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In the last decade, the concept of radical diversity has gained traction, not least in the circles around the postmigrant theatre at the Maxim Gorki Theatre in Berlin. This essay explores this concept and interprets it as part of the overall tendency in postmigratory art and culture to move beyond clear-cut identity groups and to build alliances and coalitions beyond stable identity markers. Radical diversity thus not only denounces doctrines of cultural homogeneity and monoculturalism but also rejects the logic of integration and traditional ideas of multiculturalism. Against this background, radical diversity focuses on the multiplicity of subject positions in society, as well as on the complexity of structures of discrimination and marginalization. As a artistic-political intervention, this essay argues, radical diversity expresses some of the major characteristics of postmigrant societies and urges us to reconsider traditional research perspectives on migratory art and on the relation between culture and migration.

In the last decade, discussions on postmigration and postmigrant aesthetics have gained traction in European cultural studies and current discourses on the role of migration in modern societies. Our introduction to the themed issue on 'Postmigration: Aesthetics and Interventions' seeks to provide an overview of some of the most central developments in the field, whether it is the growing academic awareness of 'postmigrant theatre', which has been a major success in Germany since 2008, or the recent academic debates and international discussions about postmigration as a new theory in social and cultural studies. We distinguish at least three major tendencies within these academic debates that either focus on postmigrant subjectivities, on postmigrant societies, or on postmigration as a new analytical perspective. Furthermore, we also address some of the criticism that could be brought up against the concept of postmigration from postcolonial and decolonial approaches. Our ambition is to open the concept for future challenges and perspectives in the fields of European cultural and migration studies when investigating diverse and super-diverse social spaces and cultural productions, including their aesthetics, politics and narratives of belonging. At the end, we briefly introduce all contributions coming from anthropology, social, cultural and literary studies.

Who governs—and who should govern—online communication? Social media companies, international organizations, users, or the state? And by what means? A range of rhetorical devices have been used to simplify the complexities associated with the governance of online platforms. This includes "constitutional metaphors": metaphorical allusions to traditional political concepts such as statehood, democracy, and constitutionalism. Here, we empirically trace the ascent of a powerful constitutional metaphor currently employed in the news media discourse on platform governance: characterizations of Facebook's Oversight Board (OB) as a "supreme court." We investigate the metaphor's descriptive suitability and question its normative and political ramifications. We argue that uncritical characterizations of the OB as Facebook's "supreme court" obscure its true scope and purpose. In addition, we argue that appropriating the socio-cultural symbolism and hence political legitimacy of a supreme court and mapping it onto a different type of actor poses a threat to responsible platform governance.

Cover -- Contents -- List of illustrations -- Introduction -- Part I: Discourses and interventions -- Postmigrant Europe: Discoveries beyond ethnic, national and colonial boundaries -- When do societies become postmigrant? A historical consideration based on the example of Switzerland -- Contested crises Migration regimes as an analytical perspective on today's societies -- "The cultural capital of postmigrants is enormous" Postmigration in theatre as label and lens -- A postmigrant contrapuntal reading of the refugee crisis and its discourse 'Foreigners out! Schlingensief's Container' -- Part II: Cultural representations -- Class, knowledge and belonging Narrating postmigrant possibilities -- Postmigrant remembering in mnemonic affective spaces Senthuran Varatharajah's Vor der Zunahme der Zeichen and Pooneh Rohi's Araben -- "I don't write about me, I write about you" Four major motifs in the Nordic postmigration literary trend -- Towards an aesthetics of migration The "Eastern turn" of German-language literature and the German cultural memory after 2015 -- Towards an aesthetics of postmigrant narratives Moving beyond the politics of territorial belonging in Ilija Trojanow's Nach der Flucht (2017) -- We Are Here Reflections on the production of a documentary film on the theatre in postmigrant Denmark -- Part III: Postmigrant spaces -- The square, the monument and the re-configurative power of art in postmigrant public spaces -- Recovering migrant spaces in Laurent Maffre's graphic novel Demain, Demain -- Zamakan: Towards a contrapuntal image -- "Tense encounters" How migrantised women design and reimagine urban everyday life -- Contemplating the coronavirus crisis through a postmigrant lens? From segregative refugee accommodations and camps to a vision of solidarity -- Contributors.

The concept of »postmigration« has recently gained importance in the context of European societies' obsession with migration and integration along with emerging new forms of exclusion and nationalisms. This book introduces ongoing debates on the developing concept of »postmigration« and how it can be applied to arts and culture. While the concept has mainly gained traction in the cultural scene in Berlin, Germany, the contributions expand the field of study by attending to cultural expressions in literature, theatre, film, and art across various European societies, such as the United Kingdom, France, Finland, Denmark, and Germany. By doing so, the contributions highlight this concept's potential and show how it can offer new perspectives on transformations caused by migration

The concept of "postmigration" has recently gained importance in the context of European societies' obsession with migration and integration along with emerging new forms of exclusion and nationalisms. This book introduces ongoing debates on the developing concept of "postmigration" and how it can be applied to arts and culture. While the concept has mainly gained traction in the cultural scene in Berlin, Germany, the contributions expand the field of study by attending to cultural expressions in literature, theatre, film, and art across various European societies, such as the United Kingdom, France, Finland, Denmark, and Germany. By doing so, the contributions highlight this concept's potential and show how it can offer new perspectives on transformations caused by migration.

The Christoph Schlingensief performance with the refugee container in front of Vienna State Opera touched and moved people, angered them, or inspired them to reflect critically on their own prejudices and preconceptions. By choosing a central locus in the heart of Vienna, frequented daily by numerous tourists, Christoph Schlingensief managed to attract considerable attention with his artistic-political initiative. Moreover, some tourists thought the performance was the implementation of an actual public initiative to arbitrarily deport as many refugees as possible. Subsequently, Schlingensief was either verbally attacked on television, completely ignored or even derided as politically corrupt, someone who had been 'bought and paid for'. Forcefully engaging with this 'predetermined breaking point', the artist disrupted the power of the asylum dispositif, at least for a brief interval.

This book offers a compelling study of contemporary developments in European migration studies and the representation of migration in the arts and cultural institutions. It introduces scholars and students to the new concept of 'postmigration', offering a review of the origin of the concept (in Berlin) and how it has taken on a variety of meanings and works in different ways within different national, cultural and disciplinary contexts. The authors explore postmigrant theory in relation to the visual arts, theater,film and literature as well as the representation of migration and cultural diversity in cultural institutions, offering case studies of postmigrant analyses of contemporary works of art from Europe (mainly Denmark, Germany and Great Britain).

This chapter takes the coronavirus pandemic that first emerged in December 2019 as a springboard to ref lect on how society deals with forced migration from a postmigrant perspective. Such a theoretical vantage seeks to 'demigratize' research on forced migration (Römhild 2017). Analytical inquiry then is not a mode of special research on refugees but rather it investigates the societal power relations and social inequalities that affect all human beings. The experience of forced migration is relevant for research exploring living together in society as a whole. Taking that premise as a point of departure, the present study investigates dedicated refugee accommodation centers and camps as specific settings in which persons who have f led their homes and countries are largely separated, segregated and shielded from the rest of the population. The chapter addresses the questions: What are the life realities of human beings in these settings? What significance do they have for life together in society as a whole? How is it possible against this backdrop to conceptualise postmigrant visions of an urban, cosmopolitan, inclusive and open living together in solidarity?