The split film installation 'Hanging Garden' by South-Korean multi-media artist Jung Yeondoo (b. 1969) presents a creative, meta-institutional reflection on how (art) history is, and should be told, ...in Korea today. It consists of two HD color film sequences, which Jung realized in 2009 for the exhibition Platform in KIMUSA in the section 'Void of Memory.' Crucial for the two films is a sequential spatial display that allows viewers to see only one film after the other, since the second sequence reveals the making of the first and is intended to work as a kind of punch line in response. The article explores the ironic 'framings' that Jung uses to expose the multi-layered ways heritage is constituted in South Korea given the colonial and authoritarian roots of the art museum. The analysis here follows and contextualizes the esthetic revealing of the art museum's most contemporary instantiation built on the former site of the Defense Security Command (DSC) in Sogyeok-dong Seoul as a 'hanging garden' that is ambivalently suspended between official efforts to establish national 'heritage' and citizens' memories about conflicted pasts, in which the site saw the torture of civilians.
Resilience, defined as the ability to overcome the difficulties encountered in achieving personal, professional or academic goals, is a topic of recent interest within the field of social sciences; ...more specifically in Psychology and Positive Psychopedagogy.
From the transcultural study of Grotberg in 1999, held in twenty places distributed in twenty countries, to transcultural research conducted by the International Association for the Evaluation of Educational Achievement (IEA) in its TIMSS 2011 study, knowledge about children resilience has been incorporating relevant data and factors related to both students and its context in the exploratory phase, which is this line of research.
Transcultural research about resilience have also been responsible for changing the preventive institutional approach to promotion models, committed to optimizing strengths and resilience factors of subjects at risk.
With the guiding principle „Learning from Athens“ the 14th edition of documenta took place in 2017 both in the Greek metropolis of Athens and the German city of Kassel. As such, documenta 14 did not ...appear as a touring exhibition but as two single and at the same time correlated exhibitions in two different countries located in the middle of Europe and on its outskirts. With this curatorial approach, Artistic Director Adam Szymczyk goes counter the basic parameters of the well-established Western exhibition institution, which was founded in 1955 and, since then, is implemented as a periodical exhibition with a one hundred-day duration at its venue in Kassel. Taking a transcultural perspective, this article considers how the curatorial concept of documenta 14 challenges not only the institutional history, structure and status of documenta but also how it resumes and transforms its initial understanding of an ethics of cultural connectivity in times of crisis and traumatic historical ruptures for today. Moreover, it critically scrutinizes, how far the curatorially initiated „terms of invitation“ and „forms of collaboration“ for the exhibition between Kassel and Athens can be acknowledged as a shared cultural practice.
This article further investigates Dickinson's Chinese aesthetic under the rubric of Blandness, Agedness and Oblivion, a strand of poetic development in Dickinson's late years. Echoing In Praise of ...Blandness by Francois Jullien, a French Sinologist, this critical framework mainly derives from a nuanced reinterpretation of “The Gentian has a parched Corolla -” (Fr1458/1877). The discussion also covers some infrequently studied poems, making a case for their cross-cultural significances and implications for reexamining Dickinson's late mind. Dickinson's celebrating Blandness, Agedness and Oblivion closely connects with her principle of Use of Uselessness and her practicing a wandering at ease, which in her late years is reassessed and reconfirmed. Reading Dickinson's late letters from the Chinese perspective aims at illustrating aspects of her life and roles she has played, disabusing the image of an aloof recluse.
This volume offers a fresh perspective on the copy and the practice of copying, two topics that, while the focus of much academic discussion in recent decades, have been underrepresented in the ...discourse on transculturality. Here, experts from a wide range of academic disciplines present their views on the copy from a transcultural perspective, seeking not to define the copy uniformly, but to reveal its dynamic and transformative power. The copy and the practice of copying are thus presented as constituents of transculturality via thought-provoking contributions on topics spanning time periods from antiquity to the present, and regions from Asia to Europe. In so doing, these contributions aim to create the basis for a novel, interdisciplinary discourse on the copy and its transcultural impact throughout history.
