A Conversation with Eugenia Seleznova In this episode, doctoral candidates Tamara Cvetković and Samriddhi Pandey interview Eugenia Seleznova, an author, researcher, and cultural manager from Ukraine. Currently, Eugenia is a PhD Candidate at Central European University, where she conducts a research on queer Ukrainian relationalities during the war. In conversation with Tamara and Samriddhi, Eugenia shares how the contexts of the post-Soviet, then revolutionary, and then, finally, wartime Ukraine have shaped her experience as an author, and directed her own shifts and transitions: between identities, regionalities, languages, genres, occupations — and ways to love and write. The conversation also touches on transnational and translingual experiences of writing through displacement, and on finding one's way as a "peripheral researcher" amidst the Western academia. The podcast transcript is available upon request. If you require a copy of the transcript please email seleznova_eugenia@phd.ceu.edu to request a copy. This episode is part of the EUTERPE podcast Library on European Literatures and Genders from a Transnational Perspective. The podcast is powered by the European Union, UKRI, and the Central European University Library. Grant Agreement: 101073012 EUTERPE HORIZON-MSCA-2021-DN-01 Project. For more information about the EUTERPE project please refer to the official project webpage https://www.euterpeproject.eu/ , or follow us on Instagram @euterpe_project_ or Facebook at EUTERPE Doctoral Network Project . This episode was produced and edited by Samriddhi Pandey and Tamara Cvetković . Thank you to Alexander Walker for the music and to Alice Flinta for the voice over. Thank you also to Ninutsa Nadirashvili and Kris Orszaghova for designing the podcast covers.

"I am not a sedentary person; I am peacefully restless": A Conversation with Elvira Dones How does an artist listen to the pain of others? How can writing represent and respect their voices? In this episode, Albanian Italian author, and English PEN Award winner, Elvira Dones talks to Alice Flinta about her process of writing, and how her life experiences inform the creative process. From life in Albania and her escape in 1988, to the asylum experience in Switzerland, to the documentary work across borders (Albania, Italy, Kosovo and the U.S.) that informs her literary endeavours, Dones offers intimate and thought-provoking insights into being transnational and living transnationally. For more info on Elvira Dones’s events and publications, see her official website http://www.elviradones.com/ Sworn Virgin is available in Clarissa Botsford’s English translation (And Other Stories, 2014). The episode transcript can be accessed here . The English translation can be accessed here . This episode is part of the EUTERPE Podcast Library on European Literatures and Genders from a Transnational Perspective. The podcast is powered by the European Union, UKRI, and the Central European University Library. Grant Agreement: 101073012 EUTERPE HORIZON-MSCA-2021-DN-01 Project. For more information about the EUTERPE project please refer to the official project webpage https://www.euterpeproject.eu/ , or follow us on Instagram @euterpe_project_ or Facebook at EUTERPE Doctoral Network Project. This episode was produced and edited by: Alice Flinta. With thanks to the Creativity Lab and Podcast studio team at the University of York . Thank you to Alexander Walker and Lilu for the music and to Alice Flinta for the voice over. Thank you also to Ninutsa Nadirashvili and Kris Orszaghova for designing the podcast covers.

