Traditional studies of ethnic relations focus on racialization between Whites and Blacks, or ethnic stratification between Whites and people of color. The increasingly integrated world has ensured continued movements of humans and goods and the inevitable contacts between people of different cultural background. This dissertation aims at broadening conventional studies of interethnic relations to examine racial attitudes among people who have internalized more than one culture -- i.e. the biculturals and multiculturals. Social psychological research suggests that bicultural individuals are capable of switching between two cultural meaning frames depending on contextual demands. Bicultural individuals vary in how well they integrate the two cultural identities internalized in them -- i.e., their bicultural identity integration levels (BII levels). Their BII levels lead to either culturally congruent or culturally incongruent behaviors among bicultural individuals. The underlying assumption of linguistic intergroup bias indicates that people tend to describe more abstractly observed positive ingroup behaviors and negative outgroup behaviors and describe more concretely observed negative ingroup behaviors and positive outgroup behaviors. In this study, bicultural Asian American participants are hypothesized to use language of either higher or lower abstraction to describe actions of positive and negative valence performed by either ethnic Asians or European Americans depending on the cultural priming they received and their BII levels. The study results point out the perceived ingroup/outgroup orientation of the bicultural participants towards their coethnics and people of the mainstream culture. Effects of the cultural priming and impact of BII levels are also discussed. / text

This study analyses translation strategies applied for translation of cultural realia. Besides, the problems of cultural 'vulnerability' and preservation of cultural identity are emphasized. Therefore, the concepts of culture and cultural identity are defined. Analysing translation strategies applied for translation of Lithuanian cultural realia two translations of Kristijonas Donelaitis' "Metai" ("The Seasons") are contrasted, juxtoposing the examples of cultural realia. The results of the analysis reveal that the strategies of generalisation and description/explanation are employed for the translation of the majority of cultural realia. The most suitable translation strategies for cultural realia should be determined by a variety of factors: the type of the text, the type of realia, its significance in the context, the degree of acceptance of unusual collocations in receiving culture, the model reader and his/her world knowledge, and desired effect.

This essay is a study of the character Pilate in Toni Morrison’s novel Song of Solomon. It employs a postcolonial theoretical perspective in order to explore the cultural trauma that Pilate experiences in the aftermath of slavery. Furthermore, it analyses the impact of that trauma on the formation of Pilate’s own cultural identity. When defining cultural trauma and cultural identity, the works of Edward Said, Homi Bhabha and Frantz Fanon are used. In this discussion, terms such as "double consciousness", "unhomeliness" and the "Other" are employed as a theoretical background to the analysis. Pilate’s trauma consists of being an orphan. Moreover, she is rejected as "Other" both by her brother as well as by each society that she settles into. Although suffering from this trauma and being all alone in the world, Pilate manages to both affirm her cultural heritage as well as to use it in a positive way when dealing with the trauma and creating her own cultural identity. In her case, she is able to stay close to her roots and to avoid the feeling of double-consciousness and unhomeliness. Instead she has a solid foundation in her ancestral past and the cultural identity it represents.

Current scholarship recognizes that music is a powerful channel that can manifest individual identity. But such research takes for granted music as a symbol of collective cultural identity, and, therefore, neglects examining how music in general, but musical performance in particular, functions to produce and reproduce a society at large. Indeed, what is missing is a rigorous understanding of not only how the act of performing forms collective identity, but also how it acts as an agency, indeed, perhaps the only agency that enables this process. As Thomas Turino suggests, externalized musical practice can facilitate the creation of emergent cultural identities, and help in forming life in new cultural surroundings. The present thesis examines the dynamics between cultural identity and music from the perspective of the performing musician. By examining musical situations in the context of the Armenian – Canadian diaspora, I will show how performers themselves both evoke feelings of nostalgia for the homeland and maintain the traditions of their culture through the performance event, while simultaneously serving as cultural ambassadors for the Armenian – Canadian community. My thesis outlines four key themes that are crucial in understanding the roles of musicians in Armenian culture. They are tradition bearer, educator, cultural ambassador, and artisan. As boundaries between peoples and nations progressively blur, I conclude that performance proves a vital medium where a search for national identity can occur, frequently resulting in the realization of one’s ethnic identity. Ultimately, without the labors of the performing musician, music would be unable to do the social work that is necessary in forming cultural, social, or even personal identities.

