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1
Cotangco, Teeana. "A Global Hybridity: Snakehead Influence on Identity and Migration". Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2157.
Testo completoAbstract (sommario):
Through introduction of Fujian Province as home to the largest migrant population in the world, this article aims to address the negotiation of intersections between local and global forces that form new spaces throughout the diaspora. The "third space," a term coined by Homi Bhabha, addresses the fluid identity of Chinese-Filipino individuals that both acknowledges the traditional notions of "Chinese" while being influenced by a history of colonization in the Spanish Philippines. I incorporate my own personal experience as an American-born Chinese-Filipino navigating new spaces, and also the experience of my family members through interviews.
2
Habes, Gloria. "In the In-Between: Chinese Experimental Art in the Third Space". Doctoral thesis, Universitat Internacional de Catalunya, 2015. http://hdl.handle.net/10803/291942.
Testo completoAbstract (sommario):
This thesis shines a light on the Euroamerican reception of Chinese experimental art from 1990-2004.
A selection of twelve exhibitions held in the Euroamerican context on Chinese experimental art are analysed within this study and a elaborate look has been taken at the exhibition itself, the works on display , the exhibition catalogue and the reviews that have been generated. The study focusses on Chinese experimental artists overseas but gives a very good impression on how Chinese experimental art has been received in general in the Euroamerican context. Also an extensive part of this dissertation has been dedicated to explaining basic and more in-depth background information on Chinese experimental art in order to gain a better understanding of this art current.
Here, special attention has been paid to the overseas artists, and concepts such as transexperiences, hybridity, third space, diaspora and exile, and the “East-West” dichotomy.
3
Bellocchi, Alberto. "Learning in the third space : a sociocultural perspective on learning with analogies". Queensland University of Technology, 2009. http://eprints.qut.edu.au/30136/.
Testo completoAbstract (sommario):
Research on analogies in science education has focussed on student interpretation of teacher and textbook analogies, psychological aspects of learning with analogies and structured approaches for teaching with analogies. Few studies have investigated how analogies might be pivotal in students’ growing participation in chemical discourse. To study analogies in this way requires a sociocultural perspective on learning that focuses on ways in which language, signs, symbols and practices mediate participation in chemical discourse. This study reports research findings from a teacher-research study of two analogy-writing activities in a chemistry class. The study began with a theoretical model, Third Space, which informed analyses and interpretation of data. Third Space was operationalized into two sub-constructs called Dialogical Interactions and Hybrid Discourses. The aims of this study were to investigate sociocultural aspects of learning chemistry with analogies in order to identify classroom activities where students generate Dialogical Interactions and Hybrid Discourses, and to refine the operationalization of Third Space.
These aims were addressed through three research questions. The research questions were studied through an instrumental case study design. The study was conducted in my Year 11 chemistry class at City State High School for the duration of one Semester. Data were generated through a range of data collection methods and analysed through discourse analysis using the Dialogical Interactions and Hybrid Discourse sub-constructs as coding categories. Results indicated that student interactions differed between analogical activities and mathematical problem-solving activities. Specifically, students drew on discourses other than school chemical discourse to construct analogies and their growing participation in chemical discourse was tracked using the Third Space model as an interpretive lens.
Results of this study led to modification of the theoretical model adopted at the beginning of the study to a new model called Merged Discourse. Merged Discourse represents the mutual relationship that formed during analogical activities between the Analog Discourse and the Target Discourse. This model can be used for interpreting and analysing classroom discourse centred on analogical activities from sociocultural perspectives. That is, it can be used to code classroom discourse to reveal students’ growing participation with chemical (or scientific) discourse consistent with sociocultural perspectives on learning.
4
Bellocchi, Alberto. "Learning in the third space : a sociocultural perspective on learning with analogies". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/30136/1/Alberto_Bellocchi_Thesis.pdf.
Testo completoAbstract (sommario):
Research on analogies in science education has focussed on student interpretation of teacher and textbook analogies, psychological aspects of learning with analogies and structured approaches for teaching with analogies. Few studies have investigated how analogies might be pivotal in students’ growing participation in chemical discourse. To study analogies in this way requires a sociocultural perspective on learning that focuses on ways in which language, signs, symbols and practices mediate participation in chemical discourse. This study reports research findings from a teacher-research study of two analogy-writing activities in a chemistry class. The study began with a theoretical model, Third Space, which informed analyses and interpretation of data. Third Space was operationalized into two sub-constructs called Dialogical Interactions and Hybrid Discourses. The aims of this study were to investigate sociocultural aspects of learning chemistry with analogies in order to identify classroom activities where students generate Dialogical Interactions and Hybrid Discourses, and to refine the operationalization of Third Space.
