Antropología poética

Respite. Quiet. A House of Dreams.

Close, but No Cigar

The articles about Robert Burns and his creative works, written by Soviet writers and published on the pages of Russian periodicals (mainly newspapers) in the 1930s and 1970sare firstly systematized and comprehended in the article. An article written by V.I. Lebedev-Kumach, «The Great Singer of the Scottish People», published in the «Literary Newspaper» on August 15, 1938 became the first material of this kind. This article, which appeared along with the first translations of S.Ya. Marshak, invoked Russian readers to get acquainted and to fall in love with Burns, a wonderful lyric poet and master of songs, at the same time, skillfully placing emphasis on certain aspects of the poet’s creative works - his nationality, cheerfulness, love of nature. The poet and translator M.A. Zenkevich in his article «The Scottish Songwriter» (1946), in contrast to V.I. Lebedev-Kumach, focused on the social significance of Burns' works, pointed out the poet's interest to the revolutionary liberation movement, called him «a convinced democrat, a fighter for equality and brotherhood of all working people»,noted that the poet's work is imbued with «deep humanity». The articles of A.A.Surkov «In the Land of Burns» (1953) and B.N. Polevoy «In the Homeland of Robert Burns» (1955) reflect the impressions of Soviet writers after a trip to Scotland, visiting of memorial places associated with the name of Burns. If A.A.Surkov chose a lyric tone for his article, then B.N. Polevoy picked out political and social aspects, speaking about the consonance of «great ideas of love for workers, ideas of freedom, peace and friendship of peoples» to the Soviet people, the desire of the Soviet Union «to expand and strengthen cultural ties with all nationalities». In the profound article of A.E. Adalis, «The National Poet» (1959), the edition of the classic collection of Marshak’s translations from Burns becomes only an informational reason for the appearance of subsequent deep reflections about the «royal poet» Burns, noble, proud, generous, able to be generous and at the same time sizzling contempt for wealth and nobility. An example of the late Soviet reception of the Burns image can be considered by taking into account the article written by L.N. Vasilyeva «On the day when Robin was born...» (1978), in which the poet’s bright personality, his elements of Scottish color (bagpipes, hot haggis) free and fun atmosphere of Burns festivities, in which Moscow schoolchildren «Friends of Scotland Clubs» are participated took the first place. More than others, Burns was written about by his most famous translator S.Ya. Marshak, to whom three journalistic articles and an open letter published in 1956–1960in the newspaper «Pravda», «Literary newspaper» and the magazine «Education» are belonged. In these articles you can see the impressions of his trips to Scotland, and a valuable response to the creative activities of the predecessors who popularized Burns (in particular, M.Yu. Lermontov, M.L. Mikhailov, E.G. Bagritsky, T.L. Schepkina-Kupernik), and judgments, revealing the originality of the creative laboratory of S.Ya. Marshak, as a translator of Burns, and a holistic view on the creative personality of the great Scottish author.

