Hybridity and Cultural Identity

This paper attempts to explore the notions that the two Caribbean poets namely, Derek Walcott and Edward Kamau Brathwaite endorse on Caribbean history in their poems. Though both of these poets hold almost the same notion regarding history but their approach is totally different from one another. Coming from a 'hybrid' race, Walcott is aware of the history and he acknowledges it and therefore, he writes in 'mulatto of style'; whereas Brathwaite is enraged by it and attempts to sublimate it to erect a history of the new world. It is Walcott’s view to rise above the delusion and hatred and engulf the world of literature with creativity. On the other hand, Brathwaite holds the grudge which helps him not to forget and forgive the past experience but to transform that very experience into something positive which may help the Caribbean to transform their frustration into something creative and to help the Caribbean to overcome the present struggle against the legacy of colonization. Following discourse analysis, this paper seeks to identify if it is possible to rewrite and re-‘right’ the Caribbean history which has been lost in the route and analyze Walcott and Brathwaite’s attitude towards that very history which has been implemented through their poetry.

In a society characterized by ever-changing identity- and boundary-redefinition, the confines among different kinds of art are shifting consistently. Painting, photography, and cinema often surface in post-modern literature directly or indirectly. In particular, intertextual connections, generated by the intertwining of cinema and literature in literary works, lead to the creation of new text types which can hardly be classified according to traditional genre taxonomies. This essay aims to investigate some hybridization processes, triggered by the presence of cinema in literary texts, through the analysis of two novels which claim a direct connection with cinema: Paradis Conjugal d'Alice Ferney (2008) et Le Garçon incassable de Florence Seyvos (2013).

“Ibride” nasce da un percorso di riflessione intrapreso durante
un’esperienza di ricerca presso l’Istituto Nazionale Tumori Regina
Elena di Roma tra il 2017 e il 2019. L’ibridazione, a cui il testo fa più
volte riferimento, indica la mescolanza di elementi eterogenei e
nel caso specifico vuole riferirsi al processo che si attiva quando le
categorie biomediche entrano nel campo della vita quotidiana. Il caso
del cancro al seno è emblematico in quanto ai grandi investimenti
in ambito oncologico e all’enfasi crescente sulla prevenzione nel
discorso pubblico corrisponde una densità dell’esperienza, di malattia
e di genere, forse senza eguali. Ciò che emerge è che quando il
rischio genetico, le tecniche di cura e di miglioramento del corpo, le
rappresentazioni sociali, penetrano le scelte biografiche il processo
di ibridazione tra natura e cultura, tra umano e non-umano assume
contorni incerti e che meritano un maggiore approfondimento teorico
ed empirico. La propensione, di matrice Actor Network Theory, a seguire
il cancro nella sua complessità ha reso possibile l’incontro con le donne
intervistate, con i loro corpi assemblati, deturpati, cibernetici, con i geni
BRCA e i filamenti di DNA, approfondendo elementi di storia sociale
della medicina, analizzando le rappresentazioni sociali e l’ambivalente
attivismo delle sopravvissute.

This article discusses cannibalism and embodiment in the autobiographical space of Maryse Condé. Autobiography in the tradition of Rousseau and Montaigne is a genre associated with a white male identity. The genre as such poses questions of inclusion towards other identities, such as the non-male, non-white. From an ethical engagement, literary criticism has put a focus on life writing instead of autobiography. Life writing has an emancipatory function in disability studies and feminism, but is also compatible with postcolonial criticism. In this article I claim that the whole oeuvre of Maryse Condé can be read as an autobiographical space, blurring the lines between the genre of autobiography and life writing. This is interpreted as an ethically engaged postmodern game, where the traditional genre of autobiography is parodied and criticised from the perspective of the Caribbean female. The claim is that by appropriating tropes such as cannibalism and female disability, Condé establishes an autobiographical space for her female characters, thereby opening up the genre of autobiography to the hybrid identity of the Caribbean woman.

