共查询到20条相似文献，搜索用时 326 毫秒
1.
Jin Suh Jirn 《Inter-Asia Cultural Studies》2013,14(2):315-322
AbstractSince the mid-2000s, multiculturalism has become a prominent buzzword in South Korea as the nation, which was founded on the myth of a single bloodline, tries to come to terms with its growing foreign population. This article looks at the figure of the industrial migrant worker who, despite being ignored by the mainstream media, has appeared in a handful of independently produced Korean films, including three—Bandhobi (2009), Hello, Stranger (2007), Where Is Ronny? (2008)—that will be discussed here in detail. These films, as I will show, not only provide an alternative perspective on immigrant life in Seoul and other parts of the country, which is more often than not represented through the privileged world of the Western “expat,” but also reveal the underlying tensions and contradictions in Korea's approach to multiculturalism as it tries to regulate diversity through the fiat of legislative policy while ignoring the moral and political choices confronting its citizens as they decide whether or not to befriend the other. 相似文献
2.
In the Filipino language, kuwento means “story,” but the concept itself encapsulates more than its literal meaning. Similar to talk story events in Hawaiian communities (Au &; Jordan, 1981), kuwento serves as a tool to communicate everyday experiences within groups, especially among family and community members (Eugenio, 1981). It is an abstraction of history, congealing experience into a chain of events. It is what Bakhtin (1981) would call a unique speech experience—one that is shaped and developed in continuous and constant interaction with others. Kuwento is largely influenced by other people's words and ideas that eventually become incorporated into one's own. Like story and storytelling, kuwento takes many forms and can be used in the classroom during sharing time to construct and activate newer understandings (Cazden, 1994; Michaels, 1981). In the case of paucity in classroom material, the teacher can engage students to learn through her/his own writing (Vascellaro &; Genishi, 1994) and her/his own construction of oral stories in different participant structures (Phillips, 1972). As we shall see in the case of Filipino Heritage Studies, the teacher's use of reflective- and real-time stories conveys the importance of history and present-day realities both in his and his students' lives. Although kuwento is also present in other participant structures, this article focuses on the teacher's whole-class lecture during a unit on the Philippine American War. 相似文献
3.
Ann-Christin Torpsten 《Multicultural Perspectives》2018,20(2):104-110
The overarching aim of this article is to investigate perceptions regarding linguistic potential and language competence in relation to translanguaging strategies. The data presented consists of classroom activities, texts, and pictures produced by eleven-year-old pupils and their teacher in a multilingual classroom context. The pupils have varying lengths of in-country residence, from being born in Sweden to being newly arrived. At many schools only the target language is supposed to be used in teaching (Cummins, 2007). But the simultaneous use of multiple languages, also called translanguaging, in the classroom leads to broader and deeper knowledge of language and subjects (Williams, 1996). Teaching based on pupils' resources is crucial for multilingual pupils' thinking and learning (Meier &; Conteh, 2014). The results show that the pupils have large linguistic potential, but there are great differences in estimating and perceiving their languages. A pattern stands out: Those pupils who have given their languages high ratings are considerably more positive to the teachers' initiative by shaping new relationships and contributing to the mutual development of knowledge than those with discrepancies in their ratings. 相似文献
4.
Sudarat Musikawong 《Inter-Asia Cultural Studies》2013,14(2):248-261
Abstract In the late 1990s, independent Thai films became a new burgeoning industry, with the beginnings of international recognition. Taking three case studies, Apichatpong Weerasethakul’s Mysterious Object at Noon (), Thunska Pansittivorakul’s Voodoo Girls (2003) and Aditya Assarat and Mingmongkol Sonakul’s Ma‐mee/ Three Friends (), I argue that the digital format for DVD/VCDs is paving the way for independent filmmakers/producers to participate in the art film market abroad and to cut production costs. Following the economics of money flows makes it clear that ‘independent film’ in Thailand is less about economic independence than a type of branding and packaging of aesthetics and content. While film, economically, is never outside the workings of capital, the content and style of the three film projects considered here seek to break out of the conventions set by the commercial Thai film narrative style. 相似文献
5.