This paper describes a transcultural perspective, employed by one social work program, as an integrative framework for addressing diversity throughout the curriculum. The transcultural perspective ...incorporates five interrelated but distinct dimensions: (1) culture (recognizing the importance of culture at all levels of practice); (2) understanding dynamics of power, privilege, and oppression; (3) positionality and self-reflexivity; (4) respectful partnership; and (5) cultural competence (translating principles into culturally responsive practice). Also presented are findings from a study assessing student understanding after delivery of educational modules introducing the transcultural perspective.
À travers ses créations littéraires, Vénus Khoury-Ghata, écrivaine libanaise francophone vivant à Paris, propose une alternative à une représentation cloisonnante du Liban et de l’identité libanaise. ...Son regard, développé en français depuis le « dehors », met à profit sa marginalisation à l’égard d’une littérature nationale soucieuse d’« authenticité culturelle » pour inventer d’autres images de son pays d’origine. L’effet littéraire et stylistique produit par une écriture poétique et romanesque, qui se situe à l’intersection des cultures et des langues, est particulièrement saisissant dans son emploi de la métaphore. Cette figure de style est envisagée d’abord à travers les problématiques de la représentation du national, puis dans sa fonction de « passeur culturel » dans le texte, dans un premier temps dans une perspective interculturelle, et dans un second temps dans une perspective transculturelle.Dès lors que l’on considère la culture comme un processus plutôt que comme un patrimoine, la métaphore khouryghatienne se présente comme un dispositif stylistique dans le texte qui ouvre des possibles dans les discours identitaires. En ce sens elle joue chez Vénus Khoury-Ghata le même rôle que la Relation dans la totalité-monde glissantienne. Par le travail de la métaphore, l’œuvre khouryghatienne ouvre la conscience nationale à la conscience mondiale en réalisant la rencontre entre de multiples cultures et œuvre à la compréhension et à la reconstruction identitaire du peuple libanais.
Through her literary works, Francophone Lebanese writer Vénus Khoury-Ghata who resides in Paris, suggests an alternative idea to that of the isolated representation of Lebanon and of the Lebanese identity. Expressed in French from the outside of her motherland’s limits, her point of view makes good use of her marginalization towards the national literature which worries about its “cultural authenticity” while aiming to invent other images of her own country.The literary effect produced through the writing of her poetry and novels, which is situated and placed in the meeting point of cultures and languages, is thought particularly striking through her use of the metaphor. This figure of speech is contemplated primarily through the issues about the representation of the Nation, and it is then dealt with its function of “cultural crossing” through text, firstly in an intercultural perspective and secondly in a transcultural one. Seeing that they consider culture as a process rather than that of heritage, the khouryghatien metaphor in the text stands as a way of disclosing the realms of “possibles” in the Identity studies. In this sense, it plays the same role in Vénus Khoury-Ghata’s work as the Relation in Glissant’s total world. Through the metaphor task, khouryghatien poetry and novels widen national consciousness to the world by encouraging the meeting among multiple cultures and it also works for understanding and reconstructing the identity of the Lebanese people.
