ENG 364: Borders, Memory, Identity:

Cultural Representations of Contemporary Migrations in Europe

Fall 2021

Prof. Luis Cordero

lcorderosanchez@sandiego.edu
Class Hours: Monday 1.30-2.50pm & Wednesday, 2pm-3.20pm
Office Hours: Online, by appointment

Course Description:
This course offers an introduction to different cultural representations of contemporary
Migrations into and within Europe. The emphasis will be given to the study of the realities and
their cultural representations of both emigration and immigration and the sociocultural and
cognitive effects migration may have on migrants as well as on European citizens and national
institutions.
Forced migration towards and within Europe has had a deep cognitive and emotional impact on
the migrant subjects, shaping their individual and collective identity. It has even disrupted not
only migrants’ own consciences, but also the way that national governments in Europe and
worldwide have perceived what now is referred to in the media as the refugee crisis. The main
influx of non-European migrants has been mainly through a) Greece and the Balkan countries, b)
Libya and Italy, and c) the Spain’s African territories (Ceuta and Melilla) into Andalusia.
To the extent that it is relevant, the textual and cultural representations of both emigration and
immigration in Europe will be studied in relation to their historical and social background as well
as from an interdisciplinary and an international perspective.

Learning Outcomes:
After completing this course students will:
 Have acquired an interdisciplinary, as well as a European
and non-European insight into major trends in contemporary migration into Europe and
across its nation-state borders.
 Be able to critically analyze and write on various types of
cultural artefacts, ranging from EU legal texts to cultural representations of migration in
contemporary literature, film, written and oral testimonies and media images of people across
countries inside and outside Europe.
 Be familiar with public discourse dealing with topics such as
migration and government policies, as well as the relation of migration to body politics,
semiotics, visual arts, traveling and border literature, and cultural translation.
 Be able to recognize through the analysis of contemporary
cartography the transnational routes taken by many kinds of migrants across different borders
of Europe.
 Be able to understand literary and cultural expression as
resistance, especially for immigrant artists who need to deal with different cultures and
societies.
 Be able to develop significantly an attitude of mindful and
respectful engagement when critically analyzing works of art that will challenge and broaden
prior assumptions about difference and diversity.
Course Materials:
Books
Bartolo, Prieto. Tears of Salt: A Doctor’s Story (2018).
Günday, Hakan. More (2013).
Shire, Warsan. “Home” (2010)*.

Visual Arts
Ahad, Zalmaï. Silent Exodus (2008).
Bansky. Graffitti on Immigration (Paris Murals, 2017-2018, and others).
Salgado, Sebastião. Exodus (2000).

Films (in-class screening)

Audiard, Jaques. Dheepan (2015).
Bollaín, Icíar. In a Foreign Land (2014).
Cordero, Sebastián. Rage (2009).
López, Valeriano. Estrecho Adventure (1996) & Confabulación (2007).

Theory & Contextual Readings*

Arendt, Hannah. “We the Refugees” (1943).
Anderson, Benedict. Imagined Communities (1983).
Bauman, Zygmunt. Wasted Lives: Modernity and Its Outcasts (2003).
Collier, Paul. Exodus. How Migration is Changing Our World (2013).
Flesler, Daniela. The Return of the Moor, Spanish Responses to Contemporary Moroccan
Immigration (2008).
George, Miriam. “Migration Traumatic Experiences and Refugee Distress” (2012).
Georgiou, Myria. “Does the Subaltern Speak? Migrant Voices in Digital Europe” (2018).
Koser, Khalid. “Reconciling control and compassion? Human smuggling and the right to asylum”
(2003).
Said, Edward. “Reflections on Exile” (2000).
---. Orientalism (1978).
Spivak, Gayatri. “Can the Subaltern Speak?” (1988).
* Students will be provided access, via Blackboard, to a folder containing these materials &
additional readings.

