Orientador: Roxane Helena Rodrigues Rojo / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Liunguagem / Made available in DSpace on 2018-08-15T20:45:35Z (GMT). No. of bitstreams: 1 Rocha_ClaudiaHilsdorf_D.pdf: 4845039 bytes, checksum: f09973209a11891ddac7bba6561a3329 (MD5) Previous issue date: 2010 / Resumo: Marcado por uma natureza de ordem exploratória e propositiva, este trabalho volta-se ao ensino-aprendizagem de inglês nos anos iniciais da Educação Básica. Até o presente momento, as línguas estrangeiras não integram, oficialmente, a Matriz curricular desse âmbito educacional, o que impõe à área severas limitações. Na medida em que esse ensino encontra-se fortalecido nas escolas particulares, pode-se compreender o caráter não compulsório da disciplina nos níveis iniciais do setor público como excludente. Por outro lado, frente à importância do inglês em uma sociedade globalizada e a despeito dos controversos impactos de sua influência nos mais variados campos, temos presenciado algumas iniciativas de implantação do ensino da língua inglesa nas séries iniciais da escola pública, o que vem ocorrendo de forma irregular e sem apoio de parâmetros oficiais, possivelmente fragilizando o processo e intensificando desigualdades. Diante do exposto, este estudo busca delinear diretrizes teórico-práticas que possam orientar o ensino de língua inglesa nos anos iniciais do Ensino Fundamental, sob perspectivas éticas e transformadoras. Com o apoio das teorizações bakhtinianas, que aferem à linguagem uma natureza dialógica, discursiva e situada, procurou-se aqui discutir as especificidades de um ensino formador, voltado à construção de multiletramentos que atendam à noção de cidadania ativa e crítica na contemporaneidade. Assim sendo, com base em uma abordagem plurilíngue e pluricultural frente à educação de línguas, tomaram-se aqui os gêneros discursivos como organizadores do ensino de línguas no nível escolar focalizado. Nessa perspectiva, o inglês mostrou-se um objeto fronteiriço, que viabiliza a confluência de diferentes culturas, línguas e linguagens sociais na sala de aula. Sob esse enfoque, foram aqui especificadas as principais categorias para a composição de uma organização curricular de bases plurilíngues e transculturais, sendo essas diretrizes seguidas de propostas de ordem prática / Abstract: Revealing an exploratory and proactive nature, this work aims at the English teaching and learning process as far as the first years of formal education in Brazil is concerned. Up to the present moment, foreign languages, including English, are not officially part of the National Curriculum of the first five schooling years. Since foreign language teaching happens on a regular and solid basis as far as private schools are concerned, its optional and therefore fragile nature when it comes to public education shows clear evidence of exclusion. Nevertheless, due to the importance of English in a globalized world and despite all the controversial socio-educational impacts of such an influence, there has been an increase in the implementation of this discipline at the beginning years of Brazilian public education, which has been happening at an irregular pace and without official parameters, impairing the process and intensifying social differences. Therefore, the main objectives of this study lie on the development of possible guidelines to support a more effective, situated and meaningful teaching-learning process in the named context, on a critical and transformative basis. Standing for a pluralistic approach to language education, in and by which multiliteracies can be developed to attend the demands of the present world, the bakhtinian speech genres are here taken as organizers of the educational process. It is strongly believed that through a dialogic, pluralistic and transcultural teaching, in which English plays the role of a boundary object, there can be the hybridization of languages and cultures. From this perspective, theoretical guidelines have been developed in this study, as well as some teaching practical propositions have been presented / Doutorado / Lingua Estrangeira / Doutor em Linguística Aplicada