The purpose of this qualitative study was to explore secondary science teachers’ beliefs about multiculturalism and its implementation in their classrooms. Participants included nine secondary science teachers, with experience ranging from 1 to 15 years of teaching. Data were collected through interviews, using a semi-structured interview protocol (Kvale, 1996). The interviews were coded, analyzed, and grouped into five themes aligned with the multicultural dimensions developed by Banks and Banks (2007): Content Integration, Knowledge Construction, Prejudice Reduction, Equity Pedagogy, and Empowering School Culture. Results of the research study indicated these participants harbored a general misconception that there was only one science; traditionally that has meant a Western Modern Science (WMS: Cobern & Loving, 2001). The research also suggests the participants in this study had limited knowledge pertaining to multiculturalism in their science classrooms. To these participants, Prejudice Reduction and Equity Pedagogy were the only two dimensions that were important when teaching science content. 相似文献
6.
Fostering College-Going Expectations of Immigrant Students Through the Sympathetic Touch of School Leadership 总被引：1，自引：0，他引：1
Daniel D. Liou 《Multicultural Perspectives》2016,18(2):82-90
This article intends to support the efforts of administrators, teachers, and community activists to center race, equity, and anti-deficit perspectives within the practice of school leadership. By drawing upon methods of critical race studies, and Du Bois's 1935 concept of the sympathetic touch, the author provides examples of anti-deficit approaches to sympathetic leadership in a large, diverse high school in California. Through reflections and recollections upon this case study, the author underscores ways for school leaders to formulate the conditions for college-going expectations for low-income immigrant students. This retrospective account includes concrete leadership examples, political strategies, and scenarios to illuminate the relevance and utilities of the sympathetic touch in educational leadership. In effect, the article calls for school leaders to harness anti-deficit and anti-oppressive mindsets in the work of inclusion, equity, and social justice. 相似文献
7.
In June 2015, Melissa Harris-Perry infamously analogized the possibility of trans-Black identity to the reality of transgender identity. Such analogies happen often and are used mostly for the benefit of learning about a less familiar form of identity. Building from a recent article by Suthakaranm, Filsinger, and White (2013) that presented a compelling argument for the use of analogies as an experiential learning tool in multicultural education, we advance the conversation by distinguishing a particular form of analogies: identity analogies. We explore the benefits and challenges of utilizing identity analogies as a tool for multicultural educators within U.S. higher education. 相似文献
8.
Su-Dol Kang 《Inter-Asia Cultural Studies》2013,14(3):393-407
Abstract This paper examines the ambiguous nature of Murakami's criticism toward the postwar Japanese condition – as the artist most effectively captured in his phrase ‘A Little Boy,’ which was also the title of his curated exhibition at the Japan Society of New York in 2005. As Murakami wrote in his introduction to the catalogue, demilitarized Japan after the Second World War underwent a collective sense of helplessness, and the metaphor of a little boy is intended to describe Japan's supposedly unavoidable reliance on its big brother, America. The name ‘Little Boy,’ in fact, originates from the code name used by the American military for the atomic bomb dropped on Hiroshima in 1945. The proliferation of ‘cuteness’ in Japanese contemporary art, which draws upon youth culture, especially otaku culture, evinces a common urge among the postwar generation in Japan to escape from their horrible memories and sense of powerlessness. Murakami's rhetorical analysis of Japan's self‐image seems, however, contradictory, given his extremely aggressive business tactics, which can find no counterpart in the Western art world – not even in the efforts of Murakami's predecessor, Andy Warhol. Like My Lonesome Cowboy (1998), whose hyper sexuality defies its pubescent and immature appearance, his art, theory, and art marketing indicate the paradoxical nature of his theory of impotence. By focusing on his manifesto and writings published on the occasion of his 2005 exhibition and his style of managing Kaikai Kiki Ltd., this paper delves into the dual nature of Murakami's interpretation of postwar Japanese art and culture, particularly in relation to those of America. 相似文献
9.