These aims were addressed through three research questions. The research questions were studied through an instrumental case study design. The study was conducted in my Year 11 chemistry class at City State High School for the duration of one Semester. Data were generated through a range of data collection methods and analysed through discourse analysis using the Dialogical Interactions and Hybrid Discourse sub-constructs as coding categories. Results indicated that student interactions differed between analogical activities and mathematical problem-solving activities. Specifically, students drew on discourses other than school chemical discourse to construct analogies and their growing participation in chemical discourse was tracked using the Third Space model as an interpretive lens.
Results of this study led to modification of the theoretical model adopted at the beginning of the study to a new model called Merged Discourse. Merged Discourse represents the mutual relationship that formed during analogical activities between the Analog Discourse and the Target Discourse. This model can be used for interpreting and analysing classroom discourse centred on analogical activities from sociocultural perspectives. That is, it can be used to code classroom discourse to reveal students’ growing participation with chemical (or scientific) discourse consistent with sociocultural perspectives on learning.
5
Bazinet, Nolan. "Les tiers-espaces une analyse de l'ambivalence dans La bagarre et Les pédagogues de Gérard Bessette, The apprenticeship of Duddy Kravitz et The Street de Mordecai Richler". Mémoire, Université de Sherbrooke, 2011. http://hdl.handle.net/11143/5663.
Testo completoAbstract (sommario):
In Critical Practice, Catherine Belsey states how traditionally, classic realism is interpreted as a genre that"presents individuals whose traits of character, understood as essential and predominantly given, constrain the choices they make" (Belsey 74). Belsey's claim is significant in that it articulates what is often the locus of tension and conflict in the genre: rigid, essentialist identitary discourse.In summarizing and considering the various identitary discourses at play within Mordecai Richler's The Apprenticeship of Duddy Kravitz and The Street and Gérard Bessette's La bagarre and Les pédagogues, the purpose of this thesis is to analyse how issues surrounding constructions of identity are dramatized in these classic realist, satirical texts in order to show how their cultural work in terms of identity can be understood as being more ambivalent than has heretofore often been thought. The thesis' theoretical focus is rooted primarily in post-colonial theory, especially the ways it interrogates representations of cultural and ethnic struggles for recognition and power that are a result of colonial and/or cultural hegemonic domination. More specifically, the thesis discusses and appropriates the theory and concepts of the post-colonial critic Homi K. Bhabha, particularly in terms of how the selected primary texts can be said to exemplify Bhabha's notions of ambivalence, hybridity and a Third Space of identity; how the narratives' main conflicts and tensions around identity can be better understood by looking at how some of the characters can be said to inhabit a Third Space. However, the thesis will also show that while Bhabha's claim that instances of ambivalence, hybridity and the Third Space in the selected texts can be said to represent" neither the one [...], nor the Other [...] but something else besides which contests the terms and the territories of both [i.e. of competing identities]," (Bhabha 41) their concomitant essentialist discourses can be said to trouble the idealism of Bhabha's faith in such notions.In short, this thesis posits that though the selected texts perform important cultural work via their complex problematizations of the ambivalence of said discourses, they also satirize and critique essentialist and ethnocentric discourses.
6
Rincon, Guadalupe. "GATEKEEPERS TO THE THIRD SPACE: AUTHORITY, AGENCY, AND LANGUAGE HIERARCHY IN FIRST-YEAR COMPOSITION". CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/293.
Testo completoAbstract (sommario):
This thesis examines writing conference interactions between multilingual students and first-year composition instructors in order to understand the co-construction of instructor authority and student agency in discussions of academic writing. Multilingual approaches to first-year writing assert that inviting students’ home languages or dialects into the classroom allows multilingual students to use languages other than English connect with the curriculum, develop rhetorical complexity as writers, and to be validated as language users; however, scholarship could benefit from examining social interactions. Because identities, ideologies, and stances are co-constructed between people and emerge in social interactions,a discourse analysis of interactions between first-year composition instructors and multilingual students could identify ways that multilingual students and instructors position themselves, and how this positioning affects the validation of multilingualism, and hybrid identities.