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No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) 2017-04-03 tese mario gaio - versao final.pdf: 5555815 bytes, checksum: b682610037667eef97dcbb8edbfb0342 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente tese discute língua, cultura e sociedade e se insere no âmbito da sociolinguística. Interessa também a outros campos do saber dentro das ciências sociais e humanas, como a Sociologia e a Antropologia. O objeto da investigação é um processo complexo que parte do fenômeno do Contato de Línguas, perpassa os seus efeitos tais como language shift, convergência e empréstimos, prossegue até o efeito mais drástico, a perda total de falantes, e deixa um legado (trans)cultural através dos processos de etnicidade que estão em movimento. A composição multiétnica da população brasileira é profundamente marcada por traços culturais de diversos povos, entre os quais se incluem os italianos. A despeito do imaginário coletivo que associa imigração italiana aos estados do Rio Grande do Sul e de São Paulo, Minas Gerais e Rio de Janeiro também foram receptores de imigrantes provenientes da multifacetada Itália. A cidade mineira de Juiz de Fora foi o mais importante centro de triagem de imigrantes aportados no Rio de Janeiro com destino ao estado de Minas Gerais. Esses carregavam suas próprias identidades linguísticas e culturais, com implicações nas suas sensações de pertencimento que ultrapassaram as gerações. Os imigrantes, dialetófonos em sua maioria, mantiveram por alguns anos Comunidades de Fala difusas e complexas (COUTO, 2016b), mas preteriram suas línguas em favor da língua dominante, o português brasileiro. Contudo, seus ecossistemas culturais penetraram nos ecossistemas culturais locais e por eles foram penetrados, tornando seus descendentes sujeitos transculturais. Nesta perspectiva, o termo brasileirítalo é proposto para definir uma ressignificação dos termos ‘italiano’ (condição herdada) e ítalo-brasileiro (categoria hifenizada), ambos já preconizados nos estudos da área (LESSER, 2014). Imigrantes sempre se apoiaram em Redes Sociais (MILROY & MILROY, 1985; MILROY, 2007; BORTONI-RICARDO, 2011) para estabelecerem-se e estas se desfaziam ao longo do tempo pela natureza urbana do contexto de imigração estudado neste trabalho. Vez por outra surgiam Comunidades de Prática (WENGER, 2006 [1998]) motivadas pela italianidade, que agregavam cidadãos e descendentes num escopo comum. A identidade e a sensação de pertencimento (belonging) são aqui tratadas com aporte teórico em Brubaker & Cooper (2000); Bauman (2004); Jungbluth (2007; 2015); Pfaff-Czarnecka (2011); Anthias (2013); Dervin & Risager (2015). O Contato de Línguas e seus efeitos são analisados com base nos estudos de Weinreich (1968 [1953]); Mufwene (2008); Couto (2009); Savedra & Gaio & Carlos Neto (2015); Thomason (2001); Winford (2003). A transculturalidade é abordada a partir do conceito seminal de Ortiz (1999 [1940]) até chegar às definições de Welsch (1999), sobre as quais se apoia nosso trabalho. A perspectiva ecolinguística (COUTO, 2007, 2009, 2016a, 2016b, 2016c; MUFWENE, 2004, 2008, 2016; TRAMPE, 2016) encerra nosso arcabouço teórico e através dela investigamos uma específica Comunidade de Fala não mais existente que fora constituída por imigrantes. Esta pesquisa tem cunho qualitativo e teve suporte metodológico em Dodsworth (2014), Hoffman (2014) e Puskás (2009). A metodologia utilizada constituiu-se de aplicação de entrevistas semiestruturadas a descendentes de italianos. Como material de apoio foram aplicados questionários a líderes de associações ligadas à italianidade / This thesis discusses language, culture, society, and it inserts itself in the realm of sociolinguistics. It is also connected to other fields of knowledge within the human and social sciences, such as Sociology and Anthropology. The object of investigation is a complex process which starts from the phenomenon of Language Contact, goes through its effects such as language shift, convergence and borrowings, continuing until its most drastic effect, the total loss of speakers, leaving a (trans)cultural legacy through the processes of ethnicity which are in motion. The multiethnic composition of the Brazilian population is profoundly marked by cultural traces of numerous peoples, among which is found the Italians. Despite the collective imaginary, which associates the Italian immigration with the states of Rio Grande do Sul and São Paulo, Minas Gerais and Rio de Janeiro were also recipients of immigrants from multifaceted Italy. The city of Juiz de Fora, in the State of Minas Gerais, was the most important screening center for immigrants docked in Rio de Janeiro en route to Minas Gerais. They carried their own cultural and linguistic identities, with implications to their sense of belonging that surpassed generations. The immigrants, dialectophones in their