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Caserta Cornellgrad 0058F 10 An Alternative Mediterranean Space. Narratives of Movement and Resistance Across Italy and North Africa A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Silvia Caserta December 2017 © 2017 Silvia Caserta An Alternative Mediterranean Space. Narratives of Movement and Resistance Across Italy and North Africa Silvia Caserta, Ph.D. Cornell University, 2017 Through a comparative analysis of contemporary literary and visual narratives that dialogue across the Mediterranean Sea, in this dissertation I apply the category of narrative to the field of Mediterranean Studies. Working across different genres, different media, and different languages, I explore the possible configuration of a Mediterranean narrative that would take into account the multiple articulations of a real and imaginary Mediterranean space. I focus on alternative narratives of migration, of the interconnection between land and sea, and of the desert, through a comparative reading of Italian literary works by Paolo Rumiz and Lina Prosa, Libyan novels by Ibrahim Al-Koni and Razan Moghrabi, video installations by the French- Algerian artist Zineb Sedira, and a short story by the Lebanese writer Emily Nasrallah. How can these narratives of and in the Mediterranean help us understand the ways in which the contemporary Mediterranean is experienced, and the role it might have to play within the current dynamics of globalization? In this dissertation, I argue that the two dimensions of living and narrating the Mediterranean cannot be separated, but that they are, rather, intimately interconnected. I show that Mediterranean narratives can provide alternative ways of thinking, conceptualizing, and ultimately experiencing the Mediterranean, both within its permeable and porous boundaries and beyond that, in the space of the global world. The narratives I put in dialogue with each other counteract a mainstream narrative of the Mediterranean as backward and immobile, when compared to Northern Europe, and as a conflict zone and a barrier, which separates Europe from the threatening Arab world. Thus, these narratives all respond to Iain Chamber’s call for “dissonant” narratives, whose “disturbing” voices are able to create the Mediterranean as a postcolonial space of agency and resistance, where alternative modernities can also be imagined. The Mediterranean that ultimately emerges from the interaction of its narrative voices is a dialogic space of differences that, while retaining their own specificities, “encounter” each other without necessarily melding. In the dichotomy that globalization proclaims between assimilation and proliferation of difference, alternative Mediterranean narratives occupy, and create, an in-between space, suspended in its unresolved, and potential, condition of liminality. BIOGRAPHICAL SKETCH Silvia Caserta holds a B.A. degree in Classics and an M.A. degree in Italian Literature and Culture from the University of Pisa, Italy. Before coming to Cornell, Silvia obtained her first Ph.D. in 2013 from the University of Macerata, Italy, with a dissertation focused on Italian colonial travel writing. iii To Sofia and Lino iv ACKNOWLEDGMENTS I owe my deepest gratitude to my supervisor, Professor Karen Pinkus. This work would not have been possible without her insightful comments and suggestions, her continuous support, and her intellectual and human generosity. I am extremely grateful to the other members of my dissertation committee, Professors Timothy Campbell, Naminata Diabate, and Natalie Melas, for their constant guidance and advice, and for the intellectual curiosity that their courses and the conversations I have had with them always stimulated. I wish to extend a special thanks to Professor Loredana Polezzi, whose sharp suggestions and constant encouragement have played a key role in the process of completing this work. A special thanks goes to Cornell University for supporting my dissertation project with a Sage Fellowship, which allowed me to visit the MuCEM, while also granting me time to focus on the project itself. I also wish to thank the Mario Einaudi Center for International Studies, whose Research Travel Grant allowed me to spend time in Jordan in order to improve my command of Arabic language. Finally, I am deeply grateful to Julie Primon, who volunteered to proofread countless pages of this work, and whose help and generosity were crucial in the final stretch of this endeavor. v TABLE OF CONTENTS Introduction 1 The Mediterranean as a Field of Study 1 A Narrative Perspective on the Contemporary Mediterranean 5 Italy and the Mediterranean 7 Mediterranean Narratives 10 Chapter One – Narrative of Migration 17 Narratives and Counter-Narratives of Migration 20 