Academic literature on the topic '330199 Education Studies not elsewhere classified'

The history of the book is everywhere, so widely diffused that it merits comparison with the famously elusive Scarlet Pimpernel, whose pursuers sought him without success. Like that figure, book history passes among us in disguise, reluctant to reveal its presence even as it gains ever-greater recognition. In some quarters, it lurks within the domain of bibliography, a field of scholarship dedicated to describing the histories of printed texts and, in the service of this enterprise, concerned with the details of book-making. Elsewhere, book history installs itself within descriptions of libraries and education, sharing, with the first of these, a concern for how old books were accumulated and classified and, with the second, for the many ramifications of literacy and the fashioning of schoolbooks. Together with the history of journalism it studies how news was disseminated and ponders the significance of periodicals, be these newspapers or magazines. Political history has been another convenient site of disguise in the wake of efforts to connect the public sphere and concepts of nation with the emergence of print culture. And, of course, book history has enjoyed a long and fruitful kinship with literary history, a relationship freshly energized in recent decades as literary historians turned to describing the rise and remaking of a canon and to emphasizing the mediations that all texts undergo—the “sociology of texts,” to borrow a phrase made famous by D. F. McKenzie. To this list we can add the version of intellectual history that reconstructs the reading of a person or group and employs this data to generalize about the coming of the Enlightenment and similar formations.

This paper argues that artist Dope Saint Jude is transforming South African hip-hop by queering a genre that has predominantly been male and heteronormative. Specifically, I analyse the opening skit of her music video “Keep in Touch” in order to unpack the ways which she revives Gayle, a gay language that adopted double-coded forms of speech during the apartheid era—a context in which homosexuals were criminalised. The use of Gayle and spaces close to the city centre of Cape Town (such as Salt River and Woodstock) speaks to the city as it was before it was transformed by the decline of industries due to the country’s adoption of neoliberal economics and, more recently, by the gentrification of these spaces. Dope Saint Jude therefore reclaims these city spaces through her use of gay modes of speech that have a long history in Cape Town and by positioning her work as hip-hop, which has been popular in the city for well over two decades. Her inclusion of transgender MC and DJ Angel Ho pushes the boundaries of hegemonic and binary conceptions of gender identity even further. In essence, Dope Saint Jude is transforming local hip-hop in a context that is shaped significantly by US cultural imperialism. The artist is also transforming our perspective of spaces that have been altered by neoliberal economics.Setting the SceneDope Saint Jude (DSJ) is a queer MC from Elsies River, a working class township located on Cape Town's Cape Flats in South Africa. Elsies River was defined as a “coloured” neighbourhood under the apartheid state's Group Areas Act, which segregated South Africans racially. With the aid of the Population Registration Act, citizens were classified, not merely along the lines of white, Asian, or black—black subjects were also divided into further categories. The apartheid state also distinguished between black and “coloured” subjects. Michael MacDonald contends that segregation “ordained blacks to be inferior to whites; apartheid cast them to be indelibly different” (11). Apartheid declared “African claims in South Africa to be inferior to white claims” and effectively claimed that black subjects “belonged elsewhere, in societies of their own, because their race was different” (ibid). The term “coloured” defined people as “mixed race” to separate communities that might otherwise have identified as black in the broad and inclusive sense (Erasmus 16). Racial categorisation was used to create a racial hierarchy with white subjects at the top of that hierarchy and those classified as black receiving the least resources and benefits. This frustrated attempts to establish broad alliances of black struggles against apartheid. It is in this sense that race is socially and politically constructed and continues to have currency, despite the fact that biologically essentialist understandings of race have been discredited (Yudell 13–14). Thanks to apartheid town planning and resource allocation, many townships on the Cape Flats were poverty-stricken and plagued by gang violence (Salo 363). This continues to be the case because post-apartheid South Africa's embrace of neoliberal economics failed to address racialised class inequalities significantly (Haupt, Static 6–8). This is the '90s context in which socially conscious hip-hop crews, such as Prophets of da City or Black Noise, came together. They drew inspiration from Black Consciousness philosophy via their exposure to US hip-hop crews such as Public Enemy in order to challenge apartheid policies, including their racial interpellation as “coloured” as distinct from the more inclusive category, black (Haupt, “Black Thing” 178). Prophets of da City—whose co-founding member, Shaheen Ariefdien, also lived in Elsies River—was the first South African hip-hop outfit to record an album. Whilst much of their work was performed in English, they quickly transformed the genre by rapping in non-standard varieties of Afrikaans and by including MCs who rap in African languages (ibid). They therefore succeeded in addressing key issues related to race, language, and class disparities in relation to South Africa's transition to democracy (Haupt, “Black Thing”; Haupt, Stealing Empire). However, as is the case with mainstream US hip-hop, specifically gangsta rap (Clay 149), South African hip-hop has been largely dominated by heterosexual men. This includes the more commercial hip-hop scene, which is largely perceived to be located in Johannesburg, where male MCs like AKA and Cassper Nyovest became celebrities. However, certain female MCs have claimed the genre, notably EJ von Lyrik and Burni Aman who are formerly of Godessa, the first female hip-hop crew to record and perform locally and internationally (Haupt, Stealing Empire 166; Haupt, “Can a Woman in Hip-Hop”). DSJ therefore presents the exception to a largely heteronormative and male-dominated South African music industry and hip-hop scene as she transforms it with her queer politics. While queer hip-hop is not new in the US (Pabón and Smalls), this is new territory for South Africa. Writing about the US MC Jean Grae in the context of a “male-dominated music industry and genre,” Shanté Paradigm Smalls contends,Heteronormativity blocks the materiality of the experiences of Black people. Yet, many Black people strive for a heteronormative effect if not “reality”. In hip hop, there is a particular emphasis on maintaining the rigidity of categories, even if those categories fail [sic]. (87) DSJ challenges these rigid categories. Keep in TouchDSJ's most visible entry onto the media landscape to date has been her appearance in an H&M recycling campaign with British Sri Lankan artist MIA (H&M), some fashion shoots, her new EP—Reimagine (Dope Saint Jude)—and recent Finnish, US and French tours as well as her YouTube channel, which features her music videos. As the characters’ theatrical costumes suggest, “Keep in Touch” is possibly the most camp and playful music video she has produced. It commences somewhat