majority, kept for some years complex and scattered Speech Communities (COUTO, 2016b), but abandoned their languages in favor of the dominant language, Brazilian Portuguese. However, their cultural ecosystems penetrated the local ones and were by them also penetrated, making their descendants transcultural individuals. In this perspective, the term Brasileirítalo (or Brazilianitalic, in its English suggested version, a portmanteau of the words Brazilian and Italic, in reference to Italy) is proposed to define a resignification of the terms Italian (as an inherited condition) and Italian-Brazilian (hyphenated category), both recommended in the studies of the area (LESSER, 2014). Immigrants have always relied on Social Networks (MILROY & MILROY, 1985; MILROY, 2007; BORTONI-RICARDO, 2011) to establish themselves and which disappeared over time due to the urban nature of the context of immigration studied in this work. Eventually there were Communities of Practice (WENGER, 2006 [1998]) motivated by the Italianity, which joined citizens and descendants in one common scope. Identity and belonging are here treated as theoretical contributions in Brubaker & Cooper (2000); Bauman (2004); Jungbluth (2007; 2015); Pfaff-Czarnecka (2011); Anthias (2013); Dervin & Risager (2015). Language contact and its effects are analyzed based on studies by Weinreich (1968 [1953]); Mufwene (2008); Couto (2009); Savedra & Gaio & Carlos Neto (2015); Thomason (2001); Winford (2003). Transculturality is approached from the seminal concept of Ortiz (1999 [1940]) until we reach the definitions of Welsch (1999), on which this study is based. The ecolinguistic perspective (COUTO, 2007, 2009, 2016a, 2016b, 2016c; MUFWENE, 2004, 2008, 2016; TRAMPE, 2016) closes our theoretical framework and through it we investigate a specific and non-longer existent Speech Community that was constituted by immigrants. This research has a qualitative nature and borrows its methodological support from Dodsworth (2014), Hoffman (2014) and Puskás (2009). The methodology used is made up of the application of semi-structured interviews of Italian descendants. As support material, questionnaires were given to leaders of associations connected with Italianity

Comment peut-on aborder la complexité narrative des romans de Nancy Huston, écrivaine se situant à cheval entre deux cultures, surtout si elle est doublée d’une hybridité symptomatique de notre époque marquée par les connexions entre différentes cultures? À travers une étude entrecroisant les théories structuralistes/sémiologiques, en particulier les écrits relativement récents de Jacques Fontanille qui remet l’énonciation au coeur du processus narratif, et la perspective transculturelle, ce mémoire s’intéresse à la spécificité de l’écriture de Huston, et plus largement celle des récits à caractère transculturel. Débutant avec la présentation des deux champs d’études choisis et l’identification des points de contact existant entre eux, le travail laisse ensuite place à l’analyse de deux romans de Huston, soit Dolce agonia (2001) et Lignes de faille (2006). Enfin, grâce au nouvel éclairage que les études transculturelles peuvent apporter aux théories structuralistes/sémiologiques, il est possible de reconsidérer le processus énonciatif dans les romans à caractère transculturel et d’ainsi confirmer leur statut de récits complexes et hybrides. / How is it possible to approach the narrative complexity in the novels of Nancy Huston, a writer positionning herself between two cultures, especially if that complexity is reinforced by hybridization, a phenomenon that represents our time marked by connections between different cultures? Through a study crossing structuralist/semiological theories, particularly the more recent writings of Jacques Fontanille who sets back the enonciation in the heart of the narrative process, and a transcultural perspective, this essay tries to understand the specificity of Nancy Huston’s writing, and in a larger perspective the specificity of transcultural narratives. The text begins with the presentation of the two chosen disciplines as well as the identification of some contact points between them, followed by the analysis of two of Nancy Huston’s novels, Dolce agonia (2001) and Lignes de faille (2006). Finally, with the new perspective brought by the transcultural studies on the structuralist/semiological theories, it is possible to reconsider the enonciative process in trancultural novels and to confirm in that way their status as complex and hybrid narratives.

