Reshuffling: Feminist Collaboration and Transnational Solidarity with Rebecca L. Walkowitz 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 Rebecca L. Walkowitz, Claire Tow Professor of English and Provost and Dean of the Faculty at Barnard College. The episode also includes an 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. The lecture pays tribute to the legacy of Susan Stanford Friedman as a scholar and mentor by reflecting on the concept of “reshuffling,” which Friedman developed in her later work as a way of thinking about feminist collaboration across differences of generation, nationality, race, religion, and class. Sewing together moments from Friedman’s scholarship across several decades, the lecture highlights her persistent engagement with models of feminist collaboration and transnational solidarity that she finds in the writings of Virginia Woolf, as well as in the work of other readers and re-writers of Woolf’s texts. “Reshuffling” is the methodology Friedman derives from this dynamic of reading and writing over generations. It is a methodology she both describes and performs, and in that sense it demonstrates her commitment to creativity as well as to criticism, to building up ideas in the presence and on the shoulders of distant others, and to making room for future generations to build up anew and to stand on her shoulders in turn. This lecture was originally delivered on 11/09/2024 at the third biannual EUTERPE Doctoral School, held at Central European University in Vienna, Austria. 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 and Kris Orszaghova for designing the podcast covers.

< Back Transnationalism This is placeholder text. To change this content, double-click on the element and click Change Content. Want to view and manage all your collections? Click on the Content Manager button in the Add panel on the left. Here, you can make changes to your content, add new fields, create dynamic pages and more. You can create as many collections as you need. Your collection is already set up for you with fields and content. Add your own, or import content from a CSV file. Add fields for any type of content you want to display, such as rich text, images, videos and more. You can also collect and store information from your site visitors using input elements like custom forms and fields. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Preview your site to check that all your elements are displaying content from the right collection fields. Previous Next

Team Lodz Dorota Golańska Principal Investigator Dorota Golańska is an associate professor (Cultural Studies and Religion) at the Department of Cultural Research, University of Lodz, Poland. She has degrees in Cultural Studies, Literary Studies and International Studies. Her research interests include feminist approaches to political violence and studies of collective memory, especially in relation to traumatic experiences and their representation in culture. She also works on such issues as creative strategies of resistance as well as intersections of memory, art and activism. Justyna Stępień Researcher Justyna Stępień is an assistant professor in the Department of British Literature and Culture and the co-founder of the Posthumanities Research Centre, University of Lodz (Poland). Her research engages with ways of conceiving ethical and political actions in contemporary art, analysed from the methodological perspective of feminist theories, new materialisms, and critical posthumanism. She belongs to an international research group/collective, The Posthuman Art and Research Group (aka Dori. O), which comprises artists and researchers from Europe and Canada. She is the author of Posthuman and Nonhuman Entanglements in Contemporary Art and the Body (Routledge, 2022), which explores how art can conceptualise the material boundaries of entangled beings.

