Encountering American higher education: First-year academic transition of international undergraduate students in the United States

This study explored how international undergraduate students perceive their academic transition into American higher education. Schlossberg’s (1984) 4S Transition Theory served as the framework for exploring what academic challenges, if any, international students experience during their first year of undergraduate studies in a new cultural and educational setting. The findings revealed that students’ academic transition into the U.S. higher education was characterized by difficulties in understanding the academic system of their new environment; overcoming educational, instructional and pedagogical differences; building social relationships with domestic students; and receiving the support necessary from the appropriate institutional services.

Chinese international students and American domestic students’ intercultural communication in response to group criticism: collective face and discomfort feelings

Purpose Group criticism plays an important role in intergroup relations and conflicts, but few studies have related group criticism to intercultural communication contexts. This study aims to explore two cultural groups’ (Chinese international students in the USA and American domestic students) collective face concern as a unique experience in intercultural communication and other psychological responses while encountering group criticism targeting their country image. Design/methodology/approach A laboratory experiment was conducted assessing Chinese international students (n = 115) and American domestic students’ (n = 100) responses to a research-confederate critic (whose group membership was manipulated) criticizing participants’ country image such as blaming China and the USA for air pollution or using drugs in the Olympics. analysis of covariance, correlational analysis and regression analysis were adopted to analyze the data. Findings Chinese international students reported higher collective face concerns and lower liking toward the critic compared with American students. When criticism specifically targeted participants’ country image, Chinese international students reported more discomfort feelings than American students; and while responding to the critic who identified as participants’ ingroup member, Chinese international students’ discomfort feelings were more susceptible to their collective face than American students in the same condition. Originality/value This study illustrates cultural differences in collective face concerns and psychological reactions in responding to criticism targeting a country image in intercultural communication contexts.

Connections, Identity and Resilience Amongst International Students at Victoria University

<p>This study used a re-storying methodology to develop narratives of 13 Asian students who came from overseas to study in New Zealand at Victoria University. These narratives considered connections the students made both on and off campus and their reflections on how these connections shaped cultural identity. The research also explored students’ experiences of resilience and agency. Their stories revealed strong connections made with other international students but less well formed relationships with domestic students, where ties are superficial despite programmes designed to facilitate these connections. The exception was the stronger connections students developed with domestic minority learners, such as Pasifika and Maori students. Volunteering, rather than paid work or homestays, were contexts that offered community connections. Student narratives suggest that the experience of studying at VUW refreshed home country identity but also encouraged a flexible identity with a growing awareness of cultural diversity, which for some students, constituted a global citizen perspective. While all students reported struggles, they maintained resilience in the face of challenges, using their networks to sustain them, rather than formal support services. They demonstrated agency in making moves to improve their situation and that of prospective students. Micro-aggressions encountered did cause social suffering but students confronted racism, in their own way, trying to enlarge cultural space at university. Leadership opportunities taken, along with the difficult social encounters they navigated, lead to personal change and growth. Implications of these findings, for policy makers and providers of support services, are discussed.</p>

Connections, Identity and Resilience Amongst International Students at Victoria University

<p>This study used a re-storying methodology to develop narratives of 13 Asian students who came from overseas to study in New Zealand at Victoria University. These narratives considered connections the students made both on and off campus and their reflections on how these connections shaped cultural identity. The research also explored students’ experiences of resilience and agency. Their stories revealed strong connections made with other international students but less well formed relationships with domestic students, where ties are superficial despite programmes designed to facilitate these connections. The exception was the stronger connections students developed with domestic minority learners, such as Pasifika and Maori students. Volunteering, rather than paid work or homestays, were contexts that offered community connections. Student narratives suggest that the experience of studying at VUW refreshed home country identity but also encouraged a flexible identity with a growing awareness of cultural diversity, which for some students, constituted a global citizen perspective. While all students reported struggles, they maintained resilience in the face of challenges, using their networks to sustain them, rather than formal support services. They demonstrated agency in making moves to improve their situation and that of prospective students. Micro-aggressions encountered did cause social suffering but students confronted racism, in their own way, trying to enlarge cultural space at university. Leadership opportunities taken, along with the difficult social encounters they navigated, lead to personal change and growth. Implications of these findings, for policy makers and providers of support services, are discussed.</p>

