A Critical Reflection upon Culture Shock of Migrant Nazneen in Monica Ali’s Brick Lane

Chapter 2 explores theoretical aspects related to the interface of cultural identity, discourse, gender, and myth. Cultural identities are those sides of our identities, which arise from our affiliation with a certain ethnic, racial, linguistic, religious, and national culture. The concept of cultural identity also includes our gender and sexual identities. For a certain individual and at certain times of one’s life, different aspects of cultural identity would be prevailing—whether political, gender, linguistic, racial, and so on. While the concept of a collective cultural identity would be difficult to define without falling into the trappings of untrue and biased generalizations, a close and critical look at specific texts or narratives of literary and cultural productions of performative genres such as drama, theatre, and film could provide valuable insights into these interesting and timely questions.

Fashioning a New Brand of "Germanness":The 2006 World Cup and Beyond Katrina Sark Since reunification, and particularly since the FIFA World Cup in Germany in 2006, Berlin city marketing, museum exhibitions, and displays of public art have all reflected a discourse on new national identity formations that previously could only be found in political media or academic discourses. Berlin's numerous marketing campaigns have restructured its image as an open city. Messages such as "be open, be free, be Berlin!" circulate throughout the city, encouraging its inhabitants and visitors to see Berlin in a new, creative, entrepreneurial, and liberal light. Leaving behind the negative stereotypes of its historical past, Berlin has been reinvented by politicians (Mayor Klaus Wowereit and the Berlin Senate), city planners, marketing strategists, filmmakers, and curators. Urban culture is in many ways propelled by public events and celebrations, like the 2006 FIFA World Cup or the twentieth anniversary of the fall of the Berlin Wall (the Mauerfall) in November 2009. Not only high culture was given a boost: in the months leading up to the Mauerfall anniversary, most museums, galleries, and exhibition facilities offered some kind of display or presentation on the theme of the Wall. At the same time, pop culture, music, film, and fashion also played an active role in the international spotlight. Berlin city planners and marketers know how to navigate and steer public consciousness. Personal histories of the Wall were collected and retold. Collective, self-reflexive, and cultural contemplations took place on widely engaging public levels - artists, writers, politicians, and regular people became involved in public debates and contributed their points of view on reunification. This article will examine this path of collective national and civic identity construction in different cultural and medial spheres by looking at exhibition practices and urban branding campaigns. During the 2006 World Cup, the question of what and who constituted the new (reunited) Germany had been posed to an unprecedented degree (since reunification) across all spectrums of discourses. An exhibition at the German Historical Museum displayed artefacts from 1,000 years of German history - similar to the "What Is German" exhibition at the German National Museum in Nürnberg. A display of public art dedicated to German achievements in the arts and science guided the tourists along the "Walk of Ideas" past all the main tourist sites in Berlin. All these exhibitions and practices addressing "Germanness" placed the question of national identity on display. A similar spur to public contemplation of national identity swirled around the [End Page 254] celebrations of the twentieth anniversary of the fall of the Berlin Wall in 2009. Events such as the U2 band's free concert at the Brandenburg Gate, various Wall-oriented exhibitions at almost all Berlin museums, film screenings, gallery exhibitions, art installations such as the Temporary Art Gallery at Schlossplatz in the shape of the former Palace of the Republic, and finally the spectacular fall of 1,000 domino pieces along the stretch of the former Wall from Potsdamer Platz to the Reichstag, all commemorated the beginning of a new chapter in German history. As studies on national identity and patriotism have shown, "the reunification of the two German States and the process of European integration into the European Union have given a new dimension to public discussions of German national identity" (Blank and Schmidt 289). Examining a variety of media discourses: authoritative and institutional, as well as journalistic discourses in the popular press, this article places the 2006 FIFA World Cup as a pivotal time in renegotiating Germany's public image. A first step is to differentiate between conceptions of national, social, and cultural identity. While national identity is usually tied to symbols of a particular nation that has been identified as an imagined community (Anderson 1991), social identity is a collective identity that can be tied to various societal subgroups within a national or transnational milieu. In the German context, the concept of cultural identity (tied to the term Kulturnation) is often prevalent because it allows for a collective identity to be based on shared values such as cultural heritage, language, and the literary, artistic, and scientific achievements of a nation (rather than militaristic nationalism). This...

