Deals with the issues of the construction of Self and Other in the context of social exclusion of those perceived as different. This collection focuses on one theoretical proposition, namely, that the seemingly universal processes of identity formation and exclusion of the 'other' can be differentiated according to three modalities.

Advancing public dialogue surrounding the issues of migrants and refugees, the volume explores the dynamic representations of the recent movement of people from and through the Balkans. It investigates how people within the Balkans view their others, how the West regards the Balkans, and how emigrants from the Balkans reflect upon their experiences as members of cosmopolitan diasporic communities. Highlighting latent tensions between center and periphery and furthering the discussion of racialization related to the Balkans, the collection exposes contradictions in social values, which give rise to national anxieties. Approaching mobility from multiple disciplines, the volume examines several instances of border flows in media, literature, and culture in general, flows of ideas and people. To analyze mobility to, from, and in the Balkans requires one to address the issue of difference, otherness, and race as it relates to South East Europe and as it is understood and reproduced in both transnational and local forms. The racialized category of “migrant” necessitates an understanding of how transnational concepts of race translate into constructs of whiteness and blackness and inform subject positions of the individual and motivate discourses of racialization within communities.

Describing the field, spanning individual, organisation societal and cultural perspectives in a cross-disciplinary manner, this is the premier reference tool for students lecturers, academics and practitioners to gather knowledge about a range of important topics from the perspective of organisation studies.

Ancient Alterity in the Andes is the first major treatment on ancient alterity: how people in the past regarded others. At least since the 1970s, alterity has been an influential concept in different fields, from art history, psychology and philosophy, to linguistics and ethnography. Having gained steam in concert with postmodernism’s emphasis on self-reflection and discourse, it is especially significant now as a framework to understand the process of ‘writing’ and understanding the Other: groups, cultures and cosmologies. This book showcases this concept by illustrating how people visualised others in the past, and how it coloured their engagements with them, both physically and cognitively. Alterity has yet to see sustained treatment in archaeology due in great part to the fact that the archaeological record is not always equipped to inform on the subject. Like its kindred concepts, such as identity and ethnicity, alterity is difficult to observe also because it can be expressed at different times and scales, from the individual, family and village settings, to contexts such as nations and empires. It can also be said to ‘reside’ just as well in objects and individuals, as it may in a technique, action or performance. One requires a relevant, holistic data set and multiple lines of evidence. Ancient Alterity in the Andes provides just that by focusing on the great achievements of the ancient Andes during the first millennium AD, centred on a Precolumbian culture, known as Recuay (AD 1-700). Using a new framework of alterity, one based on social others (e.g., kinsfolk, animals, predators, enemies, ancestral dead), the book rethinks cultural relationships with other groups, including the Moche and Nasca civilisations of Peru’s coast, the Chavín cult, and the later Wari, the first Andean empire. In revealing little known patterns in Andean prehistory the book illuminates the ways that archaeologists, in general, can examine alterity through the existing record. Ancient Alterity in the Andes is a substantial boon to the analysis and writing of past cultures, social systems and cosmologies and an important book for those wishing to understand this developing concept in archaeological theory.

Drawing from the fields of rhetoric, cultural studies, literature, and folkloristics, Kathleen Glenister Roberts argues that identity and the history of alterity in the West can be understood more clearly through narrative motifs. She provides analyses of these motifs including infanticide, universalism, the Tower of Babel, the warrior Other, the noble savage, entropology, and the trickster. With current intellectual conflict as its subtext, this book posits that identity is always negotiated toward Otherness. Roberts interrogates narrative constructions of Western biases toward non-Western Others, with each chapter addressing a Western historical moment through an exemplary narrative. This process shows that by imagining and objectifying Others, Western cultures were creating their own Selves. In confronting the ethnocentrism of past historical moments, Roberts invites us to recognize it in the present—in a new way. Alterity and Narrative asks that we afford Others the ability to transcend their own ethnocentrism, and therefore avoid well-meaning but naïve calls for "cultural sensitivity."

