A lo largo de la historia en la cuidad de Arequipa, el sillar ha sido un material importante para los pobladores como medio de expresión. Los habitantes de esta ciudad inician utilizándolo como lienzo para dejar grabado su testimonio mediante símbolos con gran significado para ellos. Posteriormente, los artesanos y cortadores de la ciudad empiezan a utilizarlo como elemento para la consturcción de diferentes monumentos arquitectónicos, logrando con ello crear un espacio tan único que se convirerte en una característica importante para la ciudad de Arequipa. Debido al rol significativo que tiene el sillar en la historia de la ciudad, se decidió implementar dentro de la Cantera de Añashuayco un espacio turístico que muestra esculturas hechas por la Asociación Turística de Cortadores y Artesanos Ruta del Sillar Canteras Arequipa. La realización de este proyecto pretende abordar la investigación y análisis del espacio turístico Ruta del Sillar, para estudiar el funcionamiento de la señalética y wayfinding del lugar. En base a ello, la investigación se ha centrado en el estudio de los beneficios que tiene la implementación de este tipo de elementos en un espacio turístico abierto, para generar resultados positivos en la percepción del público objetivo frente a su visita y analizar su experiencia al realizar este recorrido lleno de historia. De igual manera se hace un estudio sobre la importancia que tiene la creación de una idetidad gráfica para un espacio turístico específico como método de diferenciación de su imagen . / Over the years the history in the city of Arequipa, ashlar has been an important material for the people as a means of expression. The population of this city began using it as a canvas to record their testimony through symbols with great meaning for them. Subsequently, the artisans and cutters of the city began to use it as an element for the construction of different architectural monuments, creating a space so unique that it became an important feature for the city of Arequipa. Due to the significant role that ashlar has in the history of the city, it was decided to implement within the Añashuayco Quarry a tourist space that shows sculptures made by the Asociación Turística de Cortadores y Artesanos Ruta del Sillar Canteras Arequipa. The realization of this project aims to approach the investigation and analysis of the Ruta del Sillar tourist space, to study the operation of the signage and wayfinding of the place. Based on this, the research has focused on the study of the benefits of the implementation of this type of elements in an open tourist space, to generate positive results in the perception of the target public regarding their visit and analyze their experience when take this tour full of history. In the same way, a study is made on the importance of creating a graphic identity for a specific tourist space as a method of differentiating its image / Trabajo de Suficiencia Profesional

This study explores the engagement with music among second-generation migrants in Sweden in connection to their cultural identity and sense of belonging. First, a theoretical frame is developed that illustrates how music practices can contribute to the creation of ‘sense of place’ and ‘sense of belonging’ and how they are linked to ‘collective memory’ and ‘cultural identity’. Consequently, it is also explained how all this can be understood from a ‘generational perspective’. A qualitative approach has been chosen for this study and semi-structured interviews with 9 emerging adults living in Sweden, were conducted. The main results show that there is a high engagement with music among second-generation migrants in Sweden, many of them possessing a broad repertoire of favorite songs and genres. Mainly, it is through listening to the music coming from the home countries of their parents that they can express and navigate their cultural identities. Such kind of music carries meanings and mediates collective experiences and memories which can be passed on from one generation to the next one. These practices are important for second-generation migrants in terms of their sense of belonging to certain groups with which they can identify and feel connected to. In this sense, such kind of music helps them make sense of themselves in the world and in connection to others.

This master's thesis explores the continuity and change of the men's folk costume in Leksand parish, Dalecarlia, between 1770–1870. It also investigates societal changes as a reason for these changes and uses the theory of local cultural identity and tradition as explanatory models for continuity and change. Primary sources include probate inventories, extant garments, depictions and written records from the time. The investigation reveals that the probate inventories show both continuity and change in the men's clothing possessions. New garments and materials appear during the latter period, 1850–1870, but the combined sources suggest a parallel usage with the more traditional garments and materials, for some time. The lack of dating of the extant garments made the use of depictions crucial, to be able to see the small changes the garments have gone through over the years. In general, the extant garments and depictions show continuity as well as small changes. The new garments and materials can be seen as the beginning of a transition into non-local, fashionable costumes. When comparing how this transition manifested in the neighbouring parish, Åhl, differences in time and process can be seen. Further comparisons are also made to other areas of Sweden, to highlight differences and similarities.

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The Gaelic Athletic Association (GAA) and the Irish Football Association (IFA) were founded in the 1880s and throughout the history have become more than mere sport organizations. Mainly because of the violent history of Northern Ireland during the Troubles, both associations became entrenched in the respective cultural memories of the two competing identities of Northern Ireland. The large-scale violence ended in 1998 with the signing of the Belfast Agreement that was meant to bring peace and inter-communal cooperation to the region. This paper analyses the development of the two associations after 1998 in the context of the theory of cultural memory created by Jan Assmann. It concludes that the IFA has changed profoundly since the end of the Troubles. It left its post in the unionist-protestant cultural identity and now represents part of the new Northern Irish identity which transcends the social division and is still in an early stage of development. The GAA, on the other hand, went the other way and decided to strengthen its position among nationalists and Catholics in spite of its anti-sectarian and anti-racist ethos and gestures. This difference stems mainly from different history and structure of both associations and the fear of the GAA of becoming marginalized by the British sports if it...

