit\u00e9s. R\u00e9flexions \u00e0 partir du cas italo-marocain. In&nbsp;<em>GLOTTOPOL Revue de sociolinguistique en ligne<\/em>, 37, pp.&nbsp;107-130.&nbsp;<a href=\"https:\/\/journals.openedition.org\/glottopol\/2459\">https:\/\/journals.openedition.org\/glottopol\/2459<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cNarrazione e identit\u00e0 plurilingui: autobiografie linguistiche di giovani italiani post-migranti\u201d&nbsp;\u2014 Edith Cognigni, Elena Michelini &amp; Thomas Vona (Universit\u00e0 di Macerata)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lo studio esplora le autobiografie linguistiche (AL) di giovani adulti italiani post-migranti, nati e\/o cresciuti in Italia da genitori stranieri, per i quali la pluralit\u00e0 di appartenenze linguistico-culturali costituisce un terreno di negoziazione continua (Alessandrini 2020). Attraverso un\u2019analisi qualitativa dei loro racconti autobiografici, la ricerca indaga come le scelte discorsive e linguistiche in queste narrazioni riflettano i processi di costruzione identitaria in contesti socioculturali complessi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Partendo dal quadro teorico degli studi sulla post-migrazione (Foroutan 2019; R\u00f6mhild 2017; Schramm et al. 2019) e sulle AL come strumento autoriflessivo nei contesti plurilingui (Cognigni 2020; Kramsch 2009), l\u2019analisi si concentra su tre aspetti principali: in primo luogo, le meta-riflessioni sul rapporto tra lingua e identit\u00e0; in secondo luogo, i tratti linguistici ricorrenti che segnalano posizionamenti culturali; infine, il ruolo delle AL come strumenti di autodeterminazione linguistica e identitaria (Blanchet 2021).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019ipotesi guida \u00e8 che tali testi rivelino diverse strategie di gestione della pluralit\u00e0 linguistica, con un continuum che va da approcci integrativi a rappresentazioni pi\u00f9 conflittuali delle appartenenze multiple. In tal modo, la ricerca mira a contribuire tanto al dibattito sull\u2019impiego delle AL come strumento di indagine sociolinguistica, quanto alla discussione sulle loro potenzialit\u00e0 educativo-formative in contesti caratterizzati da superdiversit\u00e0.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Riferimenti<\/em><br>Alessandrini, S. (2020).&nbsp;<em>G2: figli di immigrati o nuovi italiani? Una ricerca qualitativa pluridisciplinare<\/em>. Firenze: Aracne.<br>Cognigni, E. (2020). Le autobiografie linguistiche tra ricerca e formazione: approcci e metodi di analisi.&nbsp;<em>Italiano LinguaDue<\/em>&nbsp;12(2), 406-418.<br>Foroutan, N. (2019).&nbsp;<em>Postmigrantische Perspektiven<\/em>. Frankfurt: Campus.<br>Kramsch, C. (2009).&nbsp;<em>The Multilingual Subject<\/em>. Oxford: Oxford University Press.<br>R\u00f6mhild, R. (2017). Beyond the bounds of the ethnic: for postmigrant cultural and social research,&nbsp;<em>Journal of Aesthetics &amp; Culture<\/em>, 9(2), 69-75.<br>Schramm, M. et al. (2019).&nbsp;<em>Reframing Migration, Diversity and the Arts. The Postmigrant Condition<\/em>. New York&nbsp;: Routledge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>3. Conferenza plenaria \u201cLa langue \u2018en jeu\u2019 dans l\u2019\u00e9criture de soi: condition postmonolingue et monolinguisme de l\u2019autre\u201d \u2014 Myriam Geiser (Universit\u00e9 Grenoble Alpes)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dans le contexte des soci\u00e9t\u00e9s postmigrantes, le rapport \u00e0 la langue est un enjeu majeur, et redevient \u2014 historiquement apr\u00e8s les positionnements du postcolonial et de la condition migrante \u2014 un terrain de n\u00e9gociation essentiel pour l\u2019affirmation de soi. Si nous envisageons \u00ab&nbsp;les&nbsp;r\u00e9cits litt\u00e9raires comme laboratoires proposant de nouvelles configurations de l\u2019identit\u00e9, de la m\u00e9moire et de l\u2019espace&nbsp;\u00bb, force est de constater qu\u2019\u00e0 l\u2019\u00e8re de la globalisation et de la diversit\u00e9, ces configurations sont souvent d\u00e9clin\u00e9es \u00e0 travers un regard d\u00e9centr\u00e9 et d\u00e9sessentialis\u00e9 sur la langue. Ma contribution part de l\u2019id\u00e9e que ce qui peut \u00eatre d\u00e9crit comme perspective postmigrante dans