Titlebook: Contemporary Asylum Narratives; Representing Refugee Agnes Woolley Book 2014 Palgrave Macmillan, a division of Macmillan Publishers Limited

ambivalence

Europe, History and Myth in Timberlake Wertenbaker’s des of endless night’ (Wertenbaker, 2002a, p. 184). The speaker is Thomas Mowbray, who has been banished from England over a dispute with the king’s cousin, Henry Bolingbroke. Evoking the pain of separation from one’s native land and the ambiguities of non-national belonging, Mowbray’s words elucida

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Conclusion: An Uncertain Belonging France, the UK Government published a White Paper entitled ... A supplement to the 2002 Nationality, Immigration and Asylum Act, this wide-ranging document begins by asserting that ‘[t]he first challenge migration poses is to our concepts of national identity and citizenship’ (White Paper, p. 9). I

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Introduction: Exposurer of aesthetic and ethical concerns. Such exposure on screen is troubling not only because asylum seekers’ escape from persecution may depend on the ability to remain anonymous but also because, in this instance, the individuals are unaware of their on-screen exposure, skewing the balance of power i

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Screening Asylum: Pawel Pawlikowski’s of her gaze in the film. Although they are seeking asylum Tanya and her young son Artiom are not refugees, an ambiguity that partially aligns them with the film’s viewers and becomes the preoccupation of Pawlikowski’s self-conscious representation of forced migration in .. Complicit with the film’s

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Authenticating Asylum: Kay Adshead’s racts throughout the play, including immigration officials, fellow detainees and volunteers. Described as a ‘monopolylogue’ (Dolan, 2002), this performance strategy figures the fracture that characterizes the ‘disrupting force’ (Caruth, 1996, p. 115) of traumatic experience, calling into question th

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Europe, History and Myth in Timberlake Wertenbaker’s f epigraph also illustrates a central tenet of Wertenbaker’s dramaturgy: her engagement with contemporary concerns in light of an inherited dramatic tradition. In excavating her dramatic precursors to enrich her exploration of migration in the twenty-first century, Wertenbaker, like Adshead, embeds

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Cosmopolitan Representation: Kate Clanchy’s ith her three children — in search of her brothers — to London, where she applied for asylum. It also contains details of Antigona’s village childhood in the isolated and mountainous areas of Albania, and her life in London as a single parent and a refugee. Despite this emphasis on her subject’s exp