Evangeline Petra Scarpulla Interested in speculative and imaginative genre criticism, contemporary feminist literary theory, and decolonizing the canon, Evangeline Scarpulla holds a BA in Comparative Literature with Honours from King’s College London and an MSc in Comparative Literature from the University of Edinburgh. During her MSc she explored how contemporary fantasy writers are reimagining the conventions of the genre through her dissertation entitled ‘Folklore in Fantasy: Challenging the Western Conventions of the Genre through a Critical Comparison of Marlon James’s Black Leopard Red Wol f and Tolkien’s Lord of the Rings .’ Research topic Building off her previous explorations into broadening representation in imaginative genres and global literature, Evangeline’s PhD thesis will discuss how transnational feminist authors in Europe communicate narratives of resistance through ‘minor’ literary genres, including fantastic and speculative fiction, magical realism, and graphic novels. Investigating the close relationship between form and content, the thesis will discuss how many migrant female authors reach to border-defying and experimentative genres because their characteristics mirror their own liminal social positioning and hybrid identities. By challenging prevailing notions of fixed genres and truth vs. fantasy, these narratives overturn traditional binaries and ideas of nationalism, creating a unique transnational community of writers, readers, and thinkers. The research will be conducted in conversation with postcolonial and contemporary genre critics such as Homi K. Bhaba, Ebony Elizabeth Thomas, Nnedi Okorafor and Helen Young, contributing to efforts to expand the subjectivities represented in our ‘collective imagination.’ (Thomas, 2019). Previous Next

“Use the Words You Have to Get the Words You Need” with Kimberly Campanello 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 given by Kimberly Campanello, which weaves together her recent published and unpublished writing and her reading in neuroscience and literary criticism, including Susan Stanford Friedman’s writing on H.D., who has significantly influenced Campanello's work. During the performance-lecture, the audience participated in a multilingual circumlocution activity, the prompts for this activity are included in the accompanying lecture slides for listeners who would like to follow along. Kimberly Campanello is a poet, performer, and writer, and a professor of poetry at the University of Leeds. The performance-lecture includes an introduction given by Nicoletta Asciuto, a Senior Lecturer in Modern Literature at the University of York, translator, and co-investigator at York for the EUTERPE consortium. This lecture was originally delivered on 20/04/2025 at the fourth biannual EUTERPE Doctoral School, held at the University of York in York, United Kingdom. The accompanying slides can be accessed here . The slides include the full titles of work by Campanello and others that are featured or referenced in the lecture. Campanello’s “Paradiso 4” from “Beginning Imperfectly Wanting,” Book 1 of This Knot: a new version of Dante’s Commedia with the Poet K , dedicated to Nicoletta Asciuto, Bobby Alexandrova, and Alice Flinta, can be read here . Excerpts of this work were read by the poet during the lecture. The episode transcript can be accessed here . Please note that due to the performance aspect of the lecture some parts of the audio may be less clear than others. For more information on Kimberly Campanello’s events and publications, see her official website https://www.kimberlycampanello.com/ . 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. Photo Credit: Olivia Braggs.

Doctoral Candidate 1 Host Institution: CEU PU Mobility Institution: University of Oviedo WP 1: Transnational turn in literary studies: Looking from Central and Eastern Europe Objectives: This individual research project belongs to the overarching research area Transnational women’s literature and its travels: points of entry and pathways, which brings together WP1 and WP2. In this framework DC1 will engage with larger questions of transnational feminist literary theory with an aim to explore impacts of transnational turn upon methods of literary interpretation (narrative methods, close and distant reading, content analyses). The research will focus in particular on specific problems of traveling concepts and traveling theories; problems of studying identities in literary texts; questions of multilingualism and literary translations. Doctoral Candidate 2 Host Institution: University of Oviedo Mobility Institution: CEU PU WP 2: Mapping the "strangeness of Europe" in transnational women's writing Objectives: DC2 will be researching the ways in which women’s writing in Europe, especially those following the routes of migration from Africa and the Caribbean (and, to a lesser extent Asia), produce transnational writing and offer an alternative, gendered and sometimes multilingual map of European cities and conviviality. Applying a framework adapted from postcolonial theory, gender studies and neo- cosmopolitan studies, and embracing the performative theories of literature as a world-making activity, the research will approach diasporic women’s texts and explore the extent to which migrants, refugees and “post-multicultural” writers may constitute today’s cosmopolitans and provide a “hinge” between national cultures