Third Space

Global competence-a necessary attribute in an increasingly interconnected world-describes having the knowledge, skills, and dispositions to act creatively and collaboratively on important global issues. In urban settings comprised of racial, ethnic, and/or linguistic-minority students, especially, a logical but seemingly underutilized facilitator of global competence would be instruction that draws from students' funds of knowledge-the home-based practices central to a household's functioning and well-being. In this study, 30 Boston-area teachers were interviewed using a semi-structured protocol to draw out their understandings of students' funds of knowledge and their awareness of how these funds of knowledge might be used to further the development of global competence. Data produced in this study were analyzed through a multi-phase thematic coding process. A conceptual framework built upon existing definitions of global competence and funds of knowledge was developed and used as a guide for viewing and understanding the produced data. The two major findings of this study were that: (1) middle school teachers, while seemingly able and willing to talk about global competence and funds of knowledge in relation to their students, did not seem to synthesize (or speak about their synthesis of) these concepts in practice, and, (2) in teacher interviews, potential global competence-supporting funds of knowledge were most often recognized in immigrant and/or economically privileged White middle school students. The potential global competence-supporting funds of knowledge possessed by non-immigrant, BIPOC, and presumably, low-income students were not routinely recognized or accessed.

This qualitative study focuses on recreating a third space in a religious education classroom (RE) in Vancouver, Canada. The researcher’s understanding of third space largely draws from Homi Bhabha’s writings but has been re-defined within the context of this study to refer to a space of dialogue for Ismaili adolescents. The impetus driving the research largely stems from the researcher’s own experiences as well as both previous observations and the challenges faced by minority youth as a result of globalization and the spread of religious ideas through mass media. Dialogue is seen to have great value in the classroom as it responds to the intellectual and emotional needs of the adolescent to ask, reflect and understand. There has also been a movement in education for a student-centered approach that values students as active participants in the learning process. Furthermore discussions and a space to “ask” in this research has been shown to increase students’ understanding of faith related matters such as practise and tradition. By “creating” such spaces in the RE classroom, students are given the tools to re-conceptualize culture in a way that responds to their social contexts. Moreover, this research calls attention to the necessity for students to learn from peers and engage in a dialogue that enables them to understand faith with intimacy and clarity. In order for students to truly engage in faith, the space for deeper engagement with the practises and traditions of faith must be given value.

Drawing on Cultural Historical Activity Theory (CHAT), funds of knowledge, and third space, this article presents a model for practitioners and researchers to think about how Latina/o, bilingual children develop explicit mathematics strategies through multilingual and multigenerational interactions. Using data collected through fieldwork in an urban afterschool club, this article illustrates how nonschool activities that draw on children's funds of knowledge (especially Spanish use) can foster robust problem-solving interactions. When activities are purposefully designed to build on productive tensions between the sometimes conflicting goals of participants, these “third spaces” lead to movement in the zone of proximal development. Multiple vignettes from the Counters game are presented to demonstrate how parents, undergraduates, and graduate students purposefully interact with children to facilitate movement from “informal” spaces to more “formal” spaces of mathematics. With the population of Latina/o bilingual children rapidly rising in urban schools throughout the United States, it is essential for practitioners and policy makers to adopt additive rather than subtractive views about the knowledge, linguistic, and cultural tool kits of Latina/o bilingual learners.

This paper reports on a qualitative study exploring children's, parents', and teachers' experiences of communication between home and school and connections between children's learning at school and home in order to consider how using digital technologies to mediate the home–school relationship might support children's learning. Parents, teachers, and children welcomed the idea of using digital technologies to communicate between home and school, hoping that more timely communication could avoid problems at school. There were few connections between learning at home and in school; participants saw school and home as separate domains and the boundaries between the two were strongly maintained. It is argued that for connections to be made between learning at home and in school, elements of both need to be drawn together in a space in which both are valued, and that digital technologies could support the creation of such virtual third spaces.

This handbook is about professionals working in doctoral education.
It has many contributors and combines their knowledge and different
experiences with the findings gathered through an international, mostly
European survey, and interviews undertaken within the framework of
an EU funded project. Contributors to this handbook currently work,
or have worked, in different places across Europe and are often situated
in central units supporting doctoral education, either as academics
in full or part-time management positions, or as doctoral education
professionals.

