Titlebook: Reading Cultural Representations of the Double Diaspora; Britain, East Africa Maya Parmar Book 2019 The Editor(s) (if applicable) and The A

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978-3-030-18085-0The Editor(s) (if applicable) and The Author(s) 2019

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ain, to probe the gaps and joints between migrant achievemen.Reading Cultural Representations of the Double Diaspora: Britain, East Africa, Gujarat .is the first detailed study of the cultural life and representations of the prolific twice-displaced Gujarati East African diaspora in contemporary Bri

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Book 2019tations of the prolific twice-displaced Gujarati East African diaspora in contemporary Britain. An exceptional community of people, this diaspora is disproportionally successful and influential in resettlement, both in East Africa and Britain. Often showcased as an example of migrant achievement, th

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Introduction,scholarship on the subject of the South Asian in East Africa, and delineating chapter aims. Underlining the paucity of intellectual debate around the cultural life of the South Asian East African diaspora ., Parmar charts her offer of a much-needed contemporary comprehensive study within the discipl

Thyroiditis

The Gastropoetics of ,: Diasporic Trauma and Embodied Narratives,in Britain. By scrutinising the dual genre of the cookbook memoir, she first engages autobiography theory, exploring the paradoxical nature of the autobiographical genre. Subsequently, discourses of trauma emerge, in relation to both racism and dislocation. Through an established body of trauma scho

严厉谴责

The Performing Body of ,: Dancing ,, Dressing to Impress,ouTube footage, images from a personal archive, the play . (Bhuchar and Landon-Smith 2003), as well as fieldwork data, Parmar explores how dance movement and sartorial preference during . reveal expressions of cultural identity. By investigating the dress and folk dances of . and ., Parmar reflects

浸软

Picturing the Modern Self: Vernacular Modernity and Temporal Synchronicity,d its vernacular modernity. Paradoxically, the diaspora are simultaneously pulled backwards, in what Parmar calls temporal synchronicity. Taking account of the storage of the visual material, the vastness of the archive and what the images depict, Parmar demonstrates a fetish of collected and hoarde