Katarzyna Marciniak – författare

Stereotypes often cast communism as a defunct, bankrupt ideology and a relic of the distant past. However, recent political movements like Europe's anti-austerity protests, the Arab Spring, and Occupy Wall Street suggest that communism is still very much relevant and may even hold the key to a new, idealized future. In The Oxford Handbook of Communist Visual Cultures, contributors trace the legacies of communist ideology in visual culture, from buildings and monuments, murals and sculpture, to recycling campaigns and wall newspapers, all of which work to make communism's ideas and values material. Contributors work to resist the widespread demonization of communism, demystifying its ideals and suggesting that it has visually shaped the modern world in undeniable and complex ways. Together, contributors answer curcial questions like: What can be salvaged and reused from past communist experiments? How has communism impacted the cultures of late capitalism? And how have histories of communism left behind visual traces of potential utopias? An interdisciplinary look at the cultural currency of communism today, The Oxford Handbook of Communist Visual Cultures demonstrates the value of revisiting the practices of the past to form a better vision of the future.

Refugee Cinema studies the representation of refugees and asylum seekers in cinema from the early 20th century through to the present. It examines a wide variety of material from around the world, from feature films and documentaries, through to newsreels, public information films, animations, experimental cinema and gallery installations. It analyzes the varied approaches used by filmmakers as they attempt to tell refugees' stories. Examining the 'fugitive aesthetics' of refugee cinema, it asks how these films convey the experience of forced displacement and how they might enable viewers to understand the circumstances that force people to flee their homes, leaving behind everything that is familiar. It also considers how successful such cinematic stories can be at revealing the diverse humanity that lies behind the reductive, stereotypical figure of the 'refugee' that dominates political and media discourse. As well as films about refugees that document the experiences of displacement, journeying, detention, harassment, of social integration or marginalization, and returning home, Refugee Cinema also discusses documentaries made with refugees, a collaborative, participatory approach to filmmaking that potentially grants refugees greater agency over their own stories. Alongside these examples, the book examines a number of films made by refugees. This category of films offers quite different perspectives on refugee experience and brings into focus the principal question addressed by Refugee Cinema: to what extent can cinema represent the voices, experiences, and circumstances of refugees?

What does it mean to state ‘No One is Illegal?’. This rallying call is what unifies migrant protests against exclusionary border regimes around the world, bringing migrants, citizens, `legal` and `illegal` people onto the streets in ever greater numbers. Indeed, the last decade has witnessed an explosion of immigrant protests, political mobilizations by irregular migrants and pro-migrant activists. This edited collection aims to contribute to the growing body of scholarship on migrant resistance movements and to consider the implications of these struggles for critical understandings of citizenship and borders. It offers a rich series of theoretical and political interventions which together explore the tensions between integrationist and autonomous approaches, and between migrant and activist strategies of invisibility and visibility. By bringing immigrant protests to the heart of debates about citizenship, it also extends discussions about the limits and the possibilities of citizenship as the material and conceptual horizon of critical social analysis, political participation and democracy today.This book was published as a special issue of Citizenship Studies.

“Alien” has a double meaning in the United States, suggesting both “foreigner” and “extraterrestrial creature.” In Alienhood, Katarzyna Marciniak explores this semantic duality. Interrogating the dominant images of aliens in American popular culture-and in legal, historical, linguistic, and literary discourses-Marciniak examines “alienhood” and the impact it has on the daily experiences of migrants, legal or illegal. Using examples from exilic literature and cinema, including the works of Julia Alvarez, Eva Hoffman, Gregory Nava, and Roman Polanski, Alienhood theorizes multicultural experiences of liminal characters that belong in the interstices between nations. Investigating gendered, racialized, and ideological formations of “aliens,” Marciniak’s readings put into dialogue narratives from both the second world and the third world in relation to “first worldness.” This dialogue problematizes the meanings of “transnational” and brings the so-called second world into these debates. In doing so, Marciniak reorients the study of immigrant or exile subjects beyond the celebrated notion of transnationalism. With its unique focus on “aliens” in relation to discourses of immigration, exile, and displacement, Alienhood shows how transnationality is, for many dislocated people, an unattainable privilege. Katarzyna Marciniak is associate professor of English at Ohio University.

This collection of essays offers a pioneering analysis of the political and conceptual complexities of teaching transnational cinema in university classrooms around the world. In their exploration of a wide range of films from different national and regional contexts, contributors reflect on the practical and pedagogical challenges of teaching about immigrant identities, transnational encounters, foreignness, cosmopolitanism and citizenship, terrorism, border politics, legality and race. Probing the value of cinema in interdisciplinary academic study and the changing strategies and philosophies of teaching in the university, this volume positions itself at the cutting edge of transnational film studies.