Data consists of 18 audio recordings of writing conferences between instructors and multilingual students, five interviews with first-year writing instructors, and audio-recorded post-conference interviews, where instructors and students were separately asked open-ended questions about the content of the writing conference. Employing a Communities of Practice lens in a discourse analysis of the data revealed that that expert-novice identities were co-constructed in interaction, and the emergence of this power differential that inhibited the validation of multilingualism, and hybridity. Implications for mitigating instructor authority and promoting student agency in interactions with multilingual students are discussed.
7
Wood, Megan Ann. "Reflective perspectives: Negotiations at and within the borders of cultural difference: A post-qualitative inquiry of cultural hybridity within third space enunciations". Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/91541/8/Megan_Wood_Thesis.pdf.
Testo completoAbstract (sommario):
This research explores the in-between space of intercultural collaboration between Aboriginal and Torres Strait Islander peoples and non-Indigenous peoples in Australia. Using critical and third space theories and a post-qualitative inquiry, I examine negotiations of cultural difference through articulated moments of intercultural collaboration in order to inform intercultural pedagogical practices. This research also explores how ideology, imbued through discourse, has the power to enforce or challenge cultural and social domination. This in turn creates cultural hegemony, a process whereby a particular social and cultural group has the power to influence the thoughts, expectations and behaviours of a particular society.
8
Irannejad, Sara. "A Thousand and One Interconnections: Exploring Experiences of Persian Diasporic Identity Through Contemporary Visual Art Practice". Thesis, Griffith University, 2018. http://hdl.handle.net/10072/384285.
Testo completoAbstract (sommario):
My personal experiences of migrating from Iran to Australia inform my practice and
perspectives on the notions of ‘home’ and ‘belonging’ in the relationship of diasporas with their
adopted environment. In formulating these issues, this exegesis follows a practice-based,
exploratory, and interdisciplinary methodology to examine the multiple senses of place in the
experiences of diasporas. I employ an allegorical framework in which I juxtapose Iranian and
Australian elements, creating hybrid works of art where the final reading is greater than the sum
of their parts. I accomplish this through an exploration of various mediums, including image
transfer, body projection, pokerwork, and video transitions.
I collect images, fragments, and objects that have authentic metaphoric meanings related to Iran
and Australia. Through my process-based studio practice, I revise, amend, and adapt these
items, placing them in compositions that suggest new spaces of meaning. I particularly draw
from the allegories of the ‘Persian Paradise Garden’ manifested in miniature paintings, carpet
designs, and poetry—among other traditional depictions. I argue that using traces of Australian
nature and history within this allegorical framework is an effective model for interpreting
‘home’ as a ‘garden of contemplation’, and a possible means for translating cultural
‘interruption’ and ‘interconnection’ in contemporary art practice. Additionally, due to its central
significance in relation to Iranian identity, the mytho-historical poems, and miniatures of
Shahnameh (The Book of Kings) written by Abu al-Qasem Ferdowsi in the eleventh century, is
also integral and greatly acknowledged in this research.
The paradoxes of displacement—past and present, tradition and contemporary, and East and
West—are evoked in the work of artists Shirin Neshat, Mona Hatoum, Shahzia Sikander, and
Hossein Valamanesh. Through studying the practices of these artists and my studio works, this
exegesis is intellectually indebted to the theories of ‘hybridity’ and ‘third space’, conceptualised
by Homi Bhabha and extended by Nikos Papastergiadis and others. These theories propose that
interactive and evolving spaces appear when two cultural poles collide, acting as
interconnecting channels between the two—the place of origin and the place of adoption: in this case Iran and Australia.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
9
Paudyal, Binod. "Re-imagining Transnational Identities in Norma Cantú's Canícula and Jhumpa Lahiri's The Namesake". DigitalCommons@USU, 2010. https://digitalcommons.usu.edu/etd/709.