This study investigates to what extent the curatorial project of Documenta 11 offered an operative cultural concept beyond multiculturality by favouring a transcultural approach to difference in the global sphere. It questions whether the central strategy employed – of postcoloniality as tactical manoeuvre to expand both the public and aesthetic spheres in order to create the conditions for an ethical engagement with difference – could facilitate a workable exemplar for showing art from different production sites, yet resist levelling of differences for an ever-expanding global art market. Proceeding from the postcolonial institutional critique envisioned by the artistic director, Okwui Enwezor, this study engages critically with the notion of opening-out Documenta in terms of inclusivity and equality of representation. It is argued that while the proposed postcolonial reinvigoration of overlapping public spheres held the promise of heterogeneous participation and minimised the formation of hegemonies, the expansion-project of Documenta 11 could on another level be interpreted to function as a globalising instrument usurping previously unexplored territories and discover marketable ‘others’ for a neocolonial cultural marketplace. Documenta 11 set out to subvert the expansionism of a global art market by constructing the global as postcolonial space in which proximity became the ethical space of engagement. It is the contention of this study that by emphasising the production of locality, the five Platforms localised the global discourse and expressly addressed how inclusivity and pluralism could be approached against the disparities created by globalisation processes. Historically, for artists from the South denial of proximity and coevalness based on colonial conceptions of space and time had meant exclusion from the canon and, where modernist notions persist, being labelled as deficient. In order to breach gaps, de-hegemonise cultural coding and aid transcultural translation, Documenta 11 located its project in its entirety in Homi K. Bhabha’s in-between space, in the gap, as it were. This orientation towards the gap is examined in terms of homelessness, displacement and nomadic subjectivity that impact the archiving logic of Documenta to become anarchival: memory production turned into counter-memory and the work of remembrance was shaped as counter-memorials. Criticised for a skewed commitment to social engagement, rather than aesthetics, the exhibition of Documenta 11 was nonetheless informed by a threshold aesthetic. Different kinds of oppositionality employed by artists, and adversarial approaches reinvigorated by Situationist and Third Cinema strategies put forward by the curators, are evaluated in this regard. An agonistic positioning is explored as, firstly, a counter-localisation to multiculturalism in a transcultural exhibition and, secondly, to resist assimilation and co-optation. It is argued that the embrace of the threshold, of thirdness and littoral curating by Documenta 11 could be considered an exemplar of a global trickster positioning aiming for an expansion of critical visual strategies. The contention of this study is that, having set out to grapple with the construction of multiple public spheres and the space of the transnational exhibition as a creole location, this Documenta at the very least opened up discursive spaces that could expand artistic discourses. At best, Documenta 11 uncovered routes by which difference in the transcultural field could be (re)negotiated. / Thesis (PhD)--University of Pretoria, 2008. / Visual Arts / unrestricted

Continuant notre réflexion sur la transmédialité et la transculturalité, nous voulons donner quelques exemples issus de la littérature qui soient capables d’illustrer pars pro toto ce que nous avons élaboré dans la première partie, dans L’Éducation sentimentale de Flaubert par exemple, dans les nouvelles de Borges : "L’Aleph" et "Le jardin aux sentiers qui bifurquent", dans l’oeuvre de Frida Kahlo, mais aussi dans d’autres oeuvres qui ne seront pas traitées ici, telles que les romans de Robbe-Grillet Le Voyeur, La jalousie, La Maison des Rendez-vous, Pour une révolution à New York ou d’Italo Calvino, Se una notte d’inverno un viaggiatore ; dans les travaux des années 90 de Robert Wilson que j’ai appelés "spectacularité", tels que Cosmopolitan greetings, Parzival auf der anderen Seite des Sees ou Black Rider. Mais aussi dans Carlos W. Saénz (1956- ) (2003) d’Alejandro Tantanián ou les "présentations- pseudo-prothèse" de Periférico de Objetos comme Variaciones sobre B... (1991), El hombre de arena (1992), Cámara Gesell (1993), Máquina Hamlet (1995), Zooedipo (1998) ou Monteverdi método bélico (2000).:L’Éducation sentimentale de Flaubert ou l’anticipation du film. - "L''aleph et "Le jardin aux sentiers qui bifurquent" de Borges : de la représentation a la "présence" ou la création des médias ; de l''"hypermonde" et des "mondes multiples". - Stratégies transmédiales hybrides et transculturelles dans l’oeuvre de Frida Kahlo. - Architecture, art, installations lumineuses et performatives, internet, virtualité. - Alejandro Tantanián : "installation-performance", virtualité et hyperréalisme : Carlos W. Saenz. - Conclusion

Je commencerai par la question de savoir s’il est oui ou non souhaitable, nécessaire ou même possible d’élaborer une théorie unifiée d’intermédialité ou de transmédialité. J’aimerais pour l’instant laisser cette question en suspens et rappeler que nous avons assisté à des tentatives remarquables ces dernières années, ou du moins depuis les années 1980. Passer en revue les publications les plus réussies des vingt dernières années nous montre, qu’à cause des interrelations complexes et du chevauchement d’une grande variété et diversité de stratégies médiatiques et de formes de production, la tentative voulant présenter de façon claire les différenciations et les fonctions des relations intermédiales et transmédiales, a conduit dans certains cas à des définitions similaires, certains termes ayant des constituants similaires voire même identiques. Ces tentatives incluent tous types de définitions d’intermédialité et de transmédialité (ou dans une certaine mesure des termes comme "références aux médias" ("Medienbezüge"), "combinaison de médias" ("Medienkombination") et "changement de médias" ("Medienwechsel") (Rajewsky 2002 : 18 sqq.) ou le mélange de termes issus de la critique littéraire, comme l''intertextualité ou la "dialoguicité" avec des termes de la théorie médiatique.