In 1877, Paul Schumacher shipped what he called a “treasure” of archaeological materials to the Peabody Museum of Archaeology and Ethnology. Known as “the Schumacher Collection,” the archaeological assemblage contains an unusually large quantity of Euro-American manufactured materials from human burials at the Tongva Village of Nájquqar (CA-SCaI-39) on Pimu Santa Catalina Island, California. Previous attempts at analyzing these rare cultural materials did not include interpretations of their meanings within the context of ethnohistorical and ethnographical information in California. Multiple lines of evidence from documentary sources and archaeological analysis suggest that the Tongva islanders, known ethnographically as the Pimu Tongva people, opportunistically acquired trade goods from Euro-American seafarers at the time of “first contact” in 1542 until their final removal from the island sometime after 1820. The ways in which the Pimu Tongva meaningfully integrated introduced materials into pre-existing cultural practices, reveal how a coastal Californian group continued to craft their own identity in the face of invasion.

Die prozessuale Wirkungsweise der Immersion beschränkt sich nicht nur auf technisch-apparative Medien oder computergestützte Mediensysteme, sondern zeigt sich innerhalb zahlreicher Forschungsdiskurse ebenfalls bei analogen oder monomodalen Medien. Die Gradstufen und Ausprägungen von immersiven Prozessen ereignen sich dabei stets über ein bivektorielles Induktionsschema: Entweder wird Immersion maßgeblich über ein mediales Reiz- beziehungsweise Strukturangebot über sensomotorisch fundierte Wahrnehmungsprozesse eingeleitet oder über weitestgehend subjektive, phantasmatisch-imaginäre Annäherungen an ein Medium. Der Immersionsprozess besitzt allerdings nicht nur das Potenzial zur Analyse und Beschreibung spezifischer Rezeptionsprozesse im Verhältnis von Medium, Interface und Rezipient, sondern er lässt sich als eine komplexe Modellannahme zur Beschreibung einer Kulturtheorie medialer Hybride verstehen, die der Medienevolution der letzten Jahrzehnte adäquat Rechnung tragen kann. In Anknüpfung an Ernst Cassirers animal symbolicum und Hans Jonas’ homo pictor formuliert dieser Artikel die These des homo immergens.

In an attempt to explore the conference theme of “aesthetic responses to the multiple and often contradictory realities that people navigate” in today’s world of globalization and digital technology, this presentation discusses how contemporary artists understand their cultural identities while creating and presenting digitally-based artworks. The main focus will be the artistic explorations of three Korean artists who have been successful in the international art world: Atta Kim, Shin il Kim, and YOUNG-HAE CHANG HEAVY INDUSTRIES.

In this work, the research aim was to explore how hybridity affects/cause identity crisis as an issue of kinship practices among Euro-Asian families in Malaysia. The methods used where through qualitative method that is through Interviews where respondents were interviewed either face to face interview or through audio interview, Focus Group Discussion and Empirical Observation on the respondents’ expressions when answering as well as the tone they used upon responding to questions. The reason as to why qualitative method was used is because it gives a more in-depth and insightful responses as well as is able to provide information such as facial expressions and intonations that quantitative methods would not. The major findings for this research is that firstly, respondents had either conscious /sub-conscious identity crisis, denied identity crisis or no identity crisis due to factors such as religion, socialising, education, and exposure from parents in knowing their racial identity (racial awareness) and secondly, majority of research respondents identified themselves based on “Others” but there are complexities to this when it comes to formal and informal identification.