Testo completoAbstract (sommario):
This thesis examines Norma Cantú's Canícula and Jhumpa Lahiri's The Namesake from the framework of transnationalism characterized by migration, transculturation, and hybridity. With the application of postcolonial theories, related to identity and space, it identifies the space between different cultural and national borders, as liminal space in which the immigrant characters diverge and intersect, ultimately constituting a form of hybrid and transnational identities. While most immigrant writers still explore the themes of complexities of lifestyles, cultural dislocation, and the conflicts of assimilation, and portray their characters as torn between respecting their family traditions and an Americanized way of life, my reading of these two immigrant writers goes beyond this conventional wisdom about the alienated postcolonial subject. Through a comparative analysis of the major themes in Canícula and The Namesake that center on issues of cultural and national border crossing, this thesis contends that Cantú and Lahiri attempt to construct transnational identities for immigrants, while locating and stabilizing them in the United States. Given the nature of the mobility of people and their cultures across nations, both writers deterritorialize the definite national and cultural identities suggesting that individuals cannot confine themselves within the narrow concept of national and cultural boundaries in this globalized world. A comparison between the transnational identity of the 1950s in Canícula and that of the 1970s through the twenty-first century in The Namesake demonstrates that identities are becoming more transnational and global due to the development of technologies, transportation, and global connections between people. In this regard, this thesis attempts to offer a re-vision of the contemporary United States not as a static and insular territory but a participant in transnational relations.
10
Laraghy, Mark J. "A case study of implementing international programs in one state school". Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/102090/1/Mark_Laraghy_Thesis.pdf.
Testo completoAbstract (sommario):
Using a qualitative case study approach, this study examines how one government school in Queensland implemented international programs for fee-paying students from Asia at three specific time frames. Through an analysis of the policy processes that have driven international programs and approaches to Asia-literate school education in Australia, this study demonstrates that school based implementation processes were problematic and that efforts to enrich international programs in the school through Asia literacy were limited. Findings indicated the complexity of what happens in a school when top-down approaches to implementing policy occur without effective communication and the provision of staff professional development.
11
Johansson, Fredrik. "Postcolonial Identity in Ireland: Hybridity, Third Space, and the Uncanny : in Hugo Hamilton’s THE SPECKLED PEOPLE A Memoir of a Half-Irish Childhood and THE SAILOR IN THE WARDROBE". Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-40358.
Testo completoAbstract (sommario):
This essay explores and investigates post-colonial identity in Ireland in Hugo Hamilton’s The Speckled People: A Memoir of a Half-Irish Childhood (2003) and The Sailor in the Wardrobe (2006). Relying primarily on Homi K. Bhabha’s postcolonial criticism, which draws on some ideas from psychoanalysis, this essay argues that the autobiographies resonate well with the ideas of culture as a strategy of survival and of the post-colonial child as an analyst of Western modernity. Thus, three chosen concepts; ‘the Uncanny’, ‘Third Space’ and ‘Hybridity’ work together to reveal a recurring theme of split and duplicity in reference to the colonial past throughout. Furthermore they also reveal that the actual writing of the autobiographies in itself must be regarded as a way of responding to and negotiating that very same split and duplicity in reference to Ireland’s past.
12
Jonsson, Carla. "Code-switching in Chicano Theater : Power, Identity and Style in Three Plays by Cherríe Moraga". Doctoral thesis, Umeå University, Modern Languages, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-498.
Testo completoAbstract (sommario):
The thesis examines local and global functions of code-switching and code-mixing in Chicano theater, i.e. in writing intended for performance. The data of this study consists of three published plays by Chicana playwright Cherríe Moraga.
Distinguishing between code-switching and code-mixing, the investigation explores local and global functions of these phenomena. Local functions of code-switching are functions that can be seen in the text and, as a consequence, can be regarded as meaningful for the audience of the plays. These functions are examined, focussing on five loci in which code-switching is frequent and has clear local functions. The loci are quotations, interjections, reiterations, ‘gaps’ and word/language play.
Global functions of code-switching and code-mixing operate on a higher level and are not necessarily detected in the actual texts. These functions are discussed, focussing on two main areas, namely power relations (addressing questions of domination, resistance and empowerment) and identity construction (addressing questions of how identity can be reflected by use of language and how identity is constructed and reconstructed by means of language).
The study suggests that code-switching fills creative, artistic and stylistic functions in the plays and that code-switching and code-mixing can serve as responses to domination in that they can be used to resist, challenge and ultimately transform power relations.