SUMMARY: This article attempts to delineate and plot the contours of the intercultural contributions of Gerasim Lebedev in a linguistic-cultural domain totally alien to him, in early-colonial Calcutta. It also seeks to contextualise the intense polysemy between 'microcosmic' personal and literary journeys and the 'cosmopolitan' acculturation that came with Lebedev's socio-cultural background and travels. Though, as will be seen in the essay, Lebedev's path-breaking maverick effort was largely a shot in the dark, his achievement is seen, in almost the entire theatrical fraternity in West Bengal and Bangladesh, in terms that can be described as larger than life. The essay will seek to understand the extent to which Lebedev's personal and professional choices reflected deep cross-cultural sympathies, thus making him an enthusiast with a difference.

William Shakespeare is often credited as being the greatest and the most popular dramatist of all time. His plays deal with a wide array of situations which can be broadly classified into three different types – comedies, tragedies and histories. Midsummer Night’s Dream is a play that fuses together all the aforementioned categories into one. In this play, Shakespeare tries to portray the events surrounding the marriage of Theseus and Hippolyta; along with adventures of four young lovers and a group of six amateur actors who are controlled by the fairies who inhabit the forest where the action takes place.

This paper will try to show, on the basis of clear understanding of the features of comedies, tragedies and histories, how Shakespeare has upped the ante by portraying a fusion of the basic types as put forth by Aristotle. This kind of a fusion, with not one but many points of focus is often looked down upon by the traditionalists. This paper will also try to prove that this kind of an approach, not only brings in a new dimension to plays and narratives, but also portrays a situation that is closer to human existence than mere concepts of tragedies and comedies. Further, the paper will touch upon works of other writers who emphasize the rationality of dreams in their writings.

Cut off from a suddenly frozen, immobile civilization, the protagonist of Marlen Haushofer's novel ›Die Wand‹ finds herself trapped behind an invisible wall. This material boundary allows her to live a life characterized by the transgression of inner limits. Against the background of Edward Soja's 'thirdspace' theory it is argued that various binary oppositions are being deconstructed in the novel: isolation and socialization, man and woman, civilization and nature as well as human and animal.

In recent years, Black British Muslim communities has witnessed the growth of a new religious and social institution, known as the Third Space. The ‘Third Space’ refers to an institution that seeks to fulfil the particular needs of a faith community which are not being met by mosques, schools or traditional religious institutions. A Third Space can be a community centre, library, or social media networking site. In the context of Black British Muslims, Third Spaces place a greater focus on meeting the social, cultural and spiritual needs of its participants. Broadly speaking, the Black Muslim Third Space seeks to provide a safe space for black/mixed-race Muslims to come as they are, free of religious, racial and cultural discrimination. In this presentation, I will provide a brief overview of the Black Muslim Third Space, why it exists, and the importance of online Third Spaces going forward, particularly for young people.

This chief aim of this paper is to explore the concept of Funds of Knowledge (FOK) in relation to Cultural Historical Activity Theory (CHAT). This study unveils the basic tenets of FOK from the lens of activity theory and analyzes pertinent discoveries, key concepts, and scholars' arguments relating to FOK and literacy development over time. The major purpose of this study is to expand the perspective of FOK and make an argument that cultural identity has a great potential to promote school literacy. The literature review done on some education journals explicitly reveals that FOK is a concept embedded in one's cultural identity, and that the various aspects of cultural identity – such as ethnicity, language, and customs – are all linked to student engagement. This article illuminates the diverse cultural resources of different ethnic groups and proposes that academic institutions connect those resources with education.

The atmosphere of coziness, or “hygge” as it is referred to in Denmark, gives certain places such as cafés a particular appeal, that of providing an experience of pleasant relaxation in the here and now. This article argues that coziness can be seen as a pleasant experience of interiority, and that there are new and valuable understandings of such urban atmospheres to be gained by considering the role of co-presence with other people: How subjects relate both to fellow consumers on site, and the surrounding urban crowd. The article calls attention to the way that social and material dynamics interrelate in constituting this form of urban ambience, as the weaving of intersubjective space mirrors the interiority and porosity of material form. What arises is an experience of being pleasantly, anonymously co-present with other people´s social circles and urban movements.

