What makes us complete: Hybrid multicultural identity and its social contextual origins

2021 ◽  
Author(s):  
Andrea Belgrade ◽  
Mari Kira ◽  
Shima Sadaghiyani ◽  
Fiona Lee
Keyword(s):  
Multicultural Identity

scholarly journals Displaced Art and the Reconstruction of Memory: Ukrainian Artists from Crimea and Donbas

2018 ◽  
Vol 2 (1) ◽  
pp. 700-709
Author(s):  
Iuliia Lashchuk
Keyword(s):  
Cultural Context ◽  
Main Idea ◽  
Personal History ◽  
Local Memory ◽  
Multicultural Identity ◽  
Left Behind ◽  
The People

Abstract After the occupation of Crimea and the conflict in Eastern Ukraine, many people were forced to leave their homes and look for a new place to live. The cultural context, memories, narratives, including the scarcely built identity of artificially made sites like those from Donbas (Donetsk and Luhansk regions) and the multicultural identity of Crimea, were all destroyed and left behind. Among the people who left their roots and moved away were many artists, who naturally fell into two groups-the ones who wanted to remember and the ones who wanted to forget. The aim of this paper is to analyse the ways in which the local memory of those lost places is represented in the works of Ukrainian artists from the conflict territories, who were forced to change their dwelling- place. The main idea is to show how losing the memory of places, objects, sounds, etc. affects the continuity of personal history.

Beyond Borders

2017 ◽  
Author(s):  
Silvia Goldman
Keyword(s):  
Sense Of Belonging ◽  
Common Point ◽  
Global Village ◽  
Multicultural Identity ◽  
Poetic Voice ◽  
Cultural Boundaries ◽  
The Common ◽  
Voice Calls ◽  
Poetry Collection

Silvia Goldman presents the Chilean poet and performer Cecilia Vicuña’s poetry collection i tu (2004) as a postnational work of literature that addresses its reader in several languages, such as Spanish, English, and Quechua. Goldman argues that i tu establishes a speech “between languages,” able to pierce through territorial, cultural, and linguistic borders. The poetic voice calls this an “habla-alba” (a “dawn-speech”) that identifies the common roots of several languages and thus re-establishes the connections between them. By challenging pre-established linguistic, national, and cultural boundaries, Vicuña's poetry aims to construct a future based on the continual redefinition of a multilingual and multicultural identity.The poems ini tu, therefore, can be read as an itinerant geography within a provisional country, described by the poetic voice as a “no lugar.” Protected from exile and rootlessness, an alternative sense of belonging can be constructed. The collection i tu, as this chapter argues, builds its own utopian, alternative “global village,” where the threads that lead back to a common point of origin are made visible and where political, national, cultural, and linguistic borders are questioned.

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