Las producciones Tokusatsu japonesas cuentan con características que las hacen diferentes a otros tipos de contenidos, sin embargo, son poco conocidas en la cultura occidental. Desde la década de los 90, el Tokusatsu llega a América con la adaptación de la franquicia Super Sentai. Bajo el nombre de Power Rangers, este tipo de producciones lograron tener éxito comercial en occidente. Ello permitió un boom de producciones occidentales con características Tokusatsu con el objetivo de éxito comercial. Hasta hoy, mucha gente desconoce el origen de este tipo de contenido. Esta investigación busca contribuir en la difusión del Tokusatsu mediante el análisis de la forma en la que dos películas, Pacific Rim (2013) y Power Rangers (2014) adaptan las características del Tokusatsu en su propuesta audiovisual. Gracias al estudio cualitativo mediante entrevistas a Lissett Ponce, difusora del Tokusatsu en Perú, y a Aldo Salvini, director de cine, se pudo reafirmar características presentes en las producciones Tokusatsu. Además, el uso de la escala de Likert permite analizar cómo las características Tokusatsu son adaptadas en dichas películas a través de similitudes y diferencias con una producción Tokusatsu como Zyuden Sentai Kyoryuger (2014). Pudimos concluir en que existe un proceso de hibridación cultural en la adaptación del Tokusatsu japonés en las películas analizadas. Pacific Rim presenta un proceso de adaptación intercultural de dichas características. Por el otro lado, Power Rangers presenta un proceso de adaptación transcultural. Además, se propone la existencia de modelos de adaptación en base los fenómenos de hibridación cultural dichas películas. / Tokusatsu productions have features that make them different tan other types of contents, but they are not well known in occidental culture. Since 90´s decade, Tokusatsu arrives to America with the adaptation of the Super Sentai franchise. With the name Power Rangers, this type of productions got comercial success in occident. That allowed a large amount of productions to be made with this feature with the comercial success objective. Until today, lots of peole is not aware about the origin of this type of content. This research wants to contribute to Tokusatsu´s difusión through the analysis of the way that Tokusatsu features are adapted in the audiovisual approach of two movies: Pacific Rim (2013) and Power Rangers (2014). Thanks to cualitative study through interviews to Lissette Ponce, Tokusatsu diffusor in Perú, and Aldo Salvini, film director, we can reaffirm the features of Tokusatsu productions. Also, the use of the Likert´s Scale allow us to analyze how the Tokusatsu features are adapted in those movies through similarities and differences with a Tokusatsu production as Zyuden Sentai Kyoryuger (2014). We concluded that exists a cultural hybridazation process of the japanese Tokusatsu in the analyzed movies. Pacific Rim presents a intercultural adaptation process of those features. For the other side, Power Rangers presents a transcultural adaptation process. Also, is proposed the existence of adaptation models in base of the cultural hybridazation phenomenon seeing in those movies. / Tesis

The academic field of Ecocriticism has in recent years developed into an increasingly interdisciplinary, multifaceted field that no longer only concerns literary studies. This thesis aims to find a new angle that mostly has been overlooked by academics so far. It is therefore suggested to draw a connection between Ecocriticism and Cultural Memory Studies since both fields share interests in their considerations of place. The development of global and transcultural concepts in ecologically oriented literary studies, illustrated by Ursula Heise's concept of an eco-cosmopolitanism are discussed and related to new approaches in Cultural Memory Studies about Heimat (homeland) and belonging to certain places. The study then exemplifies these theoretical concepts by aiming for a close reading of Peter Handke's novel Die Obstdiebin (The Fruit-Thief) where traditional perceptions of Heimat and a local affiliation are criticized and simultaneously new, deterritorialized perspectives introduced.