l\u2019\u00e9criture litt\u00e9raire rel\u00e8ve d\u2019une posture auctoriale (au sens des d\u00e9finitions de Meizoz 2007 et de Sapiro 2024) affichant une conscience postmonolingue, anti-ethnique et postnationale. Comme d\u00e9montr\u00e9 par Yasemin Yildiz (2012), \u00e9crire au-del\u00e0 de la langue maternelle (\u00ab&nbsp;writing beyond the mother tongue&nbsp;\u00bb) signifie \u00e9crire au-del\u00e0 du paradigme du&nbsp;monolinguisme toujours en vigueur en tant que norme sociale, politique et intellectuelle. Les po\u00e9tiques h\u00e9t\u00e9rolingues et les nombreuses r\u00e9flexions autour du plurilinguisme dans les discours litt\u00e9raires et extra-litt\u00e9raires actuels peuvent \u00eatre consid\u00e9r\u00e9es comme une expression de r\u00e9sistance au \u00ab&nbsp;monolinguisme de l\u2019autre&nbsp;\u00bb d\u00e9crit par Jacques Derrida (1996). Je propose d\u2019explorer, dans une perspective comparative, des approches postmigrantes dans les espaces litt\u00e9raires contemporains germanophones et francophones qui proclament le \u00ab&nbsp;pouvoir du plurilinguisme&nbsp;\u00bb (Grjasnowa 2020), d\u00e9noncent les effets d\u2019alt\u00e9risation, et mettent en jeu des strat\u00e9gies linguistiques d\u2019authenticit\u00e9, d\u2019hybridit\u00e9 et de traduction.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>R\u00e9f\u00e9rences<\/em><br>Derrida, Jacques,&nbsp;<em>Le monolinguisme de l\u2019autre ou la proth\u00e8se d\u2019origine<\/em>, Paris, Galil\u00e9e, 1996.<br>Grjasnowa, Olga,&nbsp;<em>Die Macht der Mehrsprachigkeit: \u00dcber Herkunft und Vielfalt<\/em>, Berlin, Duden, 2021.<br>Meizoz, J\u00e9r\u00f4me,&nbsp;<em>Postures litt\u00e9raires. Mises en sc\u00e8ne modernes de l\u2019auteur<\/em>, Gen\u00e8ve, Slatkine, 2007.<br>Sapiro, Gis\u00e8le,&nbsp;<em>Peut-on dissocier l\u2019\u0153uvre de l\u2019auteur ?<\/em>&nbsp;(\u00e9d. augment\u00e9e), Paris, Points, 2024.<br>Yildiz, Yasemin,&nbsp;<em>Beyond the Mother Tongue: The Postmonolingual Condition<\/em>, New York, Fordham University Press, 2012.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>4. Sessioni parallele 8<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione A \u201cNegotiation, Collaboration, and Multicultural Belonging: Threads in the Postmigrant Fabric\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cMelting Pots, Salad Bowls and Kaleidoscopes: Unpacking Metaphors for Multiculturalism<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Elena Violaris (University of Oxford)<\/strong><strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This paper considers the metaphors used to conceptualise a multicultural society. First, I consider the historical development of \u2018melting pot\u2019, \u2018salad bowl\u2019 and \u2018kaleidoscope\u2019 metaphors, with their differing emphases on assimilation, plurality or diversity. I then discuss the results of my interviews, as I have asked over 100 postmigrants which metaphor they prefer. Their answers suggest generational differences; those who are younger and\/or second generation tend to prefer a model that emphasises diversity, such as the salad bowl, while those who are older and\/or third generation tend to prefer the melting pot. Interviewees have also proposed their own metaphors for a multicultural society\u2014pizza, buffet, compost, M&amp;Ms, soup, Neapolitan ice-cream, and others\u2014whose implications I will discuss. Finally, I consider the value and limitations of these metaphors in the first place, probing the potential of metaphor as a tool of communication rooted in literary rhetoric, while also assessing the inevitable gaps between representation and reality. I conclude by considering the effects of figurative language on attitudes towards migrants and postmigrants in society.