Les adoptions internationales constituent un mode d'entrée particulier dans la filiation, mettant en exergue tous les questionnements universels touchant à la question de la filiation et forçant à l'élaboration de l'essence même du lien familial.La littérature sur l'adoption concerne principalement le devenir des enfants adoptés, en termes de développement psychologique et d'apparition de troubles psychopathologiques. Au sein de cette littérature, de nombreuses études, principalement anglo-saxonnes, se sont focalisées sur la question de l'identité culturelle des enfants adoptés, soulignant la corrélation entre identité biculturelle positive et forte (culture du pays de naissance et culture du pays d'accueil) et meilleur développement psychologique ultérieur.La notion d'identité culturelle des enfants adoptés est en revanche absente de la littérature française. Pourtant il semble difficile d'occulter la place que vient prendre, pour les parents comme pour les enfants, le pays de naissance de l'enfant et sa culture, ainsi que les conséquences, sur la construction identitaire de l'enfant, de se voir attribuer un statut d'étranger du seul fait de sa différence « visible ». Il semble alors nécessaire de complexifier la question culturelle en s'appuyant, non pas sur des postulats théoriques ou idéologiques, mais sur le discours des familles. Comment les familles appréhendent-elles la question des appartenances culturelles et de l'altérité de l'enfant adopté dans le cadre d'une adoption internationale ? Quels liens gardent-elles avec le pays de naissance de l'enfant et sa culture ? Ce travail de recherche s'inscrit dans une approche méthodologique qualitative et s'est focalisé sur le discours des parents adoptants, l'objectif étant de mieux comprendre leurs positions quant aux appartenances culturelles de leur enfant. 66 entretiens semi-structurés ont été recueillis auprès de parents ayant adopté au moins un enfant dans un autre pays que la France, de façon plénière. Le guide d'entretien explore le parcours de l'adoption, le choix du pays, le voyage dans le pays de naissance de l'enfant, les éléments connus de l'histoire de vie de l'enfant avant l'adoption, les liens au pays de naissance de l'enfant, à sa culture, les éventuelles expériences de racisme et de discrimination vécues par l'enfant. La méthode d'analyse du contenu des entretiens est une méthode qualitative, phénoménologique : l'Interpretative Phenomenological Analysis.Les résultats de ce travail s'articulent autour de trois publications.Une première publication consiste en une revue de la littérature sur le concept d'identité culturelle chez les enfants en situation d'adoption internationale.La deuxième publication décrit les positions parentales retrouvées dans notre étude, quant aux liens gardés ou non avec le pays de naissance de l'enfant et sa culture, positions mises en évidence par l'analyse phénoménologique des entretiens. Trois grands types de représentations parentales sont retrouvés.Enfin une troisième publication met en évidence la présence, dans plus de la moitié des entretiens, d'expériences difficiles et violentes pour les parents, potentiellement traumatiques, au moment des premières rencontres avec l'enfant lors du voyage dans le pays de naissance. Les conséquences sur la construction des interactions familiales sont discutées.La discussion porte sur la notion de représentations parentales, fil rouge de ce travail, ainsi que sur les modalités de complexification de la question culturelle : à quel point la question de la culture vient-elle porter ou déplacer la question filiative ? En quoi parler de culture peut-il se confondre avec la question de la visibilité de l'adoption ?Ce travail de recherche a des conséquences directes sur la prise en charge et l'accompagnement des familles adoptantes. En effet représentations parentales et interactions familiales sont intimement liées et jouent un rôle déterminant dans le développement de l'enfant. / International adoption is a specific way to belong to a new filiation. Numerous studies have looked at various aspects of the internationally adopted children's outcome. Some studies have sought to show a correlation between the strength of their cultural identity and their psychological development. However the ethnic and cultural identity subject is missing in French research. Furthermore very few studies have examined the adopted children's cultural identity from the adoptive parents' perspective. The objective of this study is to use parents' discourse to explore their representations of their child's cultural belonging.The study includes 51 French parents who adopted one or more children internationally. Each parent participated in a semi-structured interview. The broad topics covered included the adoption procedure, the choice of country, the trip to the child's native country, the child's history before adoption, the current associations with the child's country of birth, the experiences of racism and discrimination. The sample includes 66 semi-structured interviews. The interviews were analyzed according to a qualitative phenomenological method, Interpretative Phenomenological Analysis.The data were published in two original publications and one article has been submitted for publication: The first paper is a review of the cultural identity concept in the population of internationally adopted children.The second paper aims at describing three different parental representations of the child's cultural belonging.The third paper concerns the first parent-child encounters and highlights the difficult, sometimes traumatic experiences made then. We discuss parental representations, and the importance of complexifying the birth culture concept. Is questioning the birth culture replacing questioning the birth parents or even the perceivable physical differences between parents and children? Exploring parental representations of the adopted child enables professionals involved in adoption to provide better support to these families and do preventive work at the level of family interactions.