Course Format, Requirements and Student Evaluation:

Class format
There will be ten (20) 1 hour and 20 min seminar & lecture class sessions, plus two sessions for
introduction and conclusion as well as two sessions devoted to review and evaluation. Attendance
is mandatory to all of them. The core 10 seminar & lecture class sessions may vary in format,
including lecturing, student and instructor led discussion, commentary of readings & cultural
artifacts, film screenings, and other activities.

Assignments, procedures, requirements and guidelines

Papers must be analytical in approach. Due at the beginning of class. Late or emailed papers are
not accepted under any circumstances.You will be required to write 3 close-analysis papers
throughout the semester (3 pages each), and 1 final comparative paper (8 pages).
All papers must be typed & double-spaced in 12-point font with 1 inch margins. Any additional
resource you use for your papers must be properly cited in a bibliography (MLA format
preferred). Failure to do this will result in a F on the paper and/or permanent dismissal from the
course. Refer to writing guidelines.
Oral presentations (1 short and 1 long) are an integral part of your grade. Each student must sign
up for two oral presentations: a) Long Presentation (end-of-semester) must be followed by a class
discussion generated by the presenters (20 mins); b) Short Presentation is conducted on a day for
which you will introduce the topic of the day and lead a brief class discussion (8 to 10 mins).
Class Participation & Attendance is essential to doing well in this class. You are expected to
actively demonstrate your engagement with the text by contributing to class discussion. Your
active participation depends on the dedication to prepare and study, not only read, the assigned
materials before class. A positive and respectful attitude toward the instructor, fellow students,
the course schedule and course requirements is also expected. Your grade for class participation
& attendance depends on all the above and on taking and doing well on impromptu in-class
writing assignments. Some aspects considered to assign your grade are how well prepared you
are, how is your understanding or questioning of the issues covered in the materials, interaction in
class discussions, capacity to comment and to pose questions, and analytic aptitudes.
Attendance Policy
Students must attend all classes. An absence cannot be excused by arguing friends or relatives’
visits, unjustified sickness, poor week-end planning, etc. Only one unjustified absence will be
allowed per class. Each unexcused absence will end in lowering your final grade in 10 points
[e.g.: from grade 92 (A-) to a grade 82 (B-) in the final grade]. Three or more absences will entail
failing the course automatically.
Students are expected to be punctual and remain for the entire class. The classroom discourse is
disrupted by the entrance and exit of students, once the class has begun. Arriving more than 10
minutes late, or leaving before class ends will count as an absence, unless the instructor is
informed prior to class.
All grades are final and non-negotiable.
Grading: Short Oral Presentation (10%); Three Short Papers (30%); Final Paper (20%); Class
Participation & Attendance (10%); Midterm (15%); Long Oral Presentation (15%).
Grading scale: A 100-94, A- 90-93, B+ 87-89, B 84-87, B- 80-83, C+ 77-79, C 74-77, C- 70-73,
D+ 67-69, D 63-67, D- 60-62, F 0-60.

Short papers guidelines

Your short papers are design to help you to penetrate more in the artworks and literary/filmic
texts covered in class. You are required to do a close reading of one text in which you will offer
your detailed interpretation of the chosen text or a fragment of it. You are encouraged to focus of
concrete aspects of your interest, and you must frame your analysis within the theoretical
readings done in the semester.
For your first short paper, choose ONE of the following texts and artworks studied in class:
Shire’s “Home”, or Salgado’s pictures in Exodus (only one, although you can make cross-
references to others). Support your arguments with at least ONE, no more than TWO, theoretical
concept from the following list: Bauman’s liquid Modernity/wasted lives, Said’s notions on exile
as well as Spivak’s and Georgious’ Subaltern. Then, come up with a close analysis of the chosen
text/artwork.
For your second short paper, choose ONE of the following texts and artworks studied in class:
Günday’s More, Zalmaï’s Silent Exodus, Audiard’s Dheepan, and Banksy’s graffiti (in the case
of Zalmaï and Banksy, select only one work, although you can make cross-references to others).
Support your arguments with at least ONE, no more than TWO, theoretical concept from the
following list: Said’s Orientalism, Koser’s thoughts on human smuggling, Anderson’s imagined
communities, and Collier’s reflections on migrations. Then, come up with a close analysis of the
chosen text/artwork.
For your third short paper, choose ONE of the following texts and artworks studied in class:
Bartolo’s Tears of Salt, López’s Estrecho Adventure, or Confabulación, Cordero’s Rage, and
Bollaín In a Foreign Land. Support your arguments with at least ONE, no more than TWO,
theoretical concept from the following list: Bauman’s culture of waste, Georges’ study about
migrant’s distress, and Flesler’s overview of Moroccan Migration in Spain. Then, come up with a
close analysis of the chosen text/artwork.