The intention of this project is to produce a thorough reference typology of glass bangles from late-post medieval Middle Eastern sites (ca.13th-18th centuries CE) using the British Museum collection and external supporting collections. A full, large-scale review, database recording and digitising within the Museum’s stores will then be also attempted. This will accompany cataloguing of differentiations in sizes, patterning, colours and glazes, to demonstrate whether patterns on quantities, distributions, locations, types and/or dates can be determined. This formal typology will require approximately 50-200 bangles to establish ‘type’ categorisations for further investigation. Background research and scientific analyses of production techniques and chemical signatures will be undertaken to establish likely production sites to map distribution patterns and alterations in periodic phases between ca.1200-1700 CE. Understanding of the Indian Ocean trade network is typically approached from socio-political and socio-economic perspectives but rarely socio-symbolic. The aim of this study is to transform the understanding of the production, trade and use of glass bangles across the western Indian Ocean, producing a valuable addition to the British Museum’s research on trade and connections around the Indian Ocean. It will achieve this by establishing a new methodology for the systematic analysis of glass bangles, improving the  documentation of The British Museum’s collection in the Department of the Middle East (and interpretation of other museum collections) and by tackling key research questions:

Is it possible to see and track patterns in the typology, chronology and distribution of bangles in the archaeological record?

What can their distribution patterns tell us about trade and exchange networks in operation in the Western Indian Ocean?

What insights might glass bangles offer about their wearers’ lives, such as cultural, personal and gender identity?

Postcolonial literatures try to give expression to colonized experiences and change colonial discourses. Accordingly, postcolonial writers rewrite myths of power, race and the imagery of subordination. Although there are many canonical postcolonial writers nowadays, most of them are men because colonized women have been silenced for a very long time. This study focuses on an emerging Samoan female writer called Lani Wendt Young, who published in 2012 a collection of short stories, Afakasi Woman: A Collection of Short Stories from a “Real Samoan Woman”, that revolves around the lives and experiences of Samoan women, more specifically, of afakasi (half Samoan half white) women living in Samoa in the 21st century. Postcolonial Feminism theory and the concept of hybridity introduced by philosopher Mikhail Bakhtin will be used to study several stories from Young’s collection.

The conquest and colonisation of the northeastern Baltic Rim in the 13th century durably shaped religious and ethnic identities of and relations between the native population and the arriving crusaders. This article explores the codes and displays of hospitality in the anonymous ‘Livonian Rhymed Chronicle’, which are seen here as ways of conceptualising the relationship and conflicts between the Teutonic Knights and the pagan or apostate people in Livonia. It asks which consequences the framing of the host-guest relations might have had for the self-comprehension of the chronicle’s author and his audience. The analysis of the chronicle is pursued along three lines: the first focuses on the questions of chivalry, courtesy, and conversion; the second explores different renditions of a miracle story of inhospitality from the 1220s; the third focuses on the conceptual metaphors of hospitality as a way in which the Teutonic Knights accommodated their adversaries’ viewpoints. In its conclusions, the article argues how a broad focus on the institutions, concepts, and discourses of hospitality can help account for both confrontational and amicable attitudes between the colonisers and the colonised both on the Baltic frontier and among other European frontier societies.

Khaled Hosseini’s The Kite Runner is a novel dealing with the cultural experience and the development of a migrant individual.The novel illustrates a diverse spectrum of concerns. It deals with the place of memory in reaffirming identity, the female agency in migration, reformulation of social hierarchies in an ambivalent cultural space. As textual strategy, it utilizes multilingualism, mythology, cultural tropes and motifs to highlight the ambivalent inbetweenness of the migrant experience. Even though the characters in the novel express a wish to recover their lost home land, they show an immense courage to overcome the normative straightjacket by accepting the double perspective of the hybrid individual. The novel illustrate narrative strategies employed to show that migrant literature is not only about memory and return it is also about the development of multiple perspectives in identity formation.