and transnational perspectives (Sneja Gunew 2017). It will focus on how literatures produced in the territory of what Chris Rumford (2016) terms “the strangeness of Europe”, the multiple Europes in their “disconnected contiguity”, may create a new narrative of Europe and innovative genres and linguistic practices. Doctoral Candidate 3 Host Institution: University of Bologna Mobility Institution: University of York WP 3: Narratives of connections and complicities in women's transnational minor literary genres Objectives: Employing a diachronic perspective, the researcher will investigate repetitive patterns in women’s transnational culture(s). Moving from this approach, he/she will take into consideration minor genres, which have often become for women and marginal subjects narratives of connections, complicities, negotiations, practices of resistance and changes. These narratives will enable geographies of identity transgressing the traditional boundaries (individual, national and collective). DC3 will focus on minorities’ literatures, and hybrid genres such as utopia, dystopia, science fiction, and/as collective autobiography and intertextual connections between transnational women. Doctoral Candidate 4 Host Institution: University of Bologna Mobility Institution: University of Granada WP 4: Transnational genres: genre/gender crossings in translation and creative practice Objectives: DC4 will select a diverse range of primary texts and transmedia works that cross borders between cultural discourses and cultures but also between genres, genders, and forms. This will be supported by the Centre for Utopian Studies and stakeholders, creative industries outside UNIBO, ERT-national theatre Emilia Romagna, and the Gender Bender Festival for visual art and dance. Doctoral Candidate 5 Host Institution: University of Utrecht Mobility Institution: Coventry University WP 5: Moving perspective: the role of transnational literary intellectuals in shaping public debate around European belonging Objectives: DC5 will investigate the contribution of women-identified, transnational intellectuals and writers into shaping public reception and debate around European belonging and identification. The project will focus on transnational literature as multilingual literature informed by migrant and postcolonial experience. Through this lens, using literary methodology (reception analysis, discourse analysis, archival research methods, combinations of close and distant reading, comparative analysis) and drawing on feminist theory, intellectual history, postcolonial studies, migration literature, media studies and critical theory, ESR5 will cartograph the diverse literary production by established, but especially also minor transnational European writers based in the Netherlands, the UK and Italy. It will analyse how these works contribute to public debate, and how they operate across national borders, gender identities and languages in these three different contexts. Specifically, it will investigate through which media and public platforms (festivals, prizes, publishing industry) they impact, seeking to combine prominent and minor literary figures to assess the diversity of gendered transnational voices. How do these voices challenge geographical and temporal methodological nationalism and create a transnational and translocal sense of European belonging? How do they contribute to rewriting and expanding the European literary canon and to developing a new understanding of the politics of belonging in Europe? Doctoral Candidate 6 Host Institution: University of Oviedo Mobility Institution: University of Utrecht WP 6: The role of transnational literatures in the decolonisation of understanding of gender within the European academe Objectives: Drawing on interdisciplinary feminist methods and methodologies, including pedagogical and textual content analyses, curricula case studies, participant observation and semi-structured interviews with educators, students and transnational intellectuals in cross-European contexts, DC6 will investigate the ways in which transnational literatures (including text, novels, poetry, play texts, digital literary media) have influenced processes of pedagogical decolonisation within the teaching of Women’s and Gender Studies. The research asks to what extent transnational intellectuals and literatures that challenge thinking about European gender identities have been deployed to develop, extend and decolonise theoretical frameworks for rethinking politics of identity within interdisciplinary gender studies. Doctoral Candidate 7 Host Institution: University of Granada Mobility Institution: University of Lodz WP 7: Transnational literatures in the making: dialogues with film, social media, streaming platforms, performative arts and new literary genres Objectives: DC7 will be researching on the ways in which transnational narratives (and experiences) resonate, interpelate or enter into dialogue with other discursive forms of expression such as film, performative arts, social media initiatives, streaming platforms, electronic literature or slam literature. This involves translations across literatures and these different media as well as across different national contexts. Such processes are partly enabled by the broad accessibility of different technologies of communication (including film, social media or streaming platforms) as well as new literary genres