In the present article, I wish to concentrate on what may be called “transgressive border-crossings” engaged in by the protagonists of Ferzan Özpetek’s Hamam in two poignant instances of “hamam spying”, which – though effected in different configurations, for different purposes, and with drastically different consequences – introduce positions of “uninitiated” novices kept outside looking in. What I intend to engage with is Istanbul as a “third space”; a liminal space looming as a challenge to the individual, instilling fear as much as unleashing temptation and a faint promise or threat of finding out and being found out, of revealing, taking in, laying bare, getting laid, getting lost. By looking at Francesco and Mehmet looking (from above) at unsuspecting women in the bagno, and Marta looking (from below) at Francesco and Mehmet looking at one another in the shelter of Francesco’s originally unwanted inherited hamam, I wish to investigate the implications of reversing the male gaz...

"Table of Contents / Pagination is incorrect:
THE WAYS OF ARISTOTLE – ARISTOTELIAN PHRÓNÊSIS, ARISTOTELIAN PHILOSOPHY OF DIALOGUE, AND ACTION RESEARCH
Olav Eikeland
Preface 1
PART 1 – ARISTOTLE, SOCIAL RESEARCH, AND ACTION RESEARCH 3
1. Introduction – The Challenge of Phrónêsis 3
1.1 Three Kinds of General Theory 10
1.2 Aristotle and Critical Action Research 17
2. Action Research Approaching Phrónêsis 20
2.1 A Philosopher Defending Action Research 21
2.2 Making Social Science Matter 23
2.3 Abandoning Techniques 25
PART 2 – READING ARISTOTLE – LIMITS AND POSSIBILITIES FOR PHRÓNÊSIS 27
3. Virtues – Intellectual and Ethical 29
3.1 Particulars of Ethical Virtues 34
4. Phrónêsis and the Other Intellectual Virtues 38
4.1 Theoretical Knowledge, and Knowledge about Things We Influence 40
4.1.1 Overlaps and Intermeshes 45
4.2 Phrónêsis as an Intellectual Virtue 48
4.2.1 Excursus: Knowledge Forms and Ways of Knowing in Aristotle 49
4.2.1.1 Praxis, Poíêsis, Khrêsis, Páthos – And the Various Forms of the Epistêmai 50
4.2.1.2 Theoretical and Practical Truth 61
4.2 (Continued) Phrónêsis as an Intellectual Virtue 64
4.3 Phrónêsis and Rhetoric, Phrónêsis and Practical Syllogisms 70
4.3.1 The relationship to rhetoric 70
4.3.2 The relationship to practical syllogisms 75
5. Phrónêsis on Means and Ends, Phrónêsis and General Knowledge 76
5.1 Means and Ends, and Kinds of Causes 76
5.1.1 Poíêsis Makes Things, Praxis Makes Perfect 81
5.1.2 “Professional” Deliberations and Deductions 89
5.2 Knowledge, General and Particular 94
5.2.1 General Knowledge, Appropriate Knowledge, Knowledge in Action 94
5.2.2 Héxis (Habitus), and Empeiría (Experience) 103
5.2.3 Knowing Particulars 109
5.2.3.1 By What? 110
5.2.3.2 How? 111
5.2.3.3 Preconditions for a Universally Flexible Consideration 115
6. Developing and Defining Virtue 126
6.1 Developing Virtue 127
6.1.1 Epistêmê and Virtue through the Formation of Habit, Once More 130
6.1.2 What “Means” Means 136
6.1.3 Practical Development with a Hinge to It, the Question of Standards Again 138
6.2 Defining Virtue 145
6.2.1 Nóêsis as Dialogue, or, the Reason Why Aristotle Insists on Letting Phrónêsis Deliberate about Means Only 150
6.2.1.1 The Unfolded Know-How of Nous 152
6.2.1.2 The Topica and the Enfolded Habitus of Dialectics 154
6.2.1.3 The Philosopher, the Dialectician, and Experience 160
6.2.1.3.1 Dialogical Peculiarities 165
6.2.1.3.2 Dialogue and Experience 170
6.2.1.3.3 Basic Principle, Beginning, Medium, and End 182
6.2.1.4 Ways of Learning 185
6.2.1.5 Self-Evident First Principles? 191
6.2.1.6 Praxis1, and Praxis2 194
6.2.2 The Ethical Works do not Deliberate about Means, They Develop and Define Ends 198
6.2.3 Epistêmê, Virtue, and Phrónêsis Defined 205
6.3 Who Develops and Defines? The Art and Practice of Architectonics 214
7. Eudaimonía and Wisdom as “The Highest Practical Good”; Aristotelian Phron-Ethics, Theor-Ethics, and the Way of the Intellectual Commons 219
7.1 Kinds of Theory, Kinds of Practice 220
7.2 Ethics and Politics as Methodological Guidelines for Autonomous Practitioners 230
7.2.1 The Laws of Virtue 233
7.2.2 Tékhnê and Phrónêsis – At the Parting of the Ways 239
7.3 The Wisdom of the Commons – Common Wisdom 242
7.3.1 Tà Koiná – The Commons 247
7.3.2 The Common Skholê 252
7.4 Theor-Ethics and Primary Friendship 254
7.4.1 The Noetic “I” and the Psychological “Me” 259
7.4.2 Theorethical Interventions? 268
7.5 The Way of Theor-Ethics 269
7.5.1 Ethical Excellence – Settling with the Best “for Us”, i.e. for the Second Best “Absolutely” 277
7.6 The Ways of Politics – Continuous Learning in Common 288
7.6.1 Community: What Are the Things Common? 289
7.6.2 Oikos, Pólis, and Constitutions 294
7.6.3 Developing Concord – The Ethico-Political Role of Dialogical Gatherings 299
7.6.4 Different Concepts of Politics 310
7.6.5 Unity and Diversity in the Pólis 318
7.6.6 The Koinópolis as Panarchy – Aristocracy Suspended and Transcended 328
7.6.7 Religious Politics? 338
PART 3 – ARISTOTELIAN ACTION RESEARCH – WISDOM AND EUDAIMONÍA TRANSPOSED, SOCIAL RESEARCH TRANSFORMED 344
8. Neo-Epistemic, Dialogical Action Research 344
9. From Oikos to Pólis, and Beyond 349
10. Aristotle, Marx, and Modern Work Life 359
11. Aristotle Suspended 370
12. Epilogue 376
REFERENCES 381
Appendix 394"

