Homeland

This work reflects on how the representation of the Arab world has evolved in three fictional works that have emerged in the second decade of the 21st century: Homeland (Showtime Networks, 2011-2020), Tyrant (FX Network-Fox, 2014-2016), and Jack Ryan (Amazon Prime Video, 2018-). The goal is to determine whether the main socio-political milestones that occurred during this period (the Arab Spring, Syrian Civil War, appearance of ISIS, etc.) have transformed the already classic theories of authors such as Edward Said, Jack Shaheen, or Evelyn Alsultany, among others. A viewing and analysis of the first season of each show demonstrates that the panorama has not improved in terms of discourse, topics, and stereotypes. It is clear, therefore, that the lens of 9/11 is still very present in the Hollywood mindset regarding Arabs, Muslims, and Islam.

Being the first Afghan-American writer who writes in English, Khaled Hosseini is a relatively new novelist whose literary reputation was established since his debut novel, The kite Runner (2003). His successive two novels; A Thousand Splendid Suns (2007) and And the Mountains Echoed (2013) have achieved the same worldwide recognition and success. The common thread that links Hosseini’s novels – apart from them being set in and representative of Afghanistan’s multilayered society and complex history – is the fact that each character in these fictional works sets out on a journey that is determined and, to a large extent, linked to the country’s turbulent historical and social background. The itineraries that the characters follow intersect with and reveal a lot about the country’s social, political and historical complex matrices. Though he hopes that his novels evince an authentic and truthful portrait of his homeland, Hosseini doesn’t claim to take on the mantle of “a teacher, a so...

PALABRAS CLAVE: Homeland, Sully, Clint Eastwood, locura, compromiso,
héroe

Mediante el análisis de algunas escenas seleccionadas del último capítulo de la sexta temporada de Homeland y de la película Sully, reflexiono sobre el origen etimológico del término “compromiso” y su relación con la figura del héroe. ¿Son ámbitos diferenciados, irreconciliables o, en momentos determinados, él héroe puede lidiar con cierta locura que implicaría la realización del acto heroico, de un compromiso con su sociedad?.

KEYWORDS: Homeland, Sully, Clint Eastwood, madness, engagement, hero

Through the analysis of selected scenes from the last chapter of Homeland's sixth season and the film Sully, I reflect on the etymological origin of the term “commitment” and its relation to the hero‟s character. Do they belong to different or irreconcilable areas, or at certain moments, can the hero deal with a certain madness that would imply the accomplishment of the heroic act, of a commitment to his/her society?.

טיעונינו העיקריים מתמקדים בשתי תכונות מרכזיות, שלא
הובלטו עד היום בניתוח הזהות והתרבות הישראלית: ראשית,
גמישות גיאוגרפית יוצאת דופן העולה מדימויי הזמר העברי
בתיאורי ה”ארץ” וה”מולדת”. גמישות זו מרחיבה ומסיגה את
גבולותיה של המולדת על–פי מיקומו של הלוחם או המתנחל
היהודי האחרון, ומבדילה בין הארץ והנוף האמיתיים,
הקונקרטיים והמסוכסכים, לבין הנוף המדומיין והנכסף של
גיאוגרפיה יהודית–בלעדית. תופעה זו עומדת בניגוד ללאומיות
המדינית המקובלת ברבות מארצות העולם המתבססת על שטח
קבוע יחסית, עליו מובנית הטריטוריאליות הלאומית. שנית,
המימד המנרמל הטמון בזמר המושר, המושמע והמוצג יום–
יום במרחבים הציבוריים והפרטיים. הזמר הופך גיאוגרפיה
מעוותת זו למצב טבעי, נתון, נחשק ורב–יופי. הנרמול מובנה
באמצעות שיח תרבותי עקבי ופרקטיקות חומריות של תכנון,
פיתוח והתיישבות. אלה מוצגות כ"כיבוש השממה" ו"גאולת
האדמה", אך למעשה עוסקות בייהוד הנוף ודחיקתו והעלמתו
של הערבי.