Rachel Harrison 《Inter-Asia Cultural Studies》2013,14(2):194-210
Abstract When director Wisit Sasanatieng’s retro cowboy flick Fa thalai jone (2000) became the first Thai film to be screened at the Cannes Film Festival in May 2001, under the English‐language title Tears of the Black Tiger, Thai cinema seemed to have truly ‘gone international’. This paper examines the striking disparity, however, in the reception of the film by local and global audiences, to the extent that Fa thalai jone and Tears of the Black Tiger might arguably be understood as two discrete and divergent cinematic texts at the level of viewer signification. For Western critics, ‘Tears…’ is unquestionably a piece of postmodern filmmaking, awash with surface aesthetic appeal, intertextual richness and an apparently unrelenting obsession with style that is seemingly devoid of an original reference point. Fa thalai jone, by contrast connotes distinct meanings for Thai audiences, who are more fully attuned to the original references the film pursues and able to read the aesthetic appeal it has to offer in a framework beyond that of the dominant ‘force field’ of interpretation that postmodernism has come to be in the West. Instead Fa thalai jone offers a homage to Thailand’s cinematic past, posing as a ‘genuine Thai film’ (phaphayon thai thae) and comprehended in terms of an alternative dominant force field of meaning, that of traditionalism and reverence for the past. This paper examines the ways in which Tears of the Black Tiger/Fa thalai jone straddles two alternative interpretive positions in an accomplished move on the part of the director to pursue the globally focused aspirations of modern Thai cinema while remaining idiosyncratically faithful to local sensibilities. 相似文献
10.
Abstract This article situates Hou Hsiao‐Hsien’s films in the post Cold‐War global setting. It discusses two common interpretive approaches to Hou Hsiao‐Hsien’s films – French auteurism and ‘national allegory’ – and puts these two approaches within their historical context of Cold‐War and post Cold‐War global politics. The article places the rise of Hou Hsiao‐Hsien’s films parallel to the rise of the mainland fifth generation of film directors, pointing out that their apparently opposite directions – Hou Hsiao‐Hsien going political in his Taiwan trilogy and the fifth generation film directors going apolitical – are part and parcel of the same phenomenon of alternative politics in its particular contexts and the reconstruction of a new identity politics. Particular attention is given to Hou’s Taiwan trilogy, Flowers of Shanghai, and Coffee Jikou. 相似文献
11.
Tomoe Otsuki 《Inter-Asia Cultural Studies》2016,17(3):395-415
This paper explores how Nagasaki was reinvented from an imperial city to an “International Cultural, Christian city” and elicits the continuity of Japanese imperialism in postwar Nagasaki as well as the discontinuity between the war and postwar periods in the city. The paper seeks to determine what history and whose memory have been excluded or erased in the process of remaking Nagasaki into an international Christian city; it examines the particular historical and political conditions that enabled Nagai Takashi, Urakami Catholics and Kitamura Seibou’s Memorial Peace Statue to symbolize Nagasaki’s atomic bomb memory and postwar city identity as an “International Christian city” that “prays.” While Nagai is widely known as a spiritual, religious leader in postwar Nagasaki/Japan, and Kitamura’s Peace Memorial statue dominates Nagasaki’s commemoration space, this paper analyses how US dominance over Japan enabled the country to rehabilitate its imperial past and to revive the imperial legacy by appropriating the GHQ’s (General Headquarters of the Allied Powers’) demilitarization and Christianization policies. It argues that Nagasaki’s postwar reconstruction signifies the failure of what Kuan-Hsing Chen (2010) calls the “deimperialization” of Japanese consciousness and subjectivity. 相似文献
12.
The Heritage Lottery Fund has, over the past 13 years, given £4billion to heritage projects of all kinds. As the Fund has matured a greater emphasis has been placed on the evaluation of the social and economic outcomes of this funding. In 2004 we reported on progress with evaluation of the programmes targeted at particular types of heritage (Clark, 2004). The greater challenge has been to evaluate the outcomes from the Fund's generic programmes, which can fund any type of heritage and which between them account for over two-thirds of total funding. This article reviews the Fund's experience over the last 3 years in developing and implementing an evaluation system using the Public (or Cultural) Value framework. It presents some initial results from the research so far completed and reviews how far the framework has been useful in suggesting research priorities and organizing findings. 相似文献
13.
