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.

Thesis (M.A.)--Texas State University--San Marcos, 2009. / Vita. Includes bibliographical references (leaves 39-42). Also available on microfilm.

abstract: In the early-twentieth-century United States, Jewish and European immigrant scholars, musicians, and composers dominated the academic, orchestral, film and popular music scenes. While some of these musicians immigrated voluntarily, others, having fled the genocide of the Holocaust, were forced into exile due to religious and political persecution. Musicians were often targeted by the Nazi regime for performing and advancing banned music, composing modernist works, or for their religious or political beliefs. The United States upheld strict, pre-World War Two immigration quotas and laws that limited relocation. Specialized rescue agencies arose to help these exiles settle in the United States. Meanwhile in 1924, American composer Mark Brunswick (1902-1971) moved to Europe and later studied with Nadia Boulanger. He found his niche among members of the Second Viennese School. Brunswick returned to the United States in 1938 and founded the National Committee for Refugee Musicians (NCRM), originally called the Placement Committee for German and Austrian Musicians, to aid in the relocation and job placement of at-risk musicians and their families during World War Two. This thesis briefly explores Brunswick’s life, and then more closely addresses the formation of the NCRM, its members, those who received aid, and partnering organizations. Finally, cases in point illustrate the varied ways in which the NCRM helped musicians in exile. Brunswick and the Committee played a major role in American musical history, yet no major studies have focused on them. With the NCRM’s assistance, many refugees thrived in and contributed to America’s musical landscape. By exploring letters, memoranda, and other unpublished archival documents, I will show how Brunswick and the NCRM affected U.S. musical life beginning in the 1930s. The positive effects of this germinal group endure today. / Dissertation/Thesis / Masters Thesis Music 2015

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.

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.

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.

During the twentieth century, the former Czechoslovakia was at the forefront of Communist takeover and control. Soviet influence regulated all aspects of life in the country. As a result, many well-known political figures, writers, and artists were forced to flee the country in order to evade imprisonment or death. One of the more notable examples is the writer Milan Kundera, who fled to France in 1975. Once in France, the notion of exile became a prominent theme in his writing as he sought to expose the political situation of his country to the western world--one of the main reasons why he chose to publish his work in French rather than in Czech. This thesis analyzes the themes of language and memory in connection with exile in two of Kundera's novels, Le livre du rire et de l'oubli (1978) and L'Ignorance (2000). We contend that these concepts serve as anchors and tethers, stabilizing forces meant to help exiled characters recreate their identity outside of their homeland. By exploring notions of language and memory in these novels, Kundera demonstrates how the experience of exile affects the human condition during the latter half of the twentieth century.