This paper is a study of the cultural struggle and conflict survived by the protagonists in The Namesake (2003) by Jhumpa Lahiri as they move from their native land to America. It is an application of the theoretical concepts of hybridity and assimilation, as discussed in post-colonial criticism by critics such as Homi Bhabha. The researcher will discuss how the three main characters finally manage to develop new anti-monolithic models of cultural growth and exchange. As a result, they succeed in embracing a new culture while protecting their Bengali heritage. The novel depicts the life of an Indian couple (Ashoke and Ashima Ganguli) who settled in Cambridge, Massachusetts, in 1968. It describes the cultural challenges the heroine faces as she struggles to accommodate to a new Western society. Ashima clings tightly to her Bengali roots and identity, a fact which becomes apparent through the dilemma caused over naming their first baby. However, to survive the challenges of Massachusetts’ society, Ashima welcomes its culture to a certain extent. Thus, she succeeds in overcoming feelings of loneliness and displacement. On the other hand, Ashoke’s adjustment is less complicated. Although he copes with the new Western life faster, his respect for his native traditions is daily observed. His resentment of his children’s attempt to give up their native identity is heartbreaking. Early in the novel, Gogol rejects symbols of his Indian culture, and later he repudiates his parents’ style of life. Finally and after his father’s death, Gogol’s personal growth is associated not only with him welcoming his native culture, but also embracing both cultures in an excellent example of cultural hybridity.

