Annedith (Aninne) Schneider | Kadir Has University (original) (raw)

Articles by Annedith (Aninne) Schneider

The World in Movement: Performative Identities and Diasporas, 2019

Whether the stories about migration are personal or academic, movement leading to settlement in a... more Whether the stories about migration are personal or academic, movement leading to settlement in a new land is usually an important part of the narrative. This paper will argue instead for the usefulness of thinking about migration not in terms of settlement but of settling. In contrast to metaphors of stasis, settling first suggests a continuing process of adaptation and change. Second, it implies the idea of making do or of accepting (at least for the moment) what is not perfect or final. Settling is anything but settled. To explore the idea of settling, this paper will focus on Franco-Turkish writer Sema Kılıçkaya’s second novel, Le royaume sans racines (2013). How and where the characters feel at home in France, even while they also continue to view the Turkish city of Antakya as home, will demonstrate that it is precisely settling (and not settlement) that permits feelings of belonging in both places.

Kadın/Woman 2000, Journal for Women's Studies, 2018

This essay examines autobiographical writing by two women who grew up in colonial Algeria; it con... more This essay examines autobiographical writing by two women who grew up in colonial Algeria; it considers how the relationship between fathers and daughters is marked by linguistic conflict. For each of these writers, language is not a simple tool, but instead a problematic inheritance that shapes her world and her relationship with her father. Assia Djebar and Leila Sebbar, who were children in colonial Algeria of the late 1940s and early 1950s, examine their relationships to Arabic and French in terms of their relationships with their families and in particular with their schoolteacher fathers. The fathers, who benefitted from French colonial education, fail to understand the different risks inherent for their daughters in transgressing conservative community and linguistic boundaries. Each writer, even as she acknowledges the benefits of the colonizer's language, also describes the language as a scene of violent trauma for which she holds her father responsible. With language and paternal love so tightly entwined, this essay argues that even in highly politicized colonial contexts, the national value of a language can only be understood if the familial and personal value of the language is also taken into account.

Journal of European Studies, 2016

Any understanding of European literature that does not include immigrant literature results in an... more Any understanding of European literature that does not include immigrant literature results in an incomplete vision of literature created in Europe. As immigrant writers have sought to find a place for themselves and their writing, the labels attached to that writing have been crucial. While such debates certainly have to do with the writers themselves and how they seek to have their writing read, they also reflect an anxiety in Europe about what counts as European literature and, not incidentally, who counts as European. To examine these issues, this article takes the example of the work of Franco-Turkish writer Sema Kılıçkaya. In contrast to the usual French fear of communautarisme, which signals for many the fragmentation of society along ethnic and religious lines, the article argues that Kılıçkaya’s writing provides another model for national and European belonging, one that depends, perhaps paradoxically, on sub-national and local belonging – in both the country of origin and the country of settlement.

Expressions Maghrebines, 2014

Le silence des rives (1993) de Leila Sebbar raconte le dernier jour de la vie d’un homme qui a immigré en France dans sa jeunesse, s’est marié avec une Française et n’est jamais rentré chez lui sur « l’autre rive. » De nombreux écrivains en exil ont parlé de l’écriture comme d’une patrie de substitution, mais peu d’entr’eux se sont intéressés au rôle du lecteur. Le protagoniste échoue à trouver un chez soi dans son écriture parce que cela dépend de la possibilité de trouver un lecteur hospitalier. C’est seulement au moment où il trouvera un lecteur hospitalier qu’il pourra trouver un chez soi dans son écriture. L’écriture est donc le moyen par lequel le protagoniste cherche – mais n’arrive pas à trouver – une communauté hospitalière.

Crossings: Journal of Migration and Culture, 2013

This article argues that the public space of theater in an immigrant language can contribute to m... more This article argues that the public space of theater in an immigrant language can contribute to making immigrants and their offspring feel at home in the host country. In France, however, there is little public support for theater in immigrant languages, since it is perceived as segregating immigrants from French cultural spaces and encouraging communautarisme, or the fragmentation of society along ethnic or religious lines, thus violating the spirit of equality inscribed in the constitution. Through interviews with the Turkish-French theater group Kebab Show and analysis of their plays, this paper argues that what anti-communautaristes see as theater intended to segregate immigrant communities may instead contribute to making them at home in France. For older members of the community, native-language theater provides a bridge between the country of origin and France. For their children and grandchildren born in France, this native-language theater publicly acknowledges a part of themselves that is usually relegated to private home spaces. Filled with word play and humorous situations that require knowledge of both Turkish and French cultures, such theater suggests the important role that native and bilingual theater can play in the process of helping all the generations of an immigrant community feel at home.