Final paper and long oral presentation guidelines

Semester Inquiry
What we learn from reading about migrations stories is that they are complex phenomena,
uneven processes that cannot be understood using a single rubric. While we read stories mostly
about migrations into and within European countries, we can apply this new lens to interrogate
how our own local contexts are filled with stories of migrations that may or may not accurately
represent contemporary political power dynamics.
“Migrations”: a comparative analysis
Comparative analysis is not simply a “compare and contrast” exercise. Rather, it is a horizontal
form of interpretation—a critical stance that strives to map connections between seemingly
disparate worlds, allowing you to think about ideas and problems from a non-hierarchical
perspective. Migrations aesthetics is similarly non-hierarchical in that readers are encouraged to
replace the detachment of objective analysis with an open-mindedness that invites your
subjectivity as reader to actively participate in meaning production.
In this occasion, you will select one piece of art or literary/cinematic work, i.e. cultural
representations, covered in class as well as a second one of your choice. The comparison must be
meaningful, in other words, it cannot be randomly selected. Media is not considered a cultural
representation, with the exception of photojournalism and testimonies published in press,
journals, blogs, etc. Students are more than welcome to compare Trans-Atlantic cultural
representations of migrations.
For example, to begin framing your analysis, use Benedict Anderson’s idea that a community
and/or nation is “selectively imagined” to look more closely at how contemporary identity or
community is imagined so as to privilege specific kinds of identities over others. You will choose
the theoretical reading that better fits your comparative analysis.
Objectives: For your end-of-semester final paper and oral presentation, you will analyze
“migrations” from a comparative perspective that juxtaposes ideas covered in the course material
with your own social media cultural environment.

Paper requirements:
. a)  Your paper should consist of a critical interpretation of three texts covered over the course
of the semester that includes a self-reflective component derived from your analysis of a
self-selected social cultural construct or phenomenon.
. b)  Do not simply write plot summaries or character sketches. Strive for interconnections
between texts to establish your position on constructs of “migrations” in today’s social
media cultural environment.
. c)  For this final paper, please aggressively use the thinking, critical, analytical “I” to navigate
between issues presented in the material. Refrain from using the “I” simply to offer
beliefs or opinions.
. d) Besides sources covered in class and theory, use at least two academic sources (articles and
book chapters) to support your arguments and add contextual information.
. e)  Don’t let quotes speak for you: If and when using a quote, follow it with a sentence or two
explaining how and why that quote works as evidence in support of your analysis. Get
into the habit of paraphrasing or using fragments of whole sentences when quoting so that
you are taking only what is necessary and relevant.
. f)  No floating quotes: Integrate quotes into your own sentences.
. g)  Please leave time to edit your paper for sentence-level errors in language and/or
organization of ideas.
. h) The text covered in class for your final paper must be different from those studied in your
short papers. Therefore, your final paper CANNOT be an extended version of a previous
short paper.

Oral presentation requirements:

. a)  Rather than simply sharing information in list form, a presentation’s goal is to share
answers to critical questions your group has asked about your subject matter. Teach your
audience.
. b)  All members must participate for an equal amount of time during the presentation.
. c)  Each member should approach the subject from a different angle, asking a different set of
questions.
. d)  Your presentation must be organized and delivered in a dynamic style. You must give the
 impression that effort has been made to consider audience receptivity.
. e)  Using audio-visual supplements is mandatory. These should be selected to guide your
audience towards a fuller immersion into your subject. No PowerPoint slide presentations
from which you simply read out points and ideas.

