Investigating Identity: Gender,Overseas Experience,and Japanese Youth

Identity is prominent in academia, despite it being difficult to define and measure due to its dynamic and multifaceted nature. In Japan, awareness of the make-up of Japanese youth is increasingly crucial as Japan becomes a more internationalized and ageing society. This paper examines, by identity mapping and discriminant analysis, the cultural identities of 94 Japanese youth. While strong Global identities separated the respondents with from without overseas experience, ties to National identities and Relationships were found respectively for males and females. This paper suggests that regarding the study of cultural identities, gender does matter – at least in Japan.     

O Bem Amado: A cinematic representation of humor,populism, and death in Brazilian politics

The theatrical play O Bem Amado is based on a tragic and comical Brazilian reality: the way politicians plot their interests, without regard for their voters’ well-being. Populist and eccentric, the protagonist Odorico Paraguaçu embodies gestures, spoken gags, unfilled promises, and other typical characteristics of Brazilian politicians. This article analyzes how the most recent cinematic version of the play staged a character who was born in the 1960s, became a television soap opera hit in the 1970s, starred a movie in the 2000s, and comes back to life in every election period. We intend to make clear that much of what was criticized in Brazilian politics then is still very much alive today. The characteristics that make Odorico laughable are described in the article and are the same ones that highlight aspects of Brazilian political culture, all played out in a lighthearted comedy of manners spiced with political satire. This article introduces the latest version of O Bem Amado with some important background information. Based on scenes extracted from the film, popular comedy is portrayed as an opportunity for the public to take revenge, through mockery, of those who take advantage of their public position in favor of private interest. The article also explores added dimensions of the most recent version, brought on by new technological aspects added when the story was adapted for the big screen.     

A Complaint with the Cadi,ca. 1896: an East/West Cultural Encounter

This article presents a case study of A Complaint with the Cadi (Algeria), ca. 1896 – a painting by the French Orientalist artist Marie Lucas-Robiquet (1858–1959). Using cultural and social history as prisms, it explores what Lucas-Robiquet’s visual record communicates to the cultural ‘outsider’ about Muslim social life in French colonial Algeria. Attention is given to this artwork because it depicts the Islamic judiciary system as practised in late nineteenth-century Algeria. This article argues that this painting and its subject matter are rare in the Orientalist canon; that the artist was female, is, I posit, crucial to the ways in which this work can be read. Lucas-Robiquet, a decorated Orientalist, used a Naturalist style of painting which was both nuanced and sensitive to Islamic cultural traditions. I contend that A Complaint with the Cadi (or qā?ī meaning judge) is an important work because it represents a locus of historicised forms of Otherness: the French female artist and the Algerian cultural attribute.     

Voices of Newly Arrived Refugee Women

ABSTRACT

The numbers of refugees worldwide are at an all-time high. The majority of refugees relocated to the United States are women and children. Much research has concentrated on health care issues and trauma but few studies have expressed women’s viewpoints. This study consists of interviews with eight newly arrived refugee women to determine how they construct and negotiate their identity and the idea of being a refugee, as well as how they cope with the challenges of adjusting to a new cultural environment. Narratives indicate an interwoven pattern of interaction including family, home, and concerns.     

Polygamy in the United States: How Marginalized Religious Communities Cope with Stigmatizing Discourses Surrounding Plural Marriage

This study explores the narratives of 20 members of “The Work,” a polygamist community in Centennial Park, Arizona, to better understand the ways in which religious minorities cope with the stigmatizing discourses of the larger United States culture. This paper examines (a) how participants understand and interpret public discourse surrounding plural marriage, and (b) participants’ communicative strategies for coping with this stigma. Grounded theory analysis revealed that the discursive cultural de-legitimation of plural marriage motivates co-cultural members to engage in network management. Four network management strategies were reported by participants: (1) withdrawing from mainstream society, (2) establishing ingroup solidarity, (3) concealing cultural identification, and (4) educating cultural outsiders.     

The red thread and the white kimono: Japanese women, omote and ura

A portrait of modern Japanese middle class urban woman is presented from a dual perspective: Omote, public outside self, and Ura, private inside self. An almost Stereotypic outward submissive presentation is correlated with a special inner strength commanded as the Japanese woman satisfactorily fulfills the role of home manager. This strength is understood to be a particular characteristic of Japanese women which supports the existence of the well known “psychology of dependence.” Data from interviews with 30–50 year old Japanese women, collected over a four year period, is placed within the historical context of women 's traditional role in Japan.     