Perspectives on the ‘Migrant Cosmopolitans’: Narratives of Contemporary Postcoloniality, 2013

After the U.S., France may have the largest number of rap musicians and audience members in the w... more After the U.S., France may have the largest number of rap musicians and audience members in the world. In terms of numbers, rap is clearly not a marginal phenomenon in France. In terms of politics, however, French rap is still often regarded as a music that eschews commercial success in favor of communicating political messages that challenge the status quo. Songs often focus, in particular, on life in urban housing projects on the outskirts of French cities. Unlike U.S. rap, however, they do not usually describe the problems of urban youth in terms of race or ethnicity. In contrast to U.S. rap which is largely associated with African American experience, French rap is anything but ethnically homogenous, perhaps most famously represented by the expression “Black, Blanc, Beur.”
This paper will examine the work of rap musicians in France who are the children of Turkish immigrants, the so-called “second generation.” They were born in France or arrived there at a young age, and all of their education has been in French schools. Yet when they turn to music, they often rap in Turkish or mix of Turkish and French and the identity that they proclaim visually in their clips is more tightly tied to Turkish rather than French identity. Does their critique of their position within French society indicate a desire for belonging, as is the case with many other rap groups, or is their choice of Turkish instead a sign of a rejection of French identity? How do their linguistic choices and the messages of their lyrics place them within the canon of French rap, or on the other hand, indicate their marginalization?

Le Maghreb writes back. Figures de l'hybridité dans la culture et la littérature maghrébines, eds. Alfonso de Toro and Charles Bonn, 2009

Fériel Assima’s Rhoulem, ou le sexe des anges, published in 1996, is clearly marked by the civil ... more Fériel Assima’s Rhoulem, ou le sexe des anges, published in 1996, is clearly marked by the civil crisis affecting Algeria since 1991. Scenes of violence run throughout this novel, which details not only the life and death of the title character, but also the ever-present threat of violence at every level of Algerian society in the mid-1990s. This violence is experienced most directly by those who fail to qualify as men¬--be they women or those perceived to be incomplete or effeminate men; the title character, a hermaphrodite, not surprisingly, is subject to the most extreme violence.
Rhoulem’s fate is a direct result of his failure to “matter,” in Judith Butler’s words. As Butler notes, some bodies emphatically do not matter in the sense that they are simultaneously unintelligible, have no political status, and therefore cannot be said to exist as such. A hermaphrodite is an extreme example of unintelligibility. Possessing elements of both sexes and yet belonging to neither, a hermaphrodite seems to defy classification. Rhoulem’s violent death at the hands of others can occur because, in a sense, he never existed at all. Drawing primarily on the work of Judith Butler, but also of Michel Foucault and Thomas Laqueur, this paper considers how Rhoulem’s sex is constructed as male, what happens when that pretense is put into question, and how it may reflect recent events in Algeria.
In a novel otherwise permeated with violence, it may seem odd that an apparently peaceable activity such as sewing occupies a central place. Rhoulem passes his adolescence in a sewing workshop, and as an adult, dreams of opening a shop selling sewing supplies. In fact, this preoccupation with sewing is directly related to Rhoulem’s status as a hermaphrodite, as well as to the larger political statement of the novel. Just as Rhoulem’s sex is described as a joining of two sexes, sewing is an activity that joins pieces of cloth together to make whole garments, and Rhoulem’s desire for the materials of sewing may reflect a desire to make whole things from parts. Assima’s novel suggests a link between Rhoulem’s desire and the search to find a way to get Algeria’s parts to hold together without violence.

