Indigenous Peoples of Siberia and the Challenges of the Twenty-First Century

Sibirica ◽  
2018 ◽  
Vol 17 (3) ◽  
pp. 3-15 ◽  
Author(s):  
Uliana Vinokurova
Keyword(s):  
Cultural Identity ◽  
Indigenous Peoples ◽  
First Century ◽  
Survival Strategies ◽  
Twenty First Century

The article provides a review of various strategies the peoples of Siberia undertake to reestablish their identity, their cultural identity, and rights to their land. The article aims to analyze the modern challenges that the indigenous peoples of Siberia face and their responses to such challenges. The article presents five models of survival strategies used by the peoples of Siberia.

Māori Gender Non-conforming Identity: Analysing the ‘Takatāpui’ Discourse

2020 ◽  
Vol 9 (1) ◽  
Author(s):  
Francesca Marino
Keyword(s):  
Discourse Analysis ◽  
Cultural Identity ◽  
Indigenous Peoples ◽  
First Century ◽  
Sex Characteristics ◽  
Analysis Framework ◽  
Culturally Specific ◽  
Multimodal Discourse Analysis ◽  
Multimodal Discourse ◽  
Decolonizing Methodologies

AbstractThis study aims to investigate the process of reconstruction of Māori postcolonial cultural identity in the twenty-first century which also passes through the reclamation and redefinition of ‘takatāpui’ notion. ‘Takatāpui’ is an umbrella term that nowadays indicates all the Māori with non-conforming wairua (spiritualities, gender identities), sexualities and sex characteristics. It is a culturally specific word which represents a form of intersectionality by identifying people as both Māori and queer.As a consequence of the increasing spread of the Internet, which has become a virtual place to construe identity and to promote the dissemination of ideas, a Multimodal Discourse Analysis is conducted on a corpus comprising 10 audiovisual texts fully retrieved from the web and exclusively produced by Māori takatāpui activists and/or containing Māori takatāpui activists’ self-narratives or claims.The corpus is analysed by applying a MMDA (Multimodal Discourse Analysis) framework based on Kress and van Leeuwen’s social semiotic framework (2006). The analysis is conducted also by taking into account Blommaert’s linguistic and ethnographic framework (2014).The findings of the analysis show the different strategies through which Māori identities are construed and conveyed reinforcing what the Māori scholar, Tuhiwai Smith (1999. Decolonizing Methodologies: Research and Indigenous Peoples. Dunedin: Zed Books Limited, 28), calls “a very powerful need to give testimony to and restore a spirit, to bring back into existence a world fragmenting and dying”.

Conflicts, battlefields, indigenous peoples and tourism: addressing dissonant heritage in warfare tourism in Australia and North America in the twenty‐first century

2013 ◽  
Vol 7 (3) ◽  
pp. 257-271 ◽  
Author(s):  
Raynald Harvey Lemelin ◽  
Kyle Powys Whyte ◽  
Kelsey Johansen ◽  
Freya Higgins Desbiolles ◽  
Christopher Wilson ◽  
...  
Keyword(s):  
North America ◽  
Indigenous Peoples ◽  
First Century ◽  
Twenty First Century

‘You Think You Know a Story…’: Reframing the Tudors on Television in the Twenty-First Century

Adaptation ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 89-104 ◽  
Author(s):  
Romano Mullin
Keyword(s):  
Cultural Identity ◽  
First Century ◽  
Tudor England ◽  
The Past ◽  
Historical Themes ◽  
Twenty First Century ◽  
Shared Narrative

AbstractOver the past 10 years, there has been an explosion in the number of television dramas about Tudor England. These programmes have been engaged in a re-visioning of history that prioritizes a heterogeneous approach to the past, adapting historical themes, figures, and events in order to challenge existing conceptions about the nature of history. By using Showtime’s The Tudors (2007–2010) and the BBC’s Wolf Hall 2015 as examples, this paper explores how both series reimagine the Tudor era by destabilising traditional modes of historical engagement and emphasizing the shared narrative lineage of historiography and history as entertainment. Ultimately, the paper argues that these programmes are responding not only to new ways of accessing the past, but also by adapting a period which is central to an Anglocentric cultural identity, they are responding to the crises and political faultlines that have marked the twenty-first century.

Rural Modernity in a Time of Crisis: Preservation and Reform in the Books of B. T. Batsford

2018 ◽  
pp. 255-269
Author(s):  
Peter Lowe
Keyword(s):  
Cultural Identity ◽  
Significant Role ◽  
Subject Matter ◽  
First Century ◽  
Graphic Art ◽  
Rural World ◽  
Twenty First Century ◽  
Post War ◽  
Art Marketing ◽  
English Heritage

This chapter examines publisher B. T. Batsford’s popular ‘English Heritage’ and ‘Face of Britain’ series, focusing on their subject matter, the range of authors commissioned to write for them (including such figures as H. J. Massingham, Dorothy Hartley, S. P. B. Mais, and Edmund Vale), the books’ graphic art, marketing, and overall interpretation of the challenges facing the rural world. Peter Lowe describes the transformation of an oppositional view of the rural/modern relationship into a less conservationist, more reformist position by 1945. He argues that the books played a significant role in the construction of an idea of English/British cultural identity that proved vital to the nation’s defence. At the same time, wartime events enabled Batsford authors to adopt a more conciliatory tone on the issue of post-war rebuilding. Ultimately, conflicts over rural modernity were subsumed into larger debates about exactly which ‘Britain’ was to survive into the twenty-first century.

scholarly journals Authenticity, Self-Invention and the Power of Storytelling: Sam Shepard’s Postmillennial Work

2020 ◽  
Vol 6 (1) ◽  
pp. 28-39
Author(s):  
Paulina Mirowska
Keyword(s):  
Cultural Identity ◽  
Production Process ◽  
Recent Work ◽  
First Century ◽  
Artistic Creativity ◽  
The Past ◽  
Theatre Company ◽  
Twenty First Century ◽  
Insight Into

The article reflects upon Sam Shepard’s playwrighting in the opening decades of the twenty-first century, paying particular attention to his last play, A Particle of Dread (Oedipus Variations), written specifically for the Derry/Londonderry City of Culture celebrations in 2013, and originally produced by the renowned Field Day Theatre Company. The article seeks to offer an insight into Shepard’s mature multilayered text, which, in many respects, looks back upon almost fifty years of his artistic creativity and, at the same time, expands his vision. It also addresses the realisation of Shepard’s play in performance and the significance of his text in an interplay of multiple creative inputs involved in the production process. While revisiting the familiar landscapes and themes, Shepard’s most recent work negotiates the boundaries between the actual and the fictitious, raising debates about the persistence of myths, mortality and the haunting legacies of the past. Richly intertextual and conspicuously metatheatrical, it grapples with questions of authenticity, performativity and storytelling – the narratives that are passed down, and how they form and inform our lives. It also engages with, and further problematises, issues of personal and cultural identity, which constitute Shepard’s most durable thematic threads, revealing both the dramatist’s acute concern with fateful determinism and commitment to self-invention. Significantly, while Shepard’s postmillennial output highlights the author’s ongoing preoccupation with instability and frontiers of various sorts (from those topographic, temporal and sociopolitical to those of language and art), it equally intimates his attentiveness to correspondences between times, lands and cultures.

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