The idea of an authentic Greek national cinema and the notion of Greekness have been passionately and recurrently debated by filmmakers, critics and scholars alike, while inspiring the creation of important films. However, despite being local and national in various ways, Greek cinema did not grow in isolation but has always been in dialogue with international developments. This chapter illustrates how a new and distinctive emphasis on the European, the transnational and the cosmopolitan has gradually become an overarching and, in my view, the most representative characteristic of Greek film culture of the past ten years. It focuses on how different levels of transnationalism (political, cultural, industrial, textual) helped redefine Greek cinema and reintroduce it in the domestic and international markets. It thus provides a contextualising overview of the flourishing post-2008 Greek film culture aiming to briefly explore its major trends and patterns. By doing so, the discussion points to how these trends Europeanise and transnationalise the Greek experience, secure international funding and address non-national audiences, while simultaneously renegotiating national identity. In the process, issues regarding (co-) production, circulation and consumption practices, as well as critical and audience reception, are also considered.

As transnational social networks expand, people increasingly form intimate relationships with partners from a different sociocultural background. While intercultural intimate relationships are not a new phenomenon, they have attracted research only recently due to their global proliferation. Scholars are particularly interested in how such mixed relationships communicate and how their interculturality impacts on partners' (and their offspring's) identities. Some studies have been criticized for overemphasizing cultural differences and identification problems of intercultural partners. This depiction of intercultural coupledom as problematic in early research echoed initial societal perceptions of it. Contrastingly, recent works explore how intercultural partners can effectively communicate and negotiate their complex sociocultural repertoires. The hybrid cultural forms and meanings that intercultural couples create are shown as empowering rather than debilitating. This new approach is also reflected in society and the media, which increasingly represent intercultural families in a positive light, gradually normatizing or even endorsing them.

My sincere thanks to Edgar Xavier (https://independent.academia.edu/EdgarXavier2) for kindly pointing out some errors of fact in this paper. On page 70, the Herald is incorrectly identified as an Indonesian Catholic newspaper. The newspaper is Malaysian. And, of course, Kuala Lumpur (as mentioned in footnote 49), is the capital city of Malaysia - not Indonesia. So the phrase in parenthesis at the end of the second paragraph on page 70 should read "(an Arabic loanword in Malay [Bahasa Melayu])".  Again, sincere thanks to Edgar for his close reading of the paper and his taking the trouble to point out these errors.

Jonathan

The re-designing practice of industrial workwear clothes from Great Yarmouth UK by the Japanese market has been a part of an intriguing new trend. It was not about setting up a new label and in turn selling a collection of clothes based on the workwear aesthetic. Rather, it was about obtaining a legal license with the UK-based factory and having the “Japan Exclusive” clothes made, carrying the label “Yarmo” and being merchandised as fashionable clothing in Japan.
Fashion carries many complex systems and they convey certain societal traits that may not appear obvious at first, but it is nonetheless significant towards understanding various cultures within this world. This thesis considers how and why workwear originally supplied to the British “blue-collar” industry have been studied and “re-fashioned” as something to be desired within the Japanese market. Using Yarmo UK, a “non-Fashion” industrial workwear company as a case study, this research contextualizes how Japanese fashion professionals re-adopt workwear originating from the west, into leisurewear within their market. By positing that these Japanese fashion professionals “re-authenticate” a non-Japanese aesthetic for their own market, conveys a practice that crosses transnationally. This paper also questions and contests the dichotomizing discourse of “West versus the Rest,” and thus challenges cultural binaries and emphasizes the notion of hybridity between different cultures.
Through interviews and material culture analysis, this research explores how certain design forms and practices are re-adopted in order to market “non-fashion” industrial clothes as Fashionable (with a capital “F”) in Japan. Using an interdisciplinary approach, this thesis examines the material forms and narratives, and the various meanings and perceptions of British workwear as they cross-over and are translated for the Japanese fashion market.

This paper considers Homi Bhabha's notion of hybridity and a cultural third space in his seminal 1994 work 'The Location of Culture'. It argues that Bhabha's concept of hybridisation is predicated upon the ever-changing location of culture and, most importantly, offers the possibility of repositioning and empowering the marginal voice within mainstream discourse.