Midwest/Modern Language Association Journal 40.1, 2007

Journal for the Study of Religion 19.2, 2006

Numerous books and articles have dealt with the violence of the 1990s civil war in Algeria. Socio... more Numerous books and articles have dealt with the violence of the 1990s civil war in Algeria. Sociological and historical studies, as well as news reports and literary works have sought to contain the violence, by describing and explaining it and in some way give meaning to what seemed to be, at times, meaningless and near-random killing. Often these written works, in looking for the origins of the violence, seek to place blame, to find comfort in understanding, and finally to move on. Yet they remain unsatisfactory because their focus on origins and causes doesn’t allow for adequate consideration of current experience of this past violence. Algerian writer Assia Djebar’s 1995 work Algerian White is particularly interesting in this respect as she links recent violence, death and loss to her choice of language in this painful period of Algerian history and in earlier periods of conflict. This paper further argues that Djebar’s reference to traditional modes of mourning, such as the elegy, are particularly appropriate to the subject of her book.

Violence and Transgression in World Minority Literatures. Ed. Rüdiger Ahrens et al. Heidelberg: University Press Winter, 2005

Sebbar’s Shérazade novels repeatedly take up not only themes of belonging, but also the physical ... more Sebbar’s Shérazade novels repeatedly take up not only themes of belonging, but also the physical violence young people experience at the hands of authorities and the psychical violence that comes from a sense of disconnection from both their parents’ culture and that of France. These novels are certainly interested in questions of center and margin, especially as concerns the elaboration of a French cultural identity. Making a claim to belonging, however, is obviously not the same as having it accepted, and Sebbar’s title character often faces violence as a result of being perceived as an outsider. In the first two novels, Sebbar’s narrative is multi-voiced, so that the structure of the text matches the political content. This concern with belonging and violence continues in Le Fou de Shérazade, but in this third novel of the trilogy, the multiplicity is mitigated as a single anonymous narrator conducts the narrative. In this light, it is no accident that violence occupies such a central place in this text compared to the first two novels of the trilogy. On the one hand, Shérazade’s ability to link different people and their cultural traditions throughout the trilogy suggests hope; on the other hand, the narrative structure of the third novel is more pessimistic. In the end, Sebbar’s work is both an encouragement to seek out the other and a cautionary tale.

The Nation of the Other: Constructions of Nation in Cultural and Literary Discourses. Ed. Anna Branach-Kallas and Katarzyna Wieckowska. Torun: Nicholas Copernicus University Press., 2004

This article, focusing on the work of one of Algeria’s best-known women writers, Assia Djebar, co... more This article, focusing on the work of one of Algeria’s best-known women writers, Assia Djebar, considers the kind of place available for women in the nation and communities of Algeria. Despite national Constitutional guarantees of suffrage, women are excluded from membership in the local councils, and nationally, women have suffered the humiliation of 1984 Family Code, which among other things makes it impossible for a woman to pass on her citizenship to her children, should she marry a foreigner. While women have been accorded a symbolic role in the nation or community, as citizens or sisters, their actual participation is often limited. Djebar’s work, on the other hand, imagines women both as central to Algerian nationhood and as part of a transnational community of women.

A little discussed 1969 play co-written by Djebar and Walid Carn, entitled Rouge l’aube, presents the conflict between a brother and sister over the sister’s desire to leave home and join the Independence fighters. Her brother sees her revolt against the family as betrayal, and thus as support for the French, ironically the colonizer she would like to fight. By not assigning the characters proper names, but only positions within the family, the play presents women’s ambiguous position as members of the national family, rather than restricting the issues to a specific biological family. But however much Djebar’s characters may long for a sense of community, whether among women or within the nation, Djebar also makes clear the difficult nature of such community, portraying it as a nearly impossible ideal. Yet the imagining of such communities may be the beginning of resistance to national and local communities that have thus far excluded women or sought to silence them.

.” CELAAN Revue (Revue du Centre d’Etudes des littératures et des Arts d’Afrique du Nord) 3.1-2, 2004

On 17 Oct. 1961, just months before Algeria won independence from France, police savagely repress... more On 17 Oct. 1961, just months before Algeria won independence from France, police savagely repressed a peaceful demonstration of 30,000 Algerian men, women and children in Paris. Although more than 100 people were killed and thousands injured, this incident was little spoken about until the 1990s. Leila’s Sebbar’s 1999 novel La Seine était rouge presents multiple recollections of the event, but they are not nearly as contradictory as one might expect from an event that was publicly so long unacknowledged. Despite the many different accounts in her narrative, Sebbar only gives voice to one unrepentant perpetrator. In other situations of state violence, it has been argued that for healing to occur, both victims and offenders must speak. Sebbar’s text, however, works towards reconciliation by not telling the whole story and by ignoring the voices of perpetrators. Nonetheless, the relationship between parents, who were survivors of the event, and their children underscores how the violence must be remembered and commemorated if it is not to be repeated.