Translation as Deep Reading: A Conversation and a Poetry Reading This episode features a poetry reading and roundtable on the joys and challenges of translating multilingual authors and texts. The conversation centres around a reading of Hope Mirrlees’s Paris / Parigi , delivered in English, French, and Italian by Nicoletta Asciuto, Boriana Alexandrova, Enora Le Roux, and Zoé Porchet. Alongside the readings, Dr. Nicoletta Asciuto discusses her interest in recuperating early twentieth-century women authors through translation, and her recently published Italian translation of Hope Mirrlees’s Paris: A Poem (1920). Dr. Boriana Alexandrova also discusses the power and peculiarity of infamously impenetrable multilingual texts, like James Joyce’s Finnegans Wake (1939), and archives, such as the messy and marvellous post-war archive of Surrealist queer couple and anti-Nazi Resistance fighters, Claude Cahun and Marcel Moore. Dr. Nicoletta Asciuto is a Senior Lecturer in Modern Literature at the University of York and a member of the EUTERPE consortium. Her recent publications include a cluster for Modernism/modernity , entitled “Modernist Periodical Studies and the Transnational Turn” (2023), and her monograph Brilliant Modernism: Cultures of Light and Modernist Poetry (2025). Her Italian translation of Hope Mirrlees’s Paris: A Poem (1920), the first translation of Mirrlees’s work into Italian, is out with Interno Poesia. Dr. Boriana Alexandrova is a Senior Lecturer at York's Centre for Women's Studies and York’s PI for EUTERPE. She is a scholar of European modernism, multilingualism, translation, and contemporary queer and feminist writing and performance, with a focus on disability, trauma, and artistic research methods. She is the author of Joyce, Multilingualism, and the Ethics of Reading (2020) and articles on translation, gender, the body, disability, and trauma in the works of James Joyce, Eimear McBride, Carmen Maria Machado, and Claude Cahun and Marcel Moore, among others. The discussion is chaired by EUTERPE doctoral candidate Alice Flinta (University of York’s Centre for Women's Studies) and features Professor Kimberly Campanello (University of Leeds) as a guest interlocutor. Nicoletta Asciuto’s translation of Paris, published under the title Parigi , is available at the following link: https://internopoesialibri.com/libro/parigi/. This panel was originally delivered on 19/05/2025 at the fourth biannual EUTERPE Doctoral School, held at the University of York in York, United Kingdom. Please note that due to the performance and multilingual aspects of the roundtable some parts of the audio may be less clear than others. The episode transcript can be accessed here . This episode is part of the EUTERPE podcast Library on European Literatures and Genders from a Transnational Perspective. The podcast is powered by the European Union, UKRI, and the Central European University Library. Grant Agreement: 101073012 EUTERPE HORIZON-MSCA-2021-DN-01 Project. For more information about the EUTERPE project please refer to the official project webpage https://www.euterpeproject.eu/ , or follow us on Instagram @euterpe_project_ or Facebook at EUTERPE Doctoral Network Project . This episode was edited by Evangeline Scarpulla. Thank you to Alexander Walker for the music and to Alice Flinta for the voice over. Thank you also to Ninutsa Nadirashvili, Evangeline Scarpulla and Kris Orszaghova for designing the podcast covers.

Book Review 'Down with the Poor!' By Shumona Sinha, 2022 by Les Fugitives An evocative portrayal of those who arrive but never truly ‘arrive.’ Down with the Poor! is a novel about borderlands—geographic, linguistic, and personal. by Laura Bak Cely 4 August 2025 Book Review Down with the Poor! By Shumona Sinha, 2022 by Les Fugitives Assommons les pauvres! , originally published in French in 2011, has been published in English in Teresa Lavender Fagan’s exceptional translation that preserves the poetry of Shumona Sinha’s language. The author borrowed the title from one of Charles Baudelaire’s short prose poems from Le spleen de Paris , to which the novel has direct links to. This intertextual reference not only pays homage to Baudelaire but also situates Sinha’s contemporary narrative within the context of the French literary tradition. Like Baudelaire’s poem, Sinha’s novel invites readers to reflect on the complexities of power dynamics and the human implications of individual actions in the grey zones that many people inhabit. Shumona Sinha is a Bengali author who has lived in France since her early twenties. Since then, she has accumulated awards and accolades for her novels in which she explores the themes of identity, racism, and migration in both her adopted and native country. The story takes place in Paris, albeit a distant Paris, demarcated by the borders not only of a foreign territory but of another reality. The novel quickly introduces us to the world of the narrator, an Indian woman who, years earlier, migrated with her parents to France. Residing in Paris, she, whose name we never get to know, works at Ofpra, the French Office of the Protection of Refugees and Stateless People. She is an