This essay is an expanded, Spanish language version of my earlier article on Bartra. "La jaula de la condición postmexicana" discusses the concepts of postnationalism and the “post Mexican condition” in Roger Bartra’s deconstruction of homogeneity in Mexican identity and nationalism. Bartra is a well known Mexican sociologist and anthropologist who bases his analyses of Mexican society on postmodern theory. His criticism of Mexican intellectuals and their invention of Mexican identity has made him an important figure in cultural studies. In his discussions of ethnicity, Bartra is critical of attempts to assimilate indigenous communities into a national culture, and is also skeptical of the segregation of indigenous communities based on an equivocal notion of multiculturalism following U.S. models. He cites the Zapatista uprising as an example of the decline of nationalist politics and identity. This article also examines Bartra’s position regarding Mexico’s transition to democracy, in particular his
notion of civil society’s role in political legitimation and his opposition to any populist or nationalist movements. His belief that Mexican society has entered a postnational condition, his postmodern disenchantment, and his distrust of nationalist and populist traditions in Mexico, have shaped his view of the ongoing crises of legitimation.
This article compares Bartra’s views to two other prominent intellectuals in Mexico: Néstor García Canclini and Carlos Monsiváis. This paper concludes that Bartra’s postmodernist standpoint has limited his ability to recognize the negative impacts of globalization and the transnationalization of culture, as well as the rise of the neoliberal
state, on Mexico’s democratic transition. In this extended version I also examine Bartra's role in the 2006 elections in Mexico and his views on populism and nationalism. In particular I criticize his reading of Ernesto Laclau's book On Populist Reason.

In my thesis on ‘Hybrid-Muslim Identity and Islamophobia in Post-9/11 U.S. American Literature’, I examine the novels 'The Reluctant Fundamentalist' by Mohsin Hamid and 'Native Believer' by Ali Eteraz. These two novels portray two protagonists, who are either first or second-generation Muslim migrants in the USA and are both of Pakistani heritage. In both of the novels 9/11 plays a significant role, since this historical event marks a turning point in the lives of many Muslims in the USA and worldwide. This event has changed the way Muslims are perceived, treated and have continued to live their lives. The novels I chose for my thesis portray two individual Muslim experiences, in which the protagonists are affected by the fact that they are Muslims living in post-9/11 America. But, what distinguishes them both is the way they are dealing with the given situation.

The debate over hybrid identities at the border calls for an analysis of the
relationship between economic and cultural globalization in the construction of social identities, whether hybrid, transnational, national, regional, or local. Identities have probably always tended toward hybridity in the borderlands, and the impacts of globalized circuits of production, homogenized consumer patterns, media images, mass migration, and incessant travel have intensified and accelerated a process as old as the bordered nation-state itself, but often with unforeseen consequences. In tracing contemporary debates about
hybrid identities and borderlands, this chapter will also make a distinction between more culturally orientated hybrid identities and more politically related transnational identities. It will also focus on the question of the US-Mexico border itself and the conflicts rotating around it. As well as distinguishing between hybridity and transnationalism, two
separate but related processes produced by globalization, this chapter
endeavors to theorize the effects on both sides of the border, no matter how
asymmetric the embedded power relationship that the border itself represents.
Its theoretical perspective is infl uenced by the ongoing debate between
poststructuralist Marxist, postcolonialist, and cultural studies-based border theorists over the emancipatory potential of hybrid, transnational, or indeed any type of “identity,” individual or collective, to overcome the present global rigidification of borders between the “advanced” capitalist North and the “emerging” capitalist South. Methodologically, the chapter is informed by four years of research work in Ciudad Juarez, the capital of the Mexican maquiladora industry and twin city of El Paso, Texas, on the relationship between globalization, the maquiladora export industry, and the hypothetical emergence of transnational identities in those borderlands.