The purpose of this thesis is to explore the filmic representation of the Armenian diasporic “third
space” by formally analyzing different filmic representations of Armenian diasporic subjects
relating to the Armenian “homeland”. These filmic representations have emerged due to the
postcolonial and poststructuralist understandings of identity and diasporas, which have
subsequently led to similar conceptualizations within Armenian diasporic scholarly discourse.
However, Armenian diasporic cinema discourse remains within a mono-dimensional
theorization, as it has understood Armenian diasporic films from a singular and static identity
position. Such an insight doesn’t shine light onto the fluctuations, fluidity, and elasticity of the
Armenian diasporic identity within Armenian diasporic films. Therefore, Homi Bhabha’s concept
of the “third space” is applied to the Armenian diasporic identity and the Armenian diasporic
films of Calendar (Atom Egoyan, 1993), Ararat (Egoyan, 2003), Apricot Groves (Pouria
Heidary, 2016), and The Journey (Edwin Avaness and Emy Hovanesyan, 2002) in order to
formally analyze how the “homeland” is negotiated, contested, and articulated for different
Armenian diasporic subjects that come from varying Armenian diasporas. In doing so, the
heterogeneity of the Armenian diasporic identity and ways of relating to the “homeland” become
foregrounded. It is suggested that the Armenian diasporic subjects relate to the Armenian
“homeland” through the negotiations and intersections that take place within other parts of their
identity. Therefore, the conceptual breadth of Armenian diasporic cinema is widened and more
justly related to the Armenian diasporic identity and the diasporic identity more generally.

This discussion addresses colonialism and some of its effects, which are a result of the greed of colonial empires and their forced infiltration on vulnerable countries in the world. There is a particular focus on theories which have arisen through colonial discourse and previous evaluation of colonialism. The argument for this discussion employs Homi K. Bhabha’s theory of the third space of enunciation. Bhabha (2004) utilises ideas on hybridity in colonialism, in order to develop a theory that refers to the generation of a non-representational space, wherein the utterance of culture occurs.

This theory engages with displaced, postcolonial artists Athi-Patra Ruga and Rotimi Fani-Kayode whose works act to demonstrate and perhaps actively validate Bhabha’s third space in practice. It explores how both artists refer themselves to the formulation of subjective, hybrid worlds where they may further address and challenge colonial histories and narratives from a new and entirely distinct dimension. However, for the task it is alone to condense yet explain in enough depth fragments of colonialism, hybridity and the third space, the discussion is restricted by official regulations and experiences limitations in being unable to thoroughly present the full complexity of the worlds articulated by the artists.

In this paper, I claim that the “third space” extends beyond Western hegemonic discourse on identity and self, demonstrating that identity is not a singular and a stable subject but a multiple and fluid one. This article demonstrates that the “third space”, while opening the avenues for pluralities and negotiations, unsettles and problematizes the issues of identity, belonging, and home in Jean Rhys' Wide Sargasso Sea. Discussions on why Antoinette’s position as a Creole in Jamaica problematizes her status and identity, and what barriers negate herself and her sense of belonging are central to this research. I further investigate the roles of Western hegemonic presence in Antoinette’s subjectivity, and her sense of liberation and autonomy. Antoinette’s position in a liminal space not only jeopardizes her identity, her longing for home and belonging, but also creates a hybrid identity that emerges in a moment of historical transformation in Jamaican history. Hybridity interrogates and deconstructs the Western hegemonic assumption of stable subjectivity and meaning. Destabilizing the notion of the Self and the Other as envisioned by Western mainstream narratives, hybridity proposes that the Self is constructed by multiple ideologies and multiple discourses. Antoinette’s occupation of a hybrid position in Wide Sargasso Sea dismantles the stable binaries of white/black, colonizer/colonized category of Western discourse and questions identity formation based on the West as the ‘Self’ and the non-West as the ‘Other’ as in Edward Said’s contention in Orientalism.

Dhaka city has an urbanization process over 200 years old and a history of over 400
years. Over this period of time Dhaka evolve to one of the crowded and most densely
populated city of the world. The city flourished in trade and commerce, developed
residential areas and educational facilities and all necessary infrastructures to support
the life system of the city and its inhabitants. In this period of time not only the
population increased but also a massive change in overall city built environment was
staged.  But most of these developments were soon challenged by the almost tripled
population in the late 90’s. A field data survey will be conducted focusing on the effects
of ever changing land use, circulation and connections producing urban left over
spaces at land scares center of Dhaka. As a case study the Elephant Road
subsequent adjacent nodal areas will be studied, surveyed and analyzed. The area
came under the impression of massive development phase at the late 90’s and early
2000 and left behind significant urban fabric manipulation due this course. The study
will search for and document the aftereffect and current conditions to the defined left
over urban spaces and try to rectify the overall city image through proper management
of these left over spaces.