comically with Dope Saint Jude walking down Salt River main road to a public telephone, where she and a young woman in pig tails exchange dirty looks. Salt River is located at the foot of Devil's Peak not far from Cape Town's CBD. Many factories were located there, but the area is also surrounded by low-income housing, which was designated a “coloured” area under apartheid. After apartheid, neighbourhoods such as Salt River, Woodstock, and the Bo-Kaap became increasingly gentrified and, instead of becoming more inclusive, many parts of Cape Town continued to be influenced by policies that enable racialised inequalities. Dope Saint Jude calls Angel Ho: DSJ: Awêh, Angie! Yoh, you must check this kak sturvy girl here by the pay phone. [Turns to the girl, who walks away as she bursts a chewing gum bubble.] Ja, you better keep in touch. Anyway, listen here, what are you wys?Angel Ho: Ah, just at the salon getting my hair did. What's good? DSJ: Wanna catch on kak today?Angel Ho: Yes, honey. But, first, let me Gayle you this. By the jol by the art gallery, this Wendy, nuh. This Wendy tapped me on the shoulder and wys me, “This is a place of decorum.”DSJ: What did she wys?Angel Ho: De-corum. She basically told me this is not your house. DSJ: I know you told that girl to keep in touch!Angel Ho: Yes, Mama! I'm Paula, I told that bitch, “Keep in touch!” [Points index finger in the air.](Saint Jude, Dope, “Keep in Touch”)Angel Ho's name is a play on the male name Angelo and refers to the trope of the ho (whore) in gangsta rap lyrics and in music videos that present objectified women as secondary to male, heterosexual narratives (Sharpley-Whiting 23; Collins 27). The queering of Angelo, along with Angel Ho’s non-binary styling in terms of hair, make-up, and attire, appropriates a heterosexist, sexualised stereotype of women in order to create room for a gender identity that operates beyond heteronormative male-female binaries. Angel Ho’s location in a hair salon also speaks to stereotypical associations of salons with women and gay subjects. In a discussion of gender stereotypes about hair salons, Kristen Barber argues that beauty work has traditionally been “associated with women and with gay men” and that “the body beautiful has been tightly linked to the concept of femininity” (455–56). During the telephonic exchange, Angel Ho and Dope Saint Jude code-switch between standard and non-standard varieties of English and Afrikaans, as the opening appellation, “Awêh,” suggests. In this context, the term is a friendly greeting, which intimates solidarity. “Sturvy” means pretentious, whilst “kak” means shit, but here it is used to qualify “sturvy” and means that the girl at the pay phone is very pretentious or “full of airs.” To be “wys” means to be wise, but it can also mean that you are showing someone something or educating them. The meanings of these terms shift, depending on the context. The language practices in this skit are in line with the work of earlier hip-hop crews, such as Prophets of da City and Brasse vannie Kaap, to validate black, multilingual forms of speech and expression that challenge the linguistic imperialism of standard English and Afrikaans in South Africa, which has eleven official languages (Haupt, “Black Thing”; Haupt, Stealing Empire; Williams). Henry Louis Gates’s research on African American speech varieties and literary practices emerging from the repressive context of slavery is essential to understanding hip-hop’s language politics. Hip-hop artists' multilingual wordplay creates parallel discursive universes that operate both on the syntagmatic axis of meaning-making and the paradigmatic axis (Gates 49; Haupt, “Stealing Empire” 76–77). Historically, these discursive universes were those of the slave masters and the slaves, respectively. While white hegemonic meanings are produced on the syntagmatic axis (which is ordered and linear), black modes of speech as seen in hip-hop word play operate on the paradigmatic axis, which is connotative and non-linear (ibid). Distinguishing between Signifyin(g) / Signification (upper case, meaning black expression) and signification (lower case, meaning white dominant expression), he argues that “the signifier ‘Signification’ has remained identical in spelling to its white counterpart to demonstrate [. . .] that a simultaneous, but negated, parallel discursive (ontological, political) universe exists within the larger white discursive universe” (Gates 49). The meanings of terms and expressions can change, depending on the context and manner in which they are used. It is therefore the shared experiences of speech communities (such as slavery or racist/sexist oppression) that determine the negotiated meanings of certain forms of expression. Gayle as a Parallel Discursive UniverseDSJ and Angel Ho's performance of Gayle takes these linguistic practices further. Viewers are offered points of entry into Gayle via the music video’s subtitles. We learn that Wendy is code for a white person and that to keep in touch means exactly the opposite. Saint Jude explains that Gayle is a very fun queer language that was used to kind of mask what people were saying [. . .] It hides meanings and it makes use of women's names [. . . .] But the thing about Gayle is it's constantly changing [. . .] So everywhere you go, you kind of have to pick it up according to the context that you're in. (Ovens, Saint Jude and Haupt)According to Kathryn Luyt, “Gayle originated as Moffietaal [gay language] in the coloured gay drag culture of the Western Cape as a form of slang amongst Afrikaans-speakers which over time, grew into a stylect used by gay English and Afrikaans-speakers across South Africa” (Luyt 8; Cage 4). Given that the apartheid state criminalised homosexuals, Gayle was coded to evade detection and to seek out other members of this speech community (Luyt 8). Luyt qualifies the term “language” by arguing, “The term ‘language’ here, is used not as a constructed language with its own grammar, syntax, morphology and phonology, but in the same way as linguists would discuss women’s language, as a way of speaking, a kind of sociolect” (Luyt 8; Cage 1). However, the double-coded nature of Gayle allows one to think of it as creating a parallel discursive universe as Gates describes it (49). Whereas African American and Cape Flats discursive practices function parallel to white, hegemonic discourses, gay modes of speech run parallel to heteronormative communication. Exclusion and MicroaggressionsThe skit brings both discursive practices into play by creating room for one to consider that DSJ queers a male-dominated genre that is shaped by US cultural imperialism (Haupt, Stealing Empire 166) as a way of speaking back to intersectional forms of marginalisation (Crenshaw 1244), which are created by “white supremacist capitalist patriarchy” (hooks 116). This is significant in South Africa where “curative rape” of lesbians and other forms of homophobic violence are prominent (cf. Gqola; Hames; Msibi). Angel Ho's anecdote conveys a sense of the extent to which black individuals are subject to scrutiny. Ho's interpretation of the claim that the gallery “is a place of decorum” is correct: it is not Ho's house. Black queer subjects are not meant to feel at home or feel a sense of ownership. This functions as a racial microaggression: “subtle insults (verbal, nonverbal, and/or visual) directed toward people of color, often automatically or unconsciously” (Solorzano, Ceja, and Yosso 60). This speaks to DSJ's use of Salt River, Woodstock, and Bo-Kaap for the music video, which features black queer bodies in performance—all of these spaces are being gentrified, effectively pushing working class people of colour out of the city (cf. Didier, Morange, and Peyroux; Lemanski). Gustav Visser explains that gentrification has come to mean a unit-by-unit acquisition of housing which replaces low-income residents with high-income residents, and which occurs independent of the structural condition, architecture, tenure or original cost level of the housing (although it is usually renovated for or by the new occupiers). (81–82) In South Africa this inequity plays out along racial lines because its neoliberal economic policies created a small black elite without improving the lives of the black working class. Instead, the “new African bourgeoisie, because it shares racial identities with the bulk of the poor and class interests with white economic elites, is in position to mediate the reinforcing cleavages between rich whites and poor blacks without having to make more radical changes” (MacDonald 158). In a news article about a working class Salt River family of colour’s battle against an eviction, Christine Hogg explains, “Gentrification often means the poor are displaced as the rich move in or buildings are upgraded by new businesses. In Woodstock and Salt River both are happening at a pace.” Angel Ho’s anecdote, as told from a Woodstock hair salon, conveys a sense of what Woodstock’s transformation from a coloured, working class Group Area to an upmarket, trendy, and arty space would mean for people of colour, including black, queer subjects. One could argue that this reading of the video is undermined by DSJ’s work with global brand H&M. Was she was snared by neoliberal economics? Perhaps, but one response is that the seeds of any subculture’s commercial co-option lie in the fact it speaks through commodities (for example clothing, make-up, CDs, vinyl, or iTunes / mp3 downloads (Hebdige 95; Haupt, Stealing Empire 144–45). Subcultures have a window period in which to challenge hegemonic ideologies before they are delegitimated or commercially co-opted. Hardt and Negri contend that the means that extend the reach of corporate globalisation could be used to challenge it from within it (44–46; Haupt, Stealing Empire 26). DSJ utilises her H&M work, social media, the hip-hop genre, and international networks to exploit that window period to help mainstream black queer identity politics.ConclusionDSJ speaks back to processes of exclusion from the city, which was transformed by apartheid and, more recently, gentrification, by claiming it as a creative and playful space for queer subjects of colour. She uses Gayle to lay claim to the city as it has a long history in Cape Town. In fact, she says that she is not reviving Gayle, but is simply “putting it on a bigger platform” (Ovens, Saint Jude, and Haupt). The use of subtitles in the video suggests that she wants to mainstream queer identity politics. Saint Jude also transforms hip-hop heteronormativity by queering the genre and by locating her work within the history of Cape hip-hop’s multilingual wordplay. ReferencesBarber, Kristin. “The Well-Coiffed Man: Class, Race, and Heterosexual Masculinity in the Hair Salon.” Gender and Society 22.4 (2008): 455–76.Cage, Ken. “An Investigation into the Form and Function of Language Used by Gay Men in South Africa.” Rand Afrikaans University: MA thesis, 1999.Clay, Andreana. “‘I Used to Be Scared of the Dick’: Queer Women of Color and Hip-Hop Masculinity.” Home Girls Make Some Noise: Hip Hop Feminism Anthology. Ed. Gwendolyn D. Pough, Elain Richardson, Aisha Durham, and Rachel Raimist. California: Sojourns, 2007.Collins, Patricia Hill. Black Sexual Politics: African Americans, Gender, and the New Racism. New York: Routledge, 2005. Crenshaw, Kimberle. “Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color”. Stanford Law Review 43.6 (1991): 1241–299.Didier, Sophie, Marianne Morange, and Elisabeth Peyroux. “The Adaptative Nature of Neoliberalism at the Local Scale: Fifteen Years of City Improvement Districts in Cape Town and Johannesburg.” Antipode 45.1 (2012): 121–39.Erasmus, Zimitri. “Introduction.” Coloured by History, Shaped by Place. Ed. Zimitri Erasmus. Cape Town: Kwela Books & SA History Online, 2001. Gates, Henry Louis. The Signifying Monkey: A Theory of Afro-American Literary Criticism. Oxford: Oxford UP, 1988.Gqola, Pumla Dineo. Rape: A South African Nightmare. Johannesburg: Jacana, 2015.Hames, Mary. “Violence against Black Lesbians: Minding Our Language.” Agenda 25.4 (2011): 87–91.Hardt, Michael, and Antonio Negri. Empire. London: Harvard UP, 2000.Haupt, Adam. “Can a Woman in Hip Hop Speak on Her Own Terms?” Africa Is a Country. 23 Mar. 2015. <http://africasacountry.com/2015/03/the-double-consciousness-of-burni-aman-can-a-woman-in-hip-hop-speak-on-her-own-terms/>.Haupt, Adam. Static: Race & Representation in Post-Apartheid Music, Media & Film. Cape Town: HSRC Press, 2012. Haupt, Adam. Stealing Empire: P2P, Intellectual Property and Hip-Hop Subversion. Cape Town: HSRC Press, 2008. Haupt, Adam. “Black Thing: Hip-Hop Nationalism, ‘Race’ and Gender in Prophets of da City and Brasse vannie Kaap.” Coloured by History, Shaped by Place. Ed. Zimitri Erasmus. Cape Town: Kwela Books & SA History Online, 2001. Hebdige, Dick. Subculture: The Meaning of Style. London: Routledge, 1979.Hogg, Christine. “In Salt River Gentrification Often Means Eviction: Family Set to Lose Their Home of 11 Years.” Ground Up. 15 June 2016. <http://www.groundup.org.za/article/salt-river-gentrification-often-means-eviction/>.hooks, bell. Outlaw: Culture: Resisting Representations. New York: Routledge, 1994.Lemanski, Charlotte. “Hybrid Gentrification in South Africa: Theorising across Southern and Northern Cities.” Urban Studies 51.14 (2014): 2943–60.Luyt, Kathryn. “Gay Language in Cape Town: A Study of Gayle – Attitudes, History and Usage.” University of Cape Town: MA thesis, 2014.MacDonald, Michael. Why Race Matters in South Africa. University of Kwazulu-Natal Press: Scottsville, 2006.Msibi, Thabo. “Not Crossing the Line: Masculinities and Homophobic Violence in South Africa”. Agenda. 23.80 (2009): 50–54.Pabón, Jessica N., and Shanté Paradigm Smalls. “Critical Intimacies: Hip Hop as Queer Feminist Pedagogy.” Women & Performance: A Journal of Feminist Theory (2014): 1–7.Salo, Elaine. “Negotiating Gender and Personhood in the New South Africa: Adolescent Women and Gangsters in Manenberg Township on the Cape Flats.” Journal of European Cultural Studies 6.3 (2003): 345–65.Solórzano, Daniel, Miguel Ceja, and Tara Yosso. “Critical Race Theory, Racial Microaggressions, and Campus Racial Climate: The Experiences of African American College Students.” Journal of Negro Education 69.1/2 (2000): 60–73.Sharpley-Whiting, T. Denean. Pimps Up, Ho’s Down: Hip Hop’s Hold on Young Black Women. New York: New York UP, 2007.Smalls, Shanté Paradigm. “‘The Rain Comes Down’: Jean Grae and Hip Hop Heteronormativity.” American Behavioral Scientist 55.1 (2011): 86–95.Visser, Gustav. “Gentrification: Prospects for Urban South African Society?” Acta Academica Supplementum 1 (2003): 79–104.Williams, Quentin E. “Youth Multilingualism in South Africa’s Hip-Hop Culture: a Metapragmatic Analysis.” Sociolinguistic Studies 10.1 (2016): 109–33.Yudell, Michael. “A Short History of the Race Concept.” Race and the Genetic Revolution: Science, Myth, and Culture. Ed. Sheldon Krimsky and Kathleen Sloan. New York: Columbia UP, 2011.InterviewsOvens, Neil, Dope Saint Jude, and Adam Haupt. One FM Radio interview. Cape Town. 21 Apr. 2016.VideosSaint Jude, Dope. “Keep in Touch.” YouTube. 23 Feb. 2015. <https://www.youtube.com/watch?v=w2ux9R839lE>. H&M. “H&M World Recycle Week Featuring M.I.A.” YouTube. 11 Apr. 2016. <https://www.youtube.com/watch?v=f7MskKkn2Jg>. MusicSaint Jude, Dope. Reimagine. 15 June 2016. <https://dopesaintjude.bandcamp.com/album/reimagine>.

