"Migration throws objects, identities and ideas into flux across a global network of travelling cultures. Examining life-changing journeys that transplanted artists and intellectuals from one cultural context to another, Exiles, Diasporas & Strangers offers a thematic overview of the critical and creative role of estrangement and displacement in the story of 20th-century art.Revealing the traumatic conditions that shaped numerous variants of modernism – among indigenous artists in Australia and Canada as much as émigré art historians from Central Europe – these critical studies also highlight multidirectional patterns of cross-appropriation that trouble the settled boundaries of national belonging, whether manifested in 1920s Nigeria or in post-modern works by black British artists of the 1980s. Coming up to date with historical perspectives on conceptual art’s engagement with alterity, Exiles, Diasporas & Strangers makes a unique contribution to art history’s rapprochement with the post-colonial turn.--

"Migration throws objects, identities and ideas into flux across a global network of travelling cultures. Examining life-changing journeys that transplanted artists and intellectuals from one cultural context to another, Exiles, Diasporas & Strangers offers a thematic overview of the critical and creative role of estrangement and displacement in the story of 20th-century art.Revealing the traumatic conditions that shaped numerous variants of modernism – among indigenous artists in Australia and Canada as much as émigré art historians from Central Europe – these critical studies also highlight multidirectional patterns of cross-appropriation that trouble the settled boundaries of national belonging, whether manifested in 1920s Nigeria or in post-modern works by black British artists of the 1980s. Coming up to date with historical perspectives on conceptual art’s engagement with alterity, Exiles, Diasporas & Strangers makes a unique contribution to art history’s rapprochement with the post-colonial turn.--

In Strangers to Family Shively Smith reads the Letter of 1 Peter through a new model of diaspora. Smith illuminates this peculiarly Petrine understanding of diaspora by situating it among three other select perspectives from extant Hellenist Jewish writings: the Daniel court tales, the Letter of Aristeas, and Philo's works. While 1 Peter tends to be taken as representative of how diaspora was understood in Hellenistic Jewish and early Christian circles, Smith demonstrates that 1 Peter actually reverses the most fundamental meaning of diaspora as conceived by its literary peers. Instead of connoting the scattering of a people with a common territorial origin, for 1 Peter, diaspora constitutes an "already-scattered-people" who share a common, communal, celestial destination. Smith's discovery of a distinctive instantiation of diaspora in 1 Peter capitalizes on her careful comparative historical, literary, and theological analysis of diaspora constructions found in Hellenistic Jewish writings. Her reading of 1 Peter thus challenges the use of the exile and wandering as master concepts to read 1 Peter, reconsiders the conceptual significance of diaspora in 1 Peter and in the entire New Testament canon, and liberates 1 Peter from being interpreted solely through the rubrics of either the stranger-homelessness model or household codes. First Peter does not recycle standard diasporic identity, but is, as Strangers to Family demonstrates, an epistle that represents the earliest Christian construction of diaspora as a way of life.

In cities throughout Africa, local inhabitants live alongside large populations of "strangers." Bruce Whitehouse explores the condition of strangerhood for residents who have come from the West African Sahel to settle in Brazzaville, Congo. Whitehouse considers how these migrants live simultaneously inside and outside of Congolese society as merchants, as Muslims in a predominantly non-Muslim society, and as parents seeking to instill in their children the customs of their communities of origin. Migrants and Strangers in an African City challenges Pan-Africanist ideas of transnationalism and diaspora in today's globalized world.

Hundreds of German-speaking film professionals took refuge in Hollywood during the 1930s and 1940s, making a lasting contribution to American cinema. Hailing from Austria, Hungary, Poland, Russia, and the Ukraine, as well as Germany, and including Ernst Lubitsch, Fred Zinnemann, Billy Wilder, and Fritz Lang, these multicultural, multilingual writers and directors betrayed distinct cultural sensibilities in their art. Gerd Gemünden focuses on Edgar G. Ulmer’s The Black Cat (1934), William Dieterle’s The Life of Emile Zola (1937), Ernst Lubitsch’s To Be or Not to Be (1942), Bertold Brecht and Fritz Lang’s Hangmen Also Die (1943), Fred Zinneman’s Act of Violence (1948), and Peter Lorre’s Der Verlorene (1951), engaging with issues of realism, auteurism, and genre while tracing the relationship between film and history, Hollywood politics and censorship, and exile and (re)migration.

"Rarely have I encountered a collection of essays that coheres so well around an overarching theme. This will be an important resource."—Hillel J. Kieval, author of Languages of Community

Machine generated contents note: -- Preface -- Chapter 1 - Exile and Post-Exile in Analytical Perspective -- Chapter 2 - Escape, Deportation and Exile: The Contours of Institutionalized Exclusion -- Chapter 3 - Exile and Diaspora Politics: Mobilizing to Undo Exclusion -- Chapter 4 - Diaspora and Home Country Initiatives, Transnational Networks and State Policies -- Chapter 5 - Surviving Authoritarianism, Contributing to the Agenda of Democratization -- Chapter 6 - Undoing Exile? Remembering, Imagining, Envisioning -- Chapter 7 - The Transformational Role of Culture and Education: Impacting the Future -- Chapter 8 - Shifting Frontiers of Citizenship -- Conclusions -- About the Authors -- Index