Articles de revues sur le sujet « Art and transnationalism »
Pour voir les autres types de publications sur ce sujet consultez le lien suivant : Art and transnationalism.
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les 50 meilleurs articles de revues pour votre recherche sur le sujet « Art and transnationalism ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Parcourez les articles de revues sur diverses disciplines et organisez correctement votre bibliographie.
1
Amilhat Szary, Anne-Laure. « Transnationalism, Activism, Art ». Journal of Borderlands Studies 30, no 1 (2 janvier 2015) : 131–32. http://dx.doi.org/10.1080/08865655.2015.1031406.
Texte intégral
2
Takezawa, Yasuko. « Major and Minor Transnationalism in Yoko Inoue’s Art ». Asian Diasporic Visual Cultures and the Americas 6, no 1-2 (6 juillet 2020) : 27–47. http://dx.doi.org/10.1163/23523085-00601003.
Texte intégralRésumé :
This article elucidates major transnationalism and minor transnationalism through an analysis of works by New York-based Japanese artist Yoko Inoue (b. 1964). Inoue engages in social criticism through varied media such as ceramics, installations, and performance art. Her works demonstrate minor transnationalism observed in the relationships she has built with other transmigrants and minoritized individuals over such issues as xenophobia and racism after 9/11, as well as Hiroshima/Nagasaki and related contemporary nuclear issues. Inoue also addresses the disparities in collective memory and narratives between Japan and the US plus socio-economic inequalities between nation-states and the movement of people/goods/money within Trans-Pacific power dynamics, all of which illustrate major transnationalism in the Trans-Pacific.
3
Jennison, Rebecca Sue. « Contact Zones and Liminal Spaces in Okinawan and Zainichi Contemporary Art ». Asian Diasporic Visual Cultures and the Americas 6, no 1-2 (6 juillet 2020) : 11–26. http://dx.doi.org/10.1163/23523085-00601002.
Texte intégralRésumé :
This article focuses on selected art works by third-generation Zainichi Koreans Haji Oh and Soni Kum, and Okinawan-based Chikako Yamashiro to explore ways in which these artists have continued to develop innovative, interdisciplinary practices to explore contact zones and liminal spaces in the East Asian context. Drawing on Françoise Lionnet and Shu-mei Shih’s notion of minor transnationalism, it argues the creative interventions of the three artists shed light on complex histories of minor transnationalism and at the same time alert us to ways in which the legacies of colonialism, migration and war continue to evolve in the present in Okinawa, Jeju Island, and Japan. Deploying different media, practices and techniques, all three artists aim to deterritorialize dominant visual and historical narratives and draw inspiration from minor literatures in ways that disrupt binary and vertical relationships, making visible minor to minor connections and ways of envisioning horizontal networks.
4
Nolte, Victoria. « Asian Canadian Minor Transnationalism : A Method of Comparison ». Asian Diasporic Visual Cultures and the Americas 4, no 1-2 (4 mars 2018) : 65–88. http://dx.doi.org/10.1163/23523085-00401004.
Texte intégralRésumé :
This article provides a comparative analysis of Howie Tsui’sCelestials of Saltwater City(2011) and Ali Kazimi’sFair Play(2014), two art installations that centre the histories of different Asian Canadian communities (Chinese Canadian and South Asian Canadian, respectively), but are underscored by paralleled experiences of racism, exclusion, and indenture. I bring these works together to propose a rethinking of Asian Canadian art history through Françoise Lionnet and Shu-mei Shih’s concept of minor transnationalism, a framework which helps map historical formations of “Asian Canadian” that rupture dominant cultural discourse. By comparing the ways in which Asian Canadian artists tell their own stories, drawing attention to narrative and aesthetic resonances not always immediately apparent, minor transnationalism brings into critical focus the subjective connections and experiences of diaspora that are already present but have been obscured through processes of historical erasure and settler colonial nation-building.
5
Roque, Ricardo. « Transnational Isolates : Portuguese Colonial Race Science and the Foreign World ». Perspectives on Science 30, no 1 (janvier 2022) : 108–36. http://dx.doi.org/10.1162/posc_a_00404.
Texte intégralRésumé :
Abstract This article examines scientific transnationalism as an art of engagement with, and avoidance of, the threats and promises of what was foreign to the nation. Portuguese racial anthropologists experienced a tension between remaining imperial-nationalistic in character, and internationalist in their activities simultaneously. They struggled to exclude foreigners from colonial field sites; they aimed at nativist authority based on total control of colonial data. Yet, they eagerly sought connections with foreign experts to capitalize provincial scientific authority within Portugal’s colonies. The essay conceptualizes this mode of transnationalism as also a kind of isolationism, an inward oriented form of engaging with foreign sciences and scientists as ambivalently powerful and threatening strangers.
6
Machida, Margo. « NEW CRITICAL DIRECTIONS : TRANSNATIONALISM AND DIASPORA IN ASIAN AMERICAN ART ». Source : Notes in the History of Art 31, no 3 (avril 2012) : 23–28. http://dx.doi.org/10.1086/sou.31.3.23208591.
Texte intégral
7
Durán, Isabel. « What Is the Transnational Turn in American Literary Studies ? A Critical Overview ». Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, no 2 (23 décembre 2020) : 138–59. http://dx.doi.org/10.28914/atlantis-2020-42.2.07.
Texte intégralRésumé :
This article presents a critical overview of the state of the art of transnational American studies in the wake of the so-called transnational turn. After an introduction to key ideas and concepts surrounding transnationalism as applied to American studies and, more particularly, to literary studies—including comparative and international approaches to American literature—I interweave critical arguments with brief reviews of keypublications—monographs, edited collections and individual essays—produced in the US and abroad—particularly Spain—in the twenty-first century. My overview mainly focuses on general literary studies, but it also tackles particular areas such as gender, ethnicity, aesthetics and political transnationalism. My conclusion suggests that the transnational turn will continue to shape our scholarship in the decades to come.
8
Papastergiadis, Nikos, et Daniella Trimboli. « Aesthetic cosmopolitanism : The force of the fold in diasporic intimacy ». International Communication Gazette 79, no 6-7 (25 septembre 2017) : 564–83. http://dx.doi.org/10.1177/1748048517727171.