This article aims to analyse an intercultural telephone invitation given by a Chinese tutor to an Australian student, and highlight general principles of intercultural invitations. This anecdote is based on a true story that took place in a university in Australia, but the persons' names used here are fictitious for the sake of confidentiality. Below is the transcript of the actual conversation between the Chinese tutor Dr Lin Liang (L) and his student Catherine Jones (C): C: Catherine speaking. L: Hi, Catherine, this is Lin. C: Hi, Teacher Lin. L: I would like to invite you to our New Year's party to be held in my house this Saturday evening. C: This Saturday? I am afraid I won't be able to make it because I am going to my best friend's birthday party. L: You know this is the end of our school year. It would be so nice for all of our classmates to gather together. C: But I have already promised my friend. L: En... It is a pity... C: Sorry about that, but -- L: Never mind. Enjoy your party then. C: Thanks. L: That's OK, bye. C: Bye. However, the story does not end here. About two hours later, Dr Lin rang Catherine a second time, asking if it was still possible for her to consider attending the Saturday party. Late in the evening around 9.00 pm, Dr Lin rang her yet again to invite her to the party, saying it would be OK even if she stayed just for a short while. The next day, Catherine lodged a complaint with the Dean, alleging that Dr. Lin's repeated calls constituted sexual harassment. Dr. Lin was highly distressed to learn of the complaint, and explained that he just wanted to indicate sincerity and warmth as required by an invitation, and had no other intentions. This communication breakdown invites a number of questions: What are the factors underlying Catherine's interpretation that Dr. Lin's repeated calls constituted sexual harassment? What are the factors underlying Dr. Lin's contention that his actions were intended to emphasise his sincerity? What factors would need to be recognised in order to facilitate culturally competent performances on both their parts? In order to answer these questions, this article will adopt a holistic approach based on an analytic framework encompassing three theoretical dimensions. This framework is comprised as follows: Differences in intercultural exchange and politeness behaviour; Aristotle's distinction between the three orientations of persuasive/rhetorical appeal; ethos, pathos, and logos; Austin and Searle's theory of speech acts, as applied to politeness behaviour and felicity conditions in communicative interaction as applied to the act of inviting. These approaches are conceptualised as three overlapping spheres, and their relatedness can be further illustrated: Figure 1 First and foremost, the case study in question is related to an intercultural interaction between the Australian and Chinese culture, and some research findings in relevant areas may help highlight the differences in politeness behaviour between high-context and low-context cultures (Hall). According to Hall, high-context cultures such as Chinese tend to stress the use of internalised or implicit message while low-context cultures tend to emphasise the use of explicit messages. In other words, in Chinese culture, the message may have some shared implied meanings that may go beyond the linguistic forms used in the message. Kaplan's model on oriental circularity and western linearity seemed to in accordance with Hall's model. Young's exploration of the directness and indirectness of American and Chinese requests further substantiated this point. In a similar way, differences may arise in determining the criteria for appropriate behaviour relating to the use of other directives across cultures. As Gao and Ting-Toomey suggest, Chinese culture seems to pay attention to qing (reciprocity and feelings of obligation) and guanxi (relationship building), while in low-context cultures such a stress tends to be missing. This difference may also help explain the differences in communicative patterns as discussed by Kaplan and Young. Zhu found that in making a sales offer, Chinese companies often try to establish a long-term relationship with their clients ("Structural Moves"). In contrast, Australian companies seem to mainly focus on promoting products. The stress on qing in Chinese culture may also be a crucial factor that contributes to the different criteria for a polite invitation as compared to the Australian culture. The following discussion will further explore the other two parameters (see Figure 1) the two cultures differ in when making an invitation, which may have finally led to the breakdown in communication between Dr. Lin and Catherine. As shown in Figure 1, the argument underpinning this approach is that a given illocutionary act reflects culture-specific preferences for certain persuasive/rhetorical orientations, thereby affecting the socio-linguistic performance, i.e. parole as opposed to langue (Cullen) related to politeness principles. In short, the persuasive/rhetorical orientation varies between cultures, which means that the nature of ostensibly equivalent illocutionary acts also varies. Consequently, cross-cultural competence will be limited unless one is aware of the rhetorical and politeness codes implicit in the performance of certain communicative actions. Note that rhetorical orientation may also influence the politeness behaviour directly as a specification of that orientation. This in turn requires an awareness of cultural preferences toward certain persuasive/rhetorical orientations. The interconnections between them and the theoretical utility of this approach will be made explicit in the course of this discussion. Austin and Searle conceptualise the speech acts as comprising of locution (langue) and illocution (parole). What is of vital importance is the illocutionary force of an utterance which is the performance of a speech act, such as an invitation. According to Searle, an invitation is a directive used to get the addressee to do something. Invitation can be understood as a particular form of persuasive speech act. It is generally intended to produce a particular response (i.e. acceptance). As an illocutionary action, an invitation seeks to establish a relationship of social expectations between the host and invitee. This requires certain felicity conditions to be met. In other words, for the speech act to be socially significant, it must create a shared sense of meaning in regard to some perceived change or modification to existing social relations. These are often so obvious that they require little explanation. However, felicity conditions in speech-acts are culture-specific and may include rhetorical and politeness devices that are not obvious to other cultures. Politeness behaviour in invitations, related to using appropriate language forms, is an important element in competent illocutionary performance. Leech contends that polite illocutions are likely to be seen as minimising the addressee's cost and maximising his/her benefits, and the opposite is true for the addresser. Politeness behaviour can also be further explained in the light of Brown and Levinson's face-saving theory. Many actions we perform with words are potential face-threatening acts, such as requests and invitations (Brown and Levinson). The addresser is thus often confronted with negative face wants and has to address them by applying Leech's principles, in which maximising the addressee's benefits is the dominant strategy to gain politeness. However, strategies to maximise the addressee's benefits can be culture-specific. This is further connected to the persuasive/rhetorical orientation. Based on Aristotle, the appeal from ethos emphasises the persuader's (host's) character and status or other social conventions which might oblige compliance. The appeal from pathos emphasises emotion/feelings (either positive or negative) in inducing the desired response. The appeal from logos emphasises reason and the logical consistency of the proposal with the ideas and motives of the persuadee (invitee). Moran and Stripp found that western cultures tend to have a logical orientation, while others such as Japanese and Chinese tend to be characterised by emotional or dogmatic orientations. In a similar manner, Chinese scholars seem to address ethos, logos and pathos at the same time, in particular the logos