Rossetto, Tania (2015). Performing the nation between us: urban photographic sets with young migrants . Fennia 193: 2, 165-184. ISSN 1798-5617. First developed during the 1990s, the transnational paradigm in the study of migration has been associated with the notions of displacement, deterritorialisation and frictionless-ness. In more recent times, there has been a growing tendency to spatially ground transnational studies by locating and emplacing transnational practices. The emergence of the so-called transnational urbanism has led to a prolific urban stream within transnational research. With respect to the growing diversity of Western societies, this literature has tended to emphasise the potentialities of the city as the location of lived diversity, sharing, dynamism, vibrancy and encounter, in contrast to the deficiencies of the nation, identified with formal politics, discourse and ideology, singular belonging, fixity and constraint. Against this narrative of the city/nation divide, this article draws attention to the alternative conceptualisations of the nation that have emerged in recent debates and have embraced local, material and agency-based, rather than discursively-oriented approaches to the nation. As well as the city/nation divide, a progressive idea of the nation as shared experiences is analysed within an urban performance project which involved young migrants in the city of Padua (Italy) during winter 2013. These performances are read from the particular perspective of the scale debate, suggesting that, through the performance of urban heritage sites, those migrants physically and emotionally locate themselves within the hosting nation. Finally, I discuss this scalar shift and I propose extrapolating the concept of the "urban unconscious" to the national level, thus suggesting a way to think about the nation as a frame of co-existence and not as an identity bond.

The long superficial engagement of literary scholars with the cartographic lexicon (under the label of literary 'spatial turn') has led to a need for a 'recartographization' of the field. This tendency, however, still remains primarily embedded within analytical ('cartography of literature') or critical ('critical literary cartography') approaches, and fails to engage the recent development of post-representational rethinking of maps. Literary criticism, with its creative use of mapping words, and, above all, literary texts, with their involvement of practising maps, should be reconsidered as relevant sources for cartographic theorization and mapping research.

The current elaboration of a post-phenomenological geography is mostly a theoretical effort. This paper aims to contribute to this theoretical stance from a practical point of view by proposing a comparison between the technique of repeat photography and the trajectories along which the approach of post-phenomenological geography has been outlined recently. From the engagement with a number of post-phenomenological interventions and an empirical case studynamely, a repeat-photography project conducted by the Italian amateur photographer Claudio Rigon at First World War cemetery sites on the Asiago Plateau in the Italian Pre-Alpine regionthe paper derives a conceptual development of this outline. Drawing from the theorisation of photographic indexicality and the role of subjects and objects in the photographic act, it is argued that repeat photography, more than other photographic genres, simultaneously entails the agency and displacement of the human. In fact, the compulsory nature and strict rules of repeat photography (same subject, same vantage point, same frame, same atmosphere) liberate the photographer from the self-referential nature of creative photography and make room for other, non-human agents to co-determine the process and the final product. Repeat photography is envisioned here as a form of "being-with" through the image, a way to be attuned to subjects, objects and spacetimes, which is not, or not solely, human-centred, but can still convey an ethical aspect. K E Y W O R D S Asiago (Italy), non-human agency, photography theory, post-phenomenological geography, repeat photography, war cemeteries ---

Maps are often considered by tourism scholars as superimposed representations that reduce\ud visitors to passive executors of pre-designed routes. Combining new post-representational\ud perspectives in map studies with a concept of tourism as a corporeal, vividly lived and active\ud experience, this article highlights the tensions between representation/power and practice/\ud resistance within tourism cartography. The case study of the German capital is used to illustrate\ud the concept that tourists can experience a ‘flirtatious’, intentional and enriching encounter\ud with their destinations ‘dwelling in’, rather than passively enacting or subverting cartographic\ud representations. Through an autoethnographical account and a cinematic-cartographical reading,\ud the author explores the role of actual and virtual embodiment in the experiencing of map spaces,\ud suggesting that Berlin’s ‘cartographic anxiety’ need not be understood as a form of tourism’s\ud power of seduction

The map of the nation may be considered a power tool that persists in reproducing exclusive forms of nationalism in response to migration crises. Yet, in this article, we argue that in an era marked by new, rampant rhetoric regarding nationalism, maps are surprisingly among the few spaces left to cultivate progressive imaginaries of cultural diversity and migration as intrinsic, positive features of national experiences. Discussing critical readings of national mappings, we encourage a dialogue between map studies and nation and nationalism studies through the lens of everyday cartographic nationhood. Taking Italy as a context of analysis, the paper considers subject-centred refabrications of national maps (IncarNations), alien phenomenologies of national cartographic objects (AlieNations), and transformative creative cartographies of migrant nations (ContamiNations) to promote an alternative understanding of the national map as a sensitive tool of pluralism in multicultural societies.