The aim of the essay is twofold: First, through a literary expose, Andre Jansson tries to come to terms with the meaning of cultural identity. How shall the concept be theoretically defined? And how shall it be distinguished from the general concept of identity, and from more particular (and often very recklessly used) types, such as collective identity or social identity? Second, he makes an analysis of how the concept of cultural identity is related to media use. What does the interaction look like? And how shall the concept of cultural identity be approached within audience studies?

The concept of cultural identity is illustrated by the example of Latin America. At the same time Latin America is shown to be a true part of the Western world and understandable only as such, and the reasons for other cultural identifications of Latin America are examined. Then the cultural development and identity of the West as a whole is considered, with special reference to two competing accounts of Western cultural development, both of which focus chiefly on the econonmic development of Europe and North America, in contrast to its cultural or spiritual roots. Finally the special case of the United States is looked at, and it is asked how her peculiar self‐understanding affects her cultural identity as part of the Western world.

دور العروسة الشعبية في تعزيز وتنمية الهوية الثقافية للطفل بالمملکة العربية السعودية أ.د/ حامد سالم جمعه عزب أستاذ مشارک بجامعة الطائف – المملکة العربية السعودي أ.د/ مجدي حسين السيد النحيف أستاذ بکلية الفنون التطبيقية - جامعة حلوان - مصر أ.م.د/ ايناس احمد عزت حماد أستاذ مساعد بجامعة الطائف- المملکة العربية السعودية د/ عبدالعزيز عبدالرحمن الدقيل أستاذ مساعد بجامعة الطائف – المملکة العربية السعودية د/ فيصل عبد الوهاب الزهراني أستاذ مساعد بجامعة الطائف – المملکة العربية السعودية د/ إبراهيم سلامة لافي الشراري أستاذ مساعد بجامعة الطائف – المملکة العربية السعودية ملخص البحث : هدف البحث الحالي إلى إبراز دور العروسة الشعبية في تعزيز الهوية الثقافية والحفاظ عليها لدى الاطفال، والتعرف على أهم خصائص وملامح ثقافة المجتمع السعودي، وتنمية الوعي بالهوية الثقافية وأهميتها من خلال عروسة مستوحاة من طبيعة المجتمع السعودي، بالإضافة الى توجيه أنظار المعنيين بالتربية والتعليم لأهمية دور العروسة الشعبية في تنمية الهوية الثقافية وتعميق الانتماء لدى الأطفال بالمملکة العربية السعودية. ولتحقيق أهدف البحث اعتمد البحث الحالي على منهجين: المنهج الوصفي التحليلي، والمنهج التجريبي من خلال محورين : المحور الأول : وهو الإطار النظري والذي يتناول مجموعة من الدراسات المرتبطة بموضوع البحث، کما تناول فن العروسة الشعبية، والقيم التربوية والتعليمية للعروسة الشعبية، ومفهوم الهوية الثقافية ومکوناتها ،والهوية والطفل، أما المحور الثاني : وهو محور تطبيقي تناول الجانب التجريبي في إجراء تجربة البحث لإنتاج عرائس شعبية نابعة من تراث وثقافة المجتمع السعودي. وتوصل البحث إلى مجموعة من النتائج أهمها: إن فن العروسة الشعبية بأشکالها وانواعها المختلفة لها دور لا يستهان به في تعميق الرؤى وتأکيد الهوية الثقافية لدى الأطفال، کما ان تصميم العروسة الشعبية وتنفيذها من المواضيع الأکثر جاذبية للأطفال ولطلاب الفن والتربية الفنية، کما توصل البحث الى مجموعة من التوصيات من أهمها: حماية الموروث الشعبي السعودي من الهجمة العالمية التي يواجههـا مـن خلال ما يسمى (بالعولمة)، وتأثير وسائل الأعلام الحديثة في ذلک کالفضائيات والإنترنت، وضرورة التأکيد على تنوع وسائل التنشئة الثقافية للطفل لما لها من دور مهم في بناء هويته الثقافية. کلمات مفتاحية: العروسة الشعبية – تعزيز – هوية ثقافية – الطفل- المجتمع السعودي The role of the popular bride in promoting and developing the cultural identity of the child in the Kingdom of Saudi Arabia. Research Summary The aim of the current research is to highlight the role of the popular bride in promoting and preserving the cultural identity of children، to identify the most important characteristics and features of the culture of Saudi society، and to develop awareness of cultural identity and its importance through a bride inspired by the nature of Saudi society، in addition to directing the attention of those concerned with education to the importance of the role of the bride Popularity in developing cultural identity and deepening affiliation among children in the Kingdom of Saudi Arabia. In order to achieve the objectives of the research، the current research relied on two approaches: the descriptive and analytical approach، and the experimental approach through two axes: The first axis: which is the theoretical framework، which deals with a group of studies related to the topic of the research، as well as the art of the popular bride، the educational and educational values ​​of the popular bride، and the concept of cultural identity and its components. As for the second axis: an applied axis، it dealt with the experimental aspect in conducting the research experiment to produce popular brides stemming from the heritage and culture of Saudi society. The research reached a set of results، the most important of which are: The art of the popular bride، in its various forms and types، has a significant role in deepening visions and confirming the cultural identity of children، and the design and implementation of the popular bride is one of the most attractive topics for children and students of art and art education. Among the most important recommendations are: protecting the Saudi folklore from the global onslaught that it faces through the so-called (globalization)، the influence of modern media in that، such as satellite TV and the Internet، and the need to emphasize the diversity of the means of cultural upbringing of the child because of their important role in building his cultural identity. ------------------------------------------------------------- Key words: the popular bride - strengthening - a cultural identity - the child - the Saudi society أستاذ بکلية الفنون التطبيقية جامعة حلوان - مصر