This review article addresses current controversies and opportunities in research on the roles, uses, and meanings of “Egypt” in ancient Roman visual and material culture. Accordingly, the article investigates problems of definition and interpretation; provides a critical review of current scholarly approaches; and analyzes the field’s intersections with current intellectual developments in the broader fields of archaeology and art history. It is argued that research on Roman Aegyptiaca can gain much from, and is poised to contribute substantially to, (1) 21st-century archaeology’s “material turn”; (2) the construction of new interpretive frameworks for cross-cultural interactions and “hybridization”; and (3) increased attention to the relationships among artifacts, contexts, and assemblages. Roman visual representations of Egypt provide a rich testing ground for research on intercultural exchange, the lived experience of empire, and the complex entanglement of people, things, and images.

""UEA Thesis (2011)

In this thesis I draw upon recent formulations of fantasy theory, from Rosemary Jackson’s psychoanalytic analysis to the socio-historical approaches of José Monleon and Mark Bould, and the poetics of fantasy literature of Farah Mendlesohn, to illuminate the interlocking political debates about fantasy fiction which are important to literary theory: whether fantasy is a minor sub-set of literature or the basis of all fiction; whether fantasy functions primarily as a satirical or utopian idiom, or as sheer escapism; and whether fantasy is a liberating expression of the imagination or a limiting and commodified form. ""

The full thesis can be downloaded via the UEA Digital Repository: https://ueaeprints.uea.ac.uk/id/eprint/19302.

The article deals with interrelations of voice, body and technology in popular music from a musicological perspective. It is an attempt to outline a systematic approach to the history of music technology with regard to aesthetic aspects, taking the identity of the singing subject as a main point of departure for a hermeneutic reading of popular song. Although the argumentation is based largely on musicological research, it is also inspired by the notion of presentness as developed by theologian and media scholar Walter Ong.

The variety of the relationships between voice, body, and technology with regard to musical representations of identity, in particular gender and race, is systematized alongside the following cagories: (1) the “absence of the body,” that starts with the establishment of phonography; (2) “amplified presence,” as a signifier for uses of the microphone to enhance low sounds in certain manners; and (3) “hybridity,” including vocal identities that blend human body sounds and technological processing, whereby special focus is laid on uses of the vocoder and similar technologies.

(POR) Articulações entre tradução, alteridade e relações de poder são o ponto de partida para serem feitas considerações sobre como se pode enxergar "An invincible memory", autotradução que João Ubaldo Ribeiro (1941-2014) faz de "Viva o povo brasileiro", seu principal romance, como um ato de política internacional, problematizador de certos estereótipos inferiorizadores com os quais se costuma representar a identidade brasileira. Sustenta-se que a empresa colonizadora engendrou um mundo em que os países do Norte, ex-colonizadores, criaram discursos nos quais os mesmos e suas culturas são considerados superiores, de modo a legitimar sua dominação. Tais discursos afetaram os povos do Sul negativamente, afetaram o modo como estes constroem suas identidades nacionais, inferiorizando-as, bem como inferiorizando suas culturas. No entanto, argumenta-se, não existem culturas autóctones, como o quer a ideologia nacionalista. As culturas sobrevivem por meio do fenômeno da hibridação. Isto considerado, constata-se que a existência de "An invincible memory" legitima o uso do inglês, a língua franca do mundo, mesmo por povos a cujas identidades culturais o idioma não está associado. Constata-se que todas as culturas podem exercer o direito de significar na língua franca atual.

(ING) Connections among the concepts of translation, otherness and power relations are the starting point in order to analyse how one can read "An invincible memory", the self-translation made by João Ubaldo Ribeiro" (1942-2014) out of his most important novel, "Viva o povo brasileiro, as an act of international politics, which destabilizes certain inferiorizing stereotypes by which Brazilian identity is commonly represented. The general claim stands up for the fact that the colonial enterprise brought about a world in which the former colonizers created several discourses alleging that them and their cultures are superior to the South’s, as a manner of legitimizing the North’s domination. Those discourses have negatively affected people in the South, they have made some of those people feel they are inferior, as well as their cultures. However, there is no autochthonous cultures, as nationalist ideology states. Cultures survive through hybridity. All that considered, the very existence of "An invincible memory" legitimizes that even people whose cultures are not related to English use the language nowadays, as it is a global language. Everyone, no matter which culture is his or hers, have the right to signify in the current common language of the world.