and literary experiments (electronic literature, slam literature). These socio-cultural transformations facilitate transnational circulation of literary narratives, or of the content of literature, often creatively reworking them in the process. Doctoral Candidate 8 Host Institution: University of Lodz Mobility Institution: University of Granada WP 8: Intermedial diffusions: creative interfaces of transnational women's literature and the arts Objectives: The individual research project will focus on the inter- and transmedial diffusions of the experiences and narratives conveyed by the selected examples of transnational women’s literature and how these transformations are shaped by the shifts of national/cultural/social contexts. The special attention will be paid to the interfaces of literature and the arts. Taking a new materialist approach, the DC9 will focus on the complex intra-action between the form and content, exploring how the change of the medium affects the content of the narrative and vice versa—how the narrative co-constitutes the operations of the medium. The research will focus on how—through trans- and intermediality—the selected narratives of transnational women’s literature reach out to and engage broader audiences, and how they are reshaped once placed in new situations of communications and new national locations. This will contribute to developing a more thorough reflection on European identities and how they are negotiated on everyday basis in and across different national contexts. Doctoral Candidate 9 Host Institution: CEU PU Mobility Institution: University of Lodz WP 1: Transnational turn in literary studies: Looking from Central and Eastern Europe Objectives: DC9 will be researching on points of entry and pathways of transnational literature in the region of Central and Eastern Europe. A space where languages and literatures of numerous small nations traditionally coexisted and mixed in rich variety, CEE is an ideal laboratory to examine transnational encounters, transculturalism, questions of identity and border-crossing. The cultural specificities and symbolic significance of CEE as a specific cultural toponym in Europe have been widely addressed from the 1970s on. However, this scholarship is traditionally leaving out majority of women-identifies writers, being focused on canonical male authors. At the same time, the cultural position and the role of CEE in post-socialist times, and in particular in times of EU enlargement, with shifting geographic and symbolic borders, requires transnational perspective in addressing critically literary production in the region. Doctoral Candidate 10 Host Institution: University of York Mobility Institution: University of Bologna WP 4: Transnational genres: genre/gender crossings in translation and creative practice Objectives: DC10 (externally funded, recruited by partner YORK) will have three main objectives: 1. To build on Walkowitz’s notion of the “born-translated” novel and Preciado’s blending of gender and sexuality studies with migrant/multilingual literary studies in order to interrogate and reimagine the definition of translingual, border-crossing writing not merely as an aesthetic effect in transnational literatures but as a genre in its own right; 2. To deepen understandings of how multilingual and migrant writing shapes and is shaped by nuanced intersections of gender, language, culture, race, class, sexuality, and disability; 3. To experiment with practice-led research methods, using translation and various forms of creative practice (e.g. creative writing, performance, mixed-media artforms), alongside social science methods (e.g. interviews, focus groups), in order to develop innovative interdisciplinary methods for approaching border-crossing artworks that challenge and question existing conventions in literary scholarship. Externally funded ESR10 will select a diverse range of primary texts and mixed-media artworks that cross borders not only between languages and cultures but also between genres, genders, and form. They will be supported by YORK’s interdisciplinary expertise, networks, and facilities for the study and practice of social science and artistic research methods. Furthermore, the Department of English & Related Literature will provide networks and training in translation, creative writing, and the creative industries. Doctoral Candidate 11 Host Institution: Coventry University Mobility Institution: University of Utrecht WP 6: The role of transnational literatures in the decolonisation of understanding of gender within the European academe Objectives: Drawing on interdisciplinary feminist methods and methodologies, including pedagogical and textual content analyses, curricula case studies, participant observation and semi-structured interviews with educators, students and transnational intellectuals in cross-European contexts, externally funded DC11 will investigate the ways in which transnational literatures (including text, novels, poetry, play texts, digital literary media) have influenced processes of pedagogical decolonisation within the teaching of Women’s and Gender Studies. The research asks to what extent transnational intellectuals and literatures that challenge thinking about European gender identities have been deployed to develop, extend and decolonise theoretical frameworks for rethinking politics of identity within interdisciplinary gender studies.

