...Cultural identity isn't about who people think you are, it's about who you are as a whole and what defines you as you. For me, my cultural identity comes from YouTube, music, and singing. It’s hard being the youngest out of two and living in a house with eight people. I’m frustrated and angry most of the time, sometimes the only thing that will calm me down is locking myself in my room and going on YouTube to watch funny videos. YouTube helps me calm down because I can laugh at all the stupid things Logan Paul does, he’s a vlogger, he has 11.3 million subscribers watching him do stupid stuff and I’m one of them. I watch him because he has such great personality and he encourages others to be who they are and never give up and he inspired...
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...What my topic is what my culture identity. I have a lot of things that I do in my culture but I Am only going to talk about a few of them.One is what I eat.Another is what I do for fun.The last one is going to be music. Since I have a lot of races in me I eat a lot of different things.But I like to keep it simple to what other people eat.What I mean by is some time I like to eat vegetables while other times I like to eat meat but most of the time I like to eat vegetables.But that doesn't mean I'm a vegetarian I do have a favorite meat and it's called ribs yep ribs. For what I like to do for entertainment in my culture is basketball.Here’s why I like to play basketball,ever since I was five when I got my first basket ball I always like...
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...My True Cultural Identity Being born as your average American, I never really payed much attention to my true cultural identity or where I originated from. Instead, I lived according to who I thought I was and did things the way any typical American would do. However, this story isn’t about who I thought I was or why I have dealt with the fact that I am an American, this story is about who I really am and what I’ve learned about my true cultural identity. Since before I can remember, my grandfather always told me stories of the Indians in Mississippi and how his mother and father were full blooded Indian and belonged to a tribe in the early 1900’s. this was interesting to me because I always had a thing for Indian classical movies. Especially,...
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...the outsider identity may be thrust upon the individual, the individual himself/herself may hinder his/her assimilation and therefore be the cause of his/her own isolation. In both Margaret Atwood’s poem collection Journals of Susanna Moodie and Maria Campbell’s narrative poem, “Jacob,” protagonists Susanna Moodie and Jacob struggle as outsiders in their respective Canadian environments. Both protagonists are outsiders as Moodie is an outsider to the wildlife environment of the Bush and Jacob is an outsider to his Indigenous community; however, Moodie’s outsider status is a result of her personal fear of the unfamiliar, while external societal forces create Jacob’s outsider identity. Both outsider identities, while differing in causation, illustrate the negative impact Western ideology has on the new settler and Indigenous populations as the former’s preconditioned Western beliefs turn Canada’s natural environment into an adversary and the latter is pressed to abandon its unique cultural traditions. Through strategic word choice, both Susanna Moodie and Jacob are established as outsiders in their respective natural and social environments; however Moodie’s personal barriers cause her outsider identity, while Jacob’s outsider status is forced upon him by societal factors, providing a commentary on the destructive impact of Western ideologies. Atwood manipulates words to situate Moodie as an outsider to nature as she writes, “The moving water will not show me/ my reflection./...
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...Whale Rider Themes In the film the Whale Rider, the once complimentary narratives that governed the Maori culture: Gender, Identity, and Traditions are competing against one another. The fundamental elements of these narrative has stayed unchanged; However, some characters are interpreting these liturgies to their own personal narratives, causing conflict within the Maori Culture. Synopsis of film During a time of modernization, poverty, and the decentralization of the role the Maori culture play in the people lives, one local leader (Koro) looked upon Hope in a form of a prophet. According to the Maori's traditions, the ancient ancestor Paikea descendants: the eldest son are the rightful tribe leader and will centralize the community again...
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...Ondaatje’s novel as a “mystery of identity” (449). Similarly, Aritha van Herk identifies “fear, unpredictability, secrecy, [and] loss” (44) as the central features of the novel and its female protagonist. Anil’s Ghost, van Herk argues, presents its readers with a “motiveless world” of terror in which “no identity is reliable, no theory waterproof” (45). Ondaatje’s novel tells the story of Anil Tessera, a Sri Lankan expatriate and forensic anthropologist working for a UN-affiliated human rights organization. Haunted by a strong sense of personal and cultural dislocation, Anil takes up an assignment in Sri Lanka, where she teams up with a local archeologist, Sarath Diyasena, to uncover evidence of the Sri Lankan government’s violations of human rights during the country’s period of acute civil war. Yet, by the end of the novel, Anil has lost the evidence that could have indicted the government and is forced to leave the country, carrying with her a feeling of guilt for her unwitting complicity in Sarath’s death. On one hand, Anil certainly embodies an ethical (albeit rather schematic) critique of the failure of global justice. On the other, her character stages diaspora, in Vijay Mishra terms, as the “normative” and “ exemplary … condition of late modernity” (“Diasporic” 441) — a condition usually associated with the figure of the nomad rather than the diasporic subject — and thus raises questions about the novel’s regulatory politics of diasporic identity. In contrast, Anita Rau Badani’s...
