Diasporic representations: A study of Circassian and Armenian identities in Greater Syria.

Abstract

This dissertation examines the positionality that informs both internal and external identity maintenance for the Greater Syrian diasporas of Circassians and Armenians post-Genocide through the deployment of fictional texts written in Armenian, Arabic, French, and English. Diasporas experience abrupt renegotiations of identity during their emigrations and integration experiences. Repatriations to partial or reconfigured homelands frustrates diasporan/homeland compatriot encounters and notions of authenticity associated with territoriality and the diaspora/homeland dichotomy; instead asserting the need for mutual validation through the diasporan/homeland compatriot encounters via acts of repatriation. Authentication of diasporic cultural symbols like accordions and horses is sought through embedding in these new homelands while homelands are validated through cultural products of diaspora such as operas or through acts of commemoration. Circassian and Armenian homelands and diasporas are examined through the lenses of <italic>hijra</italic> narratives, villains (Jevdet Bey, Stalin, General Zass, Yermolov, Cossacks, Turks, etc.), resistance (at Van, Musa Dagh, and Sochi), folk and nationalist operas (<italic>Anoush and Arshak II </italic>), profanation and religious rearticulation. The following works are the primary texts of the study: Rasim Rushdi's <italic>Jan</italic>, Birzaj Samkugh's <italic>Perdition of Emigration</italic>, Kevork Ajemian's <italic> A Perpetual Path</italic>, Seza's <italic>The Immigrant's Boy</italic>, M.I. Quandour's <italic>Revolution</italic>, and Atom Egoyan's <italic>Ararat </italic>, Zahra Omar's <italic>Departure from Susruqa</italic>, Ulfat Idilbi's <italic> Grandfather's, Tale</italic> Sonia Nigolian's <italic>Images have Snags</italic>, Edward Pochayean's <italic>One of the Immigrants</italic>.