13
Whitehead, Eileen. "A Leap In The Dark: Identity, Culture And The Trauma Of War Mediated Thorough The Visual Arts Of North-East European Migrants And Émigrés To Australia After 1945". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1438.
Testo completoAbstract (sommario):
This thesis explores the contribution to the cultural life of post-war Australia by migrant artists from north-eastern Europe. It researches the lives and work not only of displaced artists arriving in the mass exodus from Europe after the Second World War, but also second and third generation artists descended from original migrant families, and much later émigré artists.
Art histories written to date about the post-war period provide little coverage of the contributionto the art and culture of Australia by migrant artists from north-eastern Europe. The coverage in the literature written about the visual art produced by established Australian artists is far greater than that given to the migrant artists also exhibiting at the same time. Insofar as the ‘gap’ in the literature is concerned, this research reveals a number of factors which appear to have influenced the non-recognition of migrant art—such as, poor reception of abstract art in Australia post-war and the protection of established Australian artists. The impact of European abstract expressionism that migrants introduced in the 1950s had a lasting effect on Australian modern art, together with the innovation of their contemporary sculpture, which changed the urban landscape of Australian cities.
This research questions the possible long term repercussions emanating from colonial Anglocentric Australian government policies, which in turn leads to questions about the importance and location of cultural heritage, sense of identity, third space and cultural hybridity. With a focus on migrant artists from north-eastern Europe—the Baltic States and Poland—the research investigates how second and third generation artists locate their visual art in relation to their cultural environment and how they navigate between their cultural heritage and the cultural mosaic of an Australian context. The impact of war on artists from migrant families through the subjugated experience of those families is also addressed to ascertain any effect on the visual art currently being produced.
Interviews were conducted with ten artists of north-east European ancestry, using an ethnographic qualitative research methodology incorporating in-depth interviews together with close analysis of artwork during interview or subsequent contact in the artists’ studios and at exhibitions of their work.
Research revealed that, regarding a sense of belonging and identity, nine of the ten artists still retain a perception of living between cultures, which appears congruous with the importance of the retention of language and ‘home’ culture. Making art appears to strengthen their sense of living between cultures, and their creative praxis combines experiences passed down through the generations fused into their own Australian life-world, modified and shaped within a third space of meaning. The thesis argues that second and third generation Australian artists, whilst engaging with contemporary issues, make reference to cultural traditions interspersed with comment on contemporary conditions, resulting in a syncretic articulation which forms a third space of cultural transformation and unity.
The investigation into the impact of war, particularly World War II, revealed that only five participating artists directly manifest war themes in their visual art. However, the repercussions of that war and the Cold War, which lasted for many years after the Second World War, appear to have been subconsciously imprinted on the artwork of all three categories of artist, i.e. second and third generation and émigré artists.
The cultural aesthetics migrants introduced has had a long-lasting effect on Australian tastes generally and on art education in particular. This research underlines the particular contribution of migrant artists from north-east Europe, revealing the aesthetic value such cultural integration has produced. This research seeks to initiate dialogue and a growing understanding of the rich and complex history of art and culture which migration has stimulated in Australia since the 1950s.
14
Studham, Susan Fenty. "Stage management: A question of approach in intercultural theatre". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1588.
Testo completoAbstract (sommario):
This thesis questions the complexities of stage management in crosscultural exchanges by way of a case study surrounding the mounting and maintenance of an original theatrical production in Bali, utilising an introduced western theatre style. The collaboration takes place in the newly constructed mega-theatre at the Bali Safari and Marine Park in Gianyar (2010). As an American-Australian stage manager, my research is predicated on experiences of leading and mentoring a team of ten Indonesian (Balinese and Javanese) stage managers in procedures required to manage a technically-advanced, large-scale production. Bali Agung presents a legend of Balinese goddesses in a production that was created by an international artistic team featuring a cast of more than 150 Balinese performers, plus 11 species of animals and supported by a technical team of approximately 70. Due to the inexperience of the team, formal training became an aspect of the exchange. During the research process, I returned to Bali numerous times for data collection, further mentoring, rehearsals and productions at Bali Theatre, thus couching the investigation in an ethnographic study and an integral action research feedback loop.
