Quinsaat, Jesse, ed. Letters in Exile: An Introductory Reader to the History of Filipinos in America. Los Angeles: UCLA Asian American Studies Center, 1976.
After the war, composers like Braunfels, Erdmann, Jarnach and Tiessen suffered from the fact that they had remained in Germany during the Third Reich, and this has contributed to their continuing neglect. For a long time, internal exile artists either were not given their full due or were completely overlooked.Now there are indications that a change is underway. In recent years, Braunfels's String Quintet has been performed in Toronto, London and Berlin; his has been heard in Cologne and Berlin; and his operas and have received much attention – the former in Vienna, Los Angeles, Cagliari and at the Spoleto Festival, and the latter in Stockholm and Berlin. Likewise, Heinz Tiessen's Amsel (Blackbird) Septet received much acclaim when it was performed in Toronto (2006), London (2008) and Berlin (2009). Perhaps the very fact that this recognition is arriving decades after the composers' deaths means that their works are able to stand on their own merits, and not for political reasons or merely as curiosities.
Chekhov could not abide the Russian intellectuals of his day, who touted idealistic schemes for improving society, but sat around and did nothing. In this story we find evidence of the other common Russian ailment, the immovable fatalism of the masses, which, in its extreme form, justifies pickling one's life in alcohol because there is no sense in doing anything. [See Richard Peace, "'In Exile' and Russian Fatalism," in Jackson, R. L. (ed.) Reading Chekhov's Text. Evanston, Northwestern University Press, 1993, pp. 137-144.]
John Simpson in the introduction of his book “The Oxford Book of Exile” says, that exile “is the human condition; and the great upheavals of history have merely added physical expression to an inner fact.”5 But, this holds true only if the exile is taken equivalent to self alienation in the modern sense....
Semyon tells him the story of Vasily Sergeyitch, a wealthy aristocrat who was sent into exile 15 years earlier. He was able to send for his wife and daughter. The wife agreed to come, but then ran away with a lover, and now the daughter who has spent her life in exile with him lies dying of consumption. The point of this story seems to be that the exiled man should accept his fate and forego desire, or the expectation of happiness.
After the war, the commissions responsible for denazification soon realized that party membership alone would not qualify someone as a Nazi.On the other hand, far too many Germans then claimed to have been victims or even members of the Resistance. It proved to be extremely difficult to verify those confessions and reports. There was a bitter dispute between artists who had fled Germany and those who had stayed – between refugees on one side and non-refugees on the other. The first group tended to regard members of the second – like Furtwängler or Strauss – as supporters of the regime. On the contrary, artists who had not left their native country quite often claimed that they had actually suffered more under the dictatorship because they had been under constant threat of bombardment during the war and had lived in destroyed cities. Some of them declared that they had stayed in Germany in a state of internal exile.
First published in 1999, Exile and Pride is essential to the history and future of disability politics. Eli Clare's revelatory writing about his experiences as a white disabled genderqueer activist/writer established him as one of the leading writers on the intersections of queerness and disability and changed the landscape of disability politics and queer liberation. With a poet's devotion to truth and an activist's demand for justice, Clare unspools the multiple histories from which our sense of self unfolds. His essays weave together memoir, history, and political thinking to explore meanings and experiences of home. Here readers will find an intersectional framework for understanding how we actually live with the daily hydraulics of oppression, power, and resistance. At the root of Clare's exploration of environmental destruction and capitalism, sexuality and institutional violence, gender and the body politic, is a call for social justice movements that are truly accessible to everyone.
Buy it from .
Listen to it as an .
Listen to the . (Thank you Alison Kopit, Monica Trinidad, and Page May.) There is no transcript.
Walter Braunfels and Heinz Tiessen are examples of composers, who – although they remained in Germany during the Third Reich – did not want to support a state that at first glance had seemed quite attractive to musicians. They evaded official engagements in order not be used in the propaganda machine installed by Joseph Goebbels. This attitude could be called Internal Exile. There is no clear-cut catalogue of criteria for internal exiles. If all civil servants (including professors at state-subsidized institutions like the Berlin Hochschule) are to be seen as supporters of the Third Reich, then Tiessen cannot figure in the Internal Exile group. More significant, perhaps, is the number of public performances they enjoyed. Unlike the unique case of Hartmann, who was able to boycott the Third Reich, Braunfels and Tiessen were boycotted by the regime.