scholarly journals Self-help and the surfacing of identity: Producing the Third Culture Kid

2017 ◽  
Vol 24 ◽  
pp. 27-33 ◽  
Author(s):  
Sophie Cranston
2017 ◽  
Vol 16 (2) ◽  
pp. 147-163 ◽  
Author(s):  
Sean Fanning ◽  
Edgar Burns

This article recounts the story of Jack’s primary and secondary schooling career across several countries and eventual relocation and tertiary education in Victoria, Australia. His narrative is described here as an antipodean educational trajectory. What is meant by antipodean education is contrasted to the long established concept of the third culture kid (TCK). There are overlaps in these concepts. The argument is made, however, that Jack’s travelling and multiple education cultural mix gives him a different sense of himself that is not fully accounted for in the TCK literature. Global movement of people for employment and other reasons such as politics, governmental or service professions, continues today, Taking children with working and mobile parents has long been characterised as creating third culture kids who do not belong to either originating or hosting societies. Today, however, it is less the case that this can be adequately described as travel ‘out from’ and ‘back to’ the geo-political centres. This changing socio-cultural reality means re-examining what kinds of educational opportunities and experiences children are exposed to and the effects of these on young people.


Science ◽  
1963 ◽  
Vol 141 (3578) ◽  
pp. 390-390
Author(s):  
T. Page
Keyword(s):  

Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 76-85 ◽  
Author(s):  
Rainer Reisenzein

Murray Smith’s proposal in Film, Art, and the Third Culture for a naturalized aesthetics is of interest to both film theorists and psychologists: for the former, it helps to elucidate how films work; for the latter, it provides concrete application cases of psychological theories. However, there are reasons for believing that the theory of emotions that Smith has adopted from psychology to ground his case studies—an extended version of basic emotions theory—is less well supported than he suggests. The available empirical evidence seems more compatible with the assumption that the different emotions are outputs of a single, integrated system.


Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 101-110
Author(s):  
Dominic Topp

In Chapter 6 of Film, Art, and the Third Culture, Murray Smith argues for a biocultural account of the emotions, which treats them as an interaction between universal and cultural dimensions. He goes on to test this approach in relation to the representation of emotions in films by considering an example from the tradition of modernist filmmaking. This article suggests that, while Smith’s case is broadly convincing, there are several ways in which it could be presented more forcefully. In particular, his discussion of the challenge of modernism to a biocultural account could be strengthened by emphasizing rather than downplaying the role that various types of cultural knowledge play in our interaction with modernist works.


1996 ◽  
Vol 64 (3) ◽  
pp. 348-349 ◽  
Author(s):  
John Brockman ◽  
Alwyn Scott

Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 71-75
Author(s):  
Paisley Livingston

These brief comments raise some questions about Murray Smith’s remarks, in his new volume Film, Art, and the Third Culture: A Naturalized Aesthetics of Film, on the nature of aesthetic experience. My questions concern how we might best draw a viable distinction between aesthetic and non-aesthetic experiences and focus in particular on possible links between self-awareness and aesthetic experiences. In sum, I agree with Smith in holding that we should not give up on the notion of aesthetic experience, even though aestheticians continue to disagree regarding even the most basic questions pertaining to its nature.


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