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cTransnational Epistolary Alliances of Postmigration in&nbsp;<em>Delfi: Magazin f\u00fcr neue Literatur<\/em><\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Lucas Riddle (University of Pittsburgh)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">My presentation will examine an epistolary exchange published in the third volume of&nbsp;<em>Delfi \u2013 Magazin f\u00fcr neue Literatur&nbsp;<\/em>(\u201cGift\u201d) between Fatma Aydemir, the magazine\u2019s editor and prominent author, and the Paris-based writer Fatima Daas. I argue that the letter exchange emerges as a form of transnational postmigrant alliance-building, reflecting a cross-border solidarity that highlights both the international focus and intimacy of the authorial connections sought by the&nbsp;<em>Delfi&nbsp;<\/em>project. Drawing on theories of postmigration and radical diversity, I trace how narrative forms such as letters can become tools for articulating solidarity, reimagining global literary landscapes, and transforming personal experience into collective postmigrant visions.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The letter exchange spans three rounds, beginning in the winter of 2024, and covers a range of deeply personal topics. Aydemir and Daas discuss their experiences with caregiving, love, heartbreak, and disillusionment. Aydemir reflects on her journey as a young mother, while Daas shares her role as a caregiver following her mother\u2019s stroke. Their letters also delve into their views on art and writing\u2014the significance of the craft in their lives, and what they seek to feel when interacting with art. As the letters progress, their personal reflections shift to broader social issues, including police violence and violence against people of color in France and Germany.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Both authors share experiences of identity-based marginalization, and each write with intimacy and empowerment. Their letters engage with the tradition of literary epistolary exchange, demonstrating that the struggles that connect them are not isolated to the present but are part of a larger, ongoing fight. At the same time, their letter exchange is very much shaped by the current moment; the politics of today are inextricable from their private lives and creative work.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">My contribution to \u201cFrom Experiences to Storytelling of Postmigration: Reinventing the Narratives of the Self and the World in Pluralistic European Societies\u201d will offer a close reading of this letter exchange and briefly introduce&nbsp;<em>Delfi&nbsp;<\/em>as a multidisciplinary literary platform that fosters cross-cultural learning and understanding, emphasizing plurality, heterogeneity, and radical diversity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione B \u201cAndere geografische Orte und andere Medien\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cUnd woher kommst Du? \u2014 \u2018Aus dem Internet. Ich lebe im Internet\u2019. Postmigrantische Perspektiven im Kontext medialen Wandels<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Anna-Lena Eick (JGU Mainz)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Digitale Medialit\u00e4t und die ihr zugrundeliegenden Technologien sind zu einem integralen Bestandteil unserer Gesellschaft, Kultur und Kommunikation geworden (vgl. Barthelmes und Sander 2001; Van Eimeren und Frees 2013). Mit der Gew\u00f6hnung an die Omnipr\u00e4senz digitaler Medialit\u00e4t sowie an die tiefgreifenden Auswirkungen dieser Transformation auf Gesellschaft und Kultur muss notwendigerweise eine Neuverhandlung der Rolle, Position und Funktionalisierung anderer Medien und damit auch von Literatur innerhalb eines nunmehr \u201apostdigitalen\u2019 Mediengef\u00fcges einhergehen. Analog zu einer festen Verankerung digitaler Medialit\u00e4t in allen uns umgebenden Lebensbereichen, im Nachgang der sog. \u201adigitalen Revolution,\u2019 ist auch die Notwendigkeit eines Habitualisierungsprozesses in Bezug auf die Ph\u00e4nomene Migration, Flucht und Mobilit\u00e4t (in individueller wie kollektiver Dimensionierung) zu verzeichnen. Durch die Intensivierung von Migrations- und Fluchtbewegungen haben sich Gesellschaftsstrukturen und &#8211; konzeptionen deutlich ver\u00e4ndert. Das Bewusstsein f\u00fcr diese tiefgreifende soziokulturelle Transformation wird von dem Leitbegriff des Postmigrantischen adressiert. Das Postmigrantische zielt gleichzeitig auf die gesellschaftliche Gew\u00f6hnung an Migrationsbewegungen und die damit einhergehenden sozio-kulturellen Aushandlungsrelationen, wie Foroutan et al. (2018), Schramm (2018) sowie Hill \/ Yildiz (2018) diskursbegr\u00fcndend herausstellen.