Der Beitrag befasst sich mit Theaterinszenierungen und -produktionen aus einer epistemologischen, philosophischen und kulturtheoretischen Sicht vor einer historischen Perspektive. Dabei wenden neue transdisziplinäre Ansätze für die Analyse und Interpretation des Theaters, wie strukturale und poststrukturale Methoden vorgestellt bzw. Theater im Kontext transversaler, transkultureller, transmedialer zu behandeln. / The article deals with theater productions and stagings from an epistemological, philosophical and cultural-theoretical point of view in front of a historical perspective. New transdisciplinary approaches for the analysis and interpretation of theater, such as structural and poststructural methods, are presented and theater is treated in the context of transversal, transcultural, transmedial. / El artículo aborda las producciones y puestas en escena teatrales desde un punto de vista epistemológico, filosófico y teórico-cultural en una perspectiva histórica. Se presentan nuevos enfoques transdisciplinarios para el análisis y la interpretación del teatro, como los métodos estructurales y postestructurales, y se trata el teatro en el contexto de los enfoques transversales, transculturales y transmediales.

Migration ist eines der präsentesten und prägendsten Themen unserer Zeit. In dieser Ethnographie richtet sich der Blick exemplarisch auf die Akteur*innen der (‚Gastarbeits‘-)Migration, hier konkret auf mehrgenerationelle Familien im transnationalen sozialen Migrations- und Verflechtungsraum Türkei-Deutschland. Im Fokus stehen dabei ihre Identitätsprozesse, In- und Exklusionserfahrungen und Empowermentpraxen nicht nur während der ‚Gastarbeits‘-, sondern auch in der Prä- und Postmigrationsphase. Migration wird in dieser Forschungsarbeit akteurszentriert aus dem konkreten sozialen, hier familiär eingebetteten Alltagshandeln und den Narrationen ihrer Subjekte in dichter teilnehmender Beobachtung beschrieben. Auf den Fersen der Familien(angehörigen) und ihren Identitäten in Bewegung erweiterte sich die Feldforschung zu einer multilokalen, -methodischen und -lingualen Ethnographie. Als Proband*innen traten dabei zwei Familien aus der ostanatolischen Dersim-Region der Türkei mit zwei Spezifika hervor; zum einen durch ihre ursprünglich familiäre Sprache Zazaki und zum anderen ihre Zugehörigkeit zur alevitischen (Glaubens-)Gemeinschaft, wobei innerhalb des alevitischen Glaubenssystems die eine einer Ocak- und die andere einer Talip-Familie angehört. Migration und darin auch Identitätsarbeit zeigen sich in dieser Familienethnographie als ein geistig, körperlich wie auch emotional konflikthafter und komplexer individuell-sozialer Prozess der permanenten Aushandlung und Veränderung unter Bedingungen von Diversität und intersektionaler Differenz. In ihrer Ambivalenz ist dieser Prozess somit Herausforderung und Chance zugleich. Resümierend lässt sich Identitätsarbeit im transnationalen Migrations- und Familienraum auch als Empowerment- und Powersharingarbeit beschreiben, als einem kreativ-interaktiven Handeln im „dritten Raum“, dem „Zwischenraum“ (BHABHA), in dem jenseits von Norm und Abweichung bzw. Insider- und Outsider-Positionalitäten (ELIAS/SCOTSON) „hybride“ bzw. „transkulturelle“ Identitäten und Lebensentwürfe möglichen werden und damit als dritte Positionalität die transformative Positionalität des Transsiders entsteht. / Migration is one of the most prominent and formative issues of our time. In this ethnography, the analytical gaze is trained on the actors of (guest work) migration, specifically on multi-generational families in the interwoven transnational migration space of Turkey-Germany. The focus is on their identity processes, experiences of inclusion and exclusion, and empowerment practices not only during the ‚guest work‘ phase, but also during the pre- and post-migration phases. In this study, migration is described in actor-centered fashion through the close participant-observation of concrete social actions embedded in the families’ everyday lives as well as the narratives of the research subjects. Following the family members and their identities in motion, the field research constitutes a multi-local, multi-method, and multi-lingual ethnography. The main research subjects are two families from the eastern Anatolian Dersim region of Turkey with two specific characteristics. On the one hand, the families speak Zazaki as their original native language. On the other, they belong to the Alevi (faith) community, whereby one belongs to an Ocak family within the Alevi belief system while the other belongs to a Talip family. Migration and the identity work associated with it emerge in this family ethnography as a mentally, physically, and emotionally complex individual and social process that requires constant negotiation and change under conditions of diversity and intersectional difference. In its ambivalence, this process is both a challenge and an opportunity. In sum, identity work in the transnational migration and family space can also be described as empowerment and power-sharing work, as creative, interactive action in the „third space“ or „in-between space“ (BHABHA). Beyond the positionalities of the norm and the exception, the insider and the outsider (ELIAS/SCOTSON), „hybrid“ or „transcultural“ identities and life plans become possible, and the transformative third positionality of the transsider emerges.