درخت حوزه‌های تخصصی

The present paper analyzes the conceptualization of contemporary forms of identity construction within the interrelation of diaspora, ethnicity, belonging, transnationality, translocationality, and interculturality. It casts critical light on the complex subjectivity by introducing the concept of translocational positionality addressed by intersectionality theory. Intersectionality is presented as an analytical tool which sets a far more integrated analysis of diaspora, the shifting devaluation of racialized, sexualized, classed, and gendered lives and factors which shape social locationality. Thereby, Floya Anthias' concept of translocational positionality is used to address the complex and intersectional frame of social locationalities of in-transit Arab women and to unravel issues pertain to identity in terms of the status of in-transit Arab women and their unstable positionality on America. Identifying and scrutinizing the complex process of self-inscription in Randa Jarrar and Laila Halaby's narratives: A Map of Home (2008) and West of Jordan (2003), the study revealed that when the sense of non-belonging to place conceived as home occurs, liberating vision for change, fluid positionality and transformation perceptibly emerge. The research concludes locations are particularly fluid and henceforth positionality, home and belonging are necessarily defined in relation to time, context and space and so susceptible to shifts, transformations and contradictions.

L’importance accordée au motif du double est un élément constant dans les nouvelles publiées par l’auteur français contemporain Éric-Emmanuel Schmitt. La nouvelle Un cœur sous la cendre contient une pluralité de formes classiques du double : binômes spéculaires, dédoublement psychologique, ambivalence des sentiments, correspondance des affects avec le milieu extérieur. Aux figures qui continuent la tradition littéraire s’ajoutent des expressions contemporaines du double, qui font également l’objet des débats philosophiques, sociologiques et bioéthiques : l’avatar numérique, le corps- alter ego , les questions identitaires autour du sujet de la transplantation d’organes. L’article a pour but une analyse thématique des modalités du double, retrouvables dans la nouvelle, par une recherche qualitative et interdisciplinaire. Les méthodes principales de travail sont l’analyse textuelle et la lecture critique, complétées parfois par une recherche comparative et diachronique. Les concepts-clé sur lesquels s’appuie la discussion sont fournis par les critiques Thierry Ozwald et Florence Goyet en ce qui concerne les formes classiques du double littéraire, par le sémiologue Fanny Georges en relation avec l’avatar numérique et par le sociologue David Le Breton au sujet de la quête ontologique qui a lieu autour du corps humain, les trois volets théoriques représentant les directions principales de la recherche empirique.

This article postulates the concepts of subjective violence and objective violence in constructing the revolutionary others in The Slave (1964), the ideological play by Amiri Baraka (1934-2004), also known as LeRoi Jones. The blacks are identified as the others in the white dominant societies, and the inconvenience of their livings under no effective ‘Civil Rights’ has faded their legitimated targets. They have detached themselves from their origins and experienced numerous troubles in the dominant imperialist world. Jones’ The Slave focuses on the revolt of a black man against the whites’ subjective and objective violence. The paper has centralized Jones’ concepts of black art and identity related to American ‘Social Movements’. Baraka’s The Slave revolutionarily fights back the whites’ violence. To develop the purpose of this study, Žižek’s concept of violence and his psycho-ideological impacts through the lens of Lacan are to be analyzed. The Slave indicates the centrality of a black massive movement toward the achievement of self-rule, self-confidence, self-reliance, and self-realization. LeRoi Jones, as the leader of the ‘Black Arts Movement’ and founder of ‘Black Power’ of the 1960s, attempts to re-define and support blacks’ literature, art, and culture as the operational mission.