ABSTRACT ARCHITECTURAL INTERPRETATIONS OF MODERNITY AND CULTURAL IDENTITY: A COMPARATIVE STUDY ON SEDAD HAKKI ELDEM AND BRUNO TAUT IN EARLY REPUBLICAN TURKEY Uysal, Zeynep &Ccedil / igdem M.Arch., Department of Architecture Supervisor: Asst. Prof. Dr. Elvan Altan Ergut July 2004, 163 pages The thesis aims to reveal the decisive influence of the tension that stems from the contemporary searches for cultural identity on the architectural production of the early Republican Turkey. It attempts to demonstrate the conceptual and practical strategies that were devised in contemporary architecture for the resolution of the cultural tension by examining the architectural attitudes and practices of Sedad Hakki Eldem and Bruno Taut in the late 1930s and the early 1940s. In the first part, &lsquo / cultural identity&rsquo / is examined from within the general discussion of &lsquo / modernity&rsquo / , where the relevant phenomena, such as &lsquo / nationalism&rsquo / and the &lsquo / nation-state&rsquo / , are discussed. In the second part, the contextual developments and the architectural production of the early Republican period are examined through the theoretical discussions held in the previous part. In the third part, the architectural attitudes and practices of Sedad Hakki Eldem and Bruno Taut are examined and analyzed as to reveal the conceptual and practical strategies in the resolution of contemporary cultural tension. In the conclusion, the significance of the architectural attitudes of Sedad Hakki Eldem and Bruno Taut is re-stated in terms of their contextually sensitive efforts for the disband of the cultural tension in the light of the recent cultural theory.

The purpose of this thesis is to research the relation between spatial structures and social relations including the cultural ones. This study specifically researches the relation between the construction and the representation of urban space and urban culture in Sakarya Caddesi as an instance of society-space interaction. This research focuses on Sakarya Caddesi where various urban cultural practices such as entertainment, has intensified. It deals with the constitution and representation of this entertainment space and researches how a particular place is constructed materially and imaginarily, how different social actors perceive, interpret and constitute a particular place in different ways. Accordingly, the contestation over the representation and use of place is discussed in this study. In order to comprehend a local place and culture, the issues should be thought in a wider context. Therefore, Sakarya Caddesi which is a part of urban space and the urban practices which occur in this area, are evaluated in global context. This study, discusses the influences of global changes on urban space, urban cultural practices and lifestyles. Discussing Sakarya Caddesi and its culture through discourses, this thesis relates spatial categories with some concepts of cultural politics such as identity.

The aim of this thesis is to study the multidimensional relation between the spatial and the social by focusing on Van as a place. In order to understand social processes, it is important to view the complex relation between the spatial and the social. Taking the space-place relation into consideration, this work approaches to the processes of construction and representation of identity of place in the framework of the interrelation between place, culture and identity. Different groups in society are in a constant contestation over the construction of the meaning and the identity of place. This work, studies how place is constituted both materially and imaginarily within this contestation process. Senses of place and the meanings given to places are formed by social, cultural, economical and political situations of the people. Consequently this thesis, discusses the contestation over the representation and the use of place in the context of social, cultural, economical, political processes and power relations. It considers the dynamics which are effective on the constitution of image of Van. It studies the influences of these dynamics on the construction, the use, the transformation and the reproduction of place through the cultural practices of different groups in the city. This thesis, researches the relation between place and culture, the everyday life practices of different groups and the process of production of meaning through these practices.