Gender Forum 5, 2003

Traditional accounts of war define it as a masculine enterprise and war narratives thus as the wo... more Traditional accounts of war define it as a masculine enterprise and war narratives thus as the work of men. Such accounts have also been used to justify a special role for men within the nation, as wartime experience supposedly makes them eminently qualified to be leaders. Within European literatures, critics have begun to challenge this picture, as they rediscover and re-place women’s narratives of war within the canon of war literature, focusing in particular on redrawing the boundaries between the frontlines and the home front.
In contexts where women have joined in opposing colonial occupation of their homes and land, such as in the Algerian Independence War, one might expect that such conflicts would necessarily accord a larger place to women’s narratives. After all, the “frontline” involved entire regions, and women were often in the middle of combat. Algerian national memory of the war, however, almost completely erases women. As she intertwines both formal written histories of the war and oral narratives of women who participated in the war, Algerian writer Assia Djebar places women as central to the wartime construction of the nation, thus also according them space within the current national community.

International Journal of Cultural Studies 5.4 , 2002

Books by Annedith (Aninne) Schneider

This book argues that in contrast to the language of integration or assimilation which evaluates ... more This book argues that in contrast to the language of integration or assimilation which evaluates an immigrant’s success in relation to a static endpoint (e.g. integrated or not), “settling” is a more useful metaphor. Immigrants and their descendants are not definitively “settled,” but rather engage in an ongoing process of adaptation. In order to understand this process of settling, we must pay particular attention to immigrants not only as consumers, but as producers of culture, since artistic production provides a unique and nuanced perspective on immigrants’ sense of home and belonging, especially within the multi-generational process of settling. To ground these arguments in a concrete example, this book looks at music, theatre and literature by artists of Turkish immigrant origin in France. While the book treats a particular group of "second generation" immigrants, its insights concerning cultural production, home and belonging are relevant to other immigration contexts, as well.

Projects and Awards by Annedith (Aninne) Schneider

This study examines artistic production by second generation Turks in France. As Turkey negotiate... more This study examines artistic production by second generation Turks in France. As Turkey negotiates with the European Union for membership, Europeans are looking at Turkish immigrants in Europe as an indication of what it would mean to have Turkey in the EU. Sociological, political and economic studies of Turkish immigrants and their offspring provide valuable information about their adaptation to French society. This study argues, however, that a new cultural perpective is also needed in order to allow second generation immigrants to speak about their own experiences and strategies for combining two cultures. The advantage of this approach is that, rather than making broad generalizations about a community as a whole, it shows immigrants as creative individuals using art to explore complexities that do not readily resolve themselves into statistical data. In music, theater and literature, second generation Turks demonstrate that integration in French society does not necessarily mean leaving Turkish culture behind.

Papers by Annedith (Aninne) Schneider

Turkish Immigration, Art and Narratives of Home in France

ABSTRACT

Journal of European Studies, 2016

The World in Movement: Performative Identities and Diasporas, 2019

Kadın/Woman 2000, Journal for Women's Studies, 2018

Journal of European Studies, 2016

Expressions Maghrebines, 2014

Crossings: Journal of Migration and Culture, 2013

Perspectives on the ‘Migrant Cosmopolitans’: Narratives of Contemporary Postcoloniality, 2013

Le Maghreb writes back. Figures de l'hybridité dans la culture et la littérature maghrébines, eds. Alfonso de Toro and Charles Bonn, 2009

Midwest/Modern Language Association Journal 40.1, 2007

Journal for the Study of Religion 19.2, 2006

Violence and Transgression in World Minority Literatures. Ed. Rüdiger Ahrens et al. Heidelberg: University Press Winter, 2005

The Nation of the Other: Constructions of Nation in Cultural and Literary Discourses. Ed. Anna Branach-Kallas and Katarzyna Wieckowska. Torun: Nicholas Copernicus University Press., 2004

.” CELAAN Revue (Revue du Centre d’Etudes des littératures et des Arts d’Afrique du Nord) 3.1-2, 2004