and pathos. These principles remain a well-accepted principle in Chinese writing theories. Li, for example, clearly explicates the persuasive principle in writing as qing li (the combination of the emotional and logical approaches). The explicitly preferred qing (feelings/emotions) can be seen as part of the Confucian values relating to harmony, consensus and relationship building as noted by Hofstede and Bond. The different rhetorical orientations are also further explored by Campbell. This difference may suggest that the preferred rhetorical orientations are also a key aspect underpinning competent illocutionary performance. For example in Chinese invitations, a stress on the emotional approach may validate behaviours such as repeating the invitation even after initial refusal. However, a stress on the logical orientation, such as in western cultures, may negate the validity of these politeness conditions. This clearly points out the necessity of understanding the criteria for competent performance across cultures. The felicity conditions of invitation in Euro-Australian culture require, first, that the potential host be in a legitimate position to offer hospitality, and second, that the potential guest be -- at least theoretically -- able and willing to accept. Thirdly, the locutionary form of politeness requires use of conventionally appropriate terms of address and wording. The illocutionary form requires that the host symbolically offer hospitality to the invitee without the imposition of charges or other demands. Furthermore, the implied benefit to the invitee would ideally be achieved though implied cost to the host (even if the invitee is addressed as if their presence constitutes the bestowal of a favour). Fourthly, depending on the nature of the relationship between the host and invitee, certain persuasive/rhetorical orientations are preferred over others (eg. an appeal to emotion may seem out of place in formal invitation). The initial invitation meets these criteria. Dr. Lin offers and Catherine declines, citing a plausible and legitimate reason for being unavailable. From Catherine's perspective, the felicity conditions for invitation are now redundant. She has already declined in a manner which makes it clear that she is socially obliged to be elsewhere. From a persuasive/rhetorical perspective, the first invitation was primarily based on an appeal from logos/reason. i.e. Dr. Lin did not know that Catherine had already committed herself to other plans and it would be reasonable to suppose that she might appreciate being invited to a social occasion. This was backed up by a secondary appeal from pathos/emotion, whereby Dr. Lin pointed out that it would be nice for the whole class to get together. However, the priority of attending a best friend's birthday-party over-rides both these appeals. In Euro-Australian culture, close personal friends enjoy greater social priority than classmates or more distant associates. For Dr. Lin, however, the politeness criteria for invitation were still applicable. From a Chinese cultural perspective, the illocutionary performance of invitation may require repetition of the offer, even if the initial approach has been declined. According to Zhu (Business Communication), in Chinese culture repeating invitations is an accepted ritual to indicate sincerity and hospitality. Thus in Dr. Lin's view the second approach is required to perform the illocutionary act competently. The persuasive appeal, however, has become oriented toward ethos, reflecting Chinese conventions pertaining to politeness behaviour. For Dr. Lin not to repeat the invitation might suggest that Catherine's presence was of merely casual concern. Therefore the sincerity of the invitation demanded the gesture of repetition, regardless of the logical grounds cited for the initial refusal. Unfortunately, Dr. Lin and Catherine perceive the second invitation in very different ways based on the illocutionary performance criteria of their respective cultures. For Catherine, the logical basis for her initial refusal renders Dr. Lin's performance incompetent, and creates uncertainty about his apparent motives. In Euro-Australian culture, the repeated invitation makes no logical sense, since a perfectly legitimate reason for declining has already been provided. Therefore the communicative action cannot be interpreted as an invitation. If it is, then it is performed in a culturally incompetent fashion which could legitimately be construed as pestering. Repeating an invitation which has already been declined may appear to be an emotional appeal. While an illocutionary invitation based on pathos conceivably may be competent in Euro-Australian culture, the only circumstances that it would occur in is between relatively close friends. The power-relations between Catherine, as student, and Dr. Lin, as tutor, precludes felicity in this case. Thus the same locutionary action is interpreted as two quite different illocutionary actions. This depends on the interpreter's culturally specific understanding of the social significance of the locution. Since Catherine's cultural conventions would implicitly deny the validity of a repeated invitation, the communicative action must be construed as something else. Catherine may have classified the repeated invitation as a minor issue of little consequence. However, when Dr. Lin called her up to invite her a third time, she interpreted the illocutionary act as harassment. From a contemporary Euro-Australian perspective, pestering may be irritating, but harassment is political in nature. Three factors lead Catherine to this conclusion. First, after two previous declinations, the third invitation could not fulfil the illocutionary performance criteria of a legitimate invitation. In particular, the persuasive/rhetorical orientation of the repeated appeals were not oriented toward logos, as befits the formality of the lecturer-student relation. Indeed, it was Dr. Lin's apparent attempt to approach Catherine in a non-formal manner (apparently oriented toward pathos rather than logos) which led her to this interpretation. Second, the fact that Dr. Lin' social status is higher than Catherine's introduced the problem of the implicit power-relations in the discourse. For Catherine, the third invitation was intrusive and pushy, and it seemed that her explanations had been ignored. The evening call demanded that she re-engage in the discourse of day-time student-tutor power-relations. Since she is subordinate to Dr. Lin, other strategies through which she might have asserted her rights may have carried the risk of subsequent disfavour. However, she obviously resented what she perceived as an attempt to inappropriately use status to interfere with her personal affairs and sought out higher authority to rectify the situation, hence the complaint of harassment made to the Dean. Ironically, Dr. Lin's third invitation in the evening may well have been intended to reduce the social distance between himself and Catherine created by workplace space-time power-relations. For Dr. Lin, the first invitation expressed the illocutionary intent. The second call made sure that the invitee was made to feel assured of the sincerity of the invitation, and the third ring expressed the would-be host's appreciation. Establishing a host-guest relationship is a key illocutionary function in Chinese invitation. Note though, that there may also be a 'face' consideration here. Dr. Lin attempts to facilitate Catherine's attendance by pointing out that it would be acceptable to attend for a brief period. This suggests a re-emphasis on the orientation to logos, since it points out a compromise which allows Catherine to attend both parties. It also allowed Dr. Lin to save 'face' by not having his invitation totally disregarded. However, it failed as an illocutionary performance because the felicity conditions for polite invitation had already been violated as far as Catherine was concerned, even though they remained intact throughout for Dr. Lin. In conclusion, it can be seen from the above analysis of the communication breakdown that persuasive orientations and politeness principles are interrelated and culturally sensitive. Euro-Australian culture stresses the logical orientation in illocutionary performance whereas Chinese culture seems to emphasise both the logical and emotional approaches. Without a recognition of