Texte intégralRésumé :
The contemporary migration experience is mobile, fragmented and mediated, creating a new diasporic interface that interplays the three threads of media, culture and art. However, studies of transnationalism within media, culture and art scholarship continue to collapse into binary models, ultimately streamlining the complex cultural translations that occur in this interface. This essay argues that the notion of aesthetic cosmopolitanism allows for a more rigorous account of the diasporic interface, keeping alive the kinetic element that permeates transnational cultural production.
9
Takezawa, Yasuko, et Laura Kina. « Trans-Pacific Japanese Diaspora Art : Encounters and Envisions of Minor-Transnationalism ». Amerasia Journal 45, no 3 (2 septembre 2019) : 373–76. http://dx.doi.org/10.1080/00447471.2019.1721648.
Texte intégral
10
Okano, Michiko. « Nipo-Brazilian Art and Minor Transnationalism : Kenzi Shiokava and Sachiko Koshikoku ». Amerasia Journal 45, no 3 (2 septembre 2019) : 386–90. http://dx.doi.org/10.1080/00447471.2019.1721665.
Texte intégral
11
Selejan, Ileana L. « Actions. Situations. Possible Scenarios. » Protest, Vol. 4, no. 2 (2019) : 50–55. http://dx.doi.org/10.47659/m7.050.art.
Texte intégralRésumé :
Zigzagging through personal memory and historical episodes of great consequence – the fall of the Berlin wall, the Romanian revolution and the April 2018 protests in Nicaragua – the essay seeks points of connection between the personal and the political, exploring how the two are intimately and inextricably intertwined. The textual approach can be situated in-between historical analysis and auto-biographical fiction; the aim is to enable multi-layered narratives, and contrasting, conflicting temporalities to co-exist. Illustrative of this intent, Romanian artist Călin Man intervenes upon the more well-known documentary photographs referenced in the text, by conflating them with everyday snapshots from the city of Arad taken at different points along the temporal arc described. Keywords: documentary, memory, personal history, photography, revolution, transnationalism
12
Dekel, Tal. « Body, Gender and Transnationalism : Art and Cultural Criticism in a Changing Europe ». Studies in Ethnicity and Nationalism 9, no 2 (septembre 2009) : 175–97. http://dx.doi.org/10.1111/j.1754-9469.2009.01042.x.
Texte intégral
13
Ngoei, Wen-Qing. « Exhibiting Transnationalism after Vietnam : The Alpha Gallery’s Vision of an Artistic Renaissance in Southeast Asia ». Journal of American-East Asian Relations 29, no 3 (20 septembre 2022) : 271–99. http://dx.doi.org/10.1163/18765610-29030004.
Texte intégralRésumé :
Abstract This essay examines the Alpha Gallery, an independent artists’ cooperative that Malaysians and Singaporeans established, which staged art shows during the 1970s to spark an artistic renaissance in Southeast Asia. The cooperative’s transnational vision involved showcasing Balinese folk art as a primitive and, therefore, intrinsically Southeast Asian aesthetic, while asserting that it shared cultural connections with the Bengali Renaissance of the early 20th Century. Alpha’s leaders believed these actions might awaken indigenous artistic traditions across Southeast Asia. Their project underscores the lasting cultural impact of colonialism on Southeast Asia and the contested character of the region. Alpha’s condescending view of Balinese folk art echoed the paternalism of Euro-American colonial discourses about civilizing indigenous peoples that persisted because its key members received much of their education or training in Britain and the United States, a by-product of their countries’ pro-U.S. trajectory during the Vietnam War. Equally, Alpha’s transnationalism ran counter to Southeast Asian political elites’ fixation with pressing art toward nation-building. Indeed, the coalescing of nation-states does not define the region’s history during and after the Vietnam War. Rather, non-state actors like Alpha’s members, in imagining and pursuing their versions of Southeast Asia, contributed to the persistent contingency of the region.
14
Somers, Matthias, et Sami Sjöberg. « Reading Ray : Avant-Garde and Transnationalism in Interwar Britain ». Modernist Cultures 16, no 2 (mai 2021) : 216–41. http://dx.doi.org/10.3366/mod.2021.0329.
Texte intégralRésumé :
The British modernist little magazine Ray: Art Miscellany (1926–1927) pioneered the combination of text and image in the vein of the Continental avant-gardes. Amid the surge of interest in periodicals within modernist studies, Ray has managed to escape broader attention. Its editor, Sidney Hunt, was an enigmatic figure and the magazine itself also eludes categorization, as it did not conform to the standards of English modernism, which were in the process of crystallising at the time of its publication and then dominated the scholarly consensus on artistic innovation during the interwar period. Focusing on the specificities of the magazine form and on Ray's explicitly interartistic and transnational ethos, this article locates Ray within the spectrum of British ‘modernisms’, while interpreting its manifest effort to introduce various European avant-garde movements to a British audience as part of a strategy to establish an alternative modernist project grounded in the ideals of the moribund Arts and Crafts tradition.
15
Ostashewski, Marcia, Heather Fitzsimmons Frey et Shaylene Johnson. « Youth-Engaged Art-Based Research in Cape Breton : Transcending Nations, Boundaries and Identities ». Jeunesse : Young People, Texts, Cultures 10, no 2 (décembre 2018) : 100–125. http://dx.doi.org/10.3138/jeunesse.10.2.100.