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Der Beitrag setzt an der Intersektion dieser beiden Transformationsprozesse an: den Auswirkungen der digitalen Transformation von Kultur und Gesellschaft einerseits und transnationalen Fragen der kulturellen Zugeh\u00f6rigkeit und Identit\u00e4t im Kontext von Migrationsbewegungen innerhalb eines postmigrantischen Gesellschaftsgef\u00fcges andererseits. In vergleichbarer Weise er\u00f6ffnen die beiden genannten Begrifflichkeiten \u2014&nbsp;<em>postmigrantisch&nbsp;<\/em>und&nbsp;<em>postdigital&nbsp;<\/em>\u2014 neue epistemologische Perspektiven und formal-\u00e4sthetische Logiken. Durch die literaturwissenschaftliche Engf\u00fchrung beider Ph\u00e4nomene und unter Einbezug ihres je grundlegend transformativen Charakters werden konzeptionelle Parallelen und inhaltliche Zusammenh\u00e4nge zwischen dem Postmigrantischen und dem Postdigitalen sowie deren Auswirkungen auf soziale Dynamiken und kulturelle Narrative analysierbar. Anhand einer vergleichenden Betrachtung von Mithu Sanyals&nbsp;<em>Identitti<\/em>, Senthuran Varatharajahs <em>Vor der Zunahme der Zeichen<\/em> und Faiza Gu\u00e8nes <em>La discr\u00e9tion <\/em>soll gezeigt werden, inwiefern Narrationen an dieser Schnittstelle dazu beitragen, bin\u00e4re Oppositionen, hegemoniale Machtgef\u00fcge und im Besonderen \u00fcberkommene Konzepte von (vermeintlich zugeh\u00f6rigkeitsbestimmender) R\u00e4umlichkeit aufzul\u00f6sen.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cFlucht aus Nordkorea und Postmigration in Memoiren, Film und digitalen Medien<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Hyunseon Lee (University of London\/Universit\u00e4t Siegen)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nordkoreanische Gefl\u00fcchtete werden in der \u00f6ffentlichen Wahrnehmung h\u00e4ufig auf extreme \u00dcberlebensgeschichten reduziert, die in Medien, Filmen und digitalen Plattformen immer wieder erz\u00e4hlt werden. Diese Darstellungen fokussieren sich oft auf das dramatische Element der Flucht und portr\u00e4tieren die Gefl\u00fcchteten entweder als Opfer oder politische Symbole. Ihre postmigrantische Realit\u00e4t in den neuen Gesellschaften wird jedoch nur unzureichend reflektiert, wobei insbesondere Frauen von dieser vereinfachten Darstellung betroffen sind, da ihre komplexen Erfahrungen h\u00e4ufig unterrepr\u00e4sentiert bleiben.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Memoiren wie&nbsp;<em>The Girl with Seven Names<\/em>&nbsp;(2015) von Hyeonseo Lee und&nbsp;<em>In Order to Live<\/em>&nbsp;(2015) von Yeonmi Park schildern eindrucksvoll die Flucht aus Nordkorea, die jedoch unter vergeschlechtlichten Perspektiven kritisch betrachtet werden sollte. Auch der dokumentarische Film&nbsp;<em>Beyond Utopia<\/em>&nbsp;(2023) stellt die riskanten Fluchtwege ins Zentrum, w\u00e4hrend Filme wie&nbsp;<em>Little Pyongyang<\/em>&nbsp;(2018) und&nbsp;<em>My Name is Loh Kiwan<\/em>&nbsp;(2024) zunehmend das postmigrantische Leben der Gefl\u00fcchteten in westlichen L\u00e4ndern wie Gro\u00dfbritannien und Belgien in den Mittelpunkt r\u00fccken. Dennoch bleibt das Leben nordkoreanischer Gefl\u00fcchteter nach ihrer Ankunft in S\u00fcdkorea oder westlichen L\u00e4ndern h\u00e4ufig unterrepr\u00e4sentiert. Ihre postmigrantischen Erfahrungen, die von Anpassung, Diskriminierung und Identit\u00e4tssuche gepr\u00e4gt sind, werden oft in Memoiren, Interviews und sozialen Medien geteilt und verdienen mehr Aufmerksamkeit.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Filme und Serien, wie K-Dramen, integrieren nordkoreanische Fl\u00fcchtlinge zunehmend in ihre Narrativen, doch oft bleibt die Darstellung stark vereinfacht. In&nbsp;<em>Squid Game<\/em>&nbsp;(2021) beispielsweise wird eine nordkoreanische Figur als marginalisierte Au\u00dfenseiterin gezeigt, die mit sozialer Ungleichheit k\u00e4mpft. Solche Darstellungen tendieren dazu, die komplexen Erfahrungen der Gefl\u00fcchteten zu reduzieren und lassen die tiefgehenden sozialen und politischen Realit\u00e4ten, mit denen nordkoreanische Fl\u00fcchtlinge in neuen Gesellschaften konfrontiert sind, oft au\u00dfen vor.