本篇論文主要探討黃哲倫在《剛下船的新移民》、《如鴉而飛》、及《尋找唐人街》這三個劇作中，處理「文化認同」主題的轉變。這三個劇作分別代表黃哲倫創作生涯的三階段，即初期─華裔美國文化認同、中期─華裔美人漂泊離散的文化認同、以及晚近─華裔美國文化認同的多元文化未來。同時，將援引德希達的「主體觀」、傅柯的「對抗記憶」、霍爾的「文化認同」概念、哈伯馬斯的「包含他者」、以及學者對多元文化的討論等，並應用於文本之分析與探討。本論文共分為五個章節。第一章略述黃哲倫的三個劇作以及所採用的理論。第二章討論作者如何在《剛下船的新移民》中剖析華裔美國文化認同。第三章探討《如鴉而飛》中老一輩華裔美人漂泊離散的文化認同狀態。第四章側重於作者在《尋找唐人街》□所勾勒出的多元文化未來之希望與遠景。最後一章則回顧前述四章中的劇作及理論，並總結黃哲倫在三個作品中對於「認同」看法的轉變及其詮釋。 / In this study of David Henry Hwang's three plays FOB, As The Crow Flies, and Trying to Find Chinatown, I would like to explore the change of his attitude toward identity issue. These three plays represent the three stages of his writing career：first, the early stage of Chinese American identity; second, the maturing stage of the traveling cultural identity for Chinese American; third, the latest stage of a multicultural future for Chinese American identity. In my study, I apply several theories for the theoretic approach in this thesis, such as Jacque Derrida's "subject," Michael Foucault's "counter-memory," Stuart Hall's concept of identity, Jurgen Habermas's "inclusion of the Other," and Michael Omi's and Angela Davis's multicultural viewpoints toward ethnicity. The thesis is divided into five chapters. The first chapter aims at a general introduction to the three stages of the playwright's career and to the theories employed for textual analysis. The second chapter is the discussion on the work of his early stage-Chinese American identity in FOB. In the third chapter, I will analyze the traveling identity for early Chinese American in As The Crow Flies. In the fourth chapter, I will stress Hwang's latest production of a promising multicultural future for Chinese American identity in Trying to Find Chinatown. Finally in my concluding chapter, I would like to review the changes of Hwang's concepts in these three plays with regard to cultural identity and offer his own interpretation for new and hopeful Chinese American identity.

This research investigates the cultural politics of 'borderless' education. In Australia, online internationalised education has recently emerged as a market innovation borne from the intersection of two agendas in the higher education sector: an enthusiasm for technological means of delivery; and the quest for international full-fee paying enrolments. The empirical study analyses how both cultural difference and cultural sameness were produced in a case study of borderless education and were made to matter in both the design and the conduct of online interaction. A core MBA unit offered online by an Australian university was selected for the study because its enrolments included a group enrolled through a partner institution in Malaysia. The study is framed in the broad context of the changing cultural processes of globalisation, and in educational markets where knowledge is business. In this more fluid and complicated cultural landscape, the technologies and social practices supporting online education were understood to offer new cultural resources for identity processes. Pedagogy, rather than providing an inert stage for cultural identities to interact, was understood to play an active role in invoking and legitimating possible orientations for student identities. The framework thus builds on a metaculture, or understandings of culture and cultural identity, more appropriate for the cultural conditions of globalising times. The study was conducted as a virtual ethnography of the case study unit drawing on: the observation and recording of all virtual interaction in the unit's website; interviews and dialogues with the lecturer and designer involved; email interviews with some students; and the collection of course artefacts and related documentation. The methodological arguments and design addressed the complexity of grasping how culture is lived in globalised times, and how it is invoked, performed and marked in virtual interactions. Using layered textual analyses synthesising Bernstein's theory of pedagogic discourse and Systemic Functional Linguistics, a description of the unit drew out contradictory aspects in its macrogenre design. On one hand, the design aimed for cultural saming in terms of delivering undifferentiated curriculum and pedagogy for the diverse cohort of students. On the other hand, it also aimed for cultural differencing in the 'student subsidy'of the curriculum. The analysis showed how cultural difference was thus produced as both a curricular asset, and as a series of pedagogical problems in the case study unit. The 'student subsidy' design involved allocating students to purposefully mixed groups for assessable small group discussions in order to enrich the curricular treatment of cultural diversity as a topic of interest. This design invoked expressions of a range of cultural identities and knowledge claims about cultural differences. These claims were analysed with reference to how they were legitimated, and who invoked what culture on behalf of which groups. Despite the design of an undifferentiated process, the conduct of the unit displayed a number of pedagogical problems or 'regulative flares' in which groups of students complained about being overly or insufficiently differentiated. The analysis focused on three such flares: troubles with naming protocols; troubles around genre expectations for assessment tasks; and trouble over 'local' markers for the Malaysia students. These were summarised as trouble with the unit's 'default settings' and presumptuous assumptions about whose cultural terms applied in this educational setting. The study makes a contribution to the sociology of education, in particular with regard to internationalisation and online modes of delivery. The empirical study also contributes to the sociology of the cultural processes of globalisation. More practically, it is suggested that such programs could profitably embrace a version of culture more in line with the entangled routes and global flows that have brought the students and provider together, one that can accommodate and celebrate glocalised identities.