Summary
This report documents the widespread, systematic use of sexual violence by the Myanmar Army during its brutal “clearance operation” in northern Rakhine State in the second half of 2017. This operation has driven over 680,000 Rohingya villagers into Bangladesh.
Testimonies of 36 refugees, eight of whom are rape survivors, provide evidence that government troops raped well over 300 women and girls in or near at least seventeen villages across Maungdaw and northern Buthidaung townships, as well as in Maungdaw town, during the operation. With over 350 villages attacked and burned at this time, this number is likely only a fraction of the actual total of women raped.
In the weeks before the official launch of the operation on August 25, thousands of Myanmar Army troops were deployed from existing military camps in Rakhine State, and from central Myanmar, to reinforce Border Guard Police posts throughout northern Rakhine State. These troops were the main perpetrators of sexual violence, at every stage of the operation.
Before the start of the operation, the troops committed rape during security patrols and “anti-terror” raids in remote rural areas, where many men had gone into hiding for fear of arrest and torture. In two villages alone in northern Buthidaung, six women and one six-year-old girl were gang-raped by government troops in the weeks before August 25. However, the majority of rape incidents, involving hundreds of women, took place during the actual attacks starting on August 25, when large numbers of troops entered villages shooting indiscriminately, torturing and killing civilians, and burning houses. Women and girls were caught and raped in their houses, as they were running away, or after being rounded up in large groups in or near the villages; some were horribly mutilated. In the village of Tula Toli (Min Gyi) in northern Maungdaw, survivors estimate that well over one hundred women and girls were raped during the attack; many were also killed.
The sexual violence did not only take place in rural areas. Witnesses described the capture and rape of women in the town of Maungdaw after August 25, when it was in a security lockdown by hundreds of troops.
Women fleeing to the border were also targeted for rape. Scores of women and girls from Buthidaung were raped when security forces caught them trying to cross the Mayu mountain range to reach the Bangladesh border.
Sexual violence involved hundreds of soldiers and occurred across the length of Maungdaw and northern Buthidaung. Such scale and breadth of incidence provides strong evidence that rape was systematically planned and used as a weapon against the Rohingya population.
In five locations—including Maungdaw town itself—women and girls were forcibly detained and raped in military camps, for periods of up to two weeks. This can only have been authorized by commanding officers of the camps.
Rape was committed flagrantly by groups of soldiers, who jointly beat, held down, or tied up women and young girls, and took turns to rape them. Often this took place in front of other troops, and sometimes in front of civilians, showing clear confidence of impunity, which can only have come from shared knowledge of authorization to rape.
Most of the rape incidents involved other forms of brutal torture, including biting, beating, cutting with knives, and burning. In eleven villages, as well as Maungdaw town, rape victims are known to have been killed or died from their injuries. This indicates that rape was part of an overall strategy to mete out savage punishment to women and girls – apparently for their very identity as Rohingya.
The pattern of mutilation of women’s breasts and genitals after rape—already apparent in 2016—suggest a specific directive to instill terror in this way, flaunting the army’s ability not just to sexually possess the women of their “enemy,” but also destroy their very means of reproduction.
The well-publicized events in Tula Toli—in which over a hundred women were gang-raped and tortured, with many burned alive—provide compelling evidence of specific orders to commit mass rape. Without such orders, it would be impossible for an estimated 400 troops from different camps, backed up by air support, to so precisely coordinate the massacre of hundreds of civilians in the morning and then methodically gang-rape women over a period of hours in the afternoon.
The systematic use of rape as a weapon is a war crime, a crime against humanity, and a tactic of genocide, for which Myanmar’s military leaders must be held responsible.
It is imperative that the Myanmar government stops blindly defending its armed forces. The government must take immediate action to end the military’s systematic atrocities, including sexual violence, not least for the danger posed to the entire society. By authorizing and directing their troops to commit rape, military commanders are encouraging them to find sexual gratification from acts of violence that inflict pain and terror, and cause irreparable damage to women’s lives. With hundreds of thousands of troops deployed across Myanmar, this has horrifying implications for the safety of women and girls throughout the country.
The Myanmar government must order an immediate stop to its army’s atrocities against civilians, including rape, and begin processes to hold the army’s entire command structure to account. A first step to this is to allow the UN Fact Finding Mission into the country.