Gender Forum 5, 2003

International Journal of Cultural Studies 5.4 , 2002

Turkish Immigration, Art and Narratives of Home in France

ABSTRACT

Journal of European Studies, 2016

Turkish Immigration, Art and Narratives of Home in France, 2016

Background Primary aldosteronism is the syndrome resulting from the autonomous hypersecretion of ... more Background Primary aldosteronism is the syndrome resulting from the autonomous hypersecretion of aldosterone. There is a lack of data concerning follow-up of patients with primary aldosteronism. Therefore, the aim of the study was to perform follow-up of patients with primary aldosteronism in relation to biochemical parameters and target organ damage. Material and methods We evaluated 62 patients with primary aldosteronism (PA) diagnosed and treated in the Department of Hypertension, Institute of Cardiology, Warsaw, Poland. Clinical characteristics, biochemical, serum aldosterone level, plasma renin activity as well as echocardio-graphic parameters and blood pressure (ABPM) were evaluated at baseline and in the follow-up. Patients were divided into two group based on the type of underlying pathology and treatment type-adenoma of adrenal cortex (APA) treated surgically and idiopathic adrenal hyperplasia (IHA) treated medically (spironolactone). Results Surgical treatment of the adenoma of adrenal cortex and medical treatment of idiopathic adrenal hyperplasia resulted in the improvement of BP control. In the follow-up APA group was characterized by lower diastolic BP level but not systolic BP level as compared with IHA group. Left ventricular mass index decreased significantly in the APA group but not in the IHA group. There was a correlation between left ventricular mass index and systolic BP level both in the APA and IHA group. Conclusions Treatment of both adenoma of adrenal cortex and idiopathic adrenal hyperplasia resulted in the improvement of BP control. Decrease of left ventricular index was observed in patients with adenoma but not in patients with hyperplasia.

Journal for the Study of Religion, 2007

Numerous books and articles have dealt with the violence of the 1990s civil war in Algeria. Socio... more Numerous books and articles have dealt with the violence of the 1990s civil war in Algeria. Sociological and historical studies, as well as news reports and literary works have sought to contain the violence by describing and explaining it and, in some way, give meaning to what seemed to be, at times, meaningless and random killing. In looking for the origins of the violence, these written works seek to place blame, to find comfort in understanding and, finally, to move on. Yet they remain unsatisfactory because their focus on origins and causes does not allow for adequate consideration of current experience of this past violence. Algerian writer Assia Djebar's 1995 work Algerian White is particularly interesting in this respect as she links recent violence, death and loss to her choice of language both in this painful period of Algerian history and in earlier periods of conflict. This paper further argues that Djebar's reference to traditional modes of mourning, such as the elegy, are particularly appropriate to the subject of her book. Journal for the Study of Religion Vol. 19 (2) 2006: pp. 41-52

International Journal of Cultural Studies, 2002

• InTurkish universities, the humanities and social sciences have for years been at the bottom of... more • InTurkish universities, the humanities and social sciences have for years been at the bottom of the academic pecking order, and academicians in general have been expected to stay out of politics. Given its base in humanities and social sciences and its overt political engagement, cultural studies would not at first seem destined for a brilliant future in Turkey. The academic climate is changing, in particular with the recent establishment of several private universities. Yet students show little inclination to take a course of study that, to their eyes, does not lead to a career. This article addresses the pragmatic issues of both persuading students that cultural studies is relevant (yes, and useful) and deciding which courses will make a coherent program of study. It argues that cultural studies' involvement with the `real world' might stimulate a renewed interest in the humanities and social sciences — and, along the way, perhaps reinject some politics back into academia •

Literature classrooms in the US include increasing numbers of students whose first language is no... more Literature classrooms in the US include increasing numbers of students whose first language is not English. My experience with non-native Eng lish speakers takes place in an entirely different context, that of an Eng lish-medium university in Turkey. Certainly, the political and social impli cations of weak academic English differ in a Turkish classroom. Valdes, for example, writes about the prejudice that awaits many non-native speakers, as well as speakers of non-standard varieties of English, in US classrooms. But I would argue that linguistic weaknesses may in fact present an oppor tunity for strengthening critical skills. Reading literature always means stepping out of a comfortable linguistic space and into the unfamiliar. As one critic has noted, "[M]ost great works of the imagination were meant to make you feel like a stranger in your own home" (Crosby 94). Non native speakers are perhaps more ready than native speakers for this expe rience since they expect to mee...