Gifts of the Magi: Chef,Million Dollar Arm,and Cultural Mixtures

When groups using different cultural systems encounter one another in diverse societies, their previous cultures are transformed into a merged, complex cultural picture. Some culture areas are preserved while others are adjusted, exchanged, and merged. In our society, introducing groups to the cooking of other groups is a form of contact which produces less resistance. In sports, as well, contact, and interaction occur with less friction. It is sometimes thought that groups that need each other for survival integrate socially and merge culturally out of practical necessity. However, the pursuit of pleasure and fun can also be an occasion for cultural mixing. Such merging is depicted in the recent movies Chef and Million Dollar Arm.     

The cosmopolitan city and its Other: the ethnicizing of the Australian suburb

Abstract

In this article I argue that there has been a significant cultural change in the meanings attached to two specific sites in the Australian cultural imaginary—the city and the suburb. I see this change as the product of opposing versions of multicultural Australia. In several Australian cities, particularly Sydney, although the combination of multiculturalism and economic globalization has helped to create increasingly cosmopolitan inner city suburbs, it has also contributed to the development of an antithetical but perhaps more politically significant version of the middle or outer suburb. This new version of the suburb is defined by minority ethnic or racial identities; it is increasingly represented as criminalized; and its development runs against the grain of the traditional conception of the suburb in the Australian national imaginary, as well as the globalizing rhetoric endorsing a cosmopolitanizing transnational citizenship. The context for the discussion is given particular force by the series of ‘race riots’ which occurred in the Sydney beach suburb of Cronulla in December, 2005. These events raised serious concerns about the fate of multiculturalism in Australia and highlighted the tensions that lie beneath what is often regarded as a successful set of social policies.     

A prison audience: women prisoners,Shakespeare and spectatorship

ABSTRACT

In 2017 the Donmar Warehouse presented The Tempest to women prisoners at HMP New Hall, UK. The production was part of a trilogy of Shakespeare plays directed by Phyllida Lloyd, each staged with an all-female cast and each set within a women’s prison. Over the five years of developing this trilogy the Donmar undertook extensive research and development into the prison context, including in collaboration with York St John University’s Prison Partnership Project. This paper explores the prison audiences’ experiences of The Tempest, examining how they responded to seeing their own lived experiences on stage, filtered through the prism of Shakespearian plot, characterisation and language. In particular, this paper focuses on moments of identification, where the women found direct resonance and self-recognition with the characters and experiences in The Tempest. At the same time it draws on discourses from dramatherapy and aesthetic theory to argue for the importance of various forms of emotional, empathetic and psychical distance. Using close analysis of the spectators’ responses, it describes how for the prison audience the result was an oscillation between identification and distance, a reading of “me but more than me” that produced a powerful affective and reflective impact.     

Comparative studies of authoritarian-personality characteristics across culture, language and methods

This research was to determine whether the large differences in scores on the F scale found in previous studies (Bradburn, 1963; Kagitcibasi, 1970; Kinnis, 1977) were due to cultural differences in personality characteristics or due to differences in language and/or structure of measuring instruments.The subjects were three groups of university students from the United States and Turkey. The Turkish/English (T/E) sample attended a Turkish University where all classes were in English. The Turkish/Turkish (T/T) sample attended a Turkish University where all classes were in Turkish. The American/English (A/E) sample attended a Midwestern University.Each of the samples were administered three Scales measuring authoritarian personality characteristics. They were: Rokeach's (1960) Dogmatism scale (D scale) the standard F scale (Adorno et al., 1950) and a multiple choice format of the F scale called A scale (Neel, 1977). For the T/E and A/E subjects these scales were in English and for the T/T subjects in Turkish.For each cultural group the composite scores on each scale were obtained and used for inter-group comparisons through one-way analysis of variance (ANOVA). Within-group correlations across the three measures, the means and standard deviations of individual items and T tests were also computed. Interculture and language comparisons resulted in two significant differences on both the Dogmatism and F scales. Analysis of group, composite scales shows that these differences are due to disparities between the A/E and T/T culture/language groups. Differences across language and culture groups for the A scale were not significant. The A measure behaves differently from D and F for the two Turkish culture groups. For the A/E group, D, F, and A measures are almost undifferentiable. The results suggest the effect of measurement instruments on inter-cultural differences in inter-measure comparisons. This indicates a response format effect (agreer bias or acquiescence set).     