this difference, specific politeness behaviours in intercultural invitations can lead to illocutionary incompetence. This has been exemplified by Catherine's misconstrual of Dr. Lin's intended invitation-performance as harassment. Therefore in intercultural communication, one ought not to judge a speech act such as an invitation based on one's own culture's felicity conditions. First and foremost, a basic understanding of persuasive orientations between cultures is essential. With appropriate understanding of these principles one can avoid misinterpreting the intent of the addresser, thus overcoming barriers in intercultural communication. Specifically, further appreciation of the interplay between rhetorical orientation, politeness codes and felicity conditions in illocutionary performances in different cultures is required for a fuller comprehension of potential cross-cultural incompetence. With this in mind, greater tolerance can be achieved, and intercultural competence enhanced. References Aristotle. Aristotle on Rhetoric: A Theory of Civic Discourse. Trans. George A. Kennedy. New York: Oxford UP, 1991. Austin, John. L. How to Do Things with Words. New York: Oxford UP, 1962. Brown, Penelope, and Stephen C. Levinson. Politeness: Some Universals in Language Usage. Cambridge, UK: Cambridge UP, 1987. Campbell, Charles. P. "Rhetorical Ethos: A Bridge between High-Context and Low-Context Cultures? The Cultural Context in Business Communication. Eds. Susanne Niemeier, Charles P. Campbell and René Dirven. Philadelphia: John Benjamins, 1998. 31-47. Cullen, Johnathan. Saussure. 2nd ed. London: Fontana, 1985. Ge Gao, and S. Ting-Toomey. Communicating Effectively with the Chinese. Thousand Oaks: Sage, 1998. Hall, E. T. Beyond Culture. Garden City, NY: Anchor, 1977. Hofstede, G., and M. H. Bond. "The Confucius Connection: From Cultural Roots to Economic Growth." Organisational Dynamics 16.4 (1988): 4-21. Kaplan, R. B. "Cultural Thought Patterns in Inter-Cultural Education." Language Learning 16 (1966): 1-20. Leech, Geoffery. Principles of Pragmatics. New York: Longman, 1983. Li Xiaoming. "Good Writing" in Cross-Cultural Context. Albany, NY: State U of New York P, 1996. Moran, R. T., and W. G. Stripp. Successful International Business Negotiations. Houston: Gulf, 1991. Searle, John R. Speech Acts: An Essay in the Philosophy of Language. Cambridge, UK: Cambridge UP, 1969. Young, Linda Wai Ling, ed. Crosstalk and Culture in Sino-American Communication. Cambridge, UK: Cambridge UP, 1994. Zhu Yunxia. Business Communication in China. New York: Nova Science Publishers, 1999. ---. Structural Moves Reflected in English and Chinese Sales Letters. Discourse Studies (In Press). Citation reference for this article MLA style: Zhu Yunxia, Peter Thompson. "Invitation or Sexual Harassment? An Analysis of an Intercultural Communication Breakdown." M/C: A Journal of Media and Culture 3.4 (2000). [your date of access] <http://www.api-network.com/mc/0008/invitation.php>. Chicago style: Zhu Yunxia, Peter Thompson, "Invitation or Sexual Harassment? An Analysis of an Intercultural Communication Breakdown," M/C: A Journal of Media and Culture 3, no. 4 (2000), <http://www.api-network.com/mc/0008/invitation.php> ([your date of access]). APA style: Zhu Yunxia, Peter Thompson. (2000) Invitation or sexual harassment? An analysis of an intercultural communication breakdown. M/C: A Journal of Media and Culture 3(4). <http://www.api-network.com/mc/0008/invitation.php> ([your date of access]).

This thesis explores the phenomenon of shared leadership as it emerged in three primary schools in Aotearoa/New Zealand, during the 1990s restructuring of educational administration. At this time, two 'mainstream' discourses of professional collaborative leadership and neo-liberal managerialism came into 'collision.' The principal's role was re-constituted from being a collaborative instructional leader, to being a chief executive, entrepreneurial manager. Separate contracts for principals and senior school managers detailed managerial tasks, performance standards and accountability lines that heightened the existing divisions between them and other teachers. The possibility of developing 'flattened,' more democratic forms of shared decision making- and leadership seemed increasingly remote. Yet it was in this context that a small number of co-principalships were initiated around the country. The study employs narrative, Foucauldian and feminist poststructuralist discourse analysis tools to examine how opportunities for change opened up within 'cracks' and contradictions in the 1990s discursive terrain of educational leadership. Moving between micro and macro analyses, the thesis demonstrates how individual and collective agency is enacted within and against dominant discourses, effecting transformations of practice. Three groups of women challenged and/or co-opted elements of managerial, professional and feminist discourses of organisation as they developed their co-principalships. These initiatives opened up for many people different ways of thinking about and practising school leadership: as one child said about her school, "Here there is no boss." Three case narratives provide insights into strategies for developing more fully democratic partnerships between principals and staff, principals and board members, professionals and parents. Open, honest communication and mutual forms of accountability that go beyond current requirements for contractual, task specific and linear forms of control, are particularly significant for a successful co-principalship. Governmental forms of power, material inequalities and socio-cultural hegemonies of gender, class and ethnicity, can constrain the democratic potential of shared leaderships however. Related factors that led to the disestablishment of two or the co-principalships included inequalities of knowledge and experience, difficulties over funding and staffing, and struggles between a governing body and their co-principals over the meanings and practices of governance and management. There are flaws in arguments that posit a generic model of 'strong' management that can be imposed across all schools, with assumed uniform results. This study shows how people's beliefs about and practices of school leadership are constituted in relation to their own backgrounds, interactions with other people in their local school community and wider socio-political, economic and discursive struggles over power.

Despite an array of research focusing on elite sport in the UK, less attention has been afforded towards academy football within these elite environments, particularly in relation to the educational programmes that the players aged 16-18 are required to undertake. Little is known about the perspectives of these players and therefore the aim of this thesis was to explore their attitudes towards education and identify the factors that influenced them. A relativist ontological position was adopted in fitting with the constructivist paradigm in an attempt to understand the phenomenon from the perspective of the scholars focusing on one specific Premier League club. A phenomenological case study approach was adopted to understand the shared meanings created by the scholars in relation to their educational programme at the club. After undertaking eight focus groups and a further six in-depth interviews six main themes emerged in relation to the scholars’ attitudes and the factors that influenced them. It was clear from this research that the scholars at this club were diverse by way of past educational attainment and levels of engagement, they had mixed views of their educational programme at the club and their attitudes towards education were influenced to varying degrees by parents, peers and experiences with teachers. The scholars were focused more on their football ambitions and their intentions were to pursue careers in elite football with education being perceived as a back-up. Staff changes at the club resulted in a renewed focus on education, yet this was still set against the backdrop of the ambiguous and uncertain world of professional football. Due to the methodological approach that underpins this study, the findings are not expected to be regarded as generalisations across all elite level football clubs. They are intended to serve as a starting point for practitioners in these settings to develop practice accordingly.

