ABSTRACT

Much research has been carried out on the discursive dehumanization of non-Anglo Celtic migrants to Australia – especially refugees and asylum seekers. However, this discourse also has an affective dimension that, in Sara Ahmed’s terms, ‘stick’, impressing upon non-white migrants at a corporeal level. Depictions of self and Other in comic zines such as Where Do I Belong? by Silent Army, Villawood: Notes from a Detention Centre by Safdar Ahmed, and The Refugee Art Project’s zine collection clearly demonstrate the ways in which the body is implicated in narratives about migration and asylum. This paper argues that the comic zine medium also allows for ‘something else’ to surface; namely, an excess with an interruptive rhythm. This excess is posited here as a type of ‘diasporic intimacy’—a dystopic and unsuspecting affective force that disrupts the temporal and spatial rhythms of everyday life. By harnessing diasporic intimacies, the comic zines discussed here redeploy sticky and toxic discourses about migration and asylum, creating space for the migrant body to resist and reassemble.

摘要

已经对非盎格鲁凯尔特移民到澳大利亚的话语非人化进行了大量研究 - 特别是难民和寻求庇护者。然而，这种话语也有一个情感维度，用萨拉艾哈迈德的话来说，就是“坚持”，在肉体层面给非白人移民留下深刻印象。漫画杂志中对自我和他者的描述，例如我属于哪里？沉默的军队，维拉伍德：来自拘留中心的笔记Safdar Ahmed 的作品和难民艺术项目的杂志集清楚地展示了身体在有关移民和庇护的叙述中的牵连方式。本文认为，漫画杂志媒介也允许“其他东西”浮出水面；即，节奏中断。这种过度在这里被视为一种“流离失所的亲密关系”——一种扰乱日常生活时间和空间节奏的反乌托邦和毫无戒心的情感力量。通过利用流离失所者的亲密关系，这里讨论的漫画杂志重新部署了关于移民和庇护的粘性和有毒话语，为移民身体创造了抵抗和重新聚集的空间。