No Company for Old Men: Adventures in Unemployment in The Company Men

Cultural diversity is often attributed to groups in a society from a variety of cultural backgrounds. Assimilation then blends subcultures into a mainstream culture. However, history and circumstance give rise to new groups whose experiences and activities produce new diversity. Big events and big changes give rise to important differences between groups. Popular culture brings new subcultures to the attention of the mainstream. Examples are The Grapes of Wrath, The Best Years of Our Lives, and The Company Men, discussed as a step in bringing awareness of current unemployment issues.     

Culture = politics: the emergence of new cultural forms of protest in the age of freeter

This paper examines new cultural and political movements that have developed outside of traditional leftist politics since the early 1990s in Japan. The new movements, including Dame‐ren, the Cardboard House Art movements in Shinjuku and recent anti‐war protests on the Iraqi war, were mainly led by young people, in particular, the freeter generation, who did not experience the leftist politics of the 1960s. These movements are different from traditional Marxist political ones and even from the new social movements in the 1960s and 1970s in the sense that they incorporate more cultural practices such as art, music, dance and performance into their political activities. The paper also explores the historical background against which the new movements were born and have developed since the end of the Bubble economy. It sees freeters, young part‐time workers, as emerging, new political actors that have appeared through the transition of a mode of production from Fordism to post‐Fordism. The transformation of society, economy and politics, known as ‘post‐modernization’ or recently as ‘globalization’, has asked us to re‐consider and re‐define the basic concepts such as class, proletariat, power, labour and work which we once shared. The paper tries to locate, through a critical examination, the new movements within a broader context of anti‐neo‐liberalism and anti‐globalization and find political potentiality within it.     

Chekhov,Tolstoy and the Illustrated Press in the 1890S

ABSTRACT

This article demonstrates how Anton Chekhov and Leo Tolstoy addressed an expanded reading public with new interests in the 1890s. It focuses on Chekhov's serialized book-length study The Island of Sakhalin (1893–4) and Tolstoy's last big novel, Resurrection (1899), which was also serialized. To reach an expanding diverse audience Tolstoy simplified his vocabulary, used a mono-dimensional plot and avoided subplots, foreign words and subtle shifts that could deflect the reader's attention. Chekhov also adapted his literary practice, adopting a unique documentary style, putting himself in the text. Each author engaged in a conversation about nationality, ethnicity and empire, issues of fundamental import to their readers and their society more broadly. Speaking about life and death, sin and redemption, good and evil, and about the common humanity of the most downtrodden of Russian citizens, men and women, Chekhov and Tolstoy addressed their contemporaries with fresh and timely words about pressing issues.     

Pi Village,with occasional music: notes on the New Workers Art Troupe

ABSTRACT

This paper focuses on music practice of the New Workers Art Troupe (NWAT, xingongrenyishutuan) that is based in Pi Village (picun), Beijing. During last 3–4 years, the troupe has gradually attracted the attention of young scholars and college students due to their public advocacy for the rights and benefits of migrant workers in Mainland China. Given structural marginalization of workers and peasants that ironically contradicts with the officially claimed principles of socialism, the NWAT should not be ignored as far as cultural activism in nowadays Mainland China is concerned. Many researchers have investigated NWAT’s practices according to approaches of various discipline, however, the cultural meanings and social-historical condition of its core art form, music, have been largely neglected. Whereas this neglect acts both as cause and consequence, discourses about the NWAT have gradually been overwhelmed by moral commitment or sympathy to “disadvantaged groups,” which eventually proves nothing more than the coming-being of a moral order dominated by the new-born Chinese middle-class. In order to comprehend the affects the NWAT’s music articulated, what need to be illuminated are not only what they are singing, but also where and how they sing, as well as the cultural mechanism behind their practice.     

Voicing their presence: Postrevolution Iranian female vocalists in context

Abstract

Contemporary female musicians and vocalists in Iran represent a challenging and inspiring musical trend as a part of a dynamic and reflexive artistic and cultural wave. This trend could be compared to a trend in the first half of the 20th century in Iran, which opened the first chapter in the history of women asserting their presence and their voice as female musicians in public spaces, exemplified in the work of Qamar al-Moluk Vaziri. This article analyzes these two trends in their social and cultural contexts and explores the efforts of postrevolution female vocalists to assert their presence in musical realms. Addressing these issues in the context of political, religious, and cultural constraints, the article examines the agency of female musicians and vocal performers in the long history of women’s struggles for self-expression and voicing their presence in public spaces and on the national stage.     