Young‐Ie Wuo 《Inter-Asia Cultural Studies》2013,14(3):325-354
Abstract This paper is a case study of the shutdown of HOME (the House for Migrant Workers' Empowerment), a cultural and service center for migrant workers. HOME was founded by the Taipei City Labor Bureau (TCLB) and subcontracted to TIWA (the Taiwan International Workers' Association) in 2002, when the Director of the TCLB was the former labor activist Zheng Cun‐qi. For migrant domestic workers, the distinction between sold‐time and free‐time (i.e. the work–rest distinction) is blurred. Most of their supposedly private reproductive activities are temporally squeezed into holidays and spatially forced into public places where they are exposed to the scrutiny of the Taiwanese. This peculiar situation of private/public inversion not only results from, but also serves to reinforce, racial discrimination and class inferiority in their workplace (i.e. the homes of their employers). I use the concept of ‘bracketing’ to describe the spatial‐temporal strategies used by migrant domestic workers against this distorted inversion. I also analyze how employers ‘counter‐bracket’ migrant worker subjects as a counter strategy. HOME once existed as a ‘surrogate home’, providing shelter for migrant workers and allowing them to retain privacy during their days off. TIWA conducted organizing‐oriented cultural and political activities to assist the migrants in forming their own community, and challenged the spatial hegemony of real estate owners in the ChungShan District. However, when Yan Shang‐luan, a well‐known feminist labor research professor, took over the directorship of the TCLB in 2004, she did not appreciate the function of HOME, and decided to close its doors. In analyzing the official rhetoric in the documents of the TCLB, I find that their decision to shut down HOME was a result of their middle‐class temporal‐spatial ‘habitus’. The shutdown became a counter‐bracket measure, which coincided with the real estate interests of the ChungShan local elites. 相似文献
14.
Sudarat Musikawong 《Inter-Asia Cultural Studies》2013,14(4):713-716
Abstract Thai Democracy: Three Decades After October 14 (in Thai) edited by historian Charnvit Kasetsiri (2003) offers an entrée into understanding how Thailand’s 1970s social movements and state violence register in current politics and Thai historiography. The anthology was put together to commemorate the 30th anniversary of the October 14, 1973 uprising, which led to the temporary exile of the past military regime. The contributors are varied across the academic disciplines, with speeches and newspaper articles by public intellectuals, politicians, and poet/writers. Those in Thai and Southeast Asian Studies will find this an invaluable resource. For those who do not read Thai, the VCD provides two English subtitled documentaries produced by Charnvit Kasetsiri. One features the historical events and the other is a walking tour of the numerous landmarks of the October 14, 1973 uprising. 相似文献
15.
Krzysztof Kubacki 《Cultural Trends》2008,17(2):115-127
Although many commentators emphasize the fact that when the arguments about quality of life in a particular place are brought about, “the value of music is found … in making the city a place in which people wish to live” (Blake & Jeffery, 2000). However, there are still only a handful of studies investigating different aspects of the cultural industries in Poland. The research reported in this article aims to investigate Polish musicians' perceptions of their current situation in the music industry, and their opinions on the changing nature of the production and consumption of music in Poland. A series of interviews were done with a cross-section of different generations of musicians. Their analysis shows a number of key themes emerging, which are discussed in the article. They broadly cover four major issues: the current situation of musicians, the music business, education and society. Recommendations for policy makers are indicated. 相似文献
16.
Chizuko UENO 《Inter-Asia Cultural Studies》2013,14(2):317-324
Japan suffered a catastrophic disaster on March 11, 2011. The earthquake, tsunami, and nuclear radiation leakage from the Fukushima Daiichi nuclear power plant devastated the northeastern part of the country and threatened the entire country and beyond with the risk of radiation. Nowadays, movements against nuclear power plants are emerging across the country. The crisis indeed provides a chance for Japan to forge a new energy policy. However, the activists' claims are not narrowly limited to such energy issues. They call for a fundamentally fairer society and propose alternative ways of life, regarding nuclear power plants as symbols supporting the economic development that Japan enjoyed over the post-Second World War period. As an ethnography, this paper documents the 60,000-citizen Goodbye Nuclear Power Plants (Sayonara Genpatsu) rally that mobilized in central Tokyo on September 19, 2011, as well as the Occupy Tokyo action on October 15, 2011, presenting the real voices of the rally participants against nuclear power. In particular, I will focus on the voices of young precariat participants, the major actors in the anti-nuclear rally who were generated from and revealed as the negative result of Japan's neoliberal economic policy, held since the 2000s. Further, I argue that their mounting anger might be a trigger for new post-neoliberal politics in post-Fukushima Japan. 相似文献
17.