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What I propose to add to the already established dialogue regarding the tragic mulatta narrative is an investigation into the commonalities of the genre’s endings, as well as to assert that the tragic mulatta genre is present even at the turn of the 21st century with such works as Danzy Senna’s Caucasia. While my investigation by no means covers an exhaustive list of tragic mulatta narratives, the readings provide an overview of the ways in which the narrative has both evolved over time and stayed consistent during the antebellum, post-bellum, Harlem Renaissance, and the present day. I present each author as both building from previous authors’ works and as limited to the time period in which he or she pens the novel(s). The tragic mulatta of the post-bellum rejected white male suitors as a larger and more crucial rejection of sexual slavery and depravity, as well as attempting to shield the suitors from experiencing rejection from their own white contemporaries, as Angela does at the end of Plum Bun: “But I want you to know that from now on, so far as sides are concerned, I am on the coloured side. And I don’t want you to come over on that side” (373). However, the tragic mulattas continue to reject white male suitors even into the 21st century, and I assert that this repetition is limiting both to the characters themselves and to the narrative lives of contemporary mulatta readers. I further assert that the genre continues to pair rejection of the white male suitor with a reappropriation of true “blackness” and maternal domesticity. Through observing the tragic mulatta’s need to gain identity and sense of place through her darker mother or sister and the rejection of a white male suitor, tragic mulatta scholars—as well as critical race theorists in general—become more aware of the unique position the genre holds in identity formation as seen through what I believe are critical fictional texts for an interracial nation.

Ce projet de recherche s’est intéressé à l’hybridation culturelle résultant de l’intégration d’une pratique culturelle dans un contexte différent du contexte d’origine. Plus spécifiquement, ce mémoire a analysé l’hybridation de la bachata, une danse souvent associée à la République Dominicaine, mais qui, au cours de son évolution historique et musicale, a été au centre de tensions identitaires axées autour de la culture, l’ethnie, la géographie, la classe sociale ou encore des aspirations politico-idéologiques. La bachata se pratique aujourd’hui partout dans le monde et en tant que musique et danse, elle a subi des influences d’autres genres musicaux et d’autres styles de danse. Les mélanges culturels et musicaux ont renforcé son statut comme une pratique hybride. Ce rapprochement et mélange de cultures aura évidemment un impact sur les identités culturelles au pluriel des individus qui pratiquent la bachata. L’adoption, l’adaptation et l’ajout de nouvelles pratiques font évoluer notre identité culturelle. En me basant sur les notions d’hybridité et d’identités culturelles multiples et en utilisant des entrevues qui intègrent une analyse collaborative d’une vidéo de danse avec dix pratiquants de la bachata à Montréal, mon projet avait pour but de mieux comprendre comment les personnes qui pratiquent la bachata intègrent une pratique latine dans leur culture d’appartenance et l’impact de la bachata sur l’évolution de leurs identités culturelles. Cette recherche m’a permi d’établir cinq profils types qui expliquent les différentes façons dont la bachata a façonné les identités culturelles. Les cinq profils respectifs sont : unité identitiare, tension identitaire, harmonie identitaire, mosaïque identitaire et flou identitaire. Le concept d’hybridité s’est révélé être l’élément clé dans la construction hamonieuse de leur identité. Ceux qui ont une vision plus binaire de l’identité (je suis ceci ou cela) tendent à se retrouver dans une tension identitaire. / This research project focused on the cultural hybridization resulting from the integration of a cultural practice in a context different from its original one. More specifically, this thesis analyzed the hybridization of the bachata, a dance often associated with the Dominican Republic, but which, throughout its historical and musical evolution, has been at the center of cultural, ethnic, geographic identity-related tensions and divergent politicalideological aspirations. Today, the bachata is practiced all over the world and as a music and dance, it has been influenced by other musical genres and dance styles. The cultural and musical mixtures have reinforced its status as a hybrid practice. This blending and mixing of cultures obviously have an impact on the plural cultural identities of individuals who practice bachata. The adoption, adaptation and addition of new practices leads our cultural identity to evolve. Using hybridity and multiple cultural identities as conceptual frameworks, this research project adopted a qualitative methodology that integrated interviews and a collaborative analysis of a dance video with ten bachata practitioners in Montreal. By doing so, my project analyzed how bachata practitioners with different cultural origins integrate a Latin practice into their culture of belonging and the impact of bachata on the evolution of their cultural identities. This research allowed me to establish five typical profiles that explain the different ways in which bachata has shaped participants’ cultural identities. The five profiles are: identity unity, identity tension, identity harmony, identity mosaic, and identity blurring. The concept of hybridity proved to be the key element in the harmonious construction of their identity. Those who had a more binary view of identity (I am this or that) tended to find themselves in identity tension.