Collective memory is vital for understanding a society's history and cultural identity, serving as a bridge between the past and the present. The concept of cultural identity is not fixed but evolves over time, shaped by the interactions of individuals with their communities and others. This study investigates the connection between collective memory and cultural identity, focusing on the transformations of the latter. It explores collective memory within an artistic context, analyzing elements such as texts, narratives, photographs, rituals, monuments, celebrations, and buildings that construct a society’s narrative and self-image. The study aims to contribute to the harmonious reconstruction of historical narratives and cultural identities, integrating modern innovations. The research examines the transition from communicative memory to cultural identity, described as thematic culture. It emphasizes the distinctive aspects of collective and cultural memory, utilizing examples from modern literature, particularly exile and diaspora literature. These works highlight how literary texts engage with multiculturalism, cultural diversity, and openness to other cultures. Furthermore, the study addresses the impact of the 1967 war on Arab culture and literature, underscoring its significance in reconstructing collective memory and redefining cultural identity in the Arab world. This analysis demonstrates how memory and literature shape evolving cultural identities in a globalized context. KEYWORDS Communicative memory, cultural difference, cultural memory, identity, memory structures, thematic culture

In a culturally diverse and globalized society, where half of the world’s population is estimated to be bilingual, the concept of cultural identity appears to be constantly influenced in ways it has never been before. The number of people suffering from a crisis of cultural identity is rapidly increasing. This can be explained by the fact that as members of two or more cultures, many do their hardest to integrate into the dominant culture, even if it means sacrificing the values of the culture in which their parents were raised, only to have a sense of belonging in the dominant culture’s society. In this article we try to identify the specific features of bilingualism and pluriculturalism in social and family context in Western and Eastern cultures. Using France in the West and South Korea in the East as examples, we examined from various perspectives how immigrants who are fluent in the dominant culture’s language, have adopted its values into their lifestyle, yet even after spending in this country the most of their lives they feel alienated and discriminated. Based on documentary, analytical, historical, descriptive, and juxtaposed comparative methods of research we reached to the conclusion that while we advocate for equality regardless of ethnicity, gender, colour, or religion, equality remains an ideal that we have failed to achieve because we are still reluctant to fully accept cultural diversity of Identity.

"Brick Lane" by Monica Ali offers a perceptive examination of the cultural dynamics encountered by immigrants. This analysis explores the characters' varied experiences of cultural integration and separation through the prism of Berry's Acculturation Model. The four tactics in the model—marginalization, separation, integration, and assimilation—provide a framework for comprehending the many identities that are created within the diaspora. The protagonist Nazneen, who must strike a balance between her traditional Bangladeshi values and the demands of adjusting to life in London, personifies the battle for integration. The story highlights the social and psychological difficulties associated with cultural adaption through Nazneen's journey. Different acculturation tactics are embodied by other characters, such Chanu and Karim, who illustrate the range of reactions to cultural dislocation. Chanu's inclination for segregation highlights how challenging it is to maintain cultural identity. The challenges of maintaining cultural identity while opposing assimilation are highlighted by Chanu's preference for isolation, whereas Karim stands for a more integrated strategy. This study highlights how "Brick Lane" embodies the essence of acculturation in a heterogeneous metropolitan setting, underscoring the difficulties of negotiating identity and coexisting cultures. Ali's book becomes clear as a profound commentary on the experience of being an immigrant and the ongoing interaction between cultural heritage and the need for belonging when viewed via Berry's theoretical lens.