This book explores the ways in which migrants' experience in today's multilingual and multicultural society informs language use and processing, behavioural patterns, and perceptions of self-identity. Drawing on survey data from hundreds of Italian migrants living in English-speaking countries, in conjunction with more focused interviews, this volume unpacks the reciprocal influences between linguistic, cultural, and psychological variables to shed light on how migrants emotionally engage with the local and heritage dimensions across public and private spaces. Visualising the impact of a constant shifting of linguistic and cultural practices can enhance our understanding of foreign language acquisition, language processing and socialisation, inclusion, integration and social dynamics, acculturation tendencies, and cross-cultural communication and patterns. Overall, this book appeals to students and scholars interested in gaining nuanced insights into the linguistic, cultural, and psychological underpinnings of migration experiences in such disciplines as sociolinguistics, cultural studies, and social psychology.

Abstract  The article deals with the multifaceted Chilean artist Violeta Parra (1917-1967), whose life and works are an example of a restless, nomadic and unconventional character. It traces her existential and aesthetic nomadism at the levels of biography and of artistic practice as well as in performance, which synthesizes the former aspects. It also focuses on the hybrid and cross-border nature of her artistic practice, assuming that her ability to escape from cultural, ethnic and social divisions – by stretching and reinventing categories like ‘authentic’ and ‘traditional’ – makes Parra’s legacy extremely relevant and appealing to the new generations.

In this essay, Iranian exile cultural production is examined via a cultural studies approach, applying Hamid Naficy's work on the concept of liminality and its productive potential to analyze the Iranian women's memoir phenomenon of the past eleven years. Focus is placed primarily upon Marjane Satrapi's graphic novel Persepolis, which is analyzed as part of this larger memoir phenomenon. I will argue that Persepolis is a prime example of exile cultural production—as a site for experimentation within various genres (here, that of the memoir and graphic novel), and also for identity negotiation, self-reflection, and cultural translation—thanks to the liminality and hybridity of an artist and author who feels she is “in-between.”

This paper examines the diversification of cultural identities in the Chinese community in Toronto through its Chinese orchestras. The paper aims to provide an overview to the history of the modern Chinese orchestra within the context of Chinese identity and its subsequent development in Toronto.

Nikolaos Mantzaros (1795-1872) was the pre-eminent composer in the evolution of music according to the Western canon in modern Greece. This book is the first comprehensive study of his life and work to appear in English. It highlights the social and cultural context of Corfu (Mantzaros’ birthplace), its transition from the Venetian administration to a European cultural realm in constant movement, its experience under the British Protectorate (1815-1864), and its annexation to the state of Greece. Mantzaros’ central role as an educator and composer, his contribution to the musical use of Greek poetry and his development as a composer with strong initial affiliation to Italian musical thought are described in meticulous detail, while his reputation as the composer of Greece’s national anthem is contrasted with his more esoteric work as a theorist, philosopher and pedagogue and his influence on future generations of Greek composers. At the same time, a comprehensive overview is offered regarding a society, whose significant part after 1850s decisively distanced itself from the common cultural area between Adriatic and Ionian Seas and the Italian peninsula, in order to follow the new ideological routes that came from the newly established Greek state and its quest for social and historical unity.
See also:
https://www.cambridgescholars.com/product/978-1-5275-8279-8

This paper focuses on identity formation of Turkish immigrants living in Germany.Before diving into the topic , I will try to draw theoretical and philosphical framework of concept of identity in social sciences.Then,I will explain the importance of migration for identity formation.At this point , I would like to note that the literature about identity is huge as it has always been important concept in social sciences.Because of this reason it was not possible for me to cover the whole literature.At the final chapter of this paper,I will point out the fact that there are different dispositions among Turkish immigrants and unlike popular stereotypical mis-representation of Turkish immigrants in western discourse , the big proportion of them have become politically, socially, economically and culturally integrated and active agents in their country of settlement.However there is also sociological literature about perceived discrimination experienced by Turkish people in Europe.This generally leads them to construct reactive ethnicity. It is also possible to see the reflection of this on urban physical setting as they tend to live in certain neighborhoods.

