In publications addressing literary reflections on Europe, little attention has been paid to emerging cultural networks, the role of EU subsidies, or literary organisations engaging writers in initiatives aimed at contemplating the challenges that the European Union faces. This dissertation aims to explain the role of new initiatives by presenting four recent, transnational literary projects as case studies: the “Literatur Express Europa 2000”; “The European Constitution in Verse”; “Narratives for Europe”; and “The Return of Europe”. The projects were analysed through an examination of three fundamental aspects: the expectations held by the cultural organisations regarding their initiatives; the cultural artefacts resulting from the projects; and the effects of the projects in the public sphere. By selecting literary projects about Europe as case studies, rather than individual authors or texts, this research allows for an interdisciplinary approach that reveals the interaction between EU politics, civil society, cultural networks, and individual authors.
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Over the past years, European cultural organizations have initiated several transnational literary projects to reflect on what binds Europeans together. As part of a research project that examines what role these literary projects play in the debate on European identity, this article explores expectations held by the organizers of these initiatives. Drawing on discourse analysis, documents such as project plans are researched to examine discourses on European political and cultural identity, as well as the main argumentative strategies deployed by organizations to legitimize the literary contribution to the debate on Europe as a unity.
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As the revolutions across the Arab world that came to a head in 2011 devolved into civil war and military coup, representation and history acquired a renewed and contested urgency. The capacities of the internet have enabled sharing and archiving in an unprecedented fashion. Yet, at the same time, these facilities institute a globally dispersed reinforcement and recalibration of power, turning memory and knowledge into commodified and copyrighted goods. In The Arab Archive: Mediated Memories and Digital Flows, activists, artists, filmmakers, producers, and scholars examine which images of struggle have been created, bought, sold, repurposed, denounced, and expunged. As a whole, these cultural productions constitute an archive whose formats are as diverse as digital repositories looked after by activists, found footage art documentaries, Facebook archive pages, art exhibits, doctoral research projects, and ‘controversial’ or ‘violent’ protest videos that are abruptly removed from YouTube at the click of a mouse by sub-contracted employees thousands of kilometers from where they were uploaded. The Arab Archive investigates the local, regional, and international forces that determine what materials, and therefore which pasts, we can access and remember, and, conversely, which pasts get erased and forgotten.
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