interpreter whose job is to be the communication link between people seeking political asylum, their lawyers and the officials who have the power to decide who stays and who does not. The novel, however, revolves around one fact: the narrator is detained because she struck another immigrant on the head. Monsieur K, an official, interrogates her. The echo of Kafka’s The Trial is unmistakable. Spaces that never end, doors that open and close set the tone of the story. Throughout the narrative, the protagonist grapples with her actions, attempting to rationalize and understand the motives behind her outburst to both herself and Monsieur K. Besides that, she also recapitulates scenes from her labour life: numerous men and women whose stories she had to translate. Her work, as she makes it clear, is translating, and only translating literally, without interpreting, without getting in the way, without clarifying, without explaining, and especially without taking sides. “[I]n the People’s Theatre I didn’t exist. My role was to erase myself. My entire effort consisted in not existing” (115). This marginalisation delineates the space that she is allowed to occupy as a woman, and as an immigrant. The world which the narrator inhabits exists outside the city of lights, beyond the RER (Regional Express Network) train line, behind other borders. The migrants she encounters through her work left their homelands and underwent crusades to reach France, only to realise that arriving is only the beginning of another journey: a crossing that involves other forms of violence, of erasing oneself, inventing, lying, becoming someone else. That other is the subject who will receive political asylum. Down with the Poor! highlights how the process of applying for asylum brings the veracity of the truth to a critical point. When crossing borders and arriving in another place, the truth of what earlier happened ceases to exist. “Crossing the border has something irreversible about it that resembles mourning, a secret crime, a loss of self, a loss of reference, a loss of life” (124). Through the immigration cases she recalls the narrator points out that what happened on the before or during the journey has little or nothing to do with what the immigrants need to say to gain asylum. The reasons why they fled must, in cases, be set aside and a story that meets the legal criteria for state protection must be told. “Here, everything was in the language, in the words, between the lines. The name of a river erroneously placed next to the name of a village, a vague adjective describing an incident, planted like a knife in flesh, bits of sentences uttered under one’s breath, a voice extinguished, out of fear, expectations, despair” (80). The narrator outlines the different manifestations of this necessity to reinvent the truth. She explains the challenge of translating the information given by the interlocutors. In some cases, the narrator says, it is enough to paraphrase what they said happened. In others, the inability to understand what facts are necessary within their stories, makes them fall into an abyss of lies and meaningless phrases from which no one can rescue them. As a translator, she is a witness to the full scope of human imagination. The novel does not portray human beings in terms of a simple good-versus-evil binary. Its coherence and critique lie precisely in showing that such a division does not reflect how the system works. It captures people’s desperation and reveals the thin line between those who receive asylum and those who do not. Down with the Poor! shows that it is not always the good, the innocent, or the most at risk who are granted asylum. Often, it comes down to who can tell their story most effectively. Sinha writes from an thought-provoking position in contemporary French literature. She is an outsider who has been in France for a long time and knows European literature very well, both as a great reader and as a scholar. Through the novel’s references to Kafka and Baudelaire she initiates a dialogue with canonical European literature. The exploration of alienation, bureaucracy, and existential angst as well as the dark and complex aspects of human experience, explored by Kafka and Baudelaire, serve Sinha to speak from the core of European culture and thus construct a scenario that, although still conceived as on the outskirts of Europe, is very much a part of its reality. Sinha is magnificent in the way she weaves the story. Her way of constructing the places where migrants and refugees live is reminiscent of the non-places described by Marc Augé, with the gravity that, in these cases, these places of transit are places from which it is difficult for the refugees to escape. The peripheral and temporary places are, in the end, the definitive places for them. In this profoundly human novel, the narrator leaves us with the unpleasantness that obtaining asylum, obtaining a ‘safe’ place, repeatedly implies suppressing oneself, living in non-places, trying to stay as far away as possible, arriving without ever arriving, without ever being able to be anywhere definitively, that is, today, the utopia of migration.