Like many other cataclysmic events September 11, a day now popularly believed to have 'changed the world', has become a topic taken up by children's writers. This thesis, titled The Whole World Shook: Ethnic, National and Heroic Identities in Children's Fiction About 9/11, examines how cultural identities are constructed within fictional texts for young people written about the attacks on the Twin Towers. It identifies three significant identity categories encoded in 9/11 books for children: ethnic identities, national identities, and heroic identities. The thesis argues that the identities formed within the selected children's texts are in flux, privileging performances of identities that are contingent on post-9/11 politics. This study is located within the field of children's literature criticism, which supports the understanding that children's books, like all texts, play a role in the production of identities. Children's literature is highly significant both in its pedagogical intent (to instruct and induct children into cultural practices and beliefs) and in its obscurity (in making the complex simple enough for children, and from sometimes intentionally shying away from difficult things). This literary criticism informed the study that the texts, if they were to be written at all, would be complex, varied and most likely as ambiguous and contradictory as the responses to the attacks on New York themselves. The theoretical framework for this thesis draws on a range of critical theories including literary theory, cultural studies, studies of performativity and postmodernism. This critical framework informs the approach by providing ways for: (i) understanding how political and ideological work is performed in children's literature; (ii) interrogating the constructed nature of cultural identities; (iii) developing a nuanced methodology for carrying out a close textual analysis. The textual analysis examines a representative sample of children's texts about 9/11, including picture books, young adult fiction, and a selection of DC Comics. Each chapter focuses on a different though related identity category. Chapter Four examines the performance of ethnic identities and race politics within a sample of picture books and young adult fiction; Chapter Five analyses the construction of collective, national identities in another set of texts; and Chapter Six does analytic work on a third set of texts, demonstrating the strategic performance of particular kinds of heroic identities. I argue that performances of cultural identities constructed in these texts draw on familiar versions of identities as well as contribute to new ones. These textual constructions can be seen as offering some certainties in increasingly uncertain times. The study finds, in its sample of books a co-mingling of xenophobia and tolerance; a binaried competition between good and evil and global harmony and national insularity; and a lauding of both the commonplace hero and the super-human. Being a recent corpus of texts about 9/11, these texts provide information on the kinds of 'selves' that appear to be privileged in the West since 2001. The thesis concludes that the shifting identities evident in texts that are being produced for children about 9/11 offer implicit and explicit accounts of what constitute good citizenship, loyalty to nation and community, and desirable attributes in a Western post-9/11 context. This thesis makes an original contribution to the field of children's literature by providing a focussed and sustained analysis of how texts for children about 9/11 contribute to formations of identity in these complex times of cultural unease and global unrest.