Texte intégralRésumé :
2017, in conjunction with celebrations of 150 years of Canadian Confederation and with funding from government programs, young people from across Cape Breton Island were invited to participate in a performance creation project to explore narratives and experiences of migration and encounter. Youth (ranging in age from seven to nineteen) from disparate places, including Membertou First Nation (a reserve), Chéticamp (an Acadian, francophone town), Étoile de l’Acadie (a francophone school and community centre in Sydney), and Whitney Pier (a district of Sydney that is home to diverse immigrant cultures, primarily from Barbados, Italy, Newfoundland, Poland, Croatia and Ukraine) all met in their own communities. They listened to elders discuss their own experiences of migration and encounter, and responded by creating new performance pieces grounded in song, dance, film (including new technologies such as virtual reality and 360-degree cameras), spoken word and story. They came together on 22 October 2017 to share their creative work with one another and with public audiences. We examine issues that arose during the creative process and of young participants’ post-process reflections, according to each of the ways in which Vertovec (“Conceiving”) has identified transnationalism. Interpretations of the Cape Breton youths’ own senses of rooted place are positioned in relation to transnational experiences present within their communities. These young people’s expressions of the local (for example, Acadian step dance and Mi’kmaq traditional drumming) morph into expressions of the transnational (for example, hip hop and pop music production); musical expressions use so-called traditional instruments (bagpipes or hand drums), DJ mixing techniques, djembe, Acadian folk music, and Elvis. Problematizing assumptions about what it is to be a Cape Bretoner, and interrogating how migration and resulting encounters have shaped how these young people choose to express themselves, this paper examines how they simultaneously express and contest transnationalism.
16
Wang, Wan Jui. « Legacy of New Wave ». INContext : Studies in Translation and Interculturalism 4, no 1 (30 avril 2024) : 133–61. http://dx.doi.org/10.54754/incontext.v4i1.74.
Texte intégralRésumé :
This article delves into the influence of transnationalism on Taiwan New Cinema, focusing on the works of female director Chiang Hsiu-Chiung, particularly her Japanese language film, and the femme-centric drama The Furthest End Awaits (2014). It is discussing a film within the context of global art cinema, particularly highlighting its significance in attracting audiences interested in art-house films. The film seems to be positioned as part of the legacy of the new wave in Taiwan cinema, suggesting that it shares thematic, stylistic, or historical connections with the innovative and influential filmmaking movement that emerged in Taiwan. Moreover, Chiang’s film explores contemporary kinship within the framework of global art cinema, asserting that Taiwan New Cinema has established itself as a significant presence in the arthouse film festival circuit since the 1980s. One of the defining characteristics of Taiwan New Cinema is its utilization of long takes, deliberate spatial and depth composition, incorporation of documentary elements depicting everyday life, and the dialectical interplay between sound and visuals. These techniques contribute to the films’ self-reflexivity and liminality, enhancing their artistic and narrative depth. Moreover, the article investigates how Chiang’s films empower women, reflecting the influence of transnational feminism in East Asia. Through a structural analysis, it highlights the reversal of roles between the main characters, Misaki and Eriko, and the establishment of connections with a broader network of women. This portrayal affirms a sense of sisterhood and mutual support, enriching the narrative with engaging interpersonal dynamics. Furthermore, the article explores how the dynamics of space within the films contribute to the representation of sisterhood, intersecting with themes of trauma, memory, and embodiment. By examining these elements, the article offers insights into the complex interplay between transnationalism, feminism, and cinematic representation within Taiwan New Cinema.
17
Kristberga, Laine. « TRANSDISCIPLINARY AND TRANSNATIONAL MANIFESTATIONS IN OJĀRS FELDBERGS’ ART : THE CONCEPT OF BORDERS ». Culture Crossroads 21 (28 décembre 2022) : 91–105. http://dx.doi.org/10.55877/cc.vol21.274.
Texte intégralRésumé :
In this article the author examines the concepts of transdisciplinarity and transnationalism as methodological tools in art analysis. By applying these tools to the case study of Latvian artist Ojārs Feldbergs and addressing the concept of borders in his art, the author questions knowledge production systems, especially in terms of Western art discourse. The author doubts that in our hybrid globalised world it is still possible to look at artists and their oeuvre through a monoethnic perspective. It is important to be aware of parallel processes, intercultural encounters and sources of inspiration beyond the borders of one country or discipline. Yet, in doing so, the centre-periphery relationship should be addressed critically and the dictate of cultural metropolises as centres should be avoided. Given that Feldbergs’ art cannot be seen as a constituent of isolated elements – object (sculpture), space (environment), time, spectatorship – but, indeed, as a complex whole, which is hybrid and synthesised, it is crucial to define Feldbergs’ artistic strategies addressing the concept of borders – both physical and symbolic.
18
Skiba, Katarzyna. « Between Boundaries of Tradition and Global Flows : Reimagining Communities in Kathak Dance ». Congress on Research in Dance Conference Proceedings 2016 (2016) : 386–97. http://dx.doi.org/10.1017/cor.2016.51.
Texte intégralRésumé :
The aim of the paper is to examine the ongoing transformation in Kathak art and practice, in response to demands of global markets, sensibilities of new audiences, and the artists' personal need for self-expression. The paper explores why classical Indian dancers push the barriers of Kathak tradition, and how they redefine the idea of authenticity. Do the innovative choreographies indicate an increasing shift toward individualization, transnationalism, and cultural pluralism, or rather do they attempt to renegotiate the notions of “Indianness”? To what extent is genre hybridity considered as an emerging aesthetic value that reflects complex, multi-layered identities of the performers?
19
FAIST, THOMAS. « Towards a Political Sociology of Transnationalization. The State of the Art in Migration Research ». European Journal of Sociology 45, no 3 (décembre 2004) : 331–66. http://dx.doi.org/10.1017/s0003975604001481.
Texte intégralRésumé :
The transnational turn in international migration research since the early 1990s has sparked vigorous debates among migration scholars. Yet the political aspects of transnational migration have been under-studied when compared to social, cultural and economic processes. This is particularly astonishing because the very term transnational suggests the importance of national borders and nationally-bound polities as opportunities and restrictions of exchange, reciprocity, solidarity and hierarchical control for processes involving non-state actors to varying degrees. The goal of this analysis is to take stock of some developments in the general study of transnationalization and treat the aspects of politics, policy and polity as a specific case of this broader conceptual and empirical effort. This effort also identifies questions for further research and offers methodological venues for the study of transnationalism arising out of international migration.
20
Soetjipto, Ani W., et Arivia Tri Dara Yuliestiana. « Transnational Relations and Activism in International Relations : Debates and Consensus in Literature ». Global : Jurnal Politik Internasional 22, no 1 (2 juillet 2020) : 142. http://dx.doi.org/10.7454/global.v22i1.479.