Andrea Abreu's 'Dogs of Summer': An in-depth exploration of working-class adolescenthood Abreu's novel places provincial life at the center stage and transforms the ordinary experiences of two young adolescents into extraordinary. Also, the novel celebrates the Canarian Spanish dialect and language difference and invites the reader to experience the narrative through a descriptive narration and imagery. by María Auxiliadora Castillo Soto 10 March 2025 Review: Abreu, Andrea. Dogs of Summer: A Novel . Translated by Carolina Hoyos. (United States: Blackstone Publishing, 2023). Andrea Abreu has earned admiration and recognition as a novelist after her novel Perros de verano was translated from Spanish to German, French, Italian, and then into English as Dogs of Summer . Because of her success, Granta, an English publishing house and literary magazine, selected Abreu among their Best of Young Spanish Language Novelists in 2021 . Abreu’s pride for her family’s working-class background, the place where she comes from, Tenerife, and her Canarian Spanish dialect are perceptible throughout her novel. Although the island where the story takes place does not have a name, there are references to places in Tenerife, and there is a volcano overlooking the inhabitants’ neighborhood which could be an allusion to the Teide. The detailed description of places in the novel takes readers around varied sceneries and spaces that influence both the characters and the narrative itself. Dogs of Summer provides a sneak peek into common daily life affairs from a young adolescent’s perspective. It is also an ode to the Canarian Spanish dialect, and an invitation to explore realist narration through the senses. Dogs of Summer is a novel that invites readers to discover life in a touristic island far away from the all-inclusive hotels and one day tours. Abreu introduces two main characters: Shit, the first-person narrator, and her best friend Isora, the one who refers to her friend as Shit. There is no reference to the narrator’s real name. Both Shit’s and the island’s names are a mystery. The story takes place during a short, but exciting and adventurous summer that the two characters spend together. They are around 10 years old and on the verge of welcoming their teen years, and with them lively experiences with friendship, sexuality, boundaries (and lack of them), family, school, boys, authorities, and many other axes of teen life. Most of the story develops at a neighborhood where everyone knows each other well and experiences similar harsh economic situations. However, the two characters also move around in other neighborhoods, the beach, the fields, computer classes, fancy hotel areas, and other places around the island. Shit’s parents are working most of the time while Isora’s parents are out of the picture, her mother passed away and her dad is not mentioned, leaving both in the care of their grandmothers. This lack of constant supervision grants the girls the freedom they need to experience life on their own and forge their own luck. Isora is a wild and open-minded person. She speaks up her mind and earns older people’s trust easily. She is curious and adventurous, and she influences Shit to go along with her ideas. Shit, on the other hand, is more prone to thinking about the consequences of their actions even though, at the end of the day, she ends up doing what Isora says. Shit loves her friend, and the way she expresses herself about Isora signals that she is the most important person to her. There is no clear boundary between romantic love and friendship; and through Shit’s descriptions and narration, the reader empathizes with this confusion. Shit’s love for Isora is explicit, but also the anger and frustration toward Isora and her careless behavior. They spend most of their time together; and when they are not together, Shit is dreading each minute until they can reunite again. The reader is in for a treat while having access to Shit’s thoughts and experiences with her neighbors, family, and friends around the island. Through her perspective we are introduced to the inhabitants’ daily routines, such as going to the mini market, going to church, cooking, working, among other provincial activities. The readers are invited to all these places while the two main characters discover themselves through the island, which mostly offers a safe haven for them. To highlight the two characters’ daily lives, Abreu evokes pop culture through lyrics and references to specific brands and television shows that set a familiar tone in the novel. On the one hand, the author showcases the two characters’ routines. They visit