Ölüm konusu geçmişten günümüze birçok farklı disiplinin çatısı altında farklı birçok çalışmacı tarafından ele alınan insanlık tarihinin belki de güncelliğini yitirmemiş en mühim meselelerinden birisidir. Şehitlik gibi çok tartışılan kavramlar ve bu gibi kavramlar etrafında oluşan kolektif tarihi, zamansal, mekânsal ve ideolojik örgütlenmeler ölümün yapı-bozumsal mantığını çözme çabalarına yeni perspektifler katmıştır. Bu yazıda da şehit ve şehitlik kavramları, tarihsel süreçteki gelişimleri doğrultusunda siyaset bilimi, dini ilimler, sosyoloji ve psikoloji bilimleri bağlamında ele alınıp özelde Türkiye genelde dünya çapından örnekler verilerek ölüm ile ilişkili farklı birtakım kavramlar ışığında incelenmiştir.

The following presentation examines how the perception of 'home' and 'homeland' is not related to the country of origin in migration studies, if we take into account the temporal and subjective factor that migrants themselves attribute to these perceptions. Using material from anthropological fieldwork with Albanian migrants, who lived and worked in Greece since the 1990s, moving temporally to Albania in the 2010s, it demonstrates, on the one hand, how they express their perspective regarding their 'home' and 'homeland' as a foreign place. On the other hand, it shows how the temporal family visits that Albanians welcome in Greece bring the sense of 'home' itself together in Greece. The presentation concludes that the term country of origin defines migrants in advance by a spatial notion, whereas the subjective conceptualizations of the 'home' and 'homeland' show primarily that they are mobile, secondly that they make sense for Albanians through the temporal, relational and experiential dimension of the place.

The Internet and its applications, such as social media, have revolutionized the way stateless diasporas communicate transnationally. This new virtual, deterritorialized conversation between diasporic individuals contributes to building (digital) social networks which constitute resources and opportunities for diasporas, central to social and geographical mobility. This paper explores the role of the Internet in connecting dias-poras without a home nation-state, encouraging subordinated people to participate in civic society and creating a collective source of digital social capital in the dias-pora. I argue that the Internet, particularly social media, contributes to the growth of social networks, social capital and the community's cultural and political participation within and across nation-state borders.

Keywords diaspora – social capital – the Internet – Kurds – Kurdistan

The indigenous populations of inner Eurasia—a huge geographic region covering the central Eurasian steppe and the northern Eurasian taiga and tundra—harbour tremendous diversity in their genes, cultures and languages. In this study, we report novel genome-wide data for 763 individuals from Armenia, Georgia, Kazakhstan, Moldova, Mongolia, Russia, Tajikistan, Ukraine and Uzbekistan. We furthermore report additional damage-reduced genome-wide data of two previously published individuals from the Eneolithic Botai culture in Kazakhstan (~5,400 bp). We find that present-day inner Eurasian populations are structured into three distinct admixture clines stretching between various western and eastern Eurasian ancestries, mirroring geography. The Botai and more recent ancient genomes from Siberia show a decrease in contributions from so-called ‘ancient North Eurasian’ ancestry over time, which is detectable only in the northern-most ‘forest-tundra’ cline. The intermediate ‘steppe-forest’ cline descends from the Late Bronze Age steppe ancestries, while the ‘southern steppe’ cline further to the south shows a strong West/South Asian influence. Ancient genomes suggest a northward spread of the southern steppe cline in Central Asia during the first millennium bc. Finally, the genetic structure of Caucasus populations highlights a role of the Caucasus Mountains as a barrier to gene flow and suggests a post-Neolithic gene flow into North Caucasus populations from the steppe.