Identity is liquid and changeable as time goes by. The change of identity is possible since identity can be formed both from the past and from the future. In the case of cross culture, one’s identity may have certain problems especially in determining cultural identity. Problems in cultural identity have become an interesting topic to be discussed. It was also an interesting topic for writer to color their literature work.The focus of this research is the cultural identity in “Tamu dari Jakarta” (2002) short story by Jujur Prananto. This story brings out an interesting topic about a villager named Ratna who move into a big city (Jakarta). Problem of cultural identity was clearly seen when she visited her hometown (Klaten), the villagers no longer see her as one of them instead the saw her as a visitor or according to the title of this short story, a guest from Jakarta.The form of this research is a textual analysis research using the concept of cultural identity by Stuart Hall. This research shows that the cultural identity of Ratna is constructed through positioned and positioning identity that is shown from the cross-cultural interaction between characters in this story. Furthermore, the proses of being positioned and positioning was based on the stereotype of Jakarta citizen. However this story gave a different view and new insight on the stereotype of Jakarta citizen. Keywords: cultural identity, cross-cultural, Jakarta citizen

Teaching and Learning Guide for: Broadening the study of the Self: Integrating the Study of Personal Identity and Cultural Identity

<p>В статье анализируется феномен мобилографии в контексте современной молодежной культурной среды и в тесной взаимосвязи с проблемой культурной идентичности. Авторы выдвигают предположение о том, что мобильная фотография на данном этапе развития общества способна служить одним из средств культурной самоидентификации молодежи, способов ее выстраивания и форм репрезентации.</p><p>Культурная идентичность понимается авторами как интерсубъективная сторона культуры или культура, специфическим образом интериоризированная. Мобилография (мобильная фотография) — собирательное название, которым обозначают фотографии, сделанные на устройство, не предназначенное для профессионального фотографирования, — явление, достигшее огромнейших масштабов в последние годы.</p><p>Феномен мобилографии анализируется с помощью семиотического, структурного и культурологического методов. Приводятся результаты эмпирического исследования авторов (2015 г.) с целью выявления новых специфических форм репрезентации культурной идентичности посредством определенных жанров любительской фотографии и их авторская классификация. Исследование проводилось на основе фотографий, опубликованных на личных страницах россиян в возрасте от 16 до 30 лет в социальных сетях «ВКонтакте», «Одноклассники», Instagram, Flickr. Данные социальные сети были избраны ввиду наибольшей популярности среди российской молодежи и обилия фотоконтента. В итоге были изучены и интерпретированы 1000 фотографий, сделанных на мобильный телефон владельцами 100 аккаунтов и блогов.</p><p>Авторы отмечают, что реализация и презентация культурной идентичности посредством мобильной фотографии происходит прежде всего через идентификацию представителей молодого поколения с отчим домом, малой родиной и большой родиной; знаковыми историческими событиями и людьми; объектами культурного и природного наследия. К креативным формам, акцентуирующим презентацию культурной идентичности, авторы относят постановочные фотографии, флешмобы, фотоакции и другие виды экспрессивной фотографии.</p><p>Исследование показало, что феномен мобильной фотографии выступает важным способом самоопределения и самопрезентации молодых людей в культуре, трансформируя процессы приобретения идентичности, в частности культурной.</p>

The ongoing war in Sudan has been qualified as the biggest humanitarian crisis in the world. Unfortunately, this conflict is the last one of a long and cruel series of civil wars. Among the several factors behind these conflicts, a very relevant one is the mismanagement of the cultural diversity of the country. While some scholars had analysed how ethnic relations in Sudan had an impact on the political problems, this study explores the opposite direction and outlines, with special focus on the educational policies of the XX and the XXI centuries, how the politics of imposing an identity on culturally diverse populations has tensioned the relation between the centre and the peripheries in the last decades. This tension also plays a paramount role in the ongoing civil war started on April 15, 2023. The attempt to build the national identity on the pillars of Arab culture and political Islam failed to create a shared cultural identity. The article analyzes that attempt in the framework of the Developmental Model of Intercultural Sensitivity created by Bennet, the classification of policies to deal with cultural management defined by Kymlicka and the concept of cultural identity as defined by Stuart Hall. Finnally, it proposes an intercultural approach to transform cultural heritage and education into an instrument of reconciliation and integration, and the multicultural reality of the country into a platform for a dialogue that produces a shared concept of identity and sustainable peace.