Texte intégralRésumé :
This article explores the concepts of transnational relations and activism in the study of International Relations, specifically the role of civil society in transnational advocacy. It is fascinating to discuss the role of civil society when state actors are no longer the most prominent actors in International Relations studies in the midst of globalisation. Some articles related to transnational relations have been written by the scholars of International Relations such as Thomas Risse-Kappen (1995). Even so, one of the most sophisticated concepts of transnational activism was introduced by Margaret Keck and Kathryn Sikkink (1998), in Activists Beyond Borders: Advocacy Networks in International Politics. In order to fully understand transnational activism in the study of International Relations, a divergent perspective can be applied. In this article, the authors aim to examine the recent debates and its counternarratives in International Relations through critical and constructivism lenses. Firstly, this article would describe the concepts of transnationalism and transnational activism in the study of International Relations (state of the art). Secondly, it would be a discussion in the literature on transnationalism and transnational activism which cover themes about norm diffusion, the ‘boomerang pattern’, political opportunity structures and accountability and effectiveness. The last part is conclusion that can be drawn from this consensus and debates in the concept of transnational activism.
21
Jaiyeoba, Babatunde, et Adeshina Afolayan. « The “Africanization” of an African Diaspora Household : Toyin Falola and the Idea of Diasporic Home-Making ». Yoruba Studies Review 4, no 1 (21 décembre 2021) : 1–13. http://dx.doi.org/10.32473/ysr.v4i1.130025.
Texte intégralRésumé :
This essay is an exercise in the interrogation of cultural globalization, and how the idea of transnationalism generates identity responses. The authors used the concept of home-making to examine how Toyin Falola deployed an aesthetic sensibility of African art as ideological dynamics for the personalization of his home situated in a suburb in Austin, Texas. The Africanization agenda that the Falola house operationalized points at the critical role that interior decoration can play in African diaspora homes. The project is crucial because it undermines the homogenizing reach of globalization that dislocates the sense of identity of an average African transnational migrant. In the Falola home, we confront an assemblage of aesthetic consciousness, dynamics of Africanity, and identity construction.
22
LEWIS, GEORGE E. « The Virtual Discourses of Pamela Z ». Journal of the Society for American Music 1, no 1 (février 2007) : 57–77. http://dx.doi.org/10.1017/s1752196307070034.
Texte intégralRésumé :
Pamela Z is an American composer-performer and audio artist whose use of extended vocal technique and live, body-controlled electronic processing takes place in events ranging in scale from solo events in galleries to large-scale works that combine video, audio, and live musicians, singers, and actors. Her work raises important issues regarding transnationalism, Afrodiasporicism, and identity; acoustic ecologies; the articulation of race and ethnicity; and the place of women in technological media. The essay discusses several of Z's works from the late 1990s and early 2000s, in articulation with cybertheory; the aesthetics of popular and avant-garde music, voice, language, and poetics; intermedia and performance art; and contemporary technological practices.
23
Berlova, Maria. « The Transnationalism of Swedish and Russian National Theatres in the Second Half of the Eighteenth Century : How Foreign Performative Art Sharpened the Aesthetics of National Identity ». Nordic Theatre Studies 27, no 1 (12 mai 2015) : 104. http://dx.doi.org/10.7146/nts.v27i1.24243.
Texte intégralRésumé :
In this article, I consider the formation of national theatres in Sweden and Russia under the guidance of King Gustav III and Empress Catherine II. Both Swedish and Russian theatres in the second half of the eighteenth century consolidated their nationalism by appealing to various national cultures and absorbing them. One of the achievements of the Enlightenment was the rise in popularity of theatre and its transnationalism. Several European countries, like Russia, Sweden, Po- land, Hungary and others, decided to follow France and Italy’s example with their older traditions, and participate in the revival of the theatrical arts, while aiming at the same time to preserve their national identities. The general tendency in all European countries of “second theatre culture” was toward transnationalism, i.e. the acceptance of the inter-penetration between the various European cultures with the unavoidable impact of French and Italian theatres. The historical plays of the two royal dramatists – Gustav III and Catherine II – were based on nation- al history and formulated following models of mainly French and English drama. The monarchs resorted to the help of French, Italian and German composers, stage designers, architects, choreographers and actors to produce their plays. However, such cooperation only emphasized Swedish as well as Russian national- ism. Despite many similarities, Gustav III and Catherine II differed somewhat in how each positioned their own brand of nationalism. By delving deeper into the details of the formation of the national theatres by these monarchs, I will explore similarities and differences between their two theatres.
24
Dekel, Tal. « Transparent Substance in a Transnational Existence : Materiality, Migration, Memory, and Gender—The Case of Israeli Artist Alina Rom Cohen ». Arts 10, no 2 (19 avril 2021) : 26. http://dx.doi.org/10.3390/arts10020026.
Texte intégralRésumé :
This article discusses the art of Alina Rome Cohen, a woman artist from the former Soviet Union who immigrated to Israel. Her glass sculptures highlight her hyphenated, multilayered, and dynamic identity, illustrating identity construction processes of migrant women under conditions of uprooting and re-grounding in the globalized era of transnationalism. The discussion feeds from theories influenced by “the material turn”, suggesting that artifacts “speak”. I will therefore argue that the material—glass—is involved in the active discussion and negotiation of power relations within society. Framed through Alfred Gell’s anthropological theory of art, first introduced in his book titled Art and Agency from 1998, this approach proposes a horizon of agency for the artworks themselves, which function in the world alongside other actants operating in the field, such as human beings. This article will analyze Rom Chohen’s artworks and will be informed by cultural theories from migration studies and gender studies, in order to ask new questions about the dynamics of the exclusion and inclusion of migrants under the ethno-national state of Israel, while offering alternative ways by which to think of concepts such as memory and time, as past and present are brought to a simultaneity.
25
Maessen, Francine, Bibi Burger et Mathilda Smit. « In-between spaces in Klara du Plessis’s Ekke : Identity, language and art ». Tydskrif vir Letterkunde 59, no 1 (6 avril 2022) : 7–13. http://dx.doi.org/10.17159/tl.v59i1.13298.