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gleichzeitig gewinnen digitale Plattformen wie YouTube, TikTok und Instagram zunehmend an Bedeutung als Erz\u00e4hlr\u00e4ume. Hier nutzen nordkoreanische Gefl\u00fcchtete die M\u00f6glichkeit zur Selbstrepr\u00e4sentation und teilen ihre postmigrantischen Erfahrungen durch Vlogs, Interviews und Kurzvideos. Diese Plattformen erm\u00f6glichen eine transnationale Vernetzung und bieten eine alternative Perspektive, die in traditionellen Medien oft fehlt.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dieser Beitrag untersucht, wie nordkoreanische Gefl\u00fcchtete in Memoiren, Filmen und digitalen Plattformen dargestellt werden und inwiefern diese Darstellungen dazu beitragen, narrative R\u00e4ume in S\u00fcdkorea und westlichen Gesellschaften neu zu gestalten.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cPostmigration und \u00c4hnlichkeit: \u2018Figuren des Kontinuierlichen\u2019 in Sinthujan Varatharajahs\u00a0<em>an alle orte, die hinter uns liegen<\/em>\u00a0(2022)\u201d \u2014\u00a0Quintus Immisch di Padua (UCLouvain)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Eine Fotografie, die eine Frau mit Elefanten im M\u00fcnchener Zoo abbildet wird zur Spur einer kolonialen Vergangenheit in der Gegenwart: Sinthujan Varatharajah, deren Eltern, als Tamilen von der senegalesischen Armee in Sri Lanka verfolgt, in den 80er Jahren nach Deutschland flohen, vergegenw\u00e4rtigt in\u00a0<em>an alle orte, die hinter uns liegen<\/em>\u00a0(2022) ausgehend von diesem Foto der eigenen Mutter die koloniale Geschichte der Gattung Fotografie, der Zoos, der Elefanten, aber auch die pers\u00f6nliche Migrationsgeschichte der Mutter sowie die Geschichte aller Menschen, die, von Migration gepr\u00e4gt, nicht im Bild sind.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Der Text, der scharfe Gattungsgrenzen aufl\u00f6st und zwischen Roman, Biografie, Essay und wissenschaftlicher Abhandlung oszilliert, weist dabei zwei unterschiedliche Dynamiken auf: Zum einen rekonstruiert er ausgehend von Alltagswahrnehmungen \u2014 etwa der Fotografie, dem Zoo \u2014 in historischer Perspektive eine globale Migrations- und Kolonialgeschichte, in der stets Differenz und Exotisierung im Zentrum stehen. Zum anderen werden im Text alternative Epistemologien sichtbar, die nicht Abstand und Unterschied, sondern \u00c4hnlichkeiten und N\u00e4herelationen produzieren: So werden traditionelle Dichotomien von Kolonisierten und Kolonisatoren oder Migrant:in und Nicht-Migrant:in ebenso fraglich, wie auch der \u201eWesten der einen der Osten der anderen ist\u201c oder die modernen Leitdifferenzen von Natur und Kultur, Mensch und Tier in \u201aFiguren des Kontinuierlichen\u2019 (Descola) aufgel\u00f6st werden.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ausgehend von aktuellen \u00c4hnlichkeitstheorien (u.a. Bhatti &amp; Kimmich 2015) fragt mein Vortag nach solchen \u00c4hnlichkeitsepistemologien und verfolgt diese zudem in der poetischen Form des Textes, etwa an Operationen der Enthierarchisierung, einer objektlosen Sprache sowie intertextuellen Ann\u00e4herungen. Dabei geht es zum einen darum, zu zeigen, wie der Text eine scheinbar banale Fotografie mit einem planetaren Bezugsrahmen und globalen Migrationsdynamiken verflicht.&nbsp;Zum anderen soll im Vordergrund stehen, wie Varatharaja anhand der Textpersona einen postmigrantischen Bezug zur Welt entfaltet, der auf Kontinuit\u00e4t und N\u00e4he beruht: etwa auf der Vergegenw\u00e4rtigung der Erde, auf der man steht, und dem bewussten Erleben des Himmels und der Luft, die man atmet.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cPostmigrantisches Erz\u00e4hlen in Igiaba Scegos&nbsp;<em>Kassandra in Mogadischu<\/em><\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Nadjib Sadikou (Europa-Universit\u00e4t Flensburg)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201eHerzallerliebste, wie beschreibt man dein Lachen?