The investigative focus is on the production requirements of a mega show in an intercultural context and the unique and extraordinary considerations that were encountered in the process. Considerations include theoretical concepts such as syncretism, interculturalism, hybridity, time, communication, safety management and religion, all of which have bearings on this case study. Re-evaluation of the production processes by means of interviews, observation, action research and ethnography offers the opportunity to shed new light on approaches to stage management and the training of stage managers in an intercultural context. Framed by a professional theatrical production, this practice-led study explores ideas of synthesis, cultural variation, knowledge transfer and assumptions embedded in theatrical processes, and brings into focus previously undocumented creative negotiations and complexities of exchange, which offer new concepts in the discipline of stage management.
15
Yoneda, Fusako. "The Sociocultural Contexts of Being/Becoming Japanese within a Japanese Supplementary Culture/Language School: A Practitioner Researcher’s Un/Learning of Culture and Teaching". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245416649.
Testo completo
16
Veerman, Nora. "Fashioning Cultural Equity : A study of the materials, practices, products and consumers of fashion company Afriek". Thesis, Stockholms universitet, Modevetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-170349.
Testo completoAbstract (sommario):
In today’s globalising world, cultural differences are often exacerbated and exploited for commercial purposes. Recently, various transnational fashion companies have arisen that aim to soothe such cultural tensions, establishing cross-cultural dialogue through the production of fashion. This thesis explores how one of such companies, Afriek, may bridge cultural differences through the production of garments made of African kitenge cloth, in a crosscultural collaboration between The Netherlands and Rwanda. In this study, the company is regarded not as a homogenous, profit-directed entity, but as a complex network of mutually affective human and non-human actors. Through a material culture study of kitenge and ethnographic interviews with Afriek’s team and consumers, their encounters and interactions are located. These are analysed with Homi Bhabha’s concepts of Third Space and cultural hybridity, concepts that challenge cultural binaries. In a transnational and cross-cultural journey past Afriek’s materials, practices, products and consumers, this thesis positions Afriek as a company that productively and affirmatively engages with existing cultural diversity through fashion.
17
Meyfroidt, Aurore. "Le tiers secteur du logement dans la région métropolitaine Vienne-Bratislava. Recompositions d’une offre de logement abordable et fabrique métropolitaine". Thesis, Lyon, 2016. http://www.theses.fr/2016LYSEN037/document.
Testo completoAbstract (sommario):
Le tiers secteur du logement, segment hybride entre le logement social et le logement privé, héritier des coopératives d'habitat de la fin du XIXème siècle, est redécouvert en sa qualité d'alternative potentielle : il renverrait à une offre de logement abordable, qui viserait à loger décemment l'ensemble de la population, dans des contextes spatiaux très divers, mais majoritairement dans des métropoles toujours plus sous pression démographique, foncière et socio-spatiale . Le périmètre métropolitain est novateur pour analyser les effets spatiaux de ce segment qui paraît indissociable du cadre national. La région métropolitaine Vienne-Bratislava est souvent étudiée sous l'angle de la coopération transfrontalière, « par le haut », où le poids des divergences nationales, en termes socio-économiques et de politiques publiques, demeure important, questionnant alors l'intégration de la reg1on métropolitaine. Cependant, la partie autrichienne, tout comme la partie slovaque de cette région transfrontalière font face à des défis similaires, qu'il s'agisse de périurbanisation (y compris un phénomène de périurbanisation transfrontalière), d'attractivité métropolitaine ou encore de maintien de la cohésion socio-spatiale. Une entrée par le tiers secteur du logement, segment du logement présent dans les deux contextes nationaux sous des formes et avec une part dans le stock et la construction très variées, permet de questionner l'intégration silencieuse de la région métropolitaine, par l'évolution du tissu métropolitain (à travers la production au concret du tiers secteur), les stratégies des acteurs et l'évolution des politiques publiques, à l'interface entre viabilité économique et mission d'intérêt généralThe third housing sector, as a hybrid segment linking social housing and private-driven housing, is being rediscovered as an alternative form of housing, due to the legacy of housing cooperatives from the end of the 19th century: it could lead to an affordable housing supply so as to offer decent accommodation to a broader part of the population, in various spatial contexts but mainly in metropolitan areas which face ever-increasing demographie, land and socio-spatial pressure. The choice of a metropolitan perimeter provides an added dimension to this housing segment which seems to inextricably echo the national scale. The metropolitan region Vienna-Bratislava is often analyzed with a focus on cross-border cooperation, with a top-down approach . However national divergences in terms of socio-economic development and public policy orientations remain significant, and thus question the true extent of the integration of this metropolitan cross-border region. Nevertheless both Austrian and Slovak part of this region face similar issues such as suburbanization (including a rising cross-border suburbanization process), attractiveness of metropolises, and socio-spatial cohesion. Through the scope of the third housing sector which exists in both contexts under various forms (in terms of both housing stock and construction) I will question the silent integration of this metropolitan region by monitoring the evolution of the metropolitan fabric (through the concrete housing production in the third housing sector), strategies of stakeholders and the evolution of housing policies, caught between economie viability and general interest tasks
18
Hsu, Chia-Hao. "Singing beyond boundaries : indigeneity, hybridity and voices of aborigines in contemporary Taiwan". Thesis, 2014. http://hdl.handle.net/2152/28659.