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...Through narrative therapy a counselor can help clients gain access to preferred story lines about their lives and identities taking the place of previous negative and self-defeating narratives that destroy the self. Presented in this paper, is an overview of the Narrative therapy and the Social Construction Model and several facets of this approach including poststrucuralism, deconstructionism, self-narratives, cultural narratives, therapeutic conversations, ceremonies, letters and leagues. A personal integration of faith in this family counseling approach is presented and discussed also in this paper. NARUMI AMADOR’S FAMILY CONSELING APPROACH Introduction Narrative therapy is found under the Social Construction Model. Using the Narrative approach, the therapist will not be the central figure in the therapeutic process, instead he will be influential to the client, helping him/her internalize and create new stories within themselves to draw new and healthier assumptions about who they are. This process enables clients to distract from focusing on the negative narratives which defined their past, redefining their lives into future positive stories. Narrative therapists define the problem as the problem instead of defining the client as the problem. The therapy process begins redefining the problem, externalizing it and getting it out in the open. The narrative therapist uses the questioning technique and creates alternative narratives to connect...
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...The Gender Politics of Narrative Modes I want to challenge two linked assumptions that most historians and critics of the English novel share. The first is that the burgeoning of capitalism and the ascension of the middle classes were mainly responsible for the development of the novel. The second is that realism represents the novel's dominant tradition. [note 1] I want to propose instead that, as surely as it marked a response to developing class relations, the novel came into being as a response to the sex-gender system that emerged in England in the seventeenth and eighteenth centuries. [note 2] My thesis is that from its inception, the novel has been structured not by one but by two mutually defining traditions: the fantastic and the realistic. [note 3] The constitutive coexistence of these two impulses within a single, evolving form is in no sense accidental: their dynamic interaction was precisely the means by which the novel, from the eighteenth century on, sought to manage the strains and contradictions that the sex-gender system imposed on individual subjectivities. For this reason, to recover the centrality of sex and gender as the novel's defining concern is also to recover the dynamism of its bimodal complexity. Conversely, to explore the interplay of realist and fantastic narratives within the novelistic tradition is to explore the indeterminacy of subjectivities engaged in the task of imposing and rebelling against the constraining order of gender difference. ...
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...University of Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2010 Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context Leah Rang University of Tennessee - Knoxville, lrang@utk.edu Recommended Citation Rang, Leah, "Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context. " Master's Thesis, University of Tennessee, 2010. http://trace.tennessee.edu/utk_gradthes/655 This Thesis is brought to you for free and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of Trace: Tennessee Research and Creative Exchange. For more information, please contact trace@utk.edu. To the Graduate Council: I am submitting herewith a thesis written by Leah Rang entitled "Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Urmila Seshagiri, Major Professor We have read this thesis and recommend its acceptance: Lisi Schoenbach, Bill Hardwig Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official student records.) To the Graduate Council:...
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...Family Counseling Approach: Narrative Lisa R. Murray Liberty University Online Abstract Narrative therapy is a therapeutic approach that is used alone or in conjunction with other methods of therapy. This particular method of therapy is used in family therapy to help clients focus on gaining access to preferred story lines in reference to their lives and identities the family dynamics that may affect them. The preferred story line will replace the place of the previous negative and self-defeating narratives about themselves. Helping clients within a family counseling to begin to become the author of their own story is important in many cases to overcoming multigenerational affects. Narrative therapy aids in this process. This comprehensive evaluation of narrative therapy within the structure of family therapy and the integration of faith will be constructed in the following pages. Keywords: self-defeating, Narrative therapy, multigenerational, therapeutic Introduction Narrative therapy is considered apart of the Social Construction Model. This particular type of therapy, the counselor or therapist is not a dominant entity or focal point of the process. Instead the therapist is seen as an influential individual to the client. The counselor will aid the client with the process of internalization and the creation of new stories or narratives within themselves that help them to draw new assumptions about themselves. This is done through the process of the client...