\u201c (Scego 2024: 9) Mit diesem Fragesatz beginnt die Hauptprotagonistin und Ich-Erz\u00e4hlerin ihren langen Brief, in dem sie ihre Nichte Soraya vom Trauma der somalischen Diktatur und des B\u00fcrgerkrieges, von den Verletzungen, die Somalia durch die Zeiten der Kolonisation vor allem unter Italien und England zugef\u00fcgt wurden, unterrichtet. Der vorliegende Beitrag will gerade diese gelebten Erfahrungen und, im Lichte der Eingangsfrage, das \u201eWie\u201c des Erz\u00e4hlens von Postmigration in Igiaba Scegos Familienroman&nbsp;<em>Kassandra in Mogadischu<\/em>, erschienen 2024, ausloten. Die Autorin Scego wurde 1974 in Rom geboren und stammt aus einer somalischen Familie, die nach Italien geflohen ist: \u201eWir sind diasporische Wesen, schwebend im Wind, entwurzelt von einer zwanzigj\u00e4hrigen Diktatur, von einem der verheerendsten Kriege auf dem Planeten Erde und einem gewaltigen Waffenhandel, der unsere Knochen und die unserer Vorfahren unter einem Haufen Kalaschnikows begraben hat\u201c (Scego 2024: 18). Diese Ereignisse werden mit der Methodik der&nbsp;<em>Oral History<\/em>&nbsp;weitergegeben, denn die Ich-Erz\u00e4hlerin interviewt ihre Mutter und erh\u00e4lt von ihr Aussagen \u00fcber Schl\u00fcsselmomente der Familiengeschichte. Dieses mittels einer schmerzhaften und zugleich fruchtbaren Befragung erlangte Wissen wird nun wiederum von der Ich-Erz\u00e4hlerin in Form eines kaleidoskopischen Briefes an ihre Nichte Soraya weitertradiert: \u201eDies ist der Brief einer Tante an eine Nichte \u00fcber das Heilen und das Sich-Heilen in dieser Welt voller Bluterg\u00fcsse und Krankheiten. Ein notwendiger intergenerationeller Dialog\u201c (Scego 2024: 410).&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Im ersten Schritt meiner Argumentation werde ich mich mit den Formaten des Briefromans und der Autosoziobiografie als Scegos postmigrantische Erz\u00e4hlstrategien befassen, um gelebte Erfahrungen der Migration in Italien und somit eine Neugestaltung von Selbsterz\u00e4hlung darzulegen. Sodann werde ich mittels eines&nbsp;<em>close reading<\/em>&nbsp;analysieren, inwiefern europ\u00e4ische und afrikanische Konstellationen von Identit\u00e4t und postmigrantischem Wissen durch die Wiederaufnahme und \u00dcber-Setzung des Kassandra-Stoffes neu konfiguriert werden, um aus den ,Ruinen des Empires\u2019 zu kommen und eine Sichtbarmachung des vermeintlich Subalternen aufzuzeigen.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sessione C \u201c<em>Trame postmigranti: narrazioni e spazi di indagine<\/em>\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cL\u2019Italia postmigrante alla prova della razza: narrazioni oltre la linea del colore<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Simona Miceli (Universit\u00e0 degli Studi di Milano)<\/strong><strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In Italia, la gestione e la narrazione del fenomeno migratorio in ottica emergenziale e securitaria, nonostante la sua natura strutturale, ostacola la trasformazione in una societ\u00e0 postmigrante, capace di includere pienamente, sul piano giuridico e simbolico, i discendenti dei migranti. Il reiterato fallimento delle riforme sulla cittadinanza ne \u00e8 una manifestazione evidente, poich\u00e9 esclude legalmente quasi un milione di giovani nati o cresciuti nel paese (Hawthorne 2022).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il presente contributo muove dall\u2019ipotesi che uno dei principali ostacoli a tale trasformazione risieda nella persistenza nell\u2019immaginario collettivo nazionale di una&nbsp;<em>linea del colore<\/em>&nbsp;(Du Bois 1903) che continua a determinare chi possa essere percepito come legittimamente \u201citaliano\u201d e chi no, in una societ\u00e0 che si vorrebbe post-razziale senza aver mai interrogato davvero il ruolo storico e strutturale della \u201crazza\u201d nella costruzione dell\u2019identit\u00e0 nazionale. Negli ultimi anni, tuttavia, la categoria della \u201crazza\u201d, intesa come costruzione sociale, \u00e8 stata riattivata in chiave critica da giovani donne italiane di altra ascendenza che, muovendosi da una condizione di doppia coscienza \u2014 consapevoli di appartenere al tessuto sociale italiano e, al tempo stesso, di esserne sistematicamente escluse \u2014 hanno prodotto materiali culturali e narrativi con l\u2019obiettivo di disarticolare l\u2019associazione automatica tra italianit\u00e0 e bianchezza.