Review of Recognizing the Stranger: On Palestine and Narrative by Isabella Hammad This creative review pairs Isabella Hammad’s theoretical work – "Recognizing the Stranger: On Palestine and Narrative" with the Georgian semi-fictional 1958 film "Mamluki" to discuss themes of exile, transnationalism, subjectivity, recognizing the stranger, and what must come after. by Ninutsa Nadirashvili 10 June 2026 Review of Recognizing the Stranger: On Palestine and Narrative by Isabella Hammad Originally delivered at Columbia University on September 28, 2023, Isabella Hammad’s Recognizing the Stranger: On Palestine and Narrative has now been published by Black Cat – an imprint of Grove Atlantic – along with a more recently-written afterword on Gaza. In said afterword, Hammad writes: The world has tolerated violence against Palestinians for a long time, but this attack has exceeded that violence to an extent that has at moments been intolerable even for those who consider themselves total bystanders. But while the world’s majority may say no – hundreds of thousands in the streets of Algiers, Jakarta, London, even Berlin – US support for the Israeli government and its actions is as strong as ever.[1] Hammad’s initial lecture was organized by the Society of Fellows and the Heyman Center for the Humanities and marked twenty years since the passing of Edward W. Said, a Palestinian-American literary critic and theorist. Isabella Hammad is a British-Palestinian writer who has published two novels – The Parisian and Enter Ghost – along with numerous short stories. In 2024, she was shortlisted for the Women’s Prize for Fiction and the RSL Ondaatje Prize. Two years after the memorial gathering, BBC reports: “the world’s leading association of genocide scholars has declared that Israel is committing genocide in Gaza.”[2] Indeed, the International Association of Genocide Scholars (IAGS) passed a three-page resolution on 31 August 2025 stating that Israel’s actions fit the legal criteria defined in the UN convention on genocide.[3]Coincidentally, “IAGS Resolution on the Situation in Gaza” begins with the phrase “Recognising that”, before listing Israel’s intentional attacks against civilians in Gaza and accusing the settler-colonial state of methodical and extensive war crimes and crimes against humanity.[4] Recognizing the Stranger questions this moment of “anagnorisis as a movement from ignorance to knowledge” and demands that another act follow it.[5] In the creative review below, I approach Hammad’s theoretical ruminations through the prism of a 1958 semi-fictional film titled Mamluki – the story of two young men who are abducted from a Georgian village and sold into slavery, only to end up as soldiers on opposing sides during Napoleon’s invasion of Egypt.[6] Pairing the film with Hammad’s work, I focus on four major themes: writing and existing in the middle, transnationalism, the limited perspective of subjectivity, and finally, the act of recognizing the stranger and what must come after. When discussing her writing process for the lecture, Hammad shares, “And then I decided after all that I preferred to start in the middle, and more specifically that I wanted to talk about the middle of narratives – their turning points.”[7]So that is where I will also begin. Mamluki gains its title from the Arabic, meaning ‘one who is owned’ and explores the 18th century history of Safavid and Ottoman Empires kidnapping young people from the Caucasus and selling the men as soldiers. In decades to come, many of these foreign slaves gained political power and became part of the ruling elite.[8] The film’s protagonists are young friends – Khvicha and Gocha – who grow up in a small Georgian village. The mid-point of the film sees both children at the Istanbul Slave Market, happy to be reunited after being abducted on separate occasions.[9] Hammad muses on these occasions in narratives and lives, on human existence as that of always being in the middle. “Generations continue to be born, and we experience neither total apocalypse nor a happily-ever-after with any collective meaning beyond the endings of individual lives”, she writes.