The twentieth century is a time when the discourse of exile is prevalent in culture and literature as well as in political life. This study explores the nature of exile, its relation to Western culture, politics, and writing through the use of critical theory and specific literary works. The extended introductory chapter examines how stories of exile function as formative concepts in the Hebrew Bible. Foremost is the story of the flight from Egypt and the wandering in the wilderness as told in the Book of Exodus, but examples of separation as a type of exile are also examined, specifically in the laws in Exodus and Leviticus. The idea of exile as a paradox in Western culture and literature is developed in this chapter. While exile was already known as a punishment, the Hebrew Bible portrays exile as a positive idea that enables the formation of religious and cultural identity. An examination of exile as a sociopolitical concept also comprises this chapter. The relation of Karl Marx's definition of alienation (entfremdung) to exile is explored, and exile in its negative aspect, as punishment and estrangement from family and self, is discussed. As a counterweight to this negative aspect, the theories of Michel Foucault on power and knowledge are studied, and exile is proposed as a resistance to power. Finally, the relation of exile to discourses on writing and literature in the twentieth century is examined, specifically in the work of Jacques Derrida and Roland Barthes. The remaining three chapters of the work are devoted to three culturally diverse twentieth century authors. Chapter Two examines the work of Egyptian-born Jewish poet Edmond Jabes, whose poetry and meditations are interwoven with thoughts on Judaism, exile, and writing. Chapter Three takes up the work of Cristina Peri Rossi, an Uruguayan fiction writer and poet, who fled to Spain in 1973. Peri Rossi's work not only creates interesting fictional homes wherein characters and readers alike can dwell, but is also concerned with the issue of feminism and womens' particular relation to exile. Finally, the work of Modernist author Gertrude Stein is explored, raising and examining questions of exile in her work.

Thesis (M.A.)--Central Connecticut State University, 2004. / Thesis advisor: Gilbert Gigliotti. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English Literature." Includes bibliographical references (leaves 72-74). Also available via the World Wide Web.

Since Homer, exile is closely linked to literature and even seems to be consubstancial to the very act of writing. Indeed, countless writers have created in exsilio; one just has to think, among others, of Marot, Du Bellay, Madame de Stael, Victor Hugo or Soljenitsyne. The unbearable feeling of loss and relinquishment provoked by transhumance added to the inevitable solitude are determining factors leading to the creative process. Neo-Quebecois writers are undoubtedly part of this line of expatriate authors. Often autobiographical in nature, their work generally describe the migratory journey of misfits trying to make Quebec culture their own. However, it is difficult to be a foreigner in a society which is asserting its own identity, in this case quite problematic, and the passage from outsider to insider is even more so. In this thesis, the idea of transculturation conceptualised by Fernando Ortiz as well as the Freudian concept of unheimlich (uncanniness) will be applied to the works of Regine Robin, Emile Ollivier, Ying Chen, Sergio Kokis and Mona Latif-Ghattas. The object of this essay is to demonstrate that writing is in fact the sole means for the protagonists to reach a total introjection of space and to find order in the scattered components of their fragmented identity.

Thesis (Ph.D.)--University of Western Australia, 2006.

No description available.

Despite the recent increase in scholarship on the subject of the female experience in exile, there is still much to be done. Exile scholars now have at their disposal an abundance of broad, general overviews of the circumstances and fates of displaced women writers, but a dearth of scholarship that considers specific literary works in an individualised fashion still exists. This is especially true of those female writers who have only recently been 'rediscovered', such as the three under discussion in this thesis. This thesis explores in detail the exile writings of Veza Canetti, Anna Gmeyner, and Lili Korber, about which little scholarship exists, and uses them as case studies to illuminate the situation of exiled women writers in general The exile works of these three authors repay study both for their own literary merits and for what they can tell us about the individual experience of exile. In their broad similarities, these writers also provide us with case studies of the larger experience of authorial exile - particularly, but by no means exclusively, the gendered experience - that allow us to derive more general lessons about the influence of forced flight on literary art. By giving due consideration to work produced in exile, this thesis calls into question some of the generalisations commonly found in recent scholarship and demonstrates that, despite hardsrnps and setbacks and contrary to common scholarly contention, all three women continued to write well into their exile years and that in those years they took their writing in new, skilful, and creative directions.

The subject of this thesis is an examination of the acquisition in language of a new country for three Eastern European writers exiled in France. For such writers, art and life become inseparable: just as the experience of geographical displacement liberates the writer so it liberates his language. This new language becomes a field of experimentation, in which the conflicts that precipitated exile are resolved. Departure necessitates the abandonment of the mother tongue: for Cioran, Romanian; for Kundera, Czech; for Makine, Russian. For each of these three writers, studied in this thesis, the adoption of French as the language of literary expression was a decisive act. Geographically and spiritually he and his text are redefined. Separated from familiar landmarks, each finds a new terrain in the language of the creative text, a place, a private space, in which to express the realities of his new self. On the one hand this new paradigm is the expression of a rejection of a past and a tradition; on the other hand it is essential in the process of coming to self-understanding. For Cioran, Kundera and Makine the French language provides a foil to their own ruptured, fragmented, traumatised or guilt-ridden native identities. In each case the adoption of French with its concomitant stereotypical qualities and values constitutes a dialectical process of coming to a clearer sense of self.

Tomás Segovia and Angelina Muñiz Huberman belong to a group of writers known as «Hispanomexicanos». Most approaches to this generation have been towards the role that exile plays in their early work, paying almost no attention to its role after that initial stage. These approaches have been limited to the first years of their work, in the belief that those writers subsequently moved on to deal with issues which are different from those in which their experience of exile is clearly the central topic. However, through an analysis of the poetry of Muñiz and Segovia, this thesis aims to show that exile continues to play a central role beyond that first stage. It argues that their exile is transformed into a series of symbols that come to constitute a shared style and, more importantly, it proposes that their experience of exile is transformed into a feeling of existential displacement which impels a search for meaning and belonging to the world. Consequently, the conclusion presented in this thesis is that exile plays a central role in their poetry, in the sense that it expresses the ways in which these two writers search and transmit meaning and attempt to feel part of the world. Ultimately, this thesis aims to set an example of approach which could be productively taken to study the work of other writers from this generation.

Univ., Diss.--Bamberg, 2002.