SLIDESHARE / Paper presented at the "Identity and Emotions in Contemporary TV-Series" workshop. Universidad de Navarra, 25-26th of October, 2013.
More info about the workshop:
http://gentedigital.es/comunidad/series/2013/10/21/un-pequeno-congreso-y-un-capitulo-de-libro/

This is a fairly long (37 minutes) video comment on home and homeland in diaspora studies by Robin Cohen. It was prompted by questions asked by Luis Eduardo and Paolo Boccagni, who is in charge of an important ERC-funded programme on HOMing. Here is the link to the video.
https://homing.soc.unitn.it/2022/01/17/robin-cohen-the-changing-idea-of-homeland-and-home-in-diaspora-studies-video/

Being the first Afghan-American writer who writes in English, Khaled Hosseini is a relatively new novelist whose literary reputation was established since his debut novel, The kite Runner (2003). His successive two novels; A Thousand Splendid Suns (2007) and And the Mountains Echoed (2013) have achieved the same worldwide recognition and success.
The common thread that links Hosseini’s novels – apart from them being set in and representative of Afghanistan’s multilayered society and complex history – is the fact that each character in these fictional works sets out on a journey that is determined and, to a large extent, linked to the country’s turbulent historical and social background. The itineraries that the characters follow intersect with and reveal a lot about the country’s social, political and historical complex matrices. Though he hopes that his novels evince an authentic and truthful portrait of his homeland, Hosseini doesn’t claim to take on the mantle of “a teacher, a sociologist or an anthropologist” who can fully and adequately teach about Afghanistan, as he states in his interview with Fanney Kiefer. Nonetheless, his novels feature characters and stories that have a worldwide resonance thanks to their representational function of a long-overlooked and relegated country – Afghanistan. My contention is that Hosseini’s fiction penetrates the cultural boundaries that set a chasm between the East and the West. In other words, his novels are packed with elements of a culture so much foreign, yet nonetheless very familiar with its themes and characters. That’s what makes Hosseini’s works stand out in the so-called ethnic literature; his rendering of Afghanistan’s culture and history accessible to foreigners. 

Keywords: Afghanistan, History, Culture, Ethnicity, Homeland, Individual journey, Identity

The article presents the fixed image of the homeland conveyed by handbooks of Georgian language and Georgian literature. Issues underscored by the author are the manner of understanding their homeland by the Georgian nationals (particular components of the homeland image), the degree of importance thereof, and the concepts of perpetuating identity. Also, synonyms and phrases associated with homeland were discussed.
***
Artykuł przedstawia utrwalony obraz ojczyzny, jaki oddają podręczniki języka gruzińskiego i literatury gruzińskiej. Kwestie, na które zwraca uwagę autorka, to sposób pojmowania ojczyzny przez naród gruziński (poszczególne elementy wizerunku ojczyzny), stopień jego ważności oraz koncepcje utrwalania tożsamości. Omówiono także synonimy i zwroty związane z ojczyzną.

[You can download a Sample of the book in Palgrave website: https://he.palgrave.com/resources/sample-chapters/9781137568847_sample.pdf]

This book examines the role of emotions in contemporary TV series. Over the past 20 years, TV fiction has become one of the most powerful and influential trends in popular culture. Shows such as Mad Men, Breaking Bad, The Sopranos, Lost and The Wire have created a vigorous televisual landscape where innovations in narrative form, aesthetic engagement and ethical concerns have raised TV entertainment to new heights. What makes this volume unique is its interdisciplinary approach, as the series are analysed from the perspective of Television Studies, Literature, Sociology, Philosophy and Media Studies. Key concepts developed include the relation between moral emotion and character identification, how serial narrative builds into 'affective moments' as a distinctive mode of aesthetic experience, the politics of emotion in collective identities, the intersection of gender and emotions, and how popular genres such as terror films, the thriller and science fiction manage the 'emotional turn' that postmodernism has made visible.