[10] Humanness considered from a collective point of view is constantly perhaps-about-to-change. Khvicha and Gocha are perpetually at the slave market, their fates soon to be decided. “Yet this narrative sense remains with us”, Hammad continues, “flickering like a ghost through the revisions of postmodernism: we hope for resolution, or at least we hope that retrospectively what felt like a crisis will turn out to have been a turning point.”[11] Arguably, it is as a response to this forever-middle that we create art, write novels, make films. Hammad draws inspiration from Sylvia Wynter’s description of the novel as a revolutionary form, “in essence a question mark.”[12] Writing, for Hammad, seems to be an active acceptance of the middle position, a place from which to ask questions and hope to make sense. Khvicha and Gocha’s joy of meeting again, however, is short-lived as one is sold to an older Mameluke from Egypt and the other to a Venetian merchant. In the years to follow, these protagonists struggle to integrate into their new surroundings, an experience which migrants are intimately familiar with. In many ways, they succeed, becoming high-ranking officials in their respective militaries. Here, characters try to forget the ‘otherness’ within. It is this assimilation that leads them to fight on opposite sides of a war. According to Hammad, a remedy for this type of migrant experience can be found in Said’s definition of Palestinianism. She writes: Palestinianism was for Said a condition of chronic exile, exile as agony but also as ethical position. To remain aloof from the group while honoring one’s organic ties to it; to exist between loneliness and alignment, remaining always a bit of a stranger; to resist the resolution of the narrative, the closing of the circle; to keep looking, to not feel too at home.[13] This can be a tall order for those who seek a sense of belonging, but Hammad argues that in today’s transnational world, with “vast population transfers, of refugees, exiles, expatriates and immigrants”, we can embrace our “diasporic, wandering, unresolved, cosmopolitan consciousness.”[14] Here, Said and Hammad are describing themselves – transnational individuals, but also referring to the non-Zionist Jews and anyone who is of “irremediably diasporic, unhoused character.”[15] So, instead of seeking total belonging, Hammad – through Said – offers a reversal of recognition: an understanding of the familiar as strange and a dismantling of fixed identity.[16] Then, through this ethical positioning in exile, Hammad claims, we can find the particular power of subjectivity, or perhaps what Sylvia Wynter terms the “gaze from below.”[17] For Wynter, the limited, oppressed, exilic positioning of a subject can form a basis for new imaginings, new ways of creating the world. At times, this rootedness in subjectivity is also a way of exposing the instability of knowledge. For example, Hammad writes, “In Joyce’s stories, the epiphanic moment is not usually a moment of understanding, however, but one that introduces a shift of perspective. A kind of partial turn.”[18] Wynter calls this a turn to face the illusory character of humanness and the acknowledgement that the divide between self/other is manufactured.[19] Even more, realising the limits of partial understanding or coming to terms with being wrong when confronted with art is what Hammad considers a “deeply pleasurable” experience.[20] In the final scenes of Mamluki , Khvicha – now wrapped in a different name, clothing and language – mortally wounds Gocha – also shrouded in a different name, clothing and language. As Gocha falls, he utters his last cry in Georgian, prompting Khvicha to recognise his childhood friend. In shock but also with a sense of inevitability, Khvicha abandons the fight and sits in the middle of a battle, holding Gocha’s lifeless body. A voice-over speaks the most iconic lines of the film – “Neither one was an Egyptian nor a Venetian. Both were hapless Georgia’s children.”[21] And then… what happens then? Hammad makes her major claim: Recognition is a kind of knowing that should incur the responsibility to act for it to have any value beyond personal epiphanies, or appeasing the critics of the one doing the recognizing. Great effort is required to ensure that such a moment marks the middle of the story, and not the finale. Another act must follow.