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Reisen ist zum Spiegelbild einer Welt in Bewegung und ihrer Beschwörung grenzenloser Mobilität geworden. Dabei geht es nicht nur um die konkrete Bewegung zwischen Orten, sondern auch um das damit verbundene Bedeutungsnetzwerk, jene Imaginationen und Narrationen, die die Orte als Heimat und Ferne, Provinzen oder Urlaubsparadiese, Flucht- oder Treffpunkte erst entstehen lassen. Der vorliegende Band bietet einen multiperspektivischen Blick auf diese Topologien des Reisens, die utopische wie dystopische Raum- und Identitätsentwürfe evozieren. Neben geographischen und tourismuswissenschaftlichen Überlegungen zur Gestaltung und Nutzung von konkreten Tourismusräumen versammelt er vor allem kunst- und literaturwissenschaftliche Reflexionen über die Darstellung von Heimat und Fremde in Kunst und Literatur wie auch ethnologische Studien über das Leben spezifischer Personengruppen in der Migration. Häufig werden dabei Fragestellungen aus Postcolonial und Gender Studies zugrunde gelegt, die neben der politischen Dimension des Reisens auch die perspektivische Engführung bisheriger Erklärungsansätze aufzeigen, die beispielsweise in der analytischen Trennung von Reiseformen und Akteursperspektiven sowie in der Ignoranz gegenüber bestimmten Reiseformen ihren Ausdruck fand. rnSo steht der Band nicht nur für die Vielfalt an zeitgenössischen Reiseformen und -imaginationen im Zeitalter von Massentourismus, Migration und Virtualisierung, sondern auch für eine andere, theoretisch wie empirisch kritische Betrachtung eines globalen Phänomens. Inhalt: Alexandra Karentzos, Alma-Elisa Kittner, Julia Reuter Einleitung: Topologien des Reisens Julia Reuter Einleitung: Tourismus und Migration Andreas Ackermann Reisende Kulturen? Das Konzept der Diaspora in den Kulturwissenschaften, illustriert am Beispiel der Yeziden Jacqueline Knörr Vom "Expat Brat" in Afrika zum "Third Culture Kid" in Deutschland Ramona Lenz Migration und Tourismus als Gegenstand wissenschaftlicher und künstlerischer Projekte Alexandra Karentzos, Alma-Elisa Kittner Einführung: Holiday in Art - Kunst und Tourismus Christian Kravagna The Artist as Traveller. Aus den Reisealben der (Post-)Moderne Peter Schneemann "Miles and More". Welterfahrung und Weltentwurf des reisenenden Künstlers in der Gegenwart Hanna Büdenbender Massimo Vitali: Traumstrand versus Touristenmassen Thomas Küpper Einführung: Reisen in die heile Welt Ute Dettmar Berge voll Glück. Literarische Wege ins Reiseparadies Schweiz Christiane Holm Hier und Jetzt. Zur "Heilen Welt" in Reisetagebüchern und Weblogs von Frauen Peter Gendolla Phantome des Südens. Zur utopischen Differenz der Literatur im virtuellen Raum. Karlheinz Wöhler Tourismusräume: Virtualisierung des Realen - Realisierung des Virtuellen Viktoria Schmidt-Linsenhoff, Dorothea Coskun Einführung: Wandernde Objekte. Die Bedeutung der Mobilität der Dinge Gabriele Genge Grand Tour der reisenden Objekte: Performative Strategien in der afrikanischen Gegenwartskunst Jens Baumgarten Transformation asiatischer Artefakte in brasilianischen Kontexten
In Beloved, Jazz and Paradise, Toni Morrison negotiates ways of individual and collective identity formation through figurations of space and trauma. In geographical spaces that are public and private, open and closed, inclusive and exclusive, space of the past and spaces of the present, Morrison writes discursive spaces in which to create individual and communal African American history and identity, based on the traumatic hi-stories at the core of the Black American experience: the Middle Passage, slavery, Jim Crow and the Civil Rights Movement, just to name a few. In the three novels, Toni Morrison subscribes to a postmodern notion of space and place, presenting it as relative to the individual- frame of mind. Places are used as metonymies for the protagonists" traumatized minds and their different ways of dealing with trauma. Trauma that is not worked through and transcended is presented by Morrison as impacting the protagonists- ability to fashion a home out of a vast and often hostile space. The physical and mental space of Morrison- protagonists is occupied by historical traumata that disables the protagonists to find a place in the present without revisiting the places of their troubled past. While this burdens their lives, it also opens up a historical and metahistorical discourse that allows the revision of mainstream historiography to include minority histories of oppression and trauma. Morrison reconfigures the American historical landscape by emphasizing the subjectivity of any history and offering alternatives to historical grand narratives through her historiographic metafiction. All three novels explore the possibility of reconciliation between past trauma and present life. Doing so requires Morrison to send her protagonists on strenuous journeys through time and space in order to visit the past trauma that keeps them from making a home in the here and now. The protagonists venture back to the primal scenes that bear major significance for their lives but have been suppressed for being too painful to remember. Their pain thus awakens anew, but out of it grow the possibility of a life in the present and the hope for a future. The pasts Morrison thus digs up serve as anchors to situate the African American place in the American historical landscape. Those primal places have a geographical as well as a historical and psychological quality, as places in Morrison- novels are often used as metonymies for the protagonists" traumatized minds, containing the memory of the traumatic past. By spatializing time, Morrison makes history accessible to a communal working through, thus countering the modernist impulse to treat memory as a private faculty embedded in the individual- psyche. This makes it difficult, for African Americans with individual recollections of slavery and racist oppression for example, to use traumatic memory as the basis for a common sense of identity. Morrison uses spatialized time as a forum to discover this basis, to allow for the establishment of a common historical bond. At the same time, she warns against instrumentalizing a common history to exclude those who do not share it. Any history, for Morrison, should be open and flexible enough to accommodate different perspectives. Essentially, Morrison suggests that western historiography is a discursive construct. By allowing, in all three novels, a polyphonic weaving of different equal histories to destablize a single, authoritative, hegemonic historiography, Morrison gives African Americans the power to construct her own past, her own present, and thereby claim back her identity. Moreover, Morrison destabilizes the duality of private space and public space that has long served to distinguish subjective individual memory from objective communal history and thus to legitimize certain accounts of history at the expense of others. The gendered as well as the racial other, by virtue of being excluded from the public sphere, have been excluded from their own historicization. By opening up the private sphere of personal trauma and loss, Morrison spatializes personal memory in a way that it forms a parallel public sphere in which African Americans may negotiate their historicity, move out of the timelessness of the private into the historicized public. By opening up the traditionally private sphere of the home to the public and turning it into a deeply political place, Morrison redefines home in a way that it does not necessarily conform to the classic view of a closed-off shelter but rather a transient place with flexible boundaries that allows for the formation of liberated individual and communal identities out of (hi)stories of pain and trauma.