Predicting multicultural effectiveness of international students: the Multicultural Personality Questionnaire

The present study considered the reliability and validity of the 78-item revised version of the Multicultural Personality Questionnaire, a multidimensional instrument aimed at measuring multicultural effectiveness of expatriate employees and students. The questionnaire includes scales for cultural empathy, open-mindedness, emotional stability, social initiative and flexibility. Participants were native and foreign students of an international business school (N=171) in the Netherlands. The MPQ scales appeared to be more strongly predictive of adjustment of international students as compared to native students. Moreover, the instrument was able to explain variance in students’ adjustment beyond self-efficacy.     

The making of Gòng/ Kyō – visual archive and the common in contemporary East Asia

ABSTRACT

This study will take two cases from East Asia to illustrate how visual archive/archiving has become or potentially becomes new space where image, heterogeneous temporalities and ideas of the common may lead to a redefinition or at least reconsideration of the binaries between public and private, between image and visual, between past and future. In contrast to historical archives, such visual archives not only aim for documentation and conservation but also become the sites of creating agencies and provoking critical reflections on the idea of the public. The first case is “Center for Remembering 3.11”¹ initiated by Sendai Mediatheque (SMT), where civic participation and the archiving of the post-311 Tohoku Earthquake images of the disaster-ridden region were solicited and made into an online archive. The second case is Multitude.asia, a digital archive initiated by Taiwanese activist and scholar Huang Sun-quan, who works in collaboration with students, artists, and researchers from Mainland China and Taiwan in sorting, interviewing, and editing videos and texts about alternative cultural activities and space in Asia. While discussions on the archive and the public discourse are predominated by theories from Europe and the US, the current study intends to contextualize the concepts of “the public” (gōng/ōyake), “the private” (sī/watakushi), and “the common” (gòng/ kyō) in Chinese and Japanese languages in the discourse of archive in cultural specificity.     

Reclaiming Our Roots: The Influences of Media Curriculum on the Natural Hair Movement

This article, theoretically constructed on Gramsci's notion of cultural hegemony, explores the use of Black female hair as a cultural signifier in two media texts, specifically Adrienne Kennedy's play, Funnyhouse of a Negro, and Chris Rock's documentary, Good Hair, in specific media texts. Analysis of the verbal and visual rhetoric regarding a Black female aesthetic revealed associated themes of generational family influences and identity formation.     

International History,the Cultural Turn and the Diplomatic Twitch

To many cultural and social historians, international history (an updated version of diplomatic history) may seem old hat. This essay looks at how the field has developed under pressure from changes in the historical discipline and examines the impact of the ‘cultural turn’ through recent work on gender, memory and ‘otherness'. But the essay also raises questions about this new ‘culturalist’ international history, especially what to do with the now problematic concepts of agency and causality. And it ends by reaffirming the importance of the traditional agenda of international history – life-and-death governmental decisions for peace or war.     

A possible teleology of cultural sector data in England

ABSTRACT

In March 2019, Arts Council England (ACE), an official statistics producer, started collecting a new set of data from its National Portfolio Organisations intended to reveal whether those organizations’ intentions correlate with the perceptions of their peers and audiences. In a world dominated by quantitative data, the Impact and Insight Toolkit addresses a perceived lacuna and marks a substantial investment in qualitative metrics. ACE also expects it to address a number of other concerns – help organizations self-evaluate, measure their short-term outcomes and advocate more effectively. Indeed, it envisages that an aggregation of the data collected will support the case for sustained public support of the sector. The Toolkit’s launch comes at a time when changes to the UK’s official statistics are encouraged, and policymakers are looking elsewhere to inform their thinking. The campaigning aspect of ACE’s aspirations suggests a model of data collection and analysis distinct from that of official statistics production, valued for its impartiality. This article considers what might happen if the Toolkit, which relates to ACE’s role as a development agency, encourages data to be collected and analysed in order to deliver specific outcomes. It reflects on three visions of cultural sector data from the past 50 years: Toffler’s The Art of Measuring the Arts, DCMS’s Taking Part and ACE’s Impact and Insight Toolkit. These suggest a trajectory of cultural sector data determined by increasing importance being attached to institutional interests, and implies that the future of cultural sector data in England may be determined by how ACE addresses its potentially conflicting interests as an official data provider and development agency. Greater investment in the former would more accurately reveal the arts’ contribution to economic and social development; greater investment in the latter would encourage the teleological development of cultural sector data designed for sectorial advocacy.