Texte intégralRésumé :
In this review article, we focus on the depiction of the transnational and translingual as a state of being in-between in Klara du Plessis’s debut poetry collection, Ekke (2018). This in-between state has implications for how identity, place and visual art feature in the collection. Ekke contains fragments of German and French, but consists mainly of English interspersed with Afrikaans. The creation of meaning through this linguistic slippage reflects the idea of identity as always in-process that comes to the fore throughout the collection. Ekke also represents an intervention in South African urban literature, as Bloemfontein, a city not much featured in literature, is represented in several poems. In these poems, the poet/speaker struggles to situate Bloemfontein and its surrounding areas’ histories and symbolism in the transnational networks that she is a part of. The conception of identity and language being constantly in-progress is also conveyed in the collection’s poems about visual art. In these poems, meaning is created through the interaction of language with visual art, a process the poet calls ‘intervisuality’. Keywords: transnationalism, transnational identity, translingualism, multilingual poetry, Klara du Plessis, Bloemfontein in literature, ekphrasis.
26
Morais, Liliana. « Spicing Up a 150‐Year‐Old Porcelain Factory : Art, Localism and Transnationalism in Arita's Happy Lucky Kiln ». International Journal of Japanese Sociology 29, no 1 (mars 2020) : 52–73. http://dx.doi.org/10.1111/ijjs.12101.
Texte intégral
27
Ekkanath, Shivani. « Understanding Currents and Theories in Indian and African Postcolonial Literature : Themes, Tropes and Discourse in the Wider Context of Postcolonialism ». Interlitteraria 25, no 2 (31 décembre 2020) : 379–93. http://dx.doi.org/10.12697/il.2020.25.2.10.
Texte intégralRésumé :
The postcolonial narratives we see today are a study in contrast and tell a different tale from their colonial predecessors as minorities and individuals finally have found the voice and position to tell their stories. Histories written about our culture and societies have now found a new purpose and voice. The stories we have passed down from generation to generation through both oral and written histories, continue to morph and change with the tide of time as they re-centre our cultural narratives and shared experiences. As a result, the study of diaspora and transnationalism have altered the way in which we view identity in different forms of multimedia and literature. In this paper, the primary question which will be examined is, how and to what extent does Indian post-colonial literature figure in the formation of identity in contemporary art and literature in the context of ongoing postcolonial ideas and currents? by means of famous and notable postcolonial literary works and theories of Indian authors and theoreticians, with a special focus on the question and notion of identity. This paper works on drawing parallels between themes in Indian and African postcolonial literary works, especially themes such as power, hegemony, east meets west, among others. In this paper, European transnationalism will also be analysed as a case study to better understand postcolonialism in different contexts. The paper will seek to explore some of the gaps in the study of diasporic identity and postcolonial studies and explore some of the changes and key milestones in the evolution of the discourse over the decades.
28
Ekkanath, Shivani. « Understanding Currents and Theories in Indian and African Postcolonial Literature : Themes, Tropes and Discourse in the Wider Context of Postcolonialism ». Interlitteraria 25, no 2 (31 décembre 2020) : 379–93. http://dx.doi.org/10.12697/il.2020.25.2.10.
Texte intégralRésumé :
The postcolonial narratives we see today are a study in contrast and tell a different tale from their colonial predecessors as minorities and individuals finally have found the voice and position to tell their stories. Histories written about our culture and societies have now found a new purpose and voice. The stories we have passed down from generation to generation through both oral and written histories, continue to morph and change with the tide of time as they re-centre our cultural narratives and shared experiences. As a result, the study of diaspora and transnationalism have altered the way in which we view identity in different forms of multimedia and literature. In this paper, the primary question which will be examined is, how and to what extent does Indian post-colonial literature figure in the formation of identity in contemporary art and literature in the context of ongoing postcolonial ideas and currents? by means of famous and notable postcolonial literary works and theories of Indian authors and theoreticians, with a special focus on the question and notion of identity. This paper works on drawing parallels between themes in Indian and African postcolonial literary works, especially themes such as power, hegemony, east meets west, among others. In this paper, European transnationalism will also be analysed as a case study to better understand postcolonialism in different contexts. The paper will seek to explore some of the gaps in the study of diasporic identity and postcolonial studies and explore some of the changes and key milestones in the evolution of the discourse over the decades.
29
Mom, Gijs. « Trending Transfers ». Transfers 10, no 1 (1 mars 2020) : 2–19. http://dx.doi.org/10.3167/trans.2020.100103.
Texte intégralRésumé :
Looking back on nine years of Transfers, this essay first analyzes the journal’s 141 main articles statistically, investigating whether and how much they represented the editorial team’s ambition to develop New Mobility Studies guided by transmodality, transnationalism, and transdisciplinarity, in the process decentering the vehicle, the nation, and even history. Together with its hundreds of Editorials, opinionated Ideas in Motion essays and book, film, and art reviews, the journal was able to carve out a clear trend toward a well-established and solid niche within the general mobility studies field. Embedded in a narrative about the personal scholarly development of its first editor in the midst of the COVID-19 pandemic, the essay shows how Transfers managed to offer its readers a hybrid mix of a scholarly vista on and over the edge of the field and an artistic, curatorial, and filmic and, in general, aesthetic struggle with mobility.
30
Rowe, David, Greg Noble, Tony Bennett et Michelle Kelly. « Transforming cultures ? From Creative Nation to Creative Australia ». Media International Australia 158, no 1 (février 2016) : 6–16. http://dx.doi.org/10.1177/1329878x16629544.
Texte intégralRésumé :
This article introduces the Special Issue, ‘Transforming Cultures? From Creative Nation to Creative Australia’. Taking its historical reference point from the 1994 national cultural policy Creative Nation, it outlines the issue’s theoretical foundation in the field theory of Pierre Bourdieu, while also signalling field theory’s limitations in relation to transnationalism, ethnic heterogeneity and Indigeneity. This introduction addresses the specific conditions that require an approach that takes full account of the endogenous and exogenous factors influencing the constitution of culture in Australia from Creative Nation to its 2013 successor national cultural policy, Creative Australia, to the present day and beyond. Finally, the issue’s articles, which cover the broadcast media, sport, music, literature, heritage, and Indigenous art fields, are outlined, as are their contributions to advancing understanding of the key social and policy issues shaping the present conditions and future possibilities of Australian cultural fields in the process of transformation.
