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This article discusses the neglect of Filipino Canadian comics in Canadian comics studies, despite the growing demographic significance of Filipinos in Canada and the rich body of work produced by Filipino Canadian creators.It discusses some Filipino Canadian comics, highlighting their transnational sensibility and engagement with global spaces and histories. It also explores the invisibility of diasporic Filipinos.

The Gothic conceit of American womanhood as a nightmarish form of perennial childhood assumes new layers of meaning when viewed in transnational perspective. Haunting portrayals of infantilized women-children give canonical American works like Gilman's 'The Yellow Wallpaper' an unlikely kinship with postcolonial texts like Paz's La hija de Rappaccini and Césaire's Une tempête. While echoing Gilman's critique of patriarchal superstructures, Paz and Césaire also confront white women's role in upholding systems of white supremacy, slavery, and (neo-)imperialism. Taken together, Gilman, Paz, and Césaire speak to the shifting significations and the staying power of unending Gothic girlhoods in transnational American literature. [ABSTRACT FROM AUTHOR]

In this essay, I make a case for oral traditions passed on from matrilineal members of the family to their (grand)children as a key system of knowledge that has informed and shaped black intellectual culture and the black radical imagination in South Africa and its transnational iterations. I focus on the work of Keorapetse Kgositsile, who attributes his cultural and political consciousness to his grandmother and mother, and asserts that they equipped him with the wisdom to survive the hostile environment of colonial modernity and apartheid. I put forth questions about a gendered black radical tradition and the place of these (grand)mothers in it. I adopt the heuristic matriarchive, which holds together locally specific matrilineally inherited worldviews, intersubjective relations, vernaculars, and aesthetics. I show how these have shaped pan-African sensibilities in this towering figure of South African modernity. When we consider the manner in which this prominent figure of black intellectual culture carries with him what I call the matriarchive to inform his work and politics in his itinerancy in the black diaspora, we open possibilities to investigate how the matriarchive was brought into locution with transatlantic cultural and political production. The issue of transnationalism and vernaculars serves to illuminate the mutations and transformations of the matriarchive in his work, which has enriched a polyglot internationalism. I argue that his work, shaped by a distinct sense of custom, culture, and community, has transformed his interlocutors in the black diaspora. [ABSTRACT FROM AUTHOR]

This essay shows how literary parataxis serves as an engine of transnational thought in the nineteenth-century North American West. I focus, in particular, on how Mark Twain's Roughing It (1872) and Sarah Winnemucca's Life Among the Piutes (1883) employ paratactic forms to present the Great Basin as a space where no single nation rules as sovereign. Amidst US settler colonialism, I argue, such paratactic aesthetics prove politically double-edged. While parataxis' tendency to destabilize hierarchies allows the form to undermine US claims to sovereignty, the same deconstructive proclivity can occlude Indigenous political distinction and historical priority. Twain and Winnemucca respond to this aesthetic scenario differently, and their writing, consequently, presents competing conceptions of transnationalism. Twain's unchecked embrace of paratactic forms yields a transnational vision whose emphasis on social movement and mixture proves antithetical to Indigenous sovereignty. Winnemucca, by contrast, employs a modulated parataxis in order to locate the transnational in collisions of countervailing polities and thereby better represents the political standing and agency of the Paiute people. Winnemucca's accounts of her work as a translator, I further argue, suggest that amidst such collisions, political sovereignty takes a distinctive shape, as a relational and comparative project. [ABSTRACT FROM AUTHOR]

This article explores the literary representations of the 'unsaid' and intangible connections of humanity across cultures as represented in Undisciplined Heart (2010), the memoir of the Namibian writer Jane Katjavivi. The central concerns are to examine how the author, through the act of writing, ascertains a new female identity within a culturally transforming Africa; how the fictionalization of her life is a revolutionary way of abdicating the role of silent white-female spectator in Africa; and how her story is a voice that matters in as much as it demonstrates the salient cultural relatedness and connectedness in Africa. The issues and concerns around transnational families, transculturalism, female subjectivity, agency, transnationality and multiculturalism are therefore central in this article. The guiding principles of this essay are Ubuntu (ubuntuism) and Afro-transnationalism in order to explore the sense of 'rainbowism' as articulated within a transnational, multiracial and multicultural literary text, Undisciplined Heart. The article brings to the fore the often overlooked presence of 'white' writing in postcolonial and post-independence Africa and provides some nuanced insights into the racial and cultural patterns of connectedness – the harmonious cross-cultural sense of being in an Africa that is both culturally and spatially diverse. The article also interrogates as well as problematizes the elusive and constantly changing issues of identity and belonging. [ABSTRACT FROM AUTHOR]