《Journal of Intercultural Communication Research》2013,42(2):89-104
Co-cultural differences in assertiveness within the United States have not been explored, despite noted regional differences in communication patterns (Andersen, Lustig, & Andersen, 1987). This study examines assertiveness behaviors, focusing on university students from the Upper Midwest (n = 148) and the New York Metropolitan region (n = 159) who completed the Rathus Assertiveness Schedule (Rathus, 1973). New York Metropolitan respondents reported significantly higher levels of assertive communication than did respondents from the Upper Midwest. Males in the Upper Midwest region reported significantly higher levels of assertive communication than did females in the same region. Implications for regional differences in assertiveness are discussed. 相似文献
18.
Patrycja Kaszynska 《Cultural Trends》2015,24(3):256-266
This article is prompted by the observation that many accounts of the value of the arts and culture have failed to engage first-order, empirical data and to take full account of the experiences of those directly involved in cultural activities and practices. This neglect is the result of a complex path dependency. The more obvious explanation is that the current situation is caused by too much humanism in the field of cultural studies, that is, the tendency to think of cultural value as an “‘ineffable’ human moment which somehow lies outside this purview of representational method” (Law, J., Rupert, E., & Savage, M. [2011]. The double social life of methods. Milton Keynes: CRESC). This may well be true in some cases but it is not the main reason why empirical and experiential data have been lacking. The absence of the phenomenological dimension is, to the contrary, best explained by not enough humanism in cultural studies. The reluctance to embrace the first-person perspective was motivated by an anxiety that this would make cultural theorists and sociologists complicit with the “dubious” theories of subjecthood originating in idealism. The default outcome of this has been the preponderance of structuralism in cultural studies which led to anti-empiricism and “theoretical heavy breathing” (Thompson, E. P. [1995]. The poverty of theory: Or an orryery of errors. London: Merlin Press). I argue that to overcome the current impasse, cultural theorists and the theorists of cultural value specifically must revisit this self-incurred suspicion of first-order constructs and address their unease with the category of experience by actively engaging first-person data. In short, the remedy I prescribe is to embrace elements of empirical, phenomenological sociology as part of the methodological framework. Looking at three projects funded by the AHRC Cultural Value Project, I show how this can be practically achieved. I conclude with some reflections on how the considerations presented here might have broader implications for the future research into cultural value, sociological inquiry and cultural policy. 相似文献
19.
Michael Hutt 《Inter-Asia Cultural Studies》2016,17(3):357-374
Based on literary research and interviews conducted in Kathmandu, this article takes as its starting point the contents of a bookcase belonging to an ex-Maoist combatant now living in retirement in Kathmandu and the “syllabus” promulgated by the then Communist Party of Nepal (Maoist) for the ideological training of its cadres. It goes on to chronicle the process by which a number of “landmark ‘proletarian novels’” (Denning 2007, 706) came to be translated into Nepali from Russian and Chinese, and the ways in which Maoist cadres were inspired and influenced by these works during the course of the “People’s War” in Nepal between 1996 and 2006. Finally, the discussion moves to a consideration of the relationship between the impact of these translated texts in the Nepali context and broader conceptualizations of “world literature.” 相似文献
20.
Pradeep Jeganathan 《Inter-Asia Cultural Studies》2013,14(3):446-451
Abstract How is the content of a literary canon, or tradition to be configured? What counts as a literary archive? More than 25 years after Edward Said’s Orientalism (1978), it seems reasonable to assume, that central to such traditions, would be the work of those who live and work in the society that gives rise to it. In this review, such a location of Michele de Kretser’s new novel, The Hamilton Case, is offered, as a caution to metropolitan literary critics who continue to approach Sri Lankan writing in English, as Christopher Columbus approached ‘America’. It is argued that the novel owes much to, and can be read as echoing and elaborating the detective fiction of S.W.R.D. Bandaranaike, who was, also, the fourth Prime Minister of Ceylon (Sri Lanka), 1956–59. 相似文献