Much academic research has been highly critical of South Korean state's approach to international migration and multiculturalism. Underscoring its intentions to assimilate migrants into the values, norms, and mores of the dominant society, many scholars have linked it to a series of previous institutional reactions to global trends. This repetition in strategy for national development has resulted in the general dismissal of the state-led multiculturalism as superficial and rhetorical at best. But assuming South Korean multiculturalism to merely signify a new name for an old form of nation building overlooks important changes that have recently occurred. One is the 'post-ethnic' agenda by the South Korean elites. Recognizing that multiculturalism has left pure-blood ideology defunct, they have sought new ways to negotiate official norms of the ethnic nation with present realities and expectations. Formally introducing this evolution in statecraft are two public diplomacy initiatives: The Korean culture-gene and CREATiVE KOREA. Both are recent state projects that engage with national identity and membership through old " ethnic " lens, but in a manner that is also inclusive and friendly to multiculturalism. Sustaining the paradox is the careful mediation of diverse, if not contradictory ideas and practices as a means of addressing multiple demands that are dragging the nation to different directions. From this point of view, the modalities of social control have outgrown the prevailing academic wisdom, necessitating the need to reexamine the cultural framework in operation today.

During the past several decades, globalization has blurred the borders among cultures, to some extent. The development of computers and the Internet has accelerated the collapse of cultural boundaries and changed the way people experience cultures; thus, defining one’s cultural identity is now a more complicated process. This chapter critically examines changing roles of cultural identities in artistic practices in the age of digital technology and globalization and their implications for higher education. For this examination, the chapter explores how artists understand their cultural context and how critical perspectives are used to negotiate artistic and pedagogical identity within these changing cultural contexts. Through a qualitative case study, this research particularly focuses on the artistic and conceptual outcomes of an academic conference and exhibition project that took place in a graduate school in New York City.

This paper deals with one type of interaction between humans and animals, namely the blending of both human and animal into a single hybrid figure that combines elements of both. Some hybrids assume a higher-than-human status that is embodied in, or evoked by, their very animality. One clear example is the Babylonian fish-man known as Oannes. An analysis of Berossus' treatment in Book 1 of the Babyloniaca reveals that a traditional figure from Babylonian myth has been reworked for a Greek audience. By taking a traditional apkallu (" sage "), who is both a fish (from the primordial sea) and a human (and an essential culture hero responsible for law, language and order), Berossus manufactures a figure whose animal-ity underscores his status. Emphatically not-Greek, by nature not-man, Oannes' animal qualities connect him to the very waters from which we come, powerfully authenticating his authority in a way that is at odds with the clear separation of titanic, primordial forces and Olympian divinity in the traditional (Hesiodic) pantheon. Berossus goes further: his culture hero, whose deeds are described in Greek, is presented as responsible for the sum total of all human culture. All subsequent developments are presented as exegesis on the founder hero's deeds. How are we to read this human-animal interaction? Berossus' Oannes should be read then as the redeployment of a figure combining human and animal natures to convey a new message to the Greeks: their military and political conquest is re-configured as an opportunity to learn, and to participate in, an older, more venerable culture. In much the same way as the Ptolemies were incorporated into an Egyptian world-system of thought, belief and practice by the priests of Memphis, so too Berossus took a figure with one set of cultural associations expressed through his animal and human selves and reworked it, explaining it to the Greeks and offering them the opportunity to incorporate it into their interactions with Babylon. The animal-human interaction in this way prefigures and analogises the human-human interaction of cultures linguistically and culturally distinct from each other but forced to fashion a modus vivendi typical of the Hellenistic world.