After remember grosso modo, some pro and contra argument of the linguistic reconstruction and semantic density analysis, we expose some controversial issues related to Romanian.
The next part is meant to strengthen and structure the approach, by applying some mathematical computation methods with regards to phonological similarity assessment. An edits distance metric is applied to compare phonetic transliterations between PIE reconstructed root terms and meaning like corresponding Romanian words. For those terms that prove to be identical for a number of incipient phonetic symbols, an additional heuristic distance metric is applied. All computations are done using the R programming language, by parameterizing the functions of “stringdist” package. 
After that we used a list of 200 words of linguist Morris Swadesh, to make  a comparison with a hypothetical reconstruction of J. Pokorny to Romanian language. Order to reach it, we found 2222 matches to all references cited, some identity is surprising and to others I rearranged the material. Every Romanian word, which finds correspondence in PIE reconstruction, it seems to have a close phonetic structure, and a semantics more obvious than those maintained in languages that served as a reference. Because phonetic and grammatical changes are unidirectional, once widespread, there would not be justification for a "restocking" lexical base of original area, even if the language is obviously evolving.
Due to population movements that occurred in the last 6,000 years, in and out of the territory, the population had initially use this language is radically changed, which brought with it significant changes in cultural habits, but important remains of the PIE language, seem to have been preserved, in Romanian.

This article explores spatial attachments among the ex-Ottoman Armenians who survived the Armenian Genocide and settled in their ‘new homeland’, Soviet Armenia. It addresses the question of how the refugees dealt with loss and displacement and reflected on their former hometowns, referred to as ‘Ergir’, a spatial construct denoting a symbolic ‘Armenian homeland’ or a ‘local homeland’ in Anatolia. I argue that the refugees conceptualised Ergir not only in relation to their expulsion but also the socio-political factors that influenced them in Soviet Armenia in three periods. The first era of reflection on Ergir was the 1920s and 1930s, replete with nostalgic sentiments. The second was the suppression of the theme of Ergir, between 1936–1960, particularly during political crackdowns in Stalin’s era. The third period saw the revival of Ergir and marked a new phase in the conceptualisations of ‘homeland’ in which the displacement from Anatolia in 1915–1916 and the Stalinist purges were enmeshed into one tragedy of the ex-Ottoman Armenians.

Full article, here: https://brill.com/view/journals/jmh/6/1/article-p129_129.xml

Özet
Bu çalışmanın amacı, Sosyal Bilgiler öğretmen adaylarının " vatan " kavramı ile ilgili algılarını, onların kullandıkları metaforlar aracılığıyla ortaya koymaktır. Çalışmaya 2017-2018 Eğitim-Öğretim yılında İstanbul Yıldız Teknik Üniversitesi, Eğitim Fakültesi, Sosyal Bilgiler Öğretmenliği programında öğrenim gören 100 gönüllü öğretmen adayı katılmıştır. Çalışmada izleyen sorulara cevaplar aranmıştır: 1) Sosyal Bilgiler öğretmen adayları " vatan " kavramına ilişkin sahip oldukları algıları nasıl anlamlandırmaktadırlar? 2) Sosyal Bilgiler öğretmen adaylarının demografik özelliklerinin, " Vatan " algıları üzerinde etkileri nasıldır? Araştırmanın verileri, sosyal bilgiler öğretmen adaylarının " Vatan.… gibidir, çünkü…. " cümlesini tamamlamasıyla elde edilmiştir. Çalışmada olgubilim deseni kullanılmış ve veriler içerik analiz tekniğiyle çözümlenmiştir. Araştırmanın sonucunda sosyal bilgiler öğretmen adayları " Vatan " kavramına ilişkin olarak toplam 51 adet geçerli metafor ileri sürmüşler ve bu metaforlar ortak özellikleri bakımından irdelenerek 4 farklı kavramsal kategori altında toplanmıştır. Araştırmaya katılan Sosyal Bilgiler dersi öğretmen adaylarının % 47'si vatanı; yaşamsal bir gereksinim olarak, % 28'i duygusal bir alan olarak, % 17'si kutsal bir yer olarak, % 8'i farklılıkları birleştiren bir yer olarak algılamıştır.