[22] Mamluki – made during the Soviet occupation with a limited budget – gives viewers a recognition scene and, through the tragic finale, hints at the fact that mere kinship cannot keep one man from killing another. But it’s also a flawed piece, filled with uncritical conceptions of nationalism. As Hammad explains, recognition – the act of knowing the thing you knew all along but did not want to confront – is not enough. Now that the world has turned, what will we do? After all, “Individual moments of recognition are repeatedly overwhelmed by the energy of a political establishment that tells the onlooker: this is not what it looks like. It is too complicated to understand. Look away.”[23] Recognition scenes are bloody in Mamluki and in our real lives. How many must pay the price for us – those who are not on the battlefield – to admit that which we already know? Recognizing the Stranger: On Palestine and Narrative is written from the middle – middle of a life, of a genocide, of agony. Hammad believes that this middle ground is a more truthful place to speak from.[24] Throughout the text, she contemplates transnationalism and an intentional lack of belonging, as well as partial subjectivities and what must follow recognition. The death toll in Gaza is rising as I type this. Hammad calls on her readers to not give in. “Be like the Palestinians in Gaza”, she writes, “Look them in the face. Say: that’s me!”[25] I am neither Egyptian, nor from Venice but that’s me! That’s me! That’s me! [1] Isabella Hammad, Recognizing the Stranger: On Palestine and Narrative (New York: Black Cat, 2024)., 24. [2] Emir Nader, “Israel Committing Genocide in Gaza, World’s Leading Experts Say,” BBC News, September 1, 2025, https://www.bbc.com/news/articles/cde3eyzdr63o. [3] “IAGS Resolution on the Situation in Gaza,” Genocide Scholars, August 31, 2025, https://genocidescholars.org/wp-content/uploads/2025/08/IAGS-Resolution-on-Gaza-FINAL.pdf. [4] Ibid. [5] Hammad, 8. [6] Davit Rondeli, Mamluki , film (Georgia: Georgia-Film, 1958). [7] Hammad, 4. [8] Daniel Crecelius and Gotcha Djaparidze. “Relations of the Georgian Mamluks of Egypt with Their Homeland in the Last Decades of the Eighteenth Century.” Journal of the Economic and Social History of the Orient , Vol. 45, No. 3 (2002), 320–341. [9] Yvonne J. Seng, “Fugitives and Factotums: Slaves in Early Sixteenth-Century Istanbul,” Journal of the Economic and Social History of the Orient 39, no. 2 (1996): 136–69. [10] Hammad, 5. [11] Ibid. [12] Ibid., 6. [13] Ibid., 22. [14] Ibid., 21 [15] Ibid. [16] Ibid. [17] Sylvia Wynter, “The Ceremony Found: Towards the Autopoetic Turn/Overturn, Its Autonomy of Human Agency and Extraterritoriality of (Self-)Cognition,” in Black Knowledges/Black Struggles: Essays in Critical Epistemology , ed. Jason R. Ambroise and Sabine Broeck (Liverpool University Press, 2015), 207. [18] Hammad, 14. [19] Wynter, 242. [20] Hammad, 18. [21] Rondeli, Mamluki . [22] Hammad, 20. [23] Ibid., 11. [24] Ibid., 22. [25] Ibid., 28. References Crecelius, Daniel and Gotcha Djaparidze. “Relations of the Georgian Mamluks of Egypt with Their Homeland in the Last Decades of the Eighteenth Century.” Journal of the Economic and Social History of the Orient , Vol. 45, No. 3 (2002), 320–341. Hammad, Isabella. Recognizing the Stranger: On Palestine and Narrative . New York: Black Cat, 2024. “IAGS Resolution on the Situation in Gaza.” Genocide Scholars, August 31, 2025. https://genocidescholars.org/wp-content/uploads/2025/08/IAGS-Resolution-on- Gaza-FINAL.pdf. Nader, Emir. “Israel Committing Genocide in Gaza, World’s Leading Experts Say.” BBC News, September 1, 2025. https://www.bbc.com/news/articles/cde3eyzdr63o. Rondeli, Davit. Mamluki . Film. Georgia: Georgia-Film, 1958. Seng, Yvonne J. “Fugitives and Factotums: Slaves in Early Sixteenth-Century Istanbul.” Journal of the Economic and Social History of the Orient 39, no. 2 (1996): 136–69. http://www.jstor.org/stable/3632618. Wynter, Sylvia. “The Ceremony Found: Towards the Autopoetic Turn/Overturn, Its Autonomy of Human Agency and Extraterritoriality of (Self-)Cognition.” Essay. In Black Knowledges/Black Struggles: Essays in Critical Epistemology , edited by Jason R. Ambroise and Sabine Broeck, 184– 252. Liverpool University Press, 2015.

