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Eralda L. Lameborshi

inscriptions, at times experiencing palimpsest processes. As I will argue here, these texts excavate new directions for postcolonial analyses of the Ottoman Empire. On 14 October 2014, a World Cup qualifier match between Serbia and Albania was interrupted and followed by a riot. The disturbance was set off by

Whirls of Faith and Fancy

House Symbolism and Sufism in Elif Shafak’s The Flea Palace

Verena Laschinger

apartment building reaches towards the sky, while it is deeply anchored in urban history and ideologically and emotionally suffused by it. Built atop a palimpsest of oddly agglomerated houses, cemeteries, and layers of mixed material to which each generation of urban dwellers added its share, Bonbon Palace

Laetitia Zecchini

Sheikh started producing a series of “mappa mundis” from a scanned reproduction of the lost thirteenth-century Ebsorf Mappa Mundi made on parchment, which he recreates as a palimpsest to which he adds, retrieves or incorporates images, fragments, reproductions, and “quotations” collated from different

The Literary World of the North African Taghrība

Novelization, Locatedness and World Literature

Karima Laachir

genres that draw on each other, but also suggests that the Arabic novel is a “palimpsest” shaped by these multiple genres (Ouyang “Fictive Mode”). How have North African novelists reinvented the popular genre of the taghrība in their novels? Roger Allen argues that popular heroic sagas or siyār