In her debut novel, Zebra Crossing , Meg Vandermerwe privileges the voice of Chipo Nyamubaya, an albino girl from Zimbabwe, to capture the gripping and tragic experiences of African immigrants in South Africa. This article problematizes the notion of minor transnational identities by interrogating the relationships between South Africans and those they refer to as outsiders, and the relationship between the African immigrants themselves vis-à-vis culturally held beliefs about albinos and LGBTs. In the process, we demonstrate the patterns of the idea of Otherness brought about by racism, xenophobia, homophobic prejudice and insensitive discrimination. The article reveals how Othering debunks the ideology of African connectedness by bringing out the apparent contradictions in the values of Ubuntu. [ABSTRACT FROM AUTHOR]

Over the years, the notion of home has permeated disciplinary, inter- and cross-disciplinary enquiries into the human condition. In recent years, ideas, constructions and perceptions of 'homes' have been further complicated by constant shifts in conceptions and practices of transnational mobilities that have informed and disrupted ways of seeing, making and re-making homes at home and away from 'home'. In this article, we draw from Sara Ahmed's idea of home as 'a space within us' to read the novel We Need New Names (2013) by the transnational Zimbabwean writer NoViolet Bulawayo as a text that interrogates the intertwined and complicated relationship between home, transnational identity and belonging. Focusing on the protagonist's experiences in both Zimbabwe and America, this article examines the idea of home as it refracts uniquely twenty-first-century experiences, perceptions and notions of transnational spaces, and shapes certain notions of identity, transnationality and belonging in We Need New Names. [ABSTRACT FROM AUTHOR]

The article explores Jamaican-American writer and poet Claude McKay's literary representations of African-American World War I veterans in relation to the Harlem Renaissance. Topics discussed include the race discrimination suffered by such veterans, the hybrid identities of African-American World War I troops, and the important role played by hybridity or transnationalism as the aesthetic strategy of the Harlem Renaissance in literature, art and jazz.

The article discusses the importance of the post-Soviet North American literature of recent times and the association of transnationalism with it.

This essay explores Sarah Ladipo Manyika's Like a Mule Bringing Ice Cream to the Sun (2016), one of the most innovative novels of the Nigerian U.S. diaspora, from the perspective of "Afropolitanism." Occupying a unique place within African writing and African diasporic writing, the novel does not conform to the traditional understanding of Afropolitanism as the celebration of cultural hybridity and transnationalism. Insofar as its portrayals focus on the individual identities and lives of its African and other non-Western characters and their families, the novel further departs from the conventions of earlier Afropolitan narratives, which tendentially center the whole national or racial community. Because Like a Mule Bringing Ice Cream to the Sun rejects the kind of caricature that passes for life in many works of African diasporic literature, it avoids the Afro-pessimism of previous Afropolitan novels, in which the transnational movement of characters occurs as a result of precarious conditions in the home countries, and which forms part of the search for a dream that could be fulfilled by the modernity and the advancements of technology to be found in the host western country. Instead, Manyika's novel asks readers to dissect meanings between the lines and peel off dense layers of signification. The narrative achieves this nuanced communication of Afropolitanism through its main character, Morayo Da Silva, whose representation extends the cultural politics of Afropolitanism to include subjective politics in the analysis of how we exist in the world. In this way, Like a Mule Bringing Ice Cream to the Sun highlights Morayo's affirmation of the value of diasporic life over and against the ironic posture of black self-negation that can result from the diasporic experience. [ABSTRACT FROM AUTHOR]

The article focuses on Romanian Jewish authors of Francophone avant-garde literature in the interwar period, focusing on contributors to the journal "unu" by poet Ilarie Voronca, and the writings by authors Tristan Tzara and Isidore Isou. Topics include literary transnationalism, cross-culturalism, Dadaism, Integralism, and Lettrism.

This paper analyses how selected stories from Zoë Wicomb's The One That Got Away (2008) and Chimamanda Ngozi Adichie's The Thing Around Your Neck (2009) explore transnational migration from women's perspectives. The paper explores how the African woman migrant's experiences allow alternative readings of migrant existence. Significantly present in the stories analysed in this paper are cultural and historical artefacts that protagonists engage with in ways that offer new perspectives on cultures and histories that such objects represent. Drawing on post-colonial readings of migration, material culture and the exotic, I posit that, through migrant women's stories, Wicomb and Adichie offer unconventional readings of transnational experience that unsettle the meanings of the objects, histories and cultures encountered in transnational spaces. [ABSTRACT FROM AUTHOR]