Foreign-Born Student Affairs Professionals’ Impacts and Experiences: The Missing Piece of Internationalization

This study examined lived experiences of foreign-born student affairs professionals (SAPs) in the United States and Canadian higher education. We sought to understand foreign-born SAPs’ impacts on higher education internationalization and what their professional experiences inferred about the level of international engagement in the field of student affairs. The findings from 35 completed interviews unveiled foreign-born SAPs’ enthusiasm and capacities in contributing to internationalization work, particularly in international student services and international and intercultural education for domestic students and peers. However, their rocky journeys to attain visas to enter and stay in the field of student affairs indicated their misplaced functionalities and signaled a missed opportunity for higher education institutions. It is recommended that higher education institutions recognize the importance of internationalizing the SAP and creating a welcoming and supportive environment to further their internationalization efforts.

Effects of Online Learning Experience During the COVID-19 Pandemic on Students’ Satisfaction, Adjustment, Performance, and Loyalty

This research investigates the student online learning experience (SOLE) during the 2020 spring Covid-19 pandemic. We collected quantitative data through an online survey from 362 international and 488 domestic students at a large Polish University. Correlation and path analysis within a conceptual model of SOLE and its academic outcomes established that (1) SOLE explained adjustment, performance, satisfaction, and loyalty, (2) academic adjustment predicts performance, satisfaction, and loyalty, (3) that academic performance and satisfaction predict student loyalty, and (4) that academic performance predicts satisfaction. Interestingly, time spent in quarantine/self-isolation did not exert any effect on academic outcomes in SOLE. Moreover, qualitative data collected via narrative interviews with 13 international and domestic students developed our understanding of SOLE and its outcomes. We propose some research and practice implications for universities to enhance SOLE.

Beethoven's 'Kreutzer' Sonata: Nineteenth-century Art of Arrangement - One Piece, Three Ways

<p>Beethoven’s ‘Kreutzer’ Sonata transgressed the expectations – and likely captivated the minds – of early nineteenth-century musicians and audiences alike. The ‘Kreutzer’ is stylistically removed from his Op. 10 No. 1 composed less than six years earlier; it demands virtuosic technical proficiency from both performers. Through the combination of harmonic evasion playing on audience expectations in the first movement and the conversational interplay between the personalities of both performers and instrumental parts alike, this audacious work has fascinated the minds of both listener and critic from the 1803 premiere through to the modern day. In 1805 an Allgemeine musikalische Zeitung review suggested that it would require two virtuosi to study the work in order to communicate the ‘Groteskeste’ work to an audience – this is indicative of not just technical difficulty but also the importance of the dynamic relationship between the two partners of the duo to the ‘Kreutzer’. This highly charged relationship inspired Tolstoy and Prinet (and by extension Janacek and many twentieth-century film and multimedia artists) to create adaptations of ‘Kreutzer’. High-quality musical arrangements of ‘Kreutzer’ appeared as early as 1827, when Carl Czerny completed a four-hand version of ‘Kreutzer’. This was closely followed by an anonymous string quintet arrangement released by the Simrock publishing house in 1832. These arrangements translated the virtuosic sonata into different mediums for wider dissemination, making it more readily available to both musicians active in the chamber music scene, and domestic students and dilettantes proficient at the piano. Both arrangements manage to transform the ‘Kreutzer’ into a different format while retaining aspects of both the conversational relationship between musicians as well as the technical demands of Beethoven’s original sonata. The string quintet arrangement tends to fragment melodic ideas between parts, rather than transplanting entire phrases or providing a direct transcription – exceptions generally occurring at important transitions or particularly special moments. This generates a highly differentiated conversational landscape to that the original, which manifests also in the visual shift to five performers. While the arranger also reworks some of the piano writing into more idiomatic string writing, it still demands a high level of technical proficiency from all five players. The four-hand arrangement reworks the same dialogue and thematic ideas into a more intimate setting, taking an almost entirely opposite approach to the quintet. As the two instrumental parts are combined for one instrument, the difficulties from Beethoven’s piano part are divided quite literally between primo and secondo. In a similar manner, the conversational and thematic interplay resemble Beethoven’s original in a far more direct manner than the quintet. Although the four-hands medium is recognised more for study and wider transmission of concert pieces, it is difficult enough that the virtuosic essence of Beethoven’s ‘Kreutzer’ is maintained. This dissertation closely examines the relationship between the two instruments within Beethoven’s ‘Kreutzer’ Sonata, and the manner in which both the contemporary arrangements above maintain and alter that relationship through the transformation into another format. In addition, it explores why the textural and idiomatic changes in both arrangements – fundamental and ornamental – remove none of the virtuosic and captivating essence of Beethoven’s ‘Kreutzer’, while simultaneously allowing them to bridge the divide between the emergent nineteenth-century concert hall scene, close study of the score, and domestic music-making.</p>