31
Squire, Corinne, Cigdem Esin et Chila Burman. « ‘You Are Here’ : Visual Autobiographies, Cultural-Spatial Positioning, and Resources for Urban Living ». Sociological Research Online 18, no 3 (août 2013) : 1–18. http://dx.doi.org/10.5153/sro.2975.
Texte intégralRésumé :
This paper reports on a study of visual autobiographies produced in art workshops conducted in a variety of social contexts in East London with 19 research participants 11 women and girls, 8 men and boys – ranging from 10 to the 50s. From narrative analysis of the images, associated interviews, and field notes on the production and exhibition of the images, the paper argues that the study of cultural activity can allow us to identify cultural-spatial positionings related to, but also distinct from, socio-spatial positionings. Those cultural-spatial positionings indicate and in some cases produce cultural and symbolic resources that might not be discernable from other non-visual research data, that may differ importantly from participants’ socioeconomic resources, and that could usefully receive more attention. The study also suggests that transnationalism is strongly tied to people's narratives of their cultural lives within global cities, is critically articulated, and can be under-recognised when it is rooted in family.
32
Foster, Thomas. « Cyber-Aztecs and Cholo-Punks : Guillermo Gómez-Peña's Five-Worlds Theory ». Publications of the Modern Language Association of America 117, no 1 (janvier 2002) : 43–67. http://dx.doi.org/10.1632/003081202x63500.
Texte intégralRésumé :
In the study of postmodern technocultures, including computer-mediated communication and popular narratives about cyberspace, the status of embodiment has emerged as a key question, especially in the context of popular rhetorics that imagine the Internet as a site of freedom from embodied particularity. But while analyses of gender bending and sexual performance on the Internet abound, the future of race in cyberspace has been relatively neglected. This essay traces recent developments in the work of the Mexican American performance artist Guillermo Gómez-Peña, whose earlier interests in immigration, transnationalism, and border-crossing art have increasingly led him to reflect on the promises and dangers cyberspace poses for racially minoritized groups, to the extent that people who use or study the Internet fantasize cyberspace as a site of subjective border crossing and identity play. The essay looks at the theme of virtual reality in specific performances and at Gómez-Peña's incorporation of new technologies into his work.
33
Thomas, Dr Pius V., et Bidyut Kanti Paul. « The Cultural Fabric of Rabindranath Tagore’s Philosophy of Cosmopolitanism ». Think India 22, no 3 (11 septembre 2019) : 790–808. http://dx.doi.org/10.26643/think-india.v22i3.8399.
Texte intégralRésumé :
The paper explores into the concept of cosmopolitanism in Rabindranath Tagore’s Philosophy. Though Tagore couldn’t travel fully with his critique of nationalism and the entire extent of the debate, which determined India’s destiny later, the authenticity of Tagore’s perspective foresaw the most decisive themes of coexistence of our times symptomatically for us, such as, the criticism of nationalism and transnationalism, religion as humanism, the idea of cosmopolitan freedom and education as encounter with nature etc. The paper argues that Tagore’s concept of cosmopolitanism is composed of his philosophies of humanism, religion, art and aesthetics and the critique of nationalism. The discussion that is carried out in the paper though briefly examines some of the major works of Tagore. It looks at the theoretical engagements of some of the major contemporary thinkers made with Tagore’s thought, especially with his idea of cosmopolitanism. The paper, as it affirms the contemporaneous nature of Tagore’s concept of cosmopolitanism, however, suggests a new dimension that it adds to the philosophy of cosmopolitanism
34
Choucair, Julia, Maya Mikdashi, Jehan Agha et Shereen Abdel-Nabi. « Pop Goes the Arab World : Popular Music, Gender, Politics, and Transnationalism in the Arab World ». Hawwa 2, no 2 (2004) : 231–54. http://dx.doi.org/10.1163/1569208041514662.
Texte intégralRésumé :
AbstractAssumptions are often made as to the static nature of contemporary Arab politics and societies. Authors, scholars and commentators look for sociopolitical dynamism in the arenas they are used to: newspapers, television and parliament/congress, to name but a few. When they do not see or hear these debates taking place in the formal institutions that they are familiar with, they are quick to assume that these reassessments are simply not occurring. Nothing could be further from the truth. The Arab world is debating itself on matters of politics, identity and gender roles, to name but a few subjects. The debate space that is being utilized, however, is easily unnoticeable to those who are not adept at finding these forums and are instead used to being presented with them. When public space is limited, any opening will be used to the utmost. The ways in which the Arab world imagines and recreates itself is often through art. Satellite television and the strengthening of transnational media has helped the populations of this widely defined nation come into contact with each other in a realm outside of state control. Artists can become peoples' most important and trusted politicians. A medium readily accessible for consumption and easy to understand, popular music addresses important themes that speak to a collective audience and tie it together as a community. This paper seeks to examine the political, identity and gender debates that are currently occurring within the realm of popular music.
35
Kawashima. « Metamorphosis as Origin–Koji Yamamura’s Short Animation Franz Kafka’s A Country Doctor ». Arts 8, no 2 (22 avril 2019) : 54. http://dx.doi.org/10.3390/arts8020054.
Texte intégralRésumé :
In the beginning was metamorphosis. This paradoxical thought, which the ancient Roman poet Ovidius and modern author Franz Kafka represented in their literary works, is visualized in Koji Yamamura’s short animation Franz Kafka’s A Country Doctor. Diverse metamorphoses that do and do not appear in the Kafka original are so elaborately and dynamically depicted in this animation that no live-action film could possibly represent them. In addition, the film itself can be seen as a metamorphosis, as it is an animation converted from a short story. Such a dominance of metamorphosis is also true for the transculturality and transnationalism of Yamamura’s animation. In a sense, the film results from a cultural integration of foreign language and image. However, this integration is also part of the swirl of metamorphosis. The traditional performance art Kyogen, which the director uses to voice the main characters in the animation, could not integrate foreign culture without its own diversification. Yamamura’s animation demonstrates that transculturality is another name for fundamental metamorphosis in which diversification and integration occur simultaneously.