In Concha Méndez’s 1928 collection of poems, Surtidor, she
showcases a proliferation of female voices that are capable of wandering
city streets alone, traveling, swimming, boating, and flying.
These women celebrate their femininity and also appear masculine
or androgynous. With this curious blending of somewhat contradictory
views of women, Méndez’s poems offer a new perspective on
the binary that so often separates difference feminists from equality
feminists. In this paper, I propose Méndez’s cautious and particular
sidestepping of this binary as the creation of a feminist Third Space,
borrowing a Bhabhian term. In Surtidor, Méndez offsets her more
radically feminist ideas within more traditional forms and rhyme
schemes. Through her often oneiric poems, Méndez evades adherence
to either end of this feminist spectrum: she argues for a celebration
of femininity, feminine uniqueness, and the female body
while she demands complete equality and access to traditionally
male-dominated spaces. A close examination of key poems will
provide insight into Méndez’s habitation of her newly created
feminist Third Space, which will shed light onto the unique history
of Spanish feminism.

The fiftieth anniversary of the release of The Battle of Algiers (Italy/Algeria, 1966) offers an occasion to challenge commonplaces about the film and to show that there remains much to be clarified about its character. Typically discussed in terms of its debt to Italian neorealism, The Battle of Algiers can also be related to Italian colonial cinema made during the fascist period. The film recounts the genesis of the Algerian nation but it is at the same time a film about the end of the French empire. An analysis of location in the film’s little-discussed coda shows The Battle of Algiers as the first in a line of banlieue cinema—that is, as a film that presciently anticipates postcolonial conditions on the territory of France itself. (I had a difficult time with the editors of FQ, who rewrote much of this article and garbled the concluding section, so I prefer the revised version of this work in chapter 2 of my book on The Battle of Algiers.)

ion” (Smith, 1991, p. 308) and abstract art was gaining recognition with the help of Elwyn Lynn who was editor of Sydney’s Contemporary Art Society broadsheet. Abstract art also began to flourish in Melbourne due to the influence of Roger Kemp and the work of Leonard French, who had spent a year overseas in 1949‒1950 (Smith, 1991, p. 311). Nevertheless, it must be taken into consideration that the growth of abstract painting occurred after the European migration post-war, when artists trained in Paris and Germany introduced Abstract Expressionism to a hitherto untutored audience. The appearance of their work must

This study develops a utopia, named distopia, positioned as a utopia of dissidence and cultural pluralism, also described as difference. The term distopia is a neologism formulated to invoke productive elements of utopia (such as a vision for an improved sociocultural sphere), with aspects of dystopia (namely, scepticism regarding the prevalent), whilst evading the potential naiveté of utopia as well as the hopeless resignation that dystopia can encourage. The term also denotes the political expedience of dissent. Utopia is analysed in terms of its form, content, or function, and according to its underlying sociocultural dynamic, which is, in turn, determined by intersecting permutations of space and time. This study furthermore categorises utopias as either representative of the same (that is, of the institutional, political, discursive, ideological and sociocultural status quo), or of the other. The other is defined here as an agent marginalised along the vectors of race, class, gender, and sexuality. Distopia is, accordingly, a dissenting utopia of the other, formulated to address, in particular, sociocultural exclusion and human rights violations linked to the parallel projects of neocolonial exploitation and of destabilising globalisation practices driven by neoliberal ideology. The utopias of three Dutch visual artists, namely Piet Mondrian (1872-1944), Constant Nieuwenhuys (1920-2005), and Jonas Staal (b. 1981) in collaboration with Moussa Ag Assarid (b. c.1975), are critiqued through the lens of distopia. This is done in order to assess the status of productive difference and engagement with the other in their respective utopias, created over the course of a century.