This essay uses William Shakespeare's Measure for Measure, based on a novella by Gimbattista Giraldi Cinzio, to examine what it means for Shakespeare to stage narratives engaged in Italian Roman law within England's common law system. The essay analyzes Measure for Measure as an exemplar of the cross-cultural legal exchanges in the numerous Italian stories depicted on the English stage. Within this comparative framework, Shakespeare builds from Italian social experience in Cinzio's novella and Niccolò Machiavelli's political discourse to critique the shift from local to state legal authority occurring throughout sixteenth-century England. Specifically, Shakespeare's Measure for Measure challenges commanding perceptions of communal justice fundamental to English legal ideology and reveals law's theatrical power. Using Shakespeare's play as a case study, this essay further illustrates how transnational literature both contributes to popular early modern conceptions of law and uncovers power dynamics behind the development of legal systems. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "L'essenziale è invisibile agli occhi" by Jarmila Očkayová, is presented. It outlines the themes and the behavior of the characters in the book in relation to border crossing, migration, estrangement, and transnationalism. Also discussed are the use of sickness and physical symptoms to illustrate the protagonist's psychological trauma, as well as elements of the author's life that may have contributed to the creation of characters in the book.

A essay is presented concerning on the depiction of minor transnationalism in the play "Chicken Cordon Blue" directed by Dominican author Frank Disla. Topics discussed include Disla's pursuit of new political and artistic belonging forms through creating Dominican transnational migration stories, the difference between the transnationalism and globalization discourses and the opinion of professors Françoise Lionnet and Shu-mei Shih about minor transnationalism.

A literary criticism of the book "Abril rojo," by Santiago Roncagliolo and "Lost City Radio," by Daniel Alarcón is presented. It outlines the characters and explores cultural theme seen in the Peruvian literature. It examines transnationalism, education of transnational migrants and socio-cultural narratives. An overview of the story is also given.

Throughout his career, J.M. Coetzee has sought to resist national confines, preferring instead to emphasise the transnational aspects of culture and history. This essay examines the interplay between nation, transnationalism and literature in Coetzee's novelDusklands, and shows how a fully formed ethics of violence can already be seen on display in his fictional debut. Key themes that become important throughout Coetzee's oeuvre are developed here – in particular, the abhorrence of violence in any form and a suspicion of the de-humanising elements of nationalism. This essay reads the war photographs in ‘The Vietnam Project’ and their ability to induce a form of post-traumatic stress disorder in the narrator Eugene Dawn as a commentary on the problem of complicity in the act of witnessing violence. The uncompromising stance that Coetzee adopts against nationally sanctioned acts of forgetting becomes clear in the way his novel spares no one from the net of complicity, showing how it extends not only to mediated images of atrocity but also to those who would refuse to bear witness to violence. Finally, the essay proposes the ‘transnational wound’ as an effective metaphor for understanding the transnational and its embedded relationship within national frameworks. [ABSTRACT FROM PUBLISHER]

This essay analyses Coetzee's success as a world literary author, from two distinct angles. The first stems from his non-European 'southern' position (and self-positioning) as a South African and then Australian writer with South American links, and his subscription to an 'imaginary of the South'. The second looks beyond the colonial indebtedness to Europe, focusing instead on some of the 'minor' European cultures to which the oeuvre refers, and then on the ways in which it evokes Asia. As will be seen, Coetzee's work from the very start acknowledges the pivotal role of Asia in the formation of Western identity. [ABSTRACT FROM AUTHOR]

Literary self-translation is a practice that has gained increasing scholarly attention in the fields of postcolonial, transnational studies and translation studies, following the rise in the number of bilingual and plurilingual writers over the twentieth and twenty-first century. In the Japanese context, a growing body of research on works by authors who write in more than one language is now calling for an acknowledgment of how bilingual literature has been 'shaking' the foundations of modern Japanese literature, as Komori (1998) suggests, by breaking the equation between nationality, ethnicity, national language and culture that had been developed during the nation-building process in the late nineteenth and early twentieth century. In this paper, I analyze the work of Sekiguchi Ryōko, a contemporary poet based in France, who writes free-verse poetry in Japanese and self-translates it into French. In the first part, the paper examines a poem included in the collections Hakkōsei Diapositive (Japanese) and Calque (French) to illustrate how Sekiguchi conceives self-translation as a process that destabilizes the categories of original and translation. Addressing questions of authenticity and fidelity, Sekiguchi seeks to explore the creative potential of translation as a means to reconsider one's affiliation to the mother tongue. In the second part, the paper focuses on Sekiguchi's multilingual public readings, arguing that they offer alternative ways of thinking about translation, communication and linguistic identities, for they stress the need to foster an understanding of languages as historically positioned systems, but also encourage readers to step outside normative linguistic paradigms. [ABSTRACT FROM AUTHOR]

An essay on empire making, border crossings, transnationalism and culturally distinct economies of sexuality in the novel "Aziyadé" by Pierre Loti is presented. Particular focus is given on the concept of drift, which is a defining characteristic of the nonlinear, impressionistic structure of Loti's novel. Also discussed the concept of drift on a psychological level and the psychosexual and existential connotations of drift.