This thesis was conducted to examine the adequacy of the skills and preparation of the Nigeria Certificate in Education (NCE) English language teachers as the poor performance of Nigerian students in external English language examinations has become a source of concern to educational stakeholders (Patrick, Sui, Didam & Ojo, 2014). The NCE is the basic qualification for teaching in Nigeria. The concern for the quality of teachers in Nigeria is crucial as the Nigerian government recognized a problem with the training of teachers at the NCE level in 2010 and proposed to abolish the colleges and phase out the NCE (Idoko, 2010). The Context, Input, Process and Product (CIPP) Evaluation model is used as a theoretical framework in the study. The research questions were: What is the context of the English language programme of the Nigeria Certificate in Education? How does the implementation of the curriculum equip students to develop the four language skills? What are the lecturers and students’ perceptions of the implementation of the curriculum and how have the objectives of the curriculum been achieved? In examining these issues, a mixed methods approach was adopted within the framework of the CIPP model, while utilizing a case study. The study showed the ineffective implementation of the curriculum as a factor for the failure of Nigerian students in external English language examinations. The research established the deficiency of the students in the basic skills of the language. The process and product evaluations noted failures in the procedural design of the curriculum and demonstrated a lack of achievement of the objectives of the curriculum. The recommendations arising from the research emphasized an immediate review of the admission policy and an extensive involvement of the lecturers in the future reform of the curriculum. Future research is concerned with an investigation of the measures that will curb systemic failures in the colleges.

The purpose of the study was to discover the effects of using peer assisted learning in acquiring skills in music composition. The ten criteria used for assessing the effects of peer assisted learning comprised six concerning social qualities and four relating to cognitive aspects of what might be learned from working and learning together. The research used both qualitative and quantitative methods, encompassing interviews with the teacher, questionnaires for the students and observation. The latter included a quantitative element. The research took place in the natural settings of timetabled music lessons in Year Seven at an English comprehensive secondary school. This peer assisted learning research is believed to be the only such project conducted entirely in the unadulterated classroom settings. The lessons followed the teacher’s choice of lesson material and the length of time normally allowed for lessons in that school. No changes in classroom organisation, timing, or for any other reason were requested by, or made for, the researcher. Each class was divided into groups whose size, ability and gender were determined by the teacher. From these groups, the teacher selected the three which were the focus of this research. All three of the sample groups showed some evidence of the beneficial effects of peer assisted learning socially and cognitively although this varied according to the children’s different ability levels. Peer assisted learning was found to be most successful where children were able to work together cohesively and communicate well, either verbally or musically. Most children either acquired new musical skills or enhanced those they already possessed through the use of peer assisted learning.

This PhD provides the first organized view of art therapy education in Australia. It focuses on the theories that are used in this specialized teaching and learning process. It evolved from the authors’ immersion in the field as a migrant art therapy educator to Australia from the UK and a desire to be reflexive on this experience. The research questions aimed to discover the field of art therapy education in Australia: to find out what theories and practices were taught; and where the theoretical influences were coming from, in order to develop understanding of this emerging field. Positioned as a piece of qualitative research a bricolage of methods were used to gather and analyse information from several sources (literature, institutional sources, and key participants, including the author) on the theories and practices of art therapy training programs in Australia. This also included investigating other places in the world shown to be influential (USA and UK). The bricolage approach (McLeod, 2006) included: phenomenology; hermeneutics; semi-structured interviews; practical evaluation (Patton, 1982, 1990/2002); autoethnography (Ellis & Bochner, 2000); heuristic (Moustakas, 1990); and visual methodologies (Kapitan, 2010). These were used to develop a body of knowledge in the form of institution/program profiles, educator profiles, country profiles and an autoethnographic contribution using visual processes. Epistemologically, the project is located in a paradigm of personal knowledge and subjectivity which emphasizes the importance of personal experience and interpretation. The findings contribute knowledge to support the development of art therapy education and the profession in Australia, towards the benefit, health and wellbeing of people in society. The findings show a diverse and multi-layered field of hybrid views and innovative approaches held within seven programs in the public university and private sectors. It was found that theories and practices are closely linked and that theoretical views have evolved from the people who teach the programs, location, professional contexts (health, arts, education, social, community) and the prevailing views within these contexts, which are driven by greater economic, socio-political forces and neo-liberal agendas. The university programs generally teach a range of the major theories of psychotherapy underpinned with a psychodynamic or humanistic perspective. Movement towards a more integrative and eclectic approach was found. This was linked to being part of more general masters programs and economic forces. The private sector programs are more distinctly grounded in a particular theoretical perspective or philosophical view. Key words distilled from the profiles included: conflict, transpersonal, survival through art, pedagogy, epistemology, theory driven by context and mental health. Important issues for art therapy education were identified as: the position and emphasis on art; working with the therapy/education tension; the gender imbalance in the profession; Indigenous perspectives; intercultural issues and difference. The horizons of the field revealed the importance of developing the profile of the profession, reconciling differences towards a more inclusive view and the growth of research. A trend towards opportunities in the social, education and community areas was found, driven by the increasing presence of discourses on arts and wellness.

Mary Sumner (1828-1921) founded the Anglican Mothers’ Union, which originated as a parish mothers’ meeting in 1876, and followed the Girls’ Friendly Society as the second women’s organisation to be sanctioned by the Church of England. By 1921, the Mothers’ Union had a membership extending across the British Empire and transnationally. Mary Sumner sought to educate mothers in Christian values and pedagogy so that they might educate their children to be future citizens of empire. Her life trajectory occurred against a context of evangelical religious revival, contest over matters of doctrinal authority, the proliferation of women’s philanthropy, the growth of the British Empire and changes in education characterised by state intervention in working-class elementary schooling and the negotiation of educational provision for middle- class girls. This thesis uses primary source material to build on institutional histories of the Mothers’ Union to situate Mary Sumner in networks, emphasise gender and class as mediating of opportunity, and envisage her religious ‘mission’ as educational. The thesis draws on the thinking tools of Pierre Bourdieu, habitus, field and capital, to analyse Mary Sumner’s negotiation of constraint and agency in relation to the fields of religion, mission (understood as religious and philanthropic activism ‘at home’ and overseas) and education through which womanhood runs as a connecting theme. Bourdieu’s concept of reproduction is used to position Mary Sumner in relation to the operation of power across domestic, local and global spaces. The thesis concludes that using Bourdieu’s ‘thinking tools’ highlights how Mary Sumner used opportunities for women within her temporal and socio-cultural context in ways that were complicit with notions of womanhood reflective of patriarchal domination and accepting of hierarchies of class and ‘race’, yet were innovative in her achievement of access for an organisation of women within Anglicanism that was recognised for its educational work.