their neighbors and eat their food, shave their genitals, masturbate, and play with other children. On the other hand, Abreu exposes societal topics and their influence on the two main characters. For instance, although the girls give little to no importance to societal constructions such as gender, those affect them, nonetheless. What for adults might be stereotypically masculine or feminine, for the girls does not carry such difference. For example, they talk about getting thinner and prettier through dieting, gastric balloons, and purging, but these ideas come from Isora’s grandmother who criticizes her granddaughter’s size and eating habits. Dogs of Summer is an in-depth exploration of working-class adolescenthood, but also is an ode to language variations, more specifically, the Canarian Spanish dialect. The novel’s English translation uses a mix of English and Spanish words, especially when it comes to pop culture references, while the Spanish version stays loyal to Abreu’s dialect “el Canario.” Abreu also plays with the rules of spelling and grammar and writes English words as they would sound phonetically for a Spanish speaker (forener, foc yu). She translates the orality of the language into her writing, making it possible for readers to grasp where she comes from, how her dialect is differentiated from Castilian Spanish, and how it is influential to the characters’ identity. Besides, Abreu challenges grammar rules by using constant word repetition and offering long paragraphs with no punctuation. The author revolutionizes the use of language to validate different ways of speaking and writing but she also plays with literary strategies to differentiate her novel from what is commonly accepted. For instance, there are not explicit dialogues in the novel, but she uses language in such a creative way that the different conversations camouflaged in the text are easy to follow and the character who is speaking easy to identify. Finally, Abreu’s explicit and detailed narration is an invitation to activate the senses, a creative writing device that authors use to connect the readers to the story. The emotional responses that these techniques awaken invite readers to take part in the plot through the description of vivid imagery. This connection is accomplished mostly by the description of sensations, tastes, smells, noises, and landscapes. As an outcome, the novel exhibits a strengthened presence of realism because of the way that it exalts the two characters’ adventures and dilemmas, transforming the ordinary to extraordinary. Beyond doubt, Dogs of Summer is an extravagant read, which I cordially invite readers to experience. If this review piqued your interest, you may read an excerpt from the novel here.

About the Project EUTERPE The Consortium Doctoral Candidates

Bodies in poetry, territorial dysphoria, collective politics : A conversation with Aurora H. Camero In this podcast episode, DC Marina Casado invites the poet and collagist Aurora H. Camero to talk about a wide variety of topics: poetry, migration, art, transness, erotics, and everything in-between that needs to be thought and built collectively, hand in hand. The conversation is a shapeshifting poem, where the pauses and brackets give insights on contemporary poetry and different writing strategies. Together they also converse about Camero’s two poetry collections: Violeta and La vía sutil. The conversation also merges poetry with politics and gender with territory, generating reflections about the inseparability of identity categories and the urgency of moving our bodies and our theories beyond white-centered trans and queer imaginaries. The transcript of the podcast (both in Spanish and in English) can be found here . To learn more about the Aurora H. Camero please visit: https://www.labellavarsovia.com/aurora-h-camero/ https://www.instagram.com/borealis_camero/ This episode is part of the EUTERPE podcast Library on European Literatures and Genders from a Transnational Perspective. The podcast is powered by the European Union, UKRI, and the Central European University Library. Grant Agreement: 101073012 EUTERPE HORIZON-MSCA-2021-DN-01 Project. For more information about the EUTERPE project please refer to the official project webpage https://www.euterpeproject.eu/ , or follow us on Instagram @euterpe_project_ or Facebook at EUTERPE Doctoral Network Project . This episode was produced and edited by Marina Casado Guerrero . Thank you to Alexander Walker for the music and to Alice Flinta for the voice over. Thank you also to Ninutsa Nadirashvili, Evangeline Scarpulla and Kris Orszaghova for designing the podcast covers.

