Murat Aydemir

Migratory Settings Murat Aydemir

Brief Description: "Migratory Settings" proposes a shift in perspective from migration as movement from place to place to migration as installing movement "within" place. Migration not only takes place between places, but also has its effects on place, in place. In brief, we suggest a view on migration in which place is neither reified nor transcended, but thickened as it becomes the setting of the variegated memories, imaginations, dreams, fantasies, nightmares, anticipations, and idealizations of both migrants and native inhabitants that experiences of migration bring into contact with each other. Migration makes place overdetermined, turning it into the mise-en-scene of different histories. Hence, movement does not lead to placelessness, but to the intensification and overdetermination of place, its heterotopicality. At the same time, place does not unequivocally authenticate or validate knowledge, but, shot-through with the transnational and the transcultural, exceeds it ceaselessly. Our contributions take us to the migratory settings of a fictional exhibition; a staged political wedding; a walking tour in a museum; African appropriations of Shakespeare and Sophocles; Gollwitz, Germany; Calais, France; the body after a heart transplant; refugees family portraiture; a garden in Vermont; the womb. With contributions by Mieke Bal, Maaike Bleeker, Paulina Aroch, Astrid van Weyenberg, Sarah de Mul, Annette Seidel Arpaci, Sudeep Dasgupta, Wim Staat, Maria Boletsi, Griselda Pollock, Alex Rotas, and Murat Aydemir."Table of Contents: Murat AYDEMIR and Alex ROTAS: Introduction: Migratory Settings "I. Heterochronotopical Stagings" Mieke BAL: Heterochronotopia Maaike BLEEKER: Let s Fall in Love: Staging a Political Marriage Murat AYDEMIR: Staging Colonialism: The Mise-En-Scene of the Africa Museum in Tervuren, Belgium "II. African Translations and Transcontextualizations" Paulina AROCH FUGELLIE: Migratory Cliches: Recognizing Nyerere s "The Capitalists of Venice" Astrid VAN WEYENBERG: Antigone on the African Stage: Wherever the Call for Freedom is Heard! Sarah DE MUL: Zimbabwe and the Politics of the Everyday in Doris Lessing s "African Laughter" "III. Gollwitz, Calais, Tahiti: Hostipitable Places" Annette SEIDEL ARPACI: Better Germans? Hostipitality and Strategic Creolization in Maxim Biller s Writings Sudeep DASGUPTA: The Visuality of the Other: the Place of the Migrant between Derrida s Ethics and Ranciere s Aesthetics in "Calais: the Last Border" Wim STAAT: The Other s Intrusion: Claire Denis "L intrus" "IV. Reframing the Migratory" Alex ROTAS: Looking Again at Rupture: Crossing Borders, Family Pictures Maria BOLETSI: A Place of Her Own: Negotiating Boundaries in Jamaica Kincaid s "A Small Place" and "My Garden (Book) " Griselda POLLOCK: Beyond Words: The Acoustics of Movement, Memory, and Loss in Three Video Works by Martina Attille, Mona Hatoum, and Tracey Moffatt, ca. 1989 Index"Marc Notes: Includes bibliographical references and index. Publisher Marketing: 'Migratory Settings' proposes a shift in perspective from migration as movement from place to place to migration as installing movement "within" place. Migration not only takes place between places, but also has its effects on place, in place. In brief, we suggest a view on migration in which place is neither reified nor transcended, but 'thickened' as it becomes the setting of the variegated memories, imaginations, dreams, fantasies, nightmares, anticipations, and idealizations of both migrants and native inhabitants that experiences of migration bring into contact with each other. Migration makes place overdetermined, turning it into the mise-en-scene of different histories. Hence, movement does not lead to placelessness, but to the intensification and overdetermination of place, its 'heterotopicality.' At the same time, place does not unequivocally authenticate or validate knowledge, but, shot-through with the transnational and the transcultural, exceeds it ceaselessly. Our contributions take us to the migratory settings of a fictional exhibition; a staged political wedding; a walking tour in a museum; African appropriations of Shakespeare and Sophocles; Gollwitz, Germany; Calais, France; the body after a heart transplant; refugees' family portraiture; a garden in Vermont; the womb. With contributions by Mieke Bal, Maaike Bleeker, Paulina Aroch, Astrid van Weyenberg, Sarah de Mul, Annette Seidel Arpaci, Sudeep Dasgupta, Wim Staat, Maria Boletsi, Griselda Pollock, Alex Rotas, and Murat Aydemir.