36
Kinney, Brandon. « "The Rifle is the Symbol" : The AK-47 in Global South Iconography ». Journal of World History 34, no 2 (juin 2023) : 277–314. http://dx.doi.org/10.1353/jwh.2023.a902055.
Texte intégralRésumé :
Abstract: This article examines the relationship between Cold War national liberation groups through their shared material and visual culture. Using China, Cuba, and Palestinian groups as its case studies, it reveals how Third World militants forged transnational associative networks in part through the transmission of cultural productions that reflected common values, assumptions, and metaphors. In Global South iconography, the AK-47 rifle became shorthand for a revolutionary transnationalism. The rifle is among the most iconic images in the world, even among those who have never seen one in person, and its use as a symbol is imbued with complex political meaning. While artists, themes, and ideologies varied widely in revolutionary art, the AK-47 was a metaphoric bridge between these groups and became a focal point of imagery for national liberation and transnational solidarity. Rather than demonstrating allegiance to the Soviet Union, the repetitious use of the rifle in visual culture became a way for revolutionary groups to stake out place as an imagined community across the Global South.
37
Guilat, Yael. « Israeli-Ness or Israeli-Less ? How Israeli Women Artists from FSU Deal with the Place and Role of “Israeli-Ness” in the Era of Transnationalism ». Arts 8, no 4 (4 décembre 2019) : 159. http://dx.doi.org/10.3390/arts8040159.
Texte intégralRésumé :
The Israeli art field has been negotiating with the definition of Israeli-ness since its beginnings and more even today, as “transnationalism” has become not only a lived daily experience among migrants or an ideological approach toward identity but also a challenge to the Zionist-Hebrew identity that is imposed on “repatriated” Jews. Young artists who reached Israel from the Former Soviet Union (FSU) as children in the 1990s not only retained their mother tongue but also developed a hyphenated first-generation immigrant identity and a transnational state of mind that have found artistic expression in projects and exhibitions in recent years, such as Odessa–Tel Aviv (2017), Dreamland Never Found (2017), Pravda (2018), and others. Nicolas Bourriaud’s botanical metaphor of the radicant, which insinuates successive or even “simultaneous en-rooting”, seems to be close to the 1.5-generation experience. Following the transnational perspective and the intersectional approach (the “inter” being of ethnicity, gender, and class), the article examines, among others, photographic works of three women artists: Angelika Sher (born 1969 in Vilnius, Lithuania), Vera Vladimirsky (born 1984 in Kharkiv, Ukraine), and Sarah Kaminker (born 1987 in Dnipropetrovsk, Ukraine). All three reached Israel in the 1990s, attended Bezalel Academy of Arts and Design in Jerusalem, and currently live and work in Tel Aviv or (in Kaminker’s case) Haifa. The Zionist-oriented Israeli-ness of the Israeli art field is questioned in their works. Regardless of the different and peculiar themes and approaches that characterize each of these artists, their oeuvres touch on the senses of radicantity, strangeness, and displacement and show that, in the globalization discourse and routine transnational moving around, anonymous, generic, or hybrid likenesses become characteristics of what is called “home,” “national identity,” or “promised land.” Therefore, it seems that under the influence of this young generation, the local field of art is moving toward a re-framing of its Israeli national identity.
38
Marr, Tim. « Mirage to Miraj : Opening Muslimerican Latitudes in Americanist Scholarship ». American Literary History 32, no 3 (2020) : 584–97. http://dx.doi.org/10.1093/alh/ajaa022.
Texte intégralRésumé :
Abstract What do Islamic perspectives and Muslim sensibilities disclose when they are integrated as elements of both US diversity and planetary transculturalism? This review essay appraises how four recently published books demonstrate different ways of writing Arab and Islamic angles of analysis into the ambit of US literary scholarship. They exemplify practices that help to overcome impediments of language, ideology, geography, and religion to derive emergent insights from a fuller consideration of Muslimerican expressions. Through their study of multiple forms of cultural expression, these authors help to lay out critical and creative latitudes that reveal some of the resources radiating from embodied Arab and Muslim ways of being in the world. By processing a parallax of perspectives about lived Islamic involvements through art and expression, these studies expose the poverty of the mirage and accustom readers to a Miraj of Muslimerican visions, a journey that opens for Americans a more comprehensive worldliness informed by human resources of religious imaginality. Their scholarship reveals postsecular and surprisingly progressive resources of ethics, dissent, and creativity that critical considerations of Muslimness provide for a broader transnationalism in US cultural and literary study.
39
Frangovska, Ana. « Trans-Tactical Performance Actions as an Antagonistic Form in Dealing with the Hegemonic Forms of Neoliberal Policies of Power ». AM Journal of Art and Media Studies, no 27 (15 avril 2022) : 39–55. http://dx.doi.org/10.25038/am.v0i28.492.
Texte intégralRésumé :
Public space is where the interests of the community and its individuals as entities are articulated. It is fundamental to democratic governments. And as such, there should be reconciliation between the interests and actions of governmental policies and those of the citizen’s public interests as healthy democratic procedures. Unfortunately, this is not the case, since the neo-liberal and quasi-democratic societies still use hegemonic methodologies to implement their policies and ideologies, bypassing harsh criticism of public opinion and critical thought, even in the realm of public space. Such approaches are initiatives for actions in the field of cultural and artistic interventions performed in the spirit of trans-tactics (such as transmediality, transdisciplinarity, transhistoricism, transmemory, transnationalism), opposing the norms of social constraints and distorted values of the domination of capital, as opposed to history, collective memory, quality, and identity as paths to contemporaneity. This paper deals with the artistic actions carried out by a young group of individuals – Filip Jovanovski (artist), Ivana Vaseva (curator) and Kristina Lelovac (actor). It’s about a trilogy of performative actions: “If Buildings Would Talk”; “The Universal Hall in Flame” and “Dear Republic” which took place between 2015 and 2021. These are contemporary forms of cultural and artistic actions of an interactive character, which can be defined as trans-tactical performance essays. These participatory forms also point to the distorted boundaries of contemporary art in the public space of today where the loss of the boundaries of mediality, discipline, nationality, historicism become the main matrix for action against the policies of power. Article received: December 23, 2021; Article accepted: February 1, 2022; Published online: April 15, 2022; Original scholarly article
40
Morgan, Peter. « Literary transnationalism : A Europeanist’s perspective ». Journal of European Studies 47, no 1 (13 janvier 2017) : 3–20. http://dx.doi.org/10.1177/0047244116676685.