Abstract
The purpose of the present study is to reveal social sciences teacher candidates perceptions on the concept of "homeland” by
means of the metaphors they use. The study was participated by 100 volunteer teacher candidates teaching within the 2017-2018
academic year in Social Sciences Education, Faculty of Education, Yildiz Technical University in Istanbul. Answers to the following
questions were sought in the study: (1) How do teacher candidates conceptualize their percetions of the concept
“homeland”? (2) How do demographic features of teacher candidates affect their perceptions of “homeland”? The
data of the study were obtained by having the participating social sciences teacher candidates fill in the sentence "Homeland is like
..., because...".Phenomenological design was used in the study and the obtained data were analyzed with content analysis. As a
result of the research, the candidates of Social Studies Teachers have submitted a total of 51 validmetaphorsregarding the concept of
"Homeland". These metaphors are grouped into 4 different conceptual categories by their common characteristics. The Social
Studies Teacher Candidates who participated in the survey perceived the homeland 47% as a vital necessity, 28% as an emotional
space, 17% as a place with a sacred value, and 8% as a place combining the differences.

This article investigates the current resurgence of folk music in Switzerland using the localized practice of Streichmusik (string music originating in the adjoining Appenzell and Toggenburg regions in northeast Switzerland) as an example. I examine the relationship between Streichmusik and Swissness, a concept used in marketing Swiss products and culture. Swissness highlights contemporary Swiss national anxiety around shifting global, political, and economic dynamics as a rise in nationalism encourages identity politics. I argue that Streichmusik is a sonic resonance of Swissness and has been valorized both locally and nationally through the notion of Heimat (homeland) and the trope of nostalgia.

5 - Joaquin E Meabe - Materiales  de estudio para revisar y aprender con Paideia de Werner W.  Jaeger 4 – Nimio de Anquín - 24-06-2017

Estos estudios, que forman una serie de drafts, tienen, ante todo, una austera finalidad descriptiva que respeta los puntos de partida del autor y se proponen  volver a examinar críticamente la totalidad del libro, llamando la atención y, al mismo tiempo, respecto de los temas importantes de cara a su lectura para el interesado en las cuestiones de filosofía práctica. Desde ya, como todo comentario responsable, la serie completa de estos trabajos pretende estimular el contacto directo con la obra y servir de guía antes que reemplazar al texto. Esa acotada agenda ha definido la función y el alcance de tales estudios destinados a servir de carta de navegación y apropiada compañía de una obra tan notable como exigente, más por el tema que por el discurso mismo, que el autor se esfuerza por colocar al alcance del lector inteligente y dispuesto a instruirse.

Les « Médecins Sans Frontières » (MSF) sont‑ils des médecins sans patrie ? Basé sur une cinquantaine d’entretiens, des données statistiques et uneobservation participante, cet article décrit des conditions de mission humanitaire limitant l’intégration locale et dégage trois formes d’attachement : chez soi (« expatriés parenthèse »), ailleurs (« expatriés multipatrides ») ou nulle part (« expatriés duty‑free »). Pour ces derniers, MSF joue, jusqu’à leur départ de l’organisation, le rôle de patrie de substitution.

THIS IS A PRE-PUBLICATION COPY; PLEASE DO NOT CITE -- CITE THE PUBLISHED VERSION INSTEAD, WHICH CAN BE FOUND IN: _Poetics of Politics.Textuality and Social Relevance in Contemporary American Literature and Culture._ Eds. Sebastian M. Herrmann, Carolin Alice Hofmann, Katja Kanzler, Stefan Schubert, Frank Usbeck. Heidelberg: Winter, 2015. MORE INFORMATION HERE: https://www.winter-verlag.de/en/detail/978-3-8253-7517-1/Herrmann_ea_Eds_Poetics_of_Politics_PDF/

This article suggests a perspective for the study of the formal politics of what Jason Mittell calls ‘narratively complex television series.’ To do so, it draws on recent conceptions of popular seriality that consider serial texts as constellations of interaction between producers, authors, media technologies, institutions, audiences, and the serial material itself. Within these concatenations of interaction, serial texts employ historically and medially specific formal strategies to bring audience practices in line with the commercial logics that undergird their production and circulation. In the case of narratively complex television series, this paper argues, such strategies of ‘audience management’—which structure and organize the reception practices of viewers and suggest a preferred way of watching television—come to the fore in moments of operational self-reflexivity, i.e., in scenes that thematize and demonstrate the logics of serial unfolding. The article finally discusses some instances of operational self-reflexivity in Fox’s Fringe (2008-2012) and Showtime’s Homeland (2011-) to suggest that their formal politics become manifest in the way in which these shows articulate demands for hyper-attentive, time-consuming, and textually productive reception practices that chime well with the economic logics of media convergence and the larger context of contemporary capitalism.