Testo completoAbstract (sommario):
While Taiwanese Aboriginal culture has become essential for Taiwanese to construct a new national identity, this report examines the uses, makings, and transmissions of Taiwanese Aboriginal music in contemporary society, illuminating power dynamics of how Aboriginal music has been presented and perceived among different groups. The shifting Taiwanese identity within the contemporary political context opens up the discourses of indigeneity that have interpreted the Aboriginal culture as a site either for forming the new Taiwanese identity or claiming indigenous rights and subjectivity. Through the analysis of these discourses, I deconstruct how Taiwanese Aboriginal music has been exoticized and folklorized as Other by the Han-centric perspective. Further, by examining Aboriginal song-and-dance at intra-village rituals, at a Pan-Aboriginal festival, and at international cultural performances, I seek to argue that Aborigines are neither simply implementing the “otherness” imposed by the Han majority nor are they completely in conflict with it. By using Homi Bhabha’s concept of the Third space that resists the binary of the dominant ideology and counter-hegemonic discourses of a minority, I particularly consider the Aboriginal vocable singing as a site within which Aborigines strategically adopt different identities depending upon the performative context. Through this theoretical perspective, I argue that the multiplicity of identity and the interconnectedness of Aboriginal musical practices across different groups and regions challenge the rhetoric of multiculturalism and diversity of cultures in the sense of neo-liberal ideology.text
19
Eberhardt, Cassandra. "Hispanic (Hybridity) in Canada: The Making and Unmaking of a Diaspora". Thesis, 2010. http://hdl.handle.net/1974/5962.
Testo completoAbstract (sommario):
Ethnic media are powerful, and yet overlooked, spaces that immigrants and ethnic minorities establish to address issues that are not discussed in the dominant host society media. With the international migration of over five million people each year from majority to minority world nations, the emergence of ethnic media in countries around the world has increased significantly; however, relatively little is understood about the ways in which these spaces are used by immigrants and ethnic minorities. This thesis adds to a relatively new area of study in sociology, international development, and alternative media studies and investigates the ways in which Spanish-language ethnic media acts as a ‘Third Space’ where Hispanics disseminate, negotiate, (re)construct, and (re)articulate new notions of hybrid Hispanic-Canadian identity, an identity that operates against, and engages with, multiple-forms of difference and exclusion within Canada. A qualitative discourse analysis of 18 articles from Spanish-language ethnic media source El Correo Canadiense reveals the ways in which Hispanics in Canada negotiate hybridized identity by using ethnic media as a space to create a discourse that acts counter-hegemonically to Canadian mass-media. The findings also reveal the ways in which Hispanics are aiming to engage Canadians in the process of de- and re-constructing preconceived notions of what it means to “be Hispanic” in a transnational context.Thesis (Master, Sociology) -- Queen's University, 2010-08-03 14:10:08.16
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Liou, Ruth (Ru-Hwa). "Lotus trace III: hybrid cultural identity ~ a place to call home". Thesis, 2015. http://hdl.handle.net/1959.13/1310437.