The aim of EUTERPE: European Literatures and Gender from a Transnational Perspective is to offer an innovative approach to rethinking European cultural production in the light of complex social and political negotiations that are shaping European spaces and identities at present. Latest Publications Reading for Each Other Creative book reviews that facilitate an exchange of literature between doctoral candidates, allowing them to better understand each other's lives and work. Publications by Doctoral Candidates Publications by Doctoral Candidates A collection of writing – papers, articles, peer-reviewed publications, books and other media produced by the doctoral candidates. Project Updates York Festival of Ideas: Voices of Resistance Borders: Literary, Cultural and Political Dialogues 13th International Feminist New Materialisms Conference: Enfleshing Literature Beyond Words Feminism in the Global South The Susan Stanford Friedman Lecture Series Life Writing Workshop All news (8) 8 posts

Ruins, Fragments, and the Word: War, Memory, and Utopian Vision in H.D.’s Late Poetry with Raffaella Baccolini This lecture is dedicated to the memory of Susan Stanford Friedman. Susan Stanford Friedman's work was seminal for the conception of EUTERPE, and we deeply grieve her passing. She was not only a highly respected and influential scholar, but also a special friend known for her warm personality and intellectual generosity. This lecture series was created in her honour, to celebrate her legacy and to keep her presence alive. This episode features a lecture delivered by Raffaella Baccolini, a professor of Gender Studies and American and British Literature at the University of Bologna, Forlì Campus. Baccolini completed her PhD under the supervision of Susan Stanford Friedman, and has since published widely on women’s writing, H.D., modernism, dystopia and science fiction, trauma and memory, and Young Adult literature. The episode also includes a short introduction given by Jasmina Lukić, Professor with the Department of Gender Studies at Central European University in Vienna and the Principal Leader for the EUTERPE project. This lecture examines H.D.’s Trilogy (1944–1946) as a poetic response to the devastation of the London Blitz, where ruins and fragments become the ground for a visionary reimagining of culture and survival. Written amid destruction, Trilogy does not retreat into nostalgia but forges continuity through acts of remembrance and re-vision. Drawing on mythological, religious, and cultural palimpsests, H.D. enacts an alchemy of language that both records trauma and insists on the regenerative power of words. This lecture was originally delivered on 17/09/2025 at the fifth biannual EUTERPE Doctoral School, held at The University of Bologna in Bologna, Italy. The episode transcript can be accessed here : https://acrobat.adobe.com/id/urn:aaid:sc:EU:b1d8e967-5a02-4d2c-a687-cbe6bb5453f3 . The accompanying lecture slides can be viewed here : https://acrobat.adobe.com/id/urn:aaid:sc:EU:dac1b378-434b-4f01-b2d3-097fe0e47001 . This episode is part of the EUTERPE podcast Library on European Literatures and Genders from a Transnational Perspective. The podcast is powered by the European Union, UKRI, and the Central European University Library. Grant Agreement: 101073012 EUTERPE HORIZON-MSCA-2021-DN-01 Project. For more information about the EUTERPE project please refer to the official project webpage https://www.euterpeproject.eu/ , or follow us on Instagram @euterpe_project_ or Facebook at EUTERPE Doctoral Network Project . This episode was edited by Evangeline Scarpulla. Thank you to Alexander Walker for the music and to Alice Flinta for the voice over. Thank you also to Ninutsa Nadirashvili and Kris Orszaghova for designing the podcast covers.

Hélène Cixous, Echo, Subjectivity, Diffraction (Part 2): A Conversation with Professor Birgit Kaiser In this two-part episode of the EUTERPE Podcast, doctoral candidate Uthara Geetha (University of Oviedo) speaks with Professor. Birgit Kaiser (Utrecht University) about her second monograph ‘Hélène Cixous's Poetics of Voice: Echo - Subjectivity – Diffraction. Prof. Kaiser reveals how Hélène Cixous’s poetic fictions perform a radical, anti-essentialist model of subjectivity as “voice”– one that emerges not from a closed individual but from a ceaseless echo of other beings, places, and times. Kaiser introduces the concept of “echology” (ecology with a silent *h*) to reframe Cixous’s much-debated “feminine writing” as a material, relational, and deeply situated mode of becoming that includes the dead, the non-human, and the absent. Through a diffractive reading that thinks with Cixous rather than merely about her, this podcast shows how her work offers a timely, decolonial, and eco-logical path for reimagining selfhood, solidarity, and critique in the twenty-first century. The episode transcript can be accessed here . This episode is part of the EUTERPE podcast Library on European Literatures and Genders from a Transnational Perspective. The podcast is powered by the European Union, UKRI, and the Central European University Library. Grant Agreement: 101073012 EUTERPE HORIZON-MSCA-2021-DN-01 Project. For more information about the EUTERPE project please refer to the official project webpage https://www.euterpeproject.eu/ , or follow us on Instagram @euterpe_project_ or Facebook at EUTERPE Doctoral Network Project . This episode was produced and edited by: Uthara Geetha . Thank you to Alexander Walker for the music and to Alice Flinta for the voice over. Thank you also to Ninutsa Nadirashvili, Evangeline Scarpulla, and Kris Orszaghova for designing the podcast covers.