How do national stereotypes emerge? To which extent are they determined by historical or ideological circumstances, or else by cultural, literary or discursive conventions? This first inclusive critical compendium on national characterizations and national (cultural or ethnic) stereotypes contains 120 articles by 73 contributors. Its three parts offer [1] a number of in-depth survey articles on ethnic and national images in European literatures and cultures over many centuries; [2] an encyclopedic survey of the stereotypes and characterizations traditionally ascribed to various ethnicities and nationalities; and [3] a conspectus of relevant concepts in various cultural fields and scholarly disciplines. The volume as a whole, as well as each of the articles, has extensive bibliographies for further critical reading. Imagologyis intended both for students and for senior scholars, facilitating not only a first acquaintance with the historical development, typology and poetics of national stereotypes, but also a deepening of our understanding and analytical perspective by interdisciplinary and comparative contextualization and extensive cross-referencing.

The focus of Through Your Eyes: Religious Alterity and the Early Modern Western Imagination is the (mostly Western) understanding, representation and self-critical appropriation of the "religious other" between the sixteenth and eighteenth centuries. Mutually constitutive processes of selfing/othering are observed through the lenses of creedal Jews, a bhakti Brahmin, a widely translated Morisco historian, a collector of Western and Eastern singularia, Christian missionaries in Asia, critical converts, toleration theorists, and freethinkers: in other words, people dwelling in an 'in-between' space which undermines any binary conception of the Self and the Other. The genesis of the volume was in exchanges between eight international scholars and the two editors, intellectual historian Giovanni Tarantino and anthropologist Paola von Wyss-Giacosa, who share an interest in comparatism, debates over toleration, and history of emotions. Contributors are: Daniel Barbu, Vincent Carretta, Ananya Chakravarti, Talya Fishman, Rolando Minuti, Fernando Rodríguez Mediano, Paul Rule, Knut Martin Stünkel, Giovanni Tarantino, and Paola von Wyss-Giacosa.

This volume offers a fascinating insight into the continuities and discontinuities in the formation of identities in the Low Countries and its neighbouring countries. It is an important contribution to the ongoing debates about national and other identities.

Document from the year 2018 in the subject English Language and Literature Studies - Literature, , language: English, abstract: What is ‘queer drama’? Since when have there been representations of queerness in British drama? Can we speak of queerness avant la lettre, and if so, what did it look like? How did queer representations in British theatre change throughout the twentieth century? What influence did stage censorship have on representations of queerness? What happened before the sudden eruption of queer drama after the abolition of stage censorship, and by which means could the legal taboo on queerness be circumvented? How did queer representations in the theatre influence notions of queerness in society and vice versa? These are some of the leading questions this book addresses. Does this book have anything to offer you? Are you gay, lesbian, or heterosexual? Are you a trans-, a-, bi-, non-sexual being? Or are you insecure of who you are? Really, it does not matter very much. You are the potential reader of this book, and if you decide to go on reading you will read things that may prove of significance to you. Because you’re human. You are a human being who can, potentially, fall in love, aren’t you? If you are, this book concerns you. Taking the beginning of the twentieth century as the starting point for discussion, this book aims at exploring representations of queerness in British drama before the abolition of theatre censorship in 1968 and at demonstrating that queerness did not merely appear in the margins of pre-1960s British theatre, but that it can be detected in its very centre, namely in many of the most popular and most successful plays of their time. To achieve this aim, a selection of plays by three eminent male playwrights writing within the British cultural and socio-political context of the first half of the twentieth century will be analysed. The focus will predominantly be on plays by William S. Maugham (1874-1965), Noël Coward (1899-1973), and Terence Rattigan (1911-1977), all of whom were extremely popular and commercially highly successful at their time. Finally, this book aims at developing and testing a cognitive model of queer reading and writing strategies which is intended to enable us to account for this seeming paradox concerning queerness in British drama before 1968, namely the paradox that British drama is full of ‘queer plays’ in spite of the taboo on representing queerness: the model of the ‘default reader’ as it is outlined in the theory part of this book and applied in the (queer) readings of plays. Now, let’s get queer.

What image of Latin America have North American fiction writers created, found, or echoed, and how has the prevailing discourse about the region shaped their work? How have their writings contributed to the discursive construction of our southern neighbors, and how has the literature undermined this construction and added layers of complexity that subvert any approach based on stereotypes? Combining American Studies, Canadian Studies, Latin American Studies, and Cultural Theory, Breinig relies on long scholarly experience to answer these and other questions. Hemispheric Imaginations, an ambitious interdisciplinary study of literary representations of Latin America as encounters with the other, is among the most extensive such studies to date. It will appeal to a broad range of scholars of American Studies.