Beethoven's 'Kreutzer' Sonata: Nineteenth-century Art of Arrangement - One Piece, Three Ways

<p>Beethoven’s ‘Kreutzer’ Sonata transgressed the expectations – and likely captivated the minds – of early nineteenth-century musicians and audiences alike. The ‘Kreutzer’ is stylistically removed from his Op. 10 No. 1 composed less than six years earlier; it demands virtuosic technical proficiency from both performers. Through the combination of harmonic evasion playing on audience expectations in the first movement and the conversational interplay between the personalities of both performers and instrumental parts alike, this audacious work has fascinated the minds of both listener and critic from the 1803 premiere through to the modern day. In 1805 an Allgemeine musikalische Zeitung review suggested that it would require two virtuosi to study the work in order to communicate the ‘Groteskeste’ work to an audience – this is indicative of not just technical difficulty but also the importance of the dynamic relationship between the two partners of the duo to the ‘Kreutzer’. This highly charged relationship inspired Tolstoy and Prinet (and by extension Janacek and many twentieth-century film and multimedia artists) to create adaptations of ‘Kreutzer’. High-quality musical arrangements of ‘Kreutzer’ appeared as early as 1827, when Carl Czerny completed a four-hand version of ‘Kreutzer’. This was closely followed by an anonymous string quintet arrangement released by the Simrock publishing house in 1832. These arrangements translated the virtuosic sonata into different mediums for wider dissemination, making it more readily available to both musicians active in the chamber music scene, and domestic students and dilettantes proficient at the piano. Both arrangements manage to transform the ‘Kreutzer’ into a different format while retaining aspects of both the conversational relationship between musicians as well as the technical demands of Beethoven’s original sonata. The string quintet arrangement tends to fragment melodic ideas between parts, rather than transplanting entire phrases or providing a direct transcription – exceptions generally occurring at important transitions or particularly special moments. This generates a highly differentiated conversational landscape to that the original, which manifests also in the visual shift to five performers. While the arranger also reworks some of the piano writing into more idiomatic string writing, it still demands a high level of technical proficiency from all five players. The four-hand arrangement reworks the same dialogue and thematic ideas into a more intimate setting, taking an almost entirely opposite approach to the quintet. As the two instrumental parts are combined for one instrument, the difficulties from Beethoven’s piano part are divided quite literally between primo and secondo. In a similar manner, the conversational and thematic interplay resemble Beethoven’s original in a far more direct manner than the quintet. Although the four-hands medium is recognised more for study and wider transmission of concert pieces, it is difficult enough that the virtuosic essence of Beethoven’s ‘Kreutzer’ is maintained. This dissertation closely examines the relationship between the two instruments within Beethoven’s ‘Kreutzer’ Sonata, and the manner in which both the contemporary arrangements above maintain and alter that relationship through the transformation into another format. In addition, it explores why the textural and idiomatic changes in both arrangements – fundamental and ornamental – remove none of the virtuosic and captivating essence of Beethoven’s ‘Kreutzer’, while simultaneously allowing them to bridge the divide between the emergent nineteenth-century concert hall scene, close study of the score, and domestic music-making.</p>