Boriana Alexandrova University of York Principal Investigator Dr Boriana Alexandrova is Senior Lecturer in Women’s Studies at the University of York, UK and (together with Dr Nicoletta Asciuto from York’s Department of English & Related Literature) is the Primary Investigator on EUTERPE’s WP10 at York, a part of EUTERPE’s “Translational Genres” research cluster, co-supervising DC 10, Alice Flinta. At York, the team is focusing on creative and (translation) practice-led methods of research into multilingual writers’ innovative ways of crossing the borders between forms, genres, genders, and cultural, racial, and embodied positionalities. Dr Alexandrova brings expertise in literary multilingualism and translation theory, queer and gender studies, artistic and practice-led research methodologies, the medical humanities, and feminist disability studies from European modernism to the contemporary. Current research collaborations include a 5-year archival excavation, translation, and anthologisation project on the untranslated late writings of queer and multilingual Surrealist couple Claude Cahun and Marcel Moore, with Dr Birgit Kaiser (Utrecht University), and a new project on “Translingual Pedagogies” with Dr Jaya Jacobo (Coventry University). Publications: Joyce, Multilingualism, and the Ethics of Reading (Palgrave 2020) “Gender and Feminism” in Contemporary Literature and the Body (Bloomsbury 2023, ed. Alice Hall”) “Babababblin’ Drolleries and Multilingual Phonologies: Developing a Multilingual Ethics of Embodiment through Finnegans Wake ” (European Joyce Studies 2016).

Decolonisation and Caste: Untold Hierarchies In this episode of the EUTERPE Podcast, doctoral candidate Uthara Geetha (University of Oviedo) speaks with Dr. Malavika Binny (Kannur University) and Dr. Tintu Joseph (Mahatma Gandhi University) about the long history of caste as a system of hierarchy and exclusion. Beginning with B.R. Ambedkar’s seminal insights, the conversation traces caste from its Vedic origins and the Aryan migrations to its intersections with patriarchy, slavery, colonialism, and Christianity in Kerala. The episode examines how caste was reinforced under British rule, compares it with racial apartheid and white supremacy, and shows how it continues to structure oppression today. Listeners are invited to rethink caste as central to both colonial histories and decolonial futures. The episode transcript can be accessed here: https://acrobat.adobe.com/id/urn:aaid:sc:EU:394e091c-b94f-4c65-a5d7-138da9a0e450 . This episode is part of the EUTERPE podcast Library on European Literatures and Genders from a Transnational Perspective. The podcast is powered by the European Union, UKRI, and the Central European University Library. Grant Agreement: 101073012 EUTERPE HORIZON-MSCA-2021-DN-01 Project. For more information about the EUTERPE project please refer to the official project webpage https://www.euterpeproject.eu/ , or follow us on Instagram @euterpe_project_ or Facebook at EUTERPE Doctoral Network Project . This episode was produced and edited by: Uthara Geetha . Thank you to Alexander Walker for the music and to Alice Flinta for the voice over. Thank you also to Ninutsa Nadirashvili and Kris Orszaghova for designing the podcast covers.