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Attraverso una riflessione sociologica su opere come l\u2019antologia&nbsp;<em>Future<\/em>&nbsp;(a cura di Scego, 2019), il podcast&nbsp;<em>Sulla razza<\/em>&nbsp;(Uyangoda, Fernando, Mancuso, 2021-2023), e il saggio&nbsp;<em>Tra i bianchi di scuola<\/em>&nbsp;(Hakuzwimana, 2024), il paper analizza come queste autrici stiano rivendicando il riconoscimento di una componente sociale \u2014 quella degli italiani e delle italiane non bianchi\/e \u2014 la cui esistenza non \u00e8 una prospettiva da costruire per il futuro, ma una realt\u00e0 gi\u00e0 inscritta nel presente. Attraversare la linea del colore si configura, dunque, come passaggio teorico cruciale per interrogare criticamente il dibattito sulla postmigrazione nel contesto italiano e come pratica necessaria per promuovere una trasformazione realmente pluralista della societ\u00e0 italiana (Rebughini 2014).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c\u2018Chiss\u00e0 com\u2019\u00e8, invece, il mondo visto da te.\u2019 Le nuove generazioni italiane e la sfida della interculturalit\u00e0<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Sonia Floriani (Universit\u00e0 della Calabria)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Nuove generazioni italiane<\/em>&nbsp;\u00e8 l\u2019espressione che privilegio per denominare i figli e le figlie delle migrazioni contemporanee in Italia, perch\u00e9 mette in rilievo sia la loro identificazione italiana, sia l\u2019eco di altre identit\u00e0 ed eredit\u00e0 culturali. L\u2019assunto implicito \u00e8 quello di sostituire le espressioni, pi\u00f9 comuni e meno inclusive, di \u201cseconde generazioni\u201d o di \u201cimmigrati\/e di seconda generazione\u201d, che riducono e vincolano biografie complesse a un\u2019esperienza migratoria perlopi\u00f9 non fatta o, comunque, non decisa in prima persona.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Disponendo dei testi di quaranta interviste narrative di giovani italiani\/e di nuove generazioni, realizzate nel corso di una ricerca sociologica svolta in diverse aree geografiche del paese e che ha coinvolto ragazzi\/e di differenti origini e provenienze, l\u2019intento della mia relazione \u00e8 di proporre un\u2019analisi delle loro&nbsp;<em>pratiche interculturali<\/em>, in risposta ai processi di esclusione da cui sono interessati\/e.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La questione al centro dell\u2019analisi interroga, difatti, sulle pratiche interculturali con cui i giovani figli\/e delle migrazioni si confrontano con le esperienze di esclusione, discriminazione e razzismo vissute \u2014 dall\u2019esclusione formale per via della vigente legislazione sulla cittadinanza ai modi diversi e sottili della discriminazione, dagli etichettamenti minuti alle forme quotidiane e istituzionali del razzismo. Sebbene alcune interviste raccontino la resa e la \u201cscelta\u201d dell\u2019exit, sono di gran lunga prevalenti pratiche di resilienza, di critica, di conquista di una voce nonch\u00e9 disegni per costruire alternative possibili; sono pratiche quotidiane, identitarie, biografiche, in cui si mette in gioco e a frutto la cifra di interculturalit\u00e0 che \u00e8&nbsp;<em>costitutiva<\/em>&nbsp;dei vissuti di questi giovani.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La sfida ultima dell\u2019analisi \u00e8 comprendere se e come sia possibile raccogliere nelle narrazioni biografiche suggestioni utili al fine di elaborare una o pi\u00f9 ipotesi sulla (eventuale)&nbsp;<em>svolta interculturale<\/em>&nbsp;della societ\u00e0 italiana contemporanea, entro la quale i legami sociali possano cio\u00e8 essere ridefiniti e risignificati attraverso modi inediti di&nbsp;<em>declinare insieme e ibridare<\/em>&nbsp;le differenze culturali.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cVoci postmigranti dal Brasile: narrazioni identitarie di italo-discendenti<\/strong><strong>\u201d \u2014&nbsp;<\/strong><strong>Elisabetta Santoro (Universidade de S\u00e3o Paulo)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il contributo propone un\u2019analisi delle narrazioni di italo-discendenti residenti in Brasile, in particolare di quelli i cui antenati migrarono tra la fine del XIX e l\u2019inizio del XX secolo. Sebbene i partecipanti non abbiano vissuto personalmente l\u2019esperienza migratoria, nelle loro interviste emerge un\u2019identificazione con l\u2019italianit\u00e0, spesso idealizzata o reinventata, legata a una memoria familiare trasmessa perlopi\u00f9 oralmente. Le narrazioni offrono dunque uno spaccato delle dinamiche identitarie proprie di un contesto post-migratorio, in cui l\u2019eredit\u00e0 della migrazione continua a influenzare i modi in cui i soggetti parlano di s\u00e9, delle proprie origini e del proprio rapporto con la cultura italiana.