This case study investigated 'third space', theorised by Homi K. Bhabha, as a pedagogical tool for delving into how new knowledge was constructed and relationships were mediated inside classrooms when Tagore dance (the first 'modern dance' in colonial India, conceived by Rabindranath Tagore) was introduced to learners of a mid-western university in the USA, through a month-long residency (Fall, 2017 and 2018). The principal aim was to develop an understanding of how the Bhabhaian 'third space,' which refers to a new space where fixed notions of cultures/identities are challenged, and the Tagorean model of (dance) education could cross-converse with each other. The data collection process involved interviews with learners, classroom and rehearsal observations, journal entries along with videography and photographic documentations. We demonstrated that this third space pedagogy was often not a happy, idealistic space, but involved working at uncomfortable edges to reach a worthwhile space of possibilities. Drawing on interview narratives, we argue that this pedagogy empowered the learners to explore new ideas, accommodate differences by rising above borders and build relationships with their peers and the instructor with dignity and tolerance.

he purpose of our paper is to discuss the theoretical and pedagogical premises of our critical systemic functional linguistics praxis. Our approach developed because of the deficit discourses about immigrant students prevalent in our New Latin@ Diaspora state. As multilingual educators from postcolonial Ireland and India, our theoretical framework has helped us conceptualize and design interventions that support the incorporation of the linguistic and cultural repertories of our multilingual immigrant students while acknowledging that disciplinary literacy needs an overt form of linguistic instruction. Our pedagogical and professional work, which we illustrate through excerpts from one of our ethnographic studies, has encouraged our students to code switch among registers and languages while accessing academic discourses in a high stakes testing culture. It has supported bilingual students in challenging normative discourses about immigration and other burning social issues that arise because of social and academic inequity.

In this paper the authors outline the images of violence that portray the city of Montreal as a ‘discomfort zone’ in Rawi Hage’s novel􏰀􏰁􏰂􏰃􏰄􏰁. Petra Sapun Kurtin and Gordan Matas argue that through the portrayal of the disintegrating concepts of immigrant displacement, discomfort and disillusionment with the use of violent distorted imagery of the urban surroundings, Rawi Hage
depicts Canadian urban setting as the space of (contested) multiculturalism policy. Furthermore, the authors argue that the novel is not just an example of uncompromising immigrant prose that emerges as a result of a globalized world, but that within the transnational paradigm and in the context of postcolonial and postmodernist readings, it is also distinctly Canadian.

La notion de conversion est omniprésente dans les études socio-historiques consacrées au soufisme, courant mystique de l’islam, dans le monde occidental. A tel point que le terme figure en permanence dans nos propres notes de recherche sur la genèse des mouvements soufis en Europe occidentale au début du XXe siècle. Pourtant, sa mention dans les archives des groupes étudiés est rare et parfois volontairement décriée ou dissimulée. Comment expliquer le caractère systématique de son usage ? Loin de n’être qu’une erreur d’approche, l’analyse de phénomènes de conversions peut au contraire affiner la manière de concevoir la notion d’entre-deux qui met en rapport deux univers : l’islam et l’Occident.

The conceptualization of transculturation in Latinx
literatures often centers on bilingualism. In this vein, Dominican-
American writer Junot Díaz captures the trauma of the pressure
for the Latinx to translate their language, space and experience to
survive in the U.S. Díaz’s short stories “Negocios (Business)”
(2009) and “Invierno (Winter)” (2012) connect language to space
and, by extension, to transculturation. In my analysis of the
protagonist Dominican family, who struggle to learn English to
escape physical and emotional isolation in New Jersey, I draw on
the theoretical groundwork of Fernando Ortíz that frames
transculturation as the product of cultures in contact. I place Ortíz
in dialogue with Homi K. Bhabha’s reading of culture as an
intangible space, and Henri Lefebvre’s exposition of cultural,
mental-linguistic space as imbricated with geographic locus to
form social space. Vis-à-vis this map between Ortiz, Bhabha and
Lefebvre, I postulate that Yunior, the protagonist of “Invierno,”
and his father Ramón, the protagonist of “Negocios,” occupy a
third and other social space distinct from the Latin American and
Anglo-American cultures that bracket them. I conclude that
physical spaces such as the family apartment and the oceanside in
these stories function as markers for Spanish-speaking, Englishspeaking,
or third-as-other social spaces for Yunior’s family. In
light of this argument, I conclude that Díaz advances a social
commentary on the predicament of those Latinx immigrants like
Yunior and Ramón who are suspended in their otherness.