This paper identifies the relation between aesthetics and politics in the age of digital technoculture, especially as it is manifest in the 'terrorism genre' in film and television of the last 25 years. From Homeland and 24 to the Bourne trilogy, Skyfall and Patriot Games, techno-thrillers about counterterrorism and its enemies display the permanent political crisis of the state as a crisis of techno-aesthetic form. The control room in counterterrorism mode, a place from which drones and other remote operations are conducted, is the key manifestation of this crisis. The striking preponderance of screens embedded within screens in these narratives is a techno-aesthetic manifestation of the spatial and logical paradoxes of emergency legislation and, more broadly, of the strange location of political subjectivity in the matrix of technoculture.

Pojęcie ojczyzny jest trudne do zdefiniowania nie tylko dla dzieci, ale także dla dorosłych. Różnorodność treści podręcznikowych, zmienność oczekiwań ustawodawczych w zależności od okresu historycznego nie ułatwiają najmłodszym pogłębiania świadomości obywatelskiej. Praca przedstawia obraz ojczyzny narysowany przez uczniów klas III szkół podstawowych z miasta stołecznego, małego miasta oraz ze wsi. Próbuje także rozróżnić odpowiedzi dzieci ze względu na ich płeć. Ostatecznie zestawione zostają dwa spojrzenia na ojczyznę: dziecięce i podręcznikowe.

Diasporas have been widely studied since the late 1980s, especially focusing on identity, reception and integration in host societies. However, research exploring the relationship of diasporas with their homelands and, in particular, how homelands view and think about their diasporas is still developing. This article explores the discursive construction and representation of the Kosovo Albanian Diaspora by homeland Kosovo Albanians by critically engaging with responses to thirteen semi-structured interviews with Kosovan Albanians in Kosovo. The discourse of the ‘Schatzi’ is examined as a stereotype employed in narratives about diasporic Kosovo Albanian identity in relation to the homeland. The article demonstrates that dominant discourses of ‘othering’ surrounding migration, identity, cultural difference and national narratives of belonging and exclusion are not exclusive to host country contexts – suggesting that we must explore outside the normative paradigms of studying diaspora within host societies.

This article investigates the cycle of British performers in contemporary American television drama and what is at stake in their adoption of a US accent. British actors have been increasingly heralded for their ability to adopt credible foreign accents, marking a negotiation of ‘Britishness’ and assumed vocal ‘foreignness.’ By examining several pilot episodes of contemporary US dramas, this article poses the hybrid voice of the ‘accented American’ as a privileged and self-reflexive form of sonic spectacle. This is a voice narratively ‘othered’ to reinforce the screen presence of the British actor-as-American, soliciting spectators’ attention to their extra-textual identities as non-natives, whilst paradoxically consecrating ‘Britishness’ through the individual actor’s quality command of American language. The article then concludes by scrutinising the post-9/11 captive narrative of successful US drama Homeland (Showtime, 2011-). Through its themes of dubious patriotic allegiance, Homeland inscribes the cultural discourses surrounding Damian Lewis’s starring role and falsified Americanness. The series also operates as a valuable commentary upon the wider proliferation of British talent across US television, revealing the ways in which such small-screen dramas are helping to regenerate prior conceptions of British stardom.

En este ensayo se afirma que en la serie americana "Homeland" el trauma 9/11 parece ser expresado a través del símbolo del laberinto. Un laberinto sin salidas como son la enfermedad mental de la protagonista, el topos literario posmoderno de Calvino y Borges y la cabecéra.