Classroom etiquette
Please be respectful and open-minded to peer comments.
Be punctual and avoid disruptions during class.
Computers/ tablets are allowed only for access to the required readings and other course materials
as well as to take notes during lectures and discussion. Its use is subject to a trust and respect
policy that, in case of improper usage, can be reverted. No cell-phones, Kindles, or other
electronic devices are permitted.
Food and beverages (except water) are forbidden, except for health reasons.
Double-check due dates and plan accordingly. There will be no make-up possibility and late work
will not be accepted (unless properly excused).

Academic Integrity & Plagiarism is a serious offense. Each case is reported to the Dean’s
Office and you will get an automatic F for the course. All work in this class must be your own. At
any time, if you rely on or borrow from some other writer, or even anonymous source online, you
must acknowledge that intellectual debt by giving clear credit. Moreover, it is to your own benefit
to explicitly demonstrate, through footnoting or a works cited / bibliography page, the lengths you
have taken towards doing outside research.

TENTATIVE COURSE SCHEDULE – FALL 2021

Date Content Text / Artwork** Theory and

Contextual
Reading**
Week 1 Course Overview and Arendt, “We the
Sept 1 Syllabus Refugees”
Week 2 Introduction. Wasted Lives, Warsan Shire, Home Bauman, Wasted
Sept 6 & Sept or The Hazards of Migrants Lives, ch. 2
8 Said, “Reflections on
Exile”
Week 3 Migrations. An Historical Sebastião Salgado, Spivak, “Can the
Sept 13 & Approach Exodus Subaltern Speak?”
Sept 15 Georgiou, “Migrant
voices in digital
Europe”
Week 4 Reasons behind: Post- Hakan Günday, More Said, Intro to
Sept 20 & colonialism and I Orientalism
Sept 22 Immigration. Turkey, EU’s Koser, “Reconciling
Foyer I control and
compassion?”
Short paper #1
Week 5 Reasons behind: Identity and Hakan Günday, More Anderson, Imagined
Sept 27 & Borders. Turkey, EU’s Foyer II Communities, Intro
Sept 29 II (excerpt) & ch. 8.
Collier, Exodus, ch.
11
Week 6 Greece and the Balkan Zalmaï Ahad, Silent Collier, Exodus, ch.
Oct 4 & Oct 6 Countries: Europe-Asia Exodus 12
Border
Week 7 Review Session & Midterm
Oct 11 & Oct Exam
13
Week 8 EU Approach to Refugees Jaques Audiard,
Oct 18 & Oct and Immigration: Chronicle Dheepan
20 of a Dis-Encounter. The case
of France I
Week 9 Immigration and Urban Art Bansky, Graffittis on Bauman, Wasted
Oct 25 & Oct in Europe. The case of Immigration Lives, Intro & ch. 4
27 France II
Week 10 No class
Nov 1 & Nov
3
Week 11 Lampedusa, Africa, and the Pietro Bartolo, Tears George, “Migration
Nov 8 & Nov Mediterranean of Salt: A Doctor’s Traumatic
10 Story Experiences And
Short paper #2 Refugee Distress”
Week 12 Spain’s Africa Valeriano López, Flesler, The Return of
Nov 15 & Estrecho Adventure the Moor, ch. 2
Nov 17 & Confabulación
Week 13 Spain and Latin America Cordero, Rage
Nov 22 &
Nov 24
Week 14 Domestic Migration in the Bollaín, In a Foreign
Nov 29 & Dec EU, A Little-known Land
1 Displacement &
Conclusions

Short paper #3
Week 15 No class
Dec 6 & Dec
8
Final Exams Final project presentations
Week Final Paper Due
Date TBA

** It shows the week in which these materials will be discussed in class, therefore the reading
must be done beforehand in order to come up prepared for the discussion.