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Europe beyond Europe. On Macau, water heritage, and “the language of women.” A conversation with Mariana Pinto Leitão Pereira. Mariana Pinto Leitão Pereira is a heritage and diaspora researcher, and in this podcast she talks to York-based EUTERPE candidate Alice Flinta about what it means to be and grow up as Macanese. Having lived through Macau’s transition period and vividly remembering the handover day, she reflects on identity at the historical and political fringes of Europe, as well as what feelings of belonging are possible when the landscape changes in the blink of an eye and childhood geographies morph. As the Macanese are the “Sons of the Land” who have been led to redefine their footing time and again beyond their physical territory, we wonder whether belonging, which many populations already experience as fluid, would be better encapsulated by the flowing delta, by the changing courses of waterscapes. The episode transcript can be accessed here . Further resources: Dóci Papiaçám de Macau [The sweet language of Macau]: https://www.youtube.com/c/docipapiacamdimacau Hespanha, A. M. (2019). Filhos da Terra: Identidades Mestiças nos Confins da Expansão Portuguesa . Tinta da China. Jorge, C. (2020) Poemas para Macau . Livros do Oriente Pereira, M. P. L. (forthcoming) "Deltascapes: The Heritage of Macao’s Waterborne Communities amidst the Geoeconomics of the Pearl River Delta". International Journal of Heritage Studies . About Deolinda da Conceiçāo: https://app.pt/escritora-do-mes-itinerarios-de-pesquisa-deolinda-da-conceicao/ 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 for the music. Thank you also to Ninutsa Nadirashvili, Evangeline Scarpulla and Kris Orszaghova for designing the podcast covers.

Olga Fenoll Martínez Olga Fenoll-Martínez holds a BA in Translation and Interpreting (University of Granada) and an MA in English Literature and Linguistics (University of Granada). She has been granted with different scholarships for early researchers provided by the Spanish Government and the University of Granada, and she has also engaged in R&D research projects. In her works, Olga has aimed to display a queer approach through different intra-actions such as contemporary queer poetry, translation studies or located audiovisual cultures from a feminist new-materialist lens. Research topic Olga’s PhD project aims to tackle located and nomadic transnational womxn’s art and writings as assemblages that are in-the-making by exploring the plastic potentiality of those works through a diffracted approach guided by onto-epistemological new materialist optics and interferenced logics. Previous Next

A Conversation with Alicia Dujovne Ortiz In this episode of the EUTERPE Podcast, PhD candidate Laura Bak talks to the Argentine writer Alicia Dujovne Ortiz at her home in Paris, the city where she has lived since 1978, when she went into exile from the military dictatorship. As she describes herself, Dujovne Ortiz is an exile by birth, the daughter, granddaughter and great-granddaughter of migrants. Her most recent work, Andanzas. Trilogía autobiográfica (Buenos Aires: Equidistancias, 2022), brings together a reworking of El árbol de la gitana (1995) and Las perlas rojas (2005), alongside the publication of “Aguardiente” (2022), a previously unpublished text. The conversation explores exile and migration as central themes in her life, her work and her autobiographical writing. The discussion touches on the female characters in her work – figures with a divided, conflicted nature who come from elsewhere – and how that division is mirrored in her own experience of writing across countries and languages, in French and Spanish. There is also the theme of ‘returning’ in her autobiographical work: a journey that takes her from Argentina to the edges of Europe, to places lost amidst migration and oblivion – nations that have changed their names or ceased to exist. The episode transcript can be accessed here . The English translation of the 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: Laura Bak 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. This episode is also available on SoundCloud.

Migrant Literature as Transnational Literature in Women's Fiction Recorded at the RECET Festival of Historical and Social Sciences "Migration & Transformation" at the University of Vienna, this episode brings together historian and literary scholar Zsófia Lóránd (University of Vienna / RECET), EUTERPE doctoral researcher Tamara Cvetković, EUTERPE scientific coordinator Petra Bakos, and British-Hungarian crime writer Éva Cserháti for a conversation about what it means to write across borders. They move from personal stories of belonging and displacement to the structural questions: who gets into the literary canon and who gets translated into English. The podcast transcript is available here . For more information about the RECET Festival 2025, visit https://www.recet.at/event-news/events/detail/migration-and-transformation 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 by RECET Institute and edited by Tamara Cvetković. 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. This episode is also available on SoundCloud.