This collection of essays offers a pioneering analysis of the political and conceptual complexities of teaching transnational cinema in university classrooms around the world. In their exploration of a wide range of films from different national and regional contexts, contributors reflect on the practical and pedagogical challenges of teaching about immigrant identities, transnational encounters, foreignness, cosmopolitanism and citizenship, terrorism, border politics, legality and race. Probing the value of cinema in interdisciplinary academic study and the changing strategies and philosophies of teaching in the university, this volume positions itself at the cutting edge of transnational film studies.

What does it mean to state ‘No One is Illegal?’. This rallying call is what unifies migrant protests against exclusionary border regimes around the world, bringing migrants, citizens, `legal` and `illegal` people onto the streets in ever greater numbers. Indeed, the last decade has witnessed an explosion of immigrant protests, political mobilizations by irregular migrants and pro-migrant activists. This edited collection aims to contribute to the growing body of scholarship on migrant resistance movements and to consider the implications of these struggles for critical understandings of citizenship and borders. It offers a rich series of theoretical and political interventions which together explore the tensions between integrationist and autonomous approaches, and between migrant and activist strategies of invisibility and visibility. By bringing immigrant protests to the heart of debates about citizenship, it also extends discussions about the limits and the possibilities of citizenship as the material and conceptual horizon of critical social analysis, political participation and democracy today.This book was published as a special issue of Citizenship Studies.

Explores how political activism, art, and popular culture challenge the discrimination and injustice faced by "illegal" and displaced peoples.The last decade has witnessed a global explosion of immigrant protests, political mobilizations by irregular migrants and pro-migrant activists. This volume considers the implications of these struggles for critical understandings of citizenship and borders. Scholars, visual and performance artists, and activists explore the ways in which political activism, art, and popular culture can work to challenge the multiple forms of discrimination and injustice faced by "illegal" and displaced peoples. They focus on a wide range of topics, including desire and neo-colonial violence in film, visibility and representation, pedagogical function of protest, and the role of the arts and artists in the explosion of political protests that challenge the precarious nature of migrant life in the Global North. They also examine shifting practices of boundary making and boundary taking, changing meanings and lived experiences of citizenship, arguing for a noborder politics enacted through a "noborder scholarship."This book is freely available in an open access edition thanks to Knowledge Unlatched-an initiative that provides libraries and institutions with a centralized platform to support OA collections and from leading publishing houses and OA initiatives. Learn more at the Knowledge Unlatched website at: https://www.knowledgeunlatched.org/, and access the book online at the SUNY Open Access Repository at http://hdl.handle.net/20.500.12648/7127.

Buddhist Hybrid Sanskri is not a deteriorated Sanskrit (as many believed at the discovery of Buddhist texts in Sanskrit), but, following the theoretical foundations underlying the pioneering work of Franklin Edgerton, a language with its grammar and vocabulary sui generis implemented rather consequently, which for a long period of time was used to spread the teaching of Buddha. The Reader is meant as a textbook for advanced students with an interest in non-standard Sanskrit and Middle Indo-Aryan. A substantial novelty of the Reader is that it includes extracts from representative texts either recently critically re-edited on the basis of new manuscripts or from the texts unknown at the time of Edgerton’s publications. All extracts are accompanied by commentaries explaining their grammatical peculiarities as well as by selections of specific lexical items.

This title features stunning photos augmented by J. Hoberman's preface and Katarzyna Marciniak's essays. This powerful presentation of photographs of Poland from the late 1980s to the present depicts the hybridized landscape of this pivotal Eastern European nation following its entry into the European Union. A visual record of the country's transition from socialism to capitalism, it focuses on the industrial blue-collar city of Lodz – located in the heart of New Europe and home to nearly one million people. Photographer Kamil Turowski's pictures are captivating – seeming to conceal a looming threat – while Katarzyna Marciniak's accompanying text expands on the photos and the 'crocodilian' texture of contemporary Eastern Europe. A walk on the wild side, Streets of Crocodiles captures viscerally the changing landscape of postsocialist Poland.

This volume offers a survey of the reception of Classical Antiquity in the literature for youngsters by applying regional perspectives from East-Central and Western Europe, Africa, Israel, Japan, New Zealand, Russia, and the United States. The title Our Mythical Childhood hints at the elusive and paradoxical potential of the ancient tradition that is both a fixed base shared by many people worldwide since their early life as well as a body of references constantly being reinterpreted in response to local challenges. The reader is given a deeper insight into the processes shaping children’s and young adults’ identities and their cultural formation. The volume fills an important gap in the scholarship and contributes to the development of Reception Studies in innovative and attractive directions.