THE STRANGER

2019 ◽  
pp. 11-36
Keyword(s):  
The Stranger

Virtual Embodiment as/and the Threshold of Love

2013 ◽  
Vol 3 (2) ◽  
pp. 97-109 ◽  
Author(s):  
Anne Harris
Keyword(s):  
Urban Space ◽  
State Building ◽  
Modern Life ◽  
Space And Time ◽  
Empire State Building ◽  
Arcades Project ◽  
Performance Texts ◽  
And Performance ◽  
The Stranger

This essay draws upon the author’s performance script Fall and Walter Benjamin’s The Arcades Project as a provocation for considering the ways performance texts provide a threshold for somatic inquiry, and for recognizing the limits of scholarly analysis that does not take up performance-as-inquiry. Set at the Empire State Building, this essay embodies the connections and missed possibilities between strangers and intimates in the context of urban modern life. Fall’s protagonist is positioned within a landscape of capitalist exchange, but defies this matrix to offer instead a gift at the threshold of life/death, virtual/real, and love/loss. Through somatic inquiry and witnessing as threshold experiences, the protagonist (as Benjamin’s flaneur) moves through urban space and time, proving that both scholarship and performance remain irrevocably embodied, and as such invariably tethered to the visceral, the stranger, risk, and death.

The Stranger at Home – “Hybrid” Children Returning to Romania

2019 ◽  
Vol 13 (1) ◽  
pp. 105-124
Author(s):  
Áron Telegdi-Csetri ◽  
◽  
Viorela Ducu ◽  
Keyword(s):  
The Stranger ◽  
At Home

The Stranger Who Bore Me

1995 ◽  
Author(s):  
Karen March
Keyword(s):  
The Stranger

Reflections on the Meaning of Study Abroad

1995 ◽  
Vol 1 ◽  
pp. 96-103
Author(s):  
Elizabeth Shannon
Keyword(s):  
Study Abroad ◽  
Nursery School ◽  
Multiple Identities ◽  
Danger Zone ◽  
Host Family ◽  
The People ◽  
Life Itself ◽  
The Moment ◽  
First Time ◽  
The Stranger

Study abroad begins long before students leave their own shores. The moment that children enter daycare, nursery school, or kindergarten for the first time, they are in foreign territory, and all their antennae are out, testing, absorbing, learning. They begin to develop the first of their many multiple identities. They are no longer "Johnny" or "Sarah" whom everyone knows and loves at home, but Johnny or Sarah whom no one knows nor initially cares about, and they have to figure out what kind of a new identity they will develop so the danger zone becomes as safe as home.  Leaving familiar surroundings- the sounds, smells, safety, and food of home- and realizing, quite abruptly, that they must learn to adapt to the demands and needs of strangers, is the first and the most challenging "trip abroad" they will ever take. They will use the same set of skills, more mature, more polished (we hope) when they arrive on a foreign campus and move in with a host family or into an international dormitory.  Learning to make the journey with ease, whether it is on the first day of school or the day a plane drops one in a foreign field, is a necessary accomplishment. We have to make friends out of our peers; we have to gain the respect of our teachers; we have to develop curiosity and concern about the people around us. The stranger they seem, the more there is to learn. To fear diversity is to fear life itself. As the world becomes smaller and more integrated, the more crucial this accomplishment grows. 

The Soul of the Stranger

2018 ◽  
Author(s):  
Joy Ladin
Keyword(s):  
The Stranger

Adopting the Stranger as Kindred in Deuteronomy

2018 ◽  
Author(s):  
Mark R. Glanville
Keyword(s):  
The Stranger

Borges the Post-Orientalist

2017 ◽  
Author(s):  
Robin Fiddian
Keyword(s):  
South Atlantic ◽  
Conclusive Evidence ◽  
Binary Opposition ◽  
The South ◽  
Civilization And Barbarism ◽  
The Stranger ◽  
East West

The chapter examines several works including ‘The East’, ‘A Thousand and One Nights’, and ‘Buddhism’, which are on subjects relating to the East, and finds conclusive evidence of a post-Orientalist optic in Borges’s writing at this point in his life. Japan inspires ‘The Stranger’ and ‘Nihon’, both included in The Limit and outstanding examples of Borges’s wit and craftsmanship. A comparison between ‘Nihon’ and ‘Story of the Warrior and the Captive Woman’ from an earlier collection illustrates Borges’s evolved approach to the binary opposition between civilization and barbarism, across the East–West divide. Two milongas are also studied in the context of the war in the South Atlantic (1982) and point to a disillusioned conclusion about Argentina 170 years on from formal independence in 1810.

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