Constructing a Reflective Site is a fine art practice-based research project, which considers the relationship between art practice and teaching. It does this through a critical examination of reflection in art, in pedagogy and in philosophy. Contemporary art forms, like relational practice, discursive practice and artists appropriating education as their medium, raise new questions regarding the mechanisms by which practice informs or can inform teaching within Higher Education. Reflection can be one way to elucidate and question this interrelationship towards an understanding of how notions of knowledge can be seen to operate across practice and teaching. This research is undertaken from within a dual position on practice: art practice and teaching as practice. The concept of practice-based research has been adopted from emerging positions in relation to artistic practice and artistic research, and this position has also been employed in the study of teaching as practice. This is thus a dual study, which has employed an indisciplinary approach towards an examination of subject specificity in fine art teaching. Notions of site have been used both as an artistic position in relation to the research, and as a theoretical framework, drawing on Miwon Kwon’s genealogy of site-specific practice. The research sought to explore the relationship between reflection in teaching and learning and reflection within an artistic practice and has found that, in epistemological, cognitive, social and historical terms, reflection does not necessarily constitute the same experience across pedagogy and art practice. This has consequences both for art students when asked to critically reflect on their work and also for developing the field of artistic research and concepts of artistic knowledge. Furthermore, these differences highlight the need to continually examine contemporary arts practices for models contributing to subject specific pedagogies in fine art, in order to keep the relationship between the subject and the academy critical and productive.

The thesis examines the concept of normalisation of Computer Assisted Language Learning (CALL), i.e. complete, effective integration of technology, in the context of primary Modern Foreign Languages (MFL) in England. While normalisation research is conducted predominantly in the English as a Foreign Language (EFL) context, understanding normalisation in the primary mainstream education in England is important due to the contrast between teachers’ lack of readiness to deliver languages as part of the National Curriculum, and technology penetration in the classrooms. This thesis therefore, taking a sociocultural perspective of Activity Theory, attempts to redefine normalisation to include context specific characteristics, identify what factors contribute to and impede normalisation, and assess where primary CALL is on route to normalisation. An ethnographic approach was deemed to be most suitable to gain deep understanding of normalisation. Prolonged immersion in a primary school and the thematic analysis of observations, interviews, field notes and audio recordings revealed that factors impeding normalisation of primary CALL revolve around the following areas: attitudes, logistics, training and support and pedagogy. The issues related to the subject itself, e.g. negative attitudes toward the subject, lack of skills, impact on the achievement of normalisation to larger extent than issues related to technology. Hence in the primary context, normalisation needs to be considered from the point of view of normalisation of MFL and then the technology that is embedded into MFL. The analysis of the data allowed the researcher to create a model which serves as a form of audit of factors that need to be considered when thinking of successful technology integration into languages. Such guidance is needed for the primary MFL context having reoccurring issues, but is also relevant to primary EFL contexts in Europe where similar problems related to teaching of the subject are reported.

This dissertation is a critical sociology of sociology in Soviet and post-Soviet Central Asia. It explores the construction of sociology as a field of knowledge, academic discipline and professional practice in Kyrgyzstan (formerly the Kirgiz Soviet Socialist Republic) from 1966 to 2003, focusing on the late and post-socialist project to transform sociology from a heteronomous to autonomous field of knowledge and practice. It draws especially on the sociology of knowledge and science to explore the localised processes through which social scientific knowledge and political power have been co-constituted on the imperial periphery. Through a comparative case study of sociology in Kyrgyzstani universities, as well as smaller case studies of 'public science' in the national press, it reveals how sociologists have negotiated a fundamental tension in the institutionalisation project - the separation of the production of sociological knowledge from the logic of political power, on the one hand, and their simultaneous association, on the other - to establish both scientific legitimacy and social relevance for sociology in the republic. The types of sociology that emerge from this negotiation - the positivist, applied-professional model and the post-positivist liberal-critical model - are interpreted not as inevitable consequences of the Soviet collapse, but rather the product of decisions made by sociologists within particular intellectual and structural constraints and through the lens of partial bodies of theoretical knowledge. The ascendance of positivist and empiricist sociology in the post-Soviet period is explained as a deliberate, if often extremely uncritical, attempt to reorganise the relationship between power and knowledge in Kyrgyzstani society and to democratise the latter. Finally, the dissertation demonstrates that academic debates about the possibility of scientific truth assume deep personal and political significance when conducted in the context of pronounced social fragmentation and inequality, specifically, in the contexts of authoritarianism and neocolonialism.

The portfolio explores the construction, representation and interpretation of internationalisation at the University of South Australia (UniSA) within the broader concept of internationalisation in higher education. The research is situated within a postmodern, postcolonial world and is influenced significantly by the work of Foucault ([1972] 2003), Fairclough (1989; 1992), Said (1995 [1978]) and Cherryholmes (1988). The portfolio consists of three related research reports and a meta-analysis which both connects these individual reports and conducts further analysis of the issues and themes arising from the research. The literature reviewed in Research Report 1 describes a range of approaches to internationalisation and issues associated with its definition and implementation in universities. It is concluded that internationalisation in higher education is part of a network of constantly developing and changing discourses all of which both influence and are influenced by political, social and economic contexts and agendas. The nature of the discourse of internationalisation at UniSA and the power/knowledge relations which are embedded within and support it are the focus of the second research report which consists of a critical discourse analysis of a corpus of documents related to internationalisation and Graduate Quality #7 at UniSA. Five discourses of internationalisation at UniSA are identified and the roles associated with the primary subjects of the discourse (academic staff, Australian students and international students) are described. Significant shifts in the discursive construction of internationalisation at UniSA over time are also identified, including the tendency for the economic discourse to be viewed as dominant and the associated ideology to be naturalised. The third research report consists of ‘snapshots’ of the experience of internationalisation in different places and from different perspectives. It strives for a deeper understanding of the complexity of internationalisation at UniSA through exploration of the construction of Graduate Quality #7 (that students of UniSA will develop international perspectives as professionals and citizens) in two different cultural and educational contexts ���������������� Adelaide and Hong Kong. The research highlights the need to embed and integrate intercultural learning into the culture of UniSA – to assist all staff and all students to move into uncomfortable intercultural spaces; to learn from and with each other within those spaces; to challenge their stereotypes and prejudices and to move on from them. The three reports are drawn together in the meta-analysis which concludes that although there are signs of ideological struggle within the discourse of internationalisation, the constructions of internationalisation and its subjects and actors at UniSA and beyond are consistent with a construction of internationalisation as a neo-colonialist activity. It suggests a modified approach to internationalisation – one that challenges the stereotypes and hegemonies currently associated with it. This has implications for the focus of professional development and student services to support internationalisation at UniSA and other Australian universities.