Attraverso le sue creazioni letterarie Vénus Khoury-Ghata, scrittrice libanese francofona residente a Parigi, propone un'alternativa ad una rappresentazione separativa del Libano e dell'identità libanese. Il suo punto di vista, elaborato in francese "dall'esterno", mette a profitto la propria marginalizzazione rispetto ad una letteratura nazionale attenta a preservare un’"autenticità culturale" per creare immagini diverse del suo paese d'origine. L'effetto letterario e stilistico prodotto da una scrittura - e in versi e in prosa - situata nell'intersezione di culture e lingue, riesce particolarmente incisivo nell'uso della metafora. Questa figura stilistica viene esaminata anzitutto attraverso le problematiche della rappresentazione del significato nazionale, quindi nella sua funzione di "passeur culturale" nel testo, dapprima nell'ambito di una prospettiva interculturale e poi entro una prospettiva transculturale. Qualora si intenda la cultura come un processo "in fieri" anziché un patrimonio esclusivo da salvaguardare, la metafora khouryghatiana appare come un dispositivo stilistico atto ad aprire dei "possibili" nei discorsi identitari. In questo senso essa gioca nell’opera di Khoury-Ghata lo stesso ruolo della Relazione nella totalità-mondo di Édouard Glissant. Tramite la creazione della metafora, l'opera khouryghatiana apre, dunque, la consapevolezza nazionale a quella mondiale favorendo l'incontro tra più culture e concorre alla comprensione e alla ricostruzione identitaria del popolo libanese.
Les études sur l'agressivité physique confondent souvent l'agressivité verbale, l'agressivité indirecte, l'opposition, la compétition et d'autres problèmes de conduite. De fait, on ne possède encore ...que peu de connaissances sur l'émergence et le développement de l'agressivité physique au cours de la prime enfance. Récemment, Tremblay et al.
27 se sont intéressés à cette question. Dans une perspective transculturelle, nous avons tenté de reproduire la même procédure. Il s'avère que nos données concordent avec celles collectées par Tremblay : les propos des mères relatifs à 11 comportements d'agressivité physique indiquent que les proportions d'enfants manifestant de telles conduites augmentent de façon conséquente entre 12 et 17 mois. À cet âge, près de 90 % des sujets de notre échantillon vérifiaient au moins l'un des items de la liste proposée. De plus, le sexe de l'enfant et le fait d'appartenir à une fratrie sont susceptibles d'influencer l'émergence de comportements agressifs. Ces deux études suggèrent que la croyance selon laquelle la probabilité d'émergence de conduites violentes augmente à l'approche de l'adolescence doit être reconsidérée. Ces comportements surviennent en effet chez la majorité des enfants dès l'âge de deux ans, et la plupart apprennent à les inhiber en entrant à l'école. Il apparaît ainsi que deux principales trajectoires développementales quant à l'agressivité physique puissent être distinguées : « limitée à l'enfance » et « persistant tout au long de la vie ». En outre, le fait que la majorité des enfants apprenne à ne plus manifester de conduites violentes entre deux et trois ans semble indiquer qu'il existe une période sensible pour apprendre à inhiber les comportements agressifs.
Studies of aggression often confound physical aggression with verbal aggression, indirect aggression, opposition, competition and other externalizing behaviours. Yet little is known about the onset and development of physical aggression before school entry. Recently, Tremblay et al.
27 have interested in this field study. In a transcultural perspective, we have tried to replicate, using the same method, the results they obtained. It appears that the data we have collected concord with Tremblay’s data: the maternal reports on 11 physically aggressive behaviours indicated that the rate of cumulative onset of physically aggressive behaviours increased substantially from 12 to 17 months after birth. By 17 months of age, onset of physical aggression is reported for close 90% of the children. Moreover, the sex of the child and the presence of a sibling appeared to influence age of onset. Both studies suggest that the notion of increased probability of onset of physical aggression as children approach adolescence needs to be reconsidered. Most children have had their onset of physical aggression by the end of their second year after birth, and most have learn to inhibit physical aggression by school entry. Thus, there may be two main developmental trajectories of physical aggression: childhood limited and life-course persistent. This may be an indication that there is a sensitive period for learning to inhibit physically aggressive behaviour.
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Discusses a transcultural perspective on social policy and the aged, particularly Chicano aged. Suggests the need for social policies to accommodate intragroup difference, i.e., social class, age, ...income, personalities, and sex roles. Concludes qualitative research and vital statistics are needed for better policymaking. (AH)
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