One of the less emphasised aspects of a widely-studied phenomenon like the so-called—for right and wrong reasons—'Bengal Renaissance' is that of the intercultural gastronomic spectrum it opened up. The Bengali-speaking elites and subalterns, in their own ways, delighted in being considered 'khādya-rasik'-s (gourmets, connoisseurs of the 'rasa'-s implicit in food, bordering on gluttony) and capable of hybridising 'bileti' (<vilāyati=foreign, European) dishes to suit their epicurean and/or eclectic tastes. This meant that the mid-nineteenth-century English workers' staple 'fish and chips', itself a hybrid fashioned from the original 'pescados fritos' by the Iberian Marrano-s as early as the sixteenth century and first made into a commercial success, in 1860, by “Joseph Malin, a Jewish immigrant newly arrived from Eastern Europe,” became the 'fish-fry' that is one of Bengal's favourite heavy snacks. This paper looks at the ways in which mid- and late-colonial Bengali society practised culinary hybridisation, the products of which were cherished by the hybrid-figure of the Bengali detective, and the extent to which the modern Bengali palate is a composite, even cosmopolitan one.

In light of profound socio-economic and technological changes, the research from New Literacies has raised fundamental questions on the nature of literacy in the way we read, write, and communicate. Yet, in science education, research in literacy has been largely restricted to the domain of print-oriented
academic language. This paper aims to set the issues of literacy in science education in a broader context by responding to several challenges raised in New Literacies research: (a) the attention to youths’ diverse cultural and media practices, (b) the
sociocultural practices of specific discourse communities, and (c) the increasing multimodal semiotic landscape. The paper presents a model that synthesizes various research areas in New Literacies for the development of new pedagogy and
classroom practices in the nexus of literacy and science education. The proposed model provides a convergence of diverse theoretical perspectives from research in various disciplines, and presents an opportunity for cross-disciplinary research in both science and literacy education.

Seit dem sogenannten spatial turn hat die Reflexion unterschiedlicher Raumkonzepte in den Kulturwissenschaften Hochkonjunktur. Dabei wird immer wieder auf einen Aspekt verwiesen, der gleichwohl merkwürdig randständig bleibt: der Zwischenraum als materielle oder imaginäre Grenze. Sei es die häusliche Schwelle (Bachelard) oder der Schwellenritus (van Gennep), der postkoloniale in-between-space (Bhabha), die paratextuelle zone intermediaire (Genette) oder eine assoziative Ikonologie des Zwischenraums (Warburg). All diese Aspekte verweisen auf ein besonderes Feld von Praktiken im Raum, die in einem 'Zwischenbereich' stattfinden, nämlich die Bewegungen im Zwischenraum.

Ever since the advent of the Internet, political communication scholars have debated its potential to facilitate and support public deliberation as a means of revitalizing and extending the public sphere. Much of the debate has focused on the medium’s potential in offering communicative spaces that transcend the limitations of time, space and access (and the traditional mass media) whereby open communication, deliberation and exchange of information among the public can prosper. Following the initial enthusiasm over the possibilities of a more interactive and deliberative electorate, along with the cyber-pessimist response, a growing body of rich empirical research into online deliberation has arisen in its wake. In search of online deliberation, scholars have conducted a broad range of investigations, developing several prominent directions in the field. One popular line of research has been the study of informal political talk through the lens of public sphere ideals.The aim of this chapter is to detail and discuss this growing body of research and its significance. First, I begin by discussing what scholars mean by political talk and why it is thought to be essential for (a more deliberative) democracy. Following this, the major findings to date are set out focusing specifically on three of the most common features of political talk investigated by scholars in the field. I discuss scholarly disagreement and offer my thoughts and critical reflection on the topic. Finally, the chapter ends with several recommendations for future research into informal political talk in the Internet-based public sphere.