The articles gathered in this volume focus on counter-narratives of the nation that question the ... more The articles gathered in this volume focus on counter-narratives of the nation that question the dominant nationalist representations and explore the mechanisms of manufacturing national unity through the exclusion of alterity. The contributors attempt to answer several questions connected with the problematic concept of nation: How does the nation write its other(s)? How does the other re-write the nation? What cultural artefacts are instrumental in the processes of continual re-inscription? How is one's nationality lived? What symbolic practices does the formation of national identity entail? What is the role of the category of "nation" in the production of race, gender, bodies? What are the restrictions as well as the potential openings present in the notion of nation? The Nation of the Other gathers multiple perspectives and identifies various aspects of alterity in national discourses and their counter-narratives. The editors hope that the volume, showing differen...

Expressions Maghrebines, 2014

Leila Sebbar’s Le silence des rives (1993) follows the last day in the life of a man who immigrat... more Leila Sebbar’s Le silence des rives (1993) follows the last day in the life of a man who immigrated to France in his youth, married a French woman and never returned to his home on “the other shore.” Many writers in exile have spoken of writing as a substitute homeland, but few have addressed the role of the reader. This essay argues that Sebbar’s protagonist fails to find a home in his writing because to do so depends on finding a hospitable reader. Only once a hospitable reader takes in his writing might he then find a home in his writing. Writing is thus the means by which the protagonists seeks – and fails to find – a hospitable community. Le silence des rives (1993) de Leila Sebbar raconte le dernier jour de la vie d’un homme qui a immigre en France dans sa jeunesse, s’est marie avec une Francaise et n’est jamais rentre chez lui sur « l’autre rive. » De nombreux ecrivains en exil ont parle de l’ecriture comme d’une patrie de substitution, mais peu d’entr’eux se sont interesses ...

Leila Sebbar's Sherazade novels repeatedly take up not only themes of belonging, but also the... more Leila Sebbar's Sherazade novels repeatedly take up not only themes of belonging, but also the physical violence young people experience at the hands of authorities and the psychical violence that comes from a sense of disconnection from both their parents' culture and that of France. These novels are certainly interested in questions of center and margin, especially as concerns the elaboration of a French cultural identity. Making a claim to belonging, however, is obviously not the same as having it accepted, and Sebbar's title character often faces violence as a result of being perceived as an outsider. In the first two novels, Sebbar's narrative is multi-voiced, so that the structure of the text matches the political content. This concern with belonging and violence continues in Le Fou de Sherazade, but in this third novel of the trilogy, the multiplicity is mitigated as a single anonymous narrator conducts the narrative. In this light, it is no accident that viole...

This essay examines autobiographical writing by two women who grew up in colonial Algeria; it con... more This essay examines autobiographical writing by two women who grew up in colonial Algeria; it considers how the relationship between fathers and daughters is marked by linguistic conflict. For each of these writers, language is not a simple tool, but instead a problematic inheritance that shapes her world and her relationship with her father. Assia Djebar and Leila Sebbar, who were children in colonial Algeria of the late 1940s and early 1950s, examine their relationships to Arabic and French in terms of their relationships with their families and in particular with their schoolteacher fathers. The fathers, who benefitted from French colonial education, fail to understand the different risks inherent for their daughters in transgressing conservative community and linguistic boundaries. Each writer, even as she acknowledges the benefits of the colonizer’s language, also describes the language as a scene of violent trauma for which she holds her father responsible. With language and paternal love so tightly entwined, this essay argues that even in highly politicized colonial contexts, the national value of a language can only be understood if the familial and personal value of the language is also taken into account.

Traditional accounts of war define it as a masculine enterprise and war narratives thus as the wo... more Traditional accounts of war define it as a masculine enterprise and war narratives thus as the work of men. Such accounts have been used to justify a special role for men within the nation, as wartime experience supposedly makes them eminently qualified to be not only military but also civilian leaders. While one might begin by challenging the premise that war experience qualifies one for a special civilian status, readers of European literature have also challenged the idea that war narratives are the work of men alone. As critics rediscover and re-place women's narratives of war within the canon of war literature, they have focused in particular on redrawing the boundaries between the frontlines and the home front. [...] Where women have joined in opposing colonial occupation of their homes and land, such as in the Algerian Revolution, the 'frontline' involves entire regions, and women are often in the middle of combat.

Turkish immigration, art and narratives of home in France