I. A Sea of Words in Lina Prosa’s Narrative Shipwreck 27 A Performative Narrative 27 A Suspended Simultaneity of Acts and Words 30 A Diachronic Simultaneity 34 Narrative Resistance in the Present and for the Future 42 Mediterranean Narrative Movement 52 II. The Windy Voices of Libyan Women. Migration and Resistance in Razan 59 Moghrabi’s Novel A Simultaneous, Diachronic, and Polyphonic Narrative Journey 60 Women of Tripoli in their Apartments… 66 … and Outside 73 Narrative Movement 76 Bahija’s Narrative of Migration 84 Chapter Two – Narrative of Land and Sea 94 I. The Island Narrative of Paolo Rumiz’s Il Ciclope 94 A Physical and Narrative Journey 95 The Composite and Contemporary Voice of the Mediterranean 104 A Polyphonic Narrative 111 vi A Mediterranean Mix of Languages 120 A Narrative Island 125 Land and Sea 135 The Lighthouse 144 II. A Video Narrative. Zineb Sedira’s Artistic Mediterranean 160 From Rumiz to Sedira across the Mediterranean 162 Framing the Sea 166 A Trilogy of the Sea: the Centrality of a Decentralized Mediterranean 171 The Lighthouse 184 Mediterranean Art: the MuCEM and Sedira’s Work within it 191 Chapter Three – Desert Narrative 198 Mediterranean Sea- and Land-scapes 198 Mediterranean Spaces: the Sea, the City, and the Desert 203 Al-Koni’s Local and Global Perspective 207 Al-Koni’s Narrative Desert 211 The In-between-ness of the Desert Passage 218 A Reconfigured Desert’s Community 233 Asouf’s Final Sacrifice 242 Emily Nasrallah’s Mediterranean Desert of Movement and Resistance 247 Conclusions 256 Bibliography 260 vii Introduction ... Qui pure - penso - è Mediterraneo. E il mio pensiero all’azzurro s’inebria di quel nome. (Here too - I think - it’s the Mediterranean. And my thoughts in the blue become inebriated with that name.) Umberto Saba, Ebbri Canti The Mediterranean as a Field of Study The geopolitical space of the Mediterranean that we commonly refer to, and that is at the forefront of contemporary discourse concerning the urgent issues of migration, terrorism, and integration, is a geo-historical and cultural construction that arises from European colonialisms and the processes of decolonization. In his study of the meaning of a geopolitical and socio- cultural definition of the Mediterranean, Salvatore Bono highlights how the first clear acknowledgment of the Mediterranean as a unitary entity dates back to Napoleon’s Egyptian campaign. It is at that time, as the Italian historian points out, that the Mediterranean becomes a site of confrontation, and clash, among the various European nation-states.1 In this context, the conflicts generated by the European scramble for Africa rapidly sweep away Michel Chevalier’s project of a Mediterranean economic and cultural “system,” which would promote peace and cooperation among the different Mediterranean countries.2 And yet, the colonial ideology of Italy in particular, but also of France and Spain to a certain extent, rests upon, and reinforces, the idea of a supposed unity of the Mediterranean, which each country’s colonial efforts were intended to reassert. In the aftermath of the Second World War, Fernand Braudel’s fundamental study of the Mediterranean from the perspective of its historical longue durée 1 See Bono 2008. 2 See Michel Chevalier. Le système de la Méditerranée (1832) 1 significantly contributes to reaffirming, and circulating, a conception of the Mediterranean as a unified space.3 However, the Mediterranean as a distinct field of study develops only after the end of the Second World War, at a time in which, in the geopolitical context of the Cold War, Anglo- American anthropology looks at the area with increasing interest and curiosity.4 As the Italian scholar Adelina Miranda remarks in her Introduction to a collection of essays on Mediterranean anthropology, the Mediterranean solicits an anthropological perspective as a “spazio di ‘coesistenze contraddittorie:’ area colonizzatrice e colonizzata; area da conquistare o da convertire; area da attraversare e da conoscere; area di invenzione e di adattamento.”5 (Miranda 10) At the same time, Anglo-American anthropology seems to largely, and rapidly, gloss over Mediterranean internal contradictions, through the insistence on supposed “common values” that Mediterranean countries would share, which are different and opposed to those of Northern Europe.6 The risk of “Mediterraneism,” a term coined by the anthropologist Michael Herzfeld in 2005 to describe the doctrine that assigns common inherent and distinctive characteristics to the cultures of the Mediterranean, are already implicit in this post-war approach to the study of the area. In the context of the gradual shift − in terms of disciplinary boundaries − from Area Studies to Global
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