Testo completoAbstract (sommario):
Research Doctorate - Doctor of Philosophy (PhD)Concepts of Identity, Culture and Home have become fluid in a contemporary globalised world. No longer can one hold a static assumption that these concepts are coherent and unitary. As a migrant, and later in life an artist, who has been living in Australia for thirty-five years, the question ‘Where are you from?’ always highlighted my ‘double-consciousness’ and provoked me to consider ‘who am I?’ My own acceptance of ‘otherness’ intensified my desire to explore through my creative arts research the concepts of self and belonging. My research perspective is drawn from a personal migration experience. It is a testimony to the psychological complexities experienced by people displaced to live in an unfamiliar culture and the affects this displacement has on ones sense of self. It considers theories that examine whether displaced people can ever be fully assimilated into a new and different culture and enquires whether ‘liminal space’ is a transitory or permanent location for the displaced person’s identity configuration? The research project reconnoitres and conceptualises a personal justification of hybrid/cultural identity configuration and metaphysical belongingness in a liminal space - a psychological space of ‘neither here nor there’ realised through sculptural installation. It explores and identifies an understanding of accumulating differences that mark the split, incomplete, hybrid positions in the fissure of liminality of those transnationals who are placed between two or more divided geographies, socio-graphics and cultural identities in the ‘in-between-ness’ and beyond. Through a critical analysis of six contemporary transnational artists whose experiences of displacement have shaped their sense of identity, belonging and their creative arts practice I find a common ground to convey my own insight and feelings of ‘being in the third space’. My research shows how the search for a concept of home, identity and belongingness informs the work of the artist and a longing to express these effects and understandings manifesting itself through a visual interpretation.
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Zouwer, Naomi. "Making Home: (re)collections of objects in painting and textiles". Phd thesis, 2018. http://hdl.handle.net/1885/156803.
Testo completoAbstract (sommario):
My PhD research draws on the traditions of still life painting
and domestic embroidery
to explore the relationship of family keepsakes to ideas of time,
memory and migration
stories. Through a range of speculative studio processes I have
examined how seemingly
trivial objects and curios can simultaneously connect to both
past and present. Focusing
on re-contextualising objects from three generations of my
migrant family’s archive I
have aimed to create a visual narrative, which moves from a sense
of loss and nostalgia,
and through the processes of retelling and re-presenting in
painting and textile, to the
present time where specific migration stories have become my own.
Through connecting
the research to broader theory such as Michel Foucault’s notion
of heterotopic space,
I identify the potent role that visual retelling, or
re-presenting stories has in creating a
compression of space and time.
My practice-led research methods involved working with painting
and textiles techniques,
in combination and independently, and my work oscillated between
two-dimensional and
three-dimensional space over the duration of the PhD program. I
experimented with
cutting out painted objects from oil paintings and presenting
them as floating free from
the artistic conventions of a background or setting. I made
embroideries of people and
objects and explored the use of absurd scale and unexpected
combinations of objects and
people. I developed a digital archive of over 300 objects from my
collection, which grew to
include special objects from my own and my children’s day to
day lives. I made portraits of
people through their objects, three towers made from reclaimed
domestic embroidery, and
a constellation of painted objects that combined the past with
the present and reflected
my hybrid practice and hybrid culture.
My research presents an original contribution to knowledge
through a body of studio
practice, which establishes the unlimited potential of new
stories to be told in relation to
the objects and the ways visual practice contributes to personal
narratives of past, present
and future. I find that I can combine the past with the present
to create new objects made
from painting and textiles, that are forward looking and
optimistic.
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Chan, Karen Bic Kwun. "Chinese Enough For Ya? Disrupting and Transforming Notions of Chineseness through Chinesenough Tattoos". Thesis, 2010. http://hdl.handle.net/1807/32914.
Testo completoAbstract (sommario):
Using interpretive methods of social inquiry, this thesis explores the socio-political significance of body tattoos made of Chinese-like text, which have recently become popular Western phenomena. It theorizes how contemporary Western tattooing complicates bodily and social boundaries, providing context to interrogate ideas of authenticity. Coining the term "Chinesenough" (from “Chinese” and “enough”), I describe how many such tattoos do not reflect in Chinese what many wearers and viewers assume they do. I contrast how Chinesenough tattoos (re)produce whiteness to the multiple and contradictory Chinesenesses that are also (re)produced. Reading Chinesenough flash art on tattoo studio walls as objects constituting social space, I consider the social meaning of their English subtitles and manner of organization. I theorize the body’s absence from Chinesenough flash art while articulating my body’s sense experience of encountering the same. Finally, I produce and theorize five illustrations that carnivalize Chinesenough iconography to disrupt and transform the phenomenon.