Une identité réinterprétée : Notes sur un vieux documentaire et recherche autour de l’identité macanaise

Author(s):  
Cheong Kin Man

The present paper, originating from its author’s innocent search for his identity in his twenties as a postcolonial yearning for an emotion-driven, if not unconsciously voluntary, cultural self-colonization, appears ten years later as a self-reflexive and self-critical essay. It can be read as a piece of postcolonial literature apart, or as a commentary to his documentary Ou Mun Ian, Macaenses (2009) and its textual research (2010). This quest, if not construction or invention of identity, resonated with a cross-epochal public discourse which transcended Macau’s last colonial years and its first postcolonial decade, that Macau was never a colony but a unique result from a China-West exchange. Originally to mark the tenth anniversary of the postcolonial Macau, between 2008 and 2009, the author, who was a great yet naïve admirer of the domestic exoticism and the colonial nostalgia of the mix-blood Portuguese Macanese, travelled across Portugal, Canada, US and Brazil to create a project from filmed interviews in the diaspora, in a government-sponsored adventure which let to the author’s self-discovery. This very amateur thirty-three-minute documentary largely shaped the author’s earlier belief in his undecolonizability and his later extended search and creation of his multiplying beliefs inside an Eurocentric expansion of an European universe.

Ars Aeterna ◽  
2014 ◽  
Vol 6 (2) ◽  
pp. 5-10
Author(s):  
Simona Hevešiová

Abstract In its essence, postcolonial literature evolved as an opposition to colonial discourse and ideological representation of the colonized subject inherent in colonial narratives. Springing out of the need to reconceptualize and reconstitute their communities, postcolonial writers often addressed the pressing historical and political issues of that time in their writing. In its early stages, postcolonial literature was therefore often marked by a strong sense of nationalism, interweaving fictional stories with the public narrative of pre-independence ideology. The paper seeks to explore the border between the public and the private in the early novels of the Kenyan writer Ngũgĩ wa Thiong'o. Just as his contemporaries in other colonized countries, Ngũgĩ wa Thiong'o tends to utilize literature as a powerful tool for raising national awareness. The pre-independence period, in which Ngũgĩ’s novels are set, is marked by a certain degree of romanticism and idealism, yet there is also an underlying sense of doom. Drawing on the cultural roots and mythology of his community, the writer steers his narrative in the direction of a larger, public discourse, suggesting that “the individual finds the fullest development of his personality when he is working in and for the community as a whole”. Therefore, the public/private dichotomy stands at the very centre of his writing, proving the rootedness of the individual in the public space.


2020 ◽  
Vol 63 (4) ◽  
pp. 422-435
Author(s):  
Henrik Fürst ◽  
Erik Nylander

How is art education valued in society? In Swedish public discourse the value of educational trajectories is often equated with their usefulness for employability. With competitive winner-takes-all labour markets for artists, art education is largely perceived as a worthless credential and form of education. But what kinds of worth does art education have among students themselves? This article draws on the approach of pragmatic sociology and individual and group interviews with 62 Swedish folk high school participants within the arts, to understand the meanings participants assign to post-compulsory education within the aesthetic realm. The students’ accounts belong to three broad themes, where art education is described as: (a) being a ‘stepping stone’ to becoming an artist, (b) allowing them to have ‘unique’ experiences while being in a particular state of creativity or (c) offering them a chance to regain health and general well-being after a difficult period. These results are discussed in relation to the relative institutional autonomy the folk high school possesses in the Swedish education system, as well as the possibilities of challenging the hegemonic ideas of ‘learning for earning’ that largely reject non-instrumental regimes of self-discovery and artistic creativity.


2010 ◽  
Author(s):  
Mona Lisa Saloy ◽  
Cheryl Ajirotutu ◽  
Harry Vanodenallen
Keyword(s):  

2006 ◽  
Author(s):  
Ayse K. Uskul ◽  
Daphna Oyserman ◽  
Michaela Hynie

2007 ◽  
Author(s):  
Min Han ◽  
Yoshiyuki Inumiya ◽  
Seongyul Han ◽  
Taekyun Hur
Keyword(s):  

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