Texte intégralRésumé :
Literary transnationalism is a relatively new term critically mediating the relationships between national literatures and the wider forces of globalizing culture. ‘Literary’ or ‘critical’ ‘transnationalism’ describes aspects of literary circulation and movement that defy reduction to the level of the nation-state. The term originated in American Studies as a means of bringing American literary discourse into a new relationship with the world that it inhabits. Can the concept of ‘transnationalism’ help in broader discussions of world literature and literary globalization? Literary transnationalism in this sense would identify that point at which two or more geo-cultural imaginaries intersect, connect, engage with, disrupt or conflict with each other in literary form. In this article I discuss transnationalism in terms of its origins and intellectual history in order to suggest ways in which transnational theory might be developed as an analytical tool of both global breadth and historical depth with particular reference to European literature.
41
Burliai, Alina, Maryna Demianchuk et Oleksandr Burliai. « Unintended transnationalism of Ukrainian military migrants in Poland : Socio-cultural aspect ». Problems and Perspectives in Management 21, no 2 (30 mai 2023) : 426–38. http://dx.doi.org/10.21511/ppm.21(2).2023.40.
Texte intégralRésumé :
The full-scale military invasion of Ukraine by the Russian Federation in 2022 triggered a massive wave of forced migration to Poland. This has resulted in the phenomenon of ‘unintended transnationalism.’ Transnational migrants do not part with their country of origin forever but live a double life, act as members of two socio-cultural communities and become carriers of a double culture. This study aims to systematize the socio-cultural peculiarities of the unintended transnationalism of military migrants from Ukraine to Poland.The theoretical foundations of migrants’ transnationalism are systematically analyzed and its main characteristics are systematized. The emergence of the so-called unintentional transnationalism of military migrants is revealed. A comparative analysis made it possible to compare transnational processes in Poland and Ukraine. The study found that migrants’ transnationalism is manifested through sharing their cultural values, traditions, and customs in a new cultural environment. The culture of migrants includes elements of the host country’s culture, elements of the culture of the migrants’ homeland, as well as new elements arising from the interaction of these two cultures. The main manifestations of migrants’ culture are language and communication, education, religious practices, intercultural dialogue, relations between representatives of different cultures, and other aspects of their daily lives. The study has shown that the transnationalism of military migrants can generate various cultural processes, including multilingualism, hybridization, cultural diffusion, cultural preservation, and intercultural dialogue.
42
Mlambo, Nelson. « Transnationalism, Subjectivities and Spatial Relations in Jane Katjavivi’s Undisciplined Heart ». Forum for Modern Language Studies 56, no 1 (1 janvier 2020) : 39–48. http://dx.doi.org/10.1093/fmls/cqz060.
Texte intégralRésumé :
Abstract This article explores the literary representations of the ‘unsaid’ and intangible connections of humanity across cultures as represented in Undisciplined Heart (2010), the memoir of the Namibian writer Jane Katjavivi. The central concerns are to examine how the author, through the act of writing, ascertains a new female identity within a culturally transforming Africa; how the fictionalization of her life is a revolutionary way of abdicating the role of silent white-female spectator in Africa; and how her story is a voice that matters in as much as it demonstrates the salient cultural relatedness and connectedness in Africa. The issues and concerns around transnational families, transculturalism, female subjectivity, agency, transnationality and multiculturalism are therefore central in this article. The guiding principles of this essay are Ubuntu (ubuntuism) and Afro-transnationalism in order to explore the sense of ‘rainbowism’ as articulated within a transnational, multiracial and multicultural literary text, Undisciplined Heart. The article brings to the fore the often overlooked presence of ‘white’ writing in postcolonial and post-independence Africa and provides some nuanced insights into the racial and cultural patterns of connectedness – the harmonious cross-cultural sense of being in an Africa that is both culturally and spatially diverse. The article also interrogates as well as problematizes the elusive and constantly changing issues of identity and belonging.
43
Grillo, Ralph. « Islam and Transnationalism ». Journal of Ethnic and Migration Studies 30, no 5 (septembre 2004) : 861–78. http://dx.doi.org/10.1080/1369183042000245589.
Texte intégral
44
Tudor, Alyosxa. « dimensions of transnationalism ». Feminist Review 117, no 1 (novembre 2017) : 20–40. http://dx.doi.org/10.1057/s41305-017-0092-5.
Texte intégral
45
Ho, Oscar, Frank Vigneron, Lam Tung-pang, Samson Young et Dean Chan. « Undoing Nationalism, Fabricating Transnationalism ». Third Text 28, no 1 (2 janvier 2014) : 95–107. http://dx.doi.org/10.1080/09528822.2014.868623.
Texte intégral
46
Kraenzle, Christina, et Julia Ludewig. « Transnationalism in German comics ». Journal of Graphic Novels and Comics 11, no 1 (2 janvier 2020) : 1–9. http://dx.doi.org/10.1080/21504857.2020.1718836.
Texte intégral
47
Seo, Myengkyo. « MUSEUM IN TRANSNATIONALISM ». Indonesia and the Malay World 42, no 124 (7 août 2014) : 380–99. http://dx.doi.org/10.1080/13639811.2014.937932.
Texte intégral
48
Miller, Francesca. « Feminisms and Transnationalism ». Gender History 10, no 3 (novembre 1998) : 569–80. http://dx.doi.org/10.1111/1468-0424.00122.
Texte intégral
49
Duval, David Timothy, Steve Verovec et Robin Cohen. « Migration, Diasporas and Transnationalism ». Anthropologica 43, no 2 (2001) : 291. http://dx.doi.org/10.2307/25606051.
Texte intégral
50
Lozada, Eriberto P. « Transnationalism, Religion, and Immigration ». Anthropological Quarterly 76, no 4 (2003) : 789–800. http://dx.doi.org/10.1353/anq.2003.0059.
Texte intégral