Küreselleşme ekseninde kültür ve kimlik tartışmaları önemli bir gündemi oluşturur. Tartışmaların odak noktası ise kültürel görecelik ve evrenselcilik arasındaki ikilemin kültürel kimlikler üzerinde nasıl bir etkisinin olduğudur. Küreselleşme politikaları ile bir taraftan farklı kimliklerin önem kazanmasına ortam hazırlanır, diğer bir taraftan ise yerel kimlikler üzerinden küresel bir kimlik siyaseti ortaya çıkarılmak istenir. Bu yaklaşım ayrımıyla küreselleşme, hem kültürel farklılıkları destekler hem de öngörülemeyen şekilde evrensel kültür değerlerini vurgulayarak kendi içerisinde çelişkiye neden olur. Bu şekliyle kültürel kimlikler, günümüz toplumsal anlayışın önemli bir sorunsalı olarak kabul edilir. Ancak küreselleşmenin neden olduğu sonuçlar birlikte düşünüldüğünde, bu ikilem bir ilişkiyi ve bağlılığı zorunlu kılar. Çünkü küreselleşme süreci doğası gereği, ne tamamen ulus-kimlik yapısının yıkımına ne de yerel kimliklerin tam anlamıyla evrimini tamamlamasına izin verir. Ancak, ilerleyen dönemlerde ortak bir uzlaşının sağlanamaması, görecelik ile evrenselcilik arasındaki söylenegelen kaotik durumu iyice karmaşık hale getirebilir. Bunun sonucu ise zaten sorunsal olan kültürel kimlikler daha da sorunlu hale gelebilir. Bu çalışmanın amacı görecelik ve evrenselcilik anlayışı üzerinden kimlikleri, özelde kültürel kimlik kavramını önemli bir sorunsal olarak tartışma konusu etmektir.

One’s cultural identity has constantly been a critically never-ending question, particularly in the context of immigration. To put it simply as an ‘essential’ entity can also be problematically uneasy. This research will analyze how the central characters (Parvez and Ali) in Kuresihi’s My Son The Fanatic construct their subjectivity by conducting a descriptive analysis and applying Stuart Hall’s concept of cultural identity. Parvez, a Punjabi immigrant father, spends his adult life assimilating into English culture and intentionally desires to leave his Pakistanness due to his bad past experience when living in Lahore. Meanwhile, Ali, born and raised in England, is obsessed to construct and reclaim his Pakistanness by devoting himself to radicalized Islam because of his negative experience being a Muslim in England. The research finding posits that in constituting their cultural identities, there are some complexities which cannot be separated from their personal experience. Besides, this also suggests a critical discussion about cultural identity that is mostly deemed ‘essential’ as well as eternally ‘fixed’.

Zoë Wicomb's three fictional works – You Can't Get Lost in Cape Town (1987), David's Story (2000) and Playing in the Light (2006) – all engage with the question of a South African ‘coloured’ identity both under apartheid with its racialised discourse of black and white, and in the context of the postapartheid language of multiculturalism and creolisation. This essay examines the representation of ‘colouredness’ in Wicomb's writing in terms of the two different conceptions of cultural identity that Stuart Hall has defined: an essential cultural identity based on a single, shared culture, and the recognition that cultural identity is based not only on points of similarity, but also on critical points of deep and significant difference and of separate histories of rupture and discontinuity. The politics of South African ‘coloured’ identity in Wicomb's works reveals a tension between, on the one hand, acceptance of the complex discourse of colouredness with all its historical discontinuities, and, on the other, the desire for a more cohesive sense of cultural identity, drawn from a collective narrative of the past. In David's Story the possibility of an essential cultural identity as an alternative to the unstable coloured one is considered with reference to the history of the Griqua ‘nation’ in the nineteenth century. And in Playing in the Light the alternative to colouredness is examined with reference to those coloured people under apartheid who were light enough to pass for white and crossed over, reinventing themselves as white South Africans. The essay approaches coloured identity through the lens of postcolonial diaspora theory, and more specifically, diasporic chaos theory.