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019analisi si fonda su un corpus di interviste orali condotte in lingua portoghese, esaminate attraverso una lente pragmatico-discorsiva. Particolare attenzione \u00e8 rivolta ai meccanismi di deissi personale, temporale e spaziale, alla costruzione del rapporto con l\u2019altro e all\u2019uso di strategie discorsive come la rappresentazione del discorso altrui e l\u2019eterogeneit\u00e0 mostrata e marcata (Authier-Revuz, 2020) o la mitigazione (Caffi, 2007), che contribuiscono a modellare una soggettivit\u00e0 narrativa situata. Il quadro teorico comprende i concetti di cronotopo discorsivo (Bakhtin, 1981; De Fina, 2022), quello di identit\u00e0 assiologica (Greimas, 1970) e la rappresentazione del s\u00e9 in contesti diasporici (Sayad, 1999).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nel solco degli studi post-migratori, questa ricerca privilegia l\u2019analisi delle forme discorsive in cui si attualizza un\u2019appartenenza (ri)costruita, stratificata, talvolta contraddittoria. Le testimonianze raccolte confermano che, anche in assenza di una trasmissione linguistica continua, la migrazione pu\u00f2 lasciare tracce profonde nella memoria, nella lingua e nelle narrazioni di chi ne eredita il racconto. Tali tracce, lungi dall\u2019essere semplici reliquie del passato, si configurano come dispositivi identitari attivi nel presente.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Riferimenti<\/em><br>Authier-Revuz, J. (2020).&nbsp;<em>La Repr\u00e9sentation du Discours Autre. Principes pour une description.<\/em>&nbsp;Berlin\/Boston: De Gruyter.<br>Bakhtin, M. (1981). \u201cForms of Time and of the Chronotope in the Novel.\u201d In&nbsp;<em>The Dialogic Imagination<\/em>&nbsp;(trad. C. Emerson &amp; M. Holquist). Austin: University of Texas Press.<br>Caffi, C. (2007).&nbsp;<em>Mitigation.<\/em>&nbsp;Amsterdam: Elsevier.<br>De Fina, A. (2022). \u201cThe chronotope\u201d.&nbsp;<em>Handbook of Pragmatics: 25th Annual Installment<\/em>, F. Brisard, S. D\u2019hondt, P. Gras, M. Vandenbroucke (eds), John Benjamins Publishing Company, 2022, pp.&nbsp;49-65.<br>Greimas, A. J. (1970).<em>&nbsp;Du sens.<\/em>&nbsp;Paris: Seuil.<br>Sayad, A. (1999).&nbsp;<em>La double absence.&nbsp;Des illusions de l\u2019\u00e9migr\u00e9 aux souffrances de l\u2019immigr\u00e9.&nbsp;<\/em>Paris: Seuil.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Raccolta degli abstracts Giorno 1 \u2014 17\/09\/2025 1. Conferenza plenaria \u201cExperiences as Literacy. Storytelling in a Postmigrant World\u201d \u2014 Marc Hill (Universit\u00e4t Innsbruck) Stories are closely linked to everyday experiences and form the basis for creative thinking. In my presentation, I will use the drama \u201cVienna Arabesque. A Ride on the Ferris Wheel\u201d as an [&hellip;]<\/p>\n","protected":false},"author":53,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"header-footer-only","meta":{"footnotes":""},"class_list":["post-17153","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sites.uclouvain.be\/narramuse\/wp-json\/wp\/v2\/pages\/17153","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.uclouvain.be\/narramuse\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.uclouvain.be\/narramuse\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.uclouvain.be\/narramuse\/wp-json\/wp\/v2\/users\/53"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.uclouvain.be\/narramuse\/wp-json\/wp\/v2\/comments?post=17153"}],"version-history":[{"count":8,"href":"https:\/\/sites.uclouvain.be\/narramuse\/wp-json\/wp\/v2\/pages\/17153\/revisions"}],"predecessor-version":[{"id":17503,"href":"https:\/\/sites.uclouvain.be\/narramuse\/wp-json\/wp\/v2\/pages\/17153\/revisions\/17503"}],"wp:attachment":[{"href":"https:\/\/sites.uclouvain.be\/narramuse\/wp-json\/wp\/v2\/media?parent=17153"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}