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...STUDIES IN PROFESSIONAL LIFE AND WORK Mike Hayler University of Brighton, UK Autoethnography, Self-Narrative and Teacher Education examines the professional life and work of teacher educators. In adopting an autoethnographic and life-history approach, Mike Hayler develops a theoretically informed discussion of how the professional identity of teacher educators is both formed and represented by narratives of experience. The book draws upon analytic autoethnography and life-history methods to explore the ways in which teacher educators construct and develop their conceptions and practice by engaging with memory through narrative, in order to negotiate some of the ambivalences and uncertainties of their work. The author’s own story of learning, embedded within the text, was shared with other teacher-educators, who following interviews wrote self-narratives around themes which emerged from discussion. The focus for analysis develops from how professional identity and pedagogy are influenced by changing perceptions and self-narratives of life and work experiences, and how this may influence professional culture, content and practice in this area. Autoethnography, Self-Narrative and Teacher Education Autoethnography, Self-Narrative and Teacher Education STUDIES IN PROFESSIONAL LIFE AND WORK The book includes an evaluation of how using this approach has allowed the author to investigate both the subject and method of the research with implications for ...
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...poets use to explore the connection between people and the places in which they live in ‘Hurricane Hits England’ and one other poem. In the two poems ‘Hurricane Hits England’ and ‘Presents From My Aunts In Pakistan’ both poets use a variety of literary techniques such as the setting style and themes to invoke within the reader a sense of the narrators nationality in the poem. The poem ‘Presents From My Aunts In Pakistan’ is set in England with a girl remembering her previous life in Pakistan. The poet Moniza Alvi depicts the dilemma of the young Asian girl who is growing up in England but family and relatives are strongly rooted in Pakistani culture and traditions. She feels lost, she’s confused about her identity and she feels ‘half-English.’ This indicates that she is not truly identifying with English cultures. The poem is written as a first person narrative to enable us to share her story, the reader can identify more easily with one person. Imagery is used throughout the poem, ‘Glistening like an orange split open.’ This enables the reader to visualise, hence become more involved and the poem becomes more alive. The conflict between her two cultures felt by this young girl is juxtaposed throughout the poem this reinforces the differences between the two nationalities. ‘My salwar kameez didn’t impress the school friend.’ Her friends did not like beautiful, top quality, traditional Pakistani clothes. The poet also makes a political comment by mentioning the ‘Fractured...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Very Short Introductions are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in 15 languages worldwide. Very Short Introductions available from Oxford Paperbacks: ANCIENT PHILOSOPHY Julia Annas THE ANGLO-SAXON AGE John Blair ARCHAEOLOGY Paul Bahn ARISTOTLE Jonathan Barnes Augustine Henry Chadwick THE BIBLE John Riches Buddha Michael Carrithers BUDDHISM Damien Keown CLASSICS Mary Beard and John Henderson Continental Philosophy Simon Critchley Darwin Jonathan Howard DESCARTES Tom Sorell EIGHTEENTH-CENTURY BRITAIN Paul Langford The European Union John Pinder Freud Anthony Storr Galileo Stillman Drake Gandhi Bhikhu Parekh HEIDEGGER Michael Inwood HINDUISM Kim Knott HISTORY John H. Arnold HUME A. J...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Jonathan Culler LITERARY THEORY A Very Short Introduction 1 Great Clarendon Street, Oxford o x2 6 d p Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Jonathan Culler 1997 The moral rights...
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...of artifacts, values and assumption that emerge from the interaction of organizational members Open social system operating a dynamic environment. CRITERIA to identify something as culture: 1. Deeply felt or held 2. Commonly intelligible 1. Accessible to a cultural group Organization = Ordered and purposeful interaction among people. Purposeful, because its members produce (supero-rdinative) goal-directed activities. Organizational communication is a continuous process through which organizational members create, maintain and change the organization. (it includes business communication) N.B. All organizational members take place in it; messages are produced to create a shared meaning of messages, but it is not always achieved. Those messages vary in form according to various factors (power distances, roles, goal, method, non-verbal), and to be fully understood have to be considered in their contexts Culture: "the collective programming if the mind that DISTINGUISHES the members of one group tor category of people from another" (Hofstede 2001) Is both a process and a product; is confining (imitates groups) and facilitating (gives us a way to better understand what is happening) Cultural Symbol = physical indicators of organizational life (Rafaeli & Worline 2000) ARTIFACTS: visible/tangible, are also part of them norms, standards, customs and social convention. Norms: pattern of behaviors or communication, indicating what people should do in a...
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