The article focuses on Charles Rowell, founder of the publication "Callaloo" and his idea of idea of facilitating connections throughout the African Diaspora on the theme of connections. Topics discussed include passing not only transnational, but transgenerational through artists, writers, and scholars, platform for black arts and letters, and black cultural expression.

The essay compares and contrasts the phenomenon of return migration as illustrated by literary works that present South Asian migrants to England and America in (post)colonial times. Considering the socio-economic triggers of migration, the essay investigates the characters' cultural evolution, interpreting their decision to return to India in relation to their ability to process foreign cultural norms. A layer of the analysis establishes whether the migrants' stay abroad is presented as an interval dominated by the occurrence of cultural clashes or processes of cultural translation. A second research focus is the interpretation of return migration as a response to the challenges of cultural adjustment or as an empowering action. A form of old transnationalism, return migration from Western destinations has not received enough attention in critical interpretations of the literature of migration. Therefore, the present essay seeks out to enlarge this section of literary studies by foregrounding the cultural and social factors that eventually shape the characters' decisions to give up their Western adventure. By comparing the two authors, the conclusion aims to establish the particular relations between South Asian characters, the American and British cultures and whether return migration functions similarly in these two different contexts. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "The Master of Ballantrae" by author Robert Louis Stevenson is presented. It analyzes the multiple narratives of the story and the transatlantic piracy. A comparison is made to Stevenson's earlier novel "Treasure Island." Topics mentioned include the rivalry between the two brothers, the different narratives used in the story, and issues of transnational identity.

Focusing on Vasily Yanovsky's prose fiction as a specific case study, this article sets modernist narratives informed by exile, dislocation, and migration in dialogue with the evolving theory of transnationalism. By engaging with the hybrid, cross-cultural nature of diaspora writing, this research challenges conventional, mono-national classifications based on the author's language and origin. Yanovsky's key texts transcending a range of boundaries (between Russian and English, fiction and nonfiction, Russian spirituality and western thought, science and fantasy) are brought to bear to demonstrate that language can be a matter of a writer's personal aesthetic choice, rather than a fixed marker of his appurtenance to a national canon. This article also argues for transnational identity as an intellectual and emotional, and thus translatable, affiliation, formed across national fault lines and cultural traditions. [ABSTRACT FROM AUTHOR]

A literary criticism is presented for the 20th century fictional books "Black Empire," "Revolt in Ethiopia: A Tale of Black Insurrection against Italian Imperialism," by African American writer George Samuel Schuyler and "Dark Princess: A Romance," by W.E.B. Du Bois. An overview of the depiction of black nationalism, imperialism, anti-imperialism and transnationalism within Schyuler's fiction is provided.

The cover story provides a literary criticism of the book "Amiable With Big Teeth: A Novel of the Love Affair Between the Communists and the Poor Black Sheep of Harlem," by Claude McKay. The novel's depiction of the African Americans of Harlem, New York City's sentiment towards Ethiopia following Italy's 1935 invasion of the country is discussed. McKay's reliance on historical archives for his book "Amiable With Big Teeth" is also discussed. An overview of the novel's portrayal of transnational themes is provided.

An interview with writer and scholar Myriam J.A. Chancy is presented. Chancy discusses the transnational nature of her writing, choosing to write in a combination of English, French, and Kreyòl languages, and her book "The Loneliness of Angels." The tension between the Dominican Republic and Haiti, the author's book "From Sugar to Revolution: Women’s Visions of Haiti, Cuba, and the Dominican Republic," and the relationship between women and memory in her writing are discussed.

Historical memory fiction has flourished ever since the lifting of martial law in Taiwan. Some of these fictions excavate multi-ethnic, transnational experiences in relation to colonialisms, exploring ethnic experiences beyond stereotypes and debunking monolithic national imagination, thereby opening up possibilities for an alternative historical imagination. This article deals with the alternative historical imagination in Shih Shu-ching's Dust before the Wind, with a special focus on its representation of issues that had rarely been dealt with before in Taiwanese literature, such as the “enterprise of governing the savages,” the Taroko Battle, the ethnic relationships in Hualien under Japanese rule, Japanese immigrant villages, and postwar Japanese legacy. I argue that the novel presents an intricate re-vision of Japanese colonialism and Taiwan's postcoloniality by contrapuntally portraying three ethnic groups in eastern Taiwan under Japanese colonial rule and depicting post-war Japanese legacy, as well as by re-exploring the identity problems triggered by assimilation, imperialization, decolonization, and indigenization. [ABSTRACT FROM AUTHOR]

The article presents literary criticism of the book "Likt och olikt" (A Bit of Everything) and the poem "Sömngångarnätter på vakna dagar" (Sleepwalking Nights in Broad Daylight) by August Strindberg. Emphasis is given to the relationship between his political and poetic writings. According to the author, Strindberg's essays shared his poetry's transnational perspective but rejected the social function of poetry. Details on his social theories of literature are presented.