The articles about Robert Burns and his creative works, written by Soviet writers and published on the pages of Russian periodicals (mainly newspapers) in the 1930s and 1970sare firstly systematized and comprehended in the article. An article written by V.I. Lebedev-Kumach, «The Great Singer of the Scottish People», published in the «Literary Newspaper» on August 15, 1938 became the first material of this kind. This article, which appeared along with the first translations of S.Ya. Marshak, invoked Russian readers to get acquainted and to fall in love with Burns, a wonderful lyric poet and master of songs, at the same time, skillfully placing emphasis on certain aspects of the poet’s creative works - his nationality, cheerfulness, love of nature. The poet and translator M.A. Zenkevich in his article «The Scottish Songwriter» (1946), in contrast to V.I. Lebedev-Kumach, focused on the social significance of Burns' works, pointed out the poet's interest to the revolutionary liberation movement, called him «a convinced democrat, a fighter for equality and brotherhood of all working people»,noted that the poet's work is imbued with «deep humanity». The articles of A.A.Surkov «In the Land of Burns» (1953) and B.N. Polevoy «In the Homeland of Robert Burns» (1955) reflect the impressions of Soviet writers after a trip to Scotland, visiting of memorial places associated with the name of Burns. If A.A.Surkov chose a lyric tone for his article, then B.N. Polevoy picked out political and social aspects, speaking about the consonance of «great ideas of love for workers, ideas of freedom, peace and friendship of peoples» to the Soviet people, the desire of the Soviet Union «to expand and strengthen cultural ties with all nationalities». In the profound article of A.E. Adalis, «The National Poet» (1959), the edition of the classic collection of Marshak’s translations from Burns becomes only an informational reason for the appearance of subsequent deep reflections about the «royal poet» Burns, noble, proud, generous, able to be generous and at the same time sizzling contempt for wealth and nobility. An example of the late Soviet reception of the Burns image can be considered by taking into account the article written by L.N. Vasilyeva «On the day when Robin was born...» (1978), in which the poet’s bright personality, his elements of Scottish color (bagpipes, hot haggis) free and fun atmosphere of Burns festivities, in which Moscow schoolchildren «Friends of Scotland Clubs» are participated took the first place. More than others, Burns was written about by his most famous translator S.Ya. Marshak, to whom three journalistic articles and an open letter published in 1956–1960in the newspaper «Pravda», «Literary newspaper» and the magazine «Education» are belonged. In these articles you can see the impressions of his trips to Scotland, and a valuable response to the creative activities of the predecessors who popularized Burns (in particular, M.Yu. Lermontov, M.L. Mikhailov, E.G. Bagritsky, T.L. Schepkina-Kupernik), and judgments, revealing the originality of the creative laboratory of S.Ya. Marshak, as a translator of Burns, and a holistic view on the creative personality of the great Scottish author.

Creating time for research alongside teaching, marking and examining is challenging for every academic but particularly for those whose research emerges from their practice. In theatre departments, research is intrinsic to the creative process which produces performances, productions and company work. As this creative research is not always written up as a conventional article, chapter or book, theatre practitioners and practice-as-research staff can feel that their work is not a research output but a creative one. Practitioners can be reluctant to describe themselves as researchers and need to be supported to see the creative work they produce as a research outcome in itself. Reconsidering definitions of how an academic, producing, creative arts work could be defined is also part of finding this sense of place in the academy. The work of creative research academics develops their students’ learning, and practitioners can be encouraged to recognise that reflecting on their creative research practice will help to inform their pedagogical approach to teaching theatre when working with students, as well as creating a research outcome in their work. This chapter examines strategies to encourage creative research academics to define themselves as researchers and to see their creative work as a both developing pedagogic practice and research.

The paper considers the role of academic and creative work on illustration as an integrative component of learning and teaching activity (vocational training) in the process of vocational training of a future teacher of art (painter-teacher). The relevance of the study is caused by insufficient information about the potential of teaching illustration as a part of the vocational training of future teachers. The author considers the integration of learning and vocational activity in several aspects, which allows defining the essence and highlighting the significant elements of this process. In each aspect of integration, the author emphasizes the functional components of the teacher’s activity aimed at the formation of general professional and vocational competencies or their parts. In this respect, the paper considers the academic and creative work on illustration as an overall process where all elements are interdependent. The characteristic of the suggested approach to teaching illustration as an integrative component of vocational training of future teachers is the systemizing and improvement in the practice of the complex of knowledge, skills, and experience of activity obtained in the process of learning disciplines of vocational and general professional training throughout the training period. The academic and creative work on illustration expands the instruments of a student necessary for a future practical experience both for the development of artistic and creative skills and aesthetic education of students. An intending teacher being keen on illustration as an academic discipline in the future can implement this field of study in independent creative activity, which can be an example of professional self-fulfillment. The author based the research on the learning of the results of academic and creative work in artistic graphics of the fourth-year students of Art and Graphics Faculty of Kuban State University and further survey organized during teaching training.

Book Review| November 01 2021 Social Scientists Ruth Barton, The X Club: Power and Authority in Victorian Science. Chicago: University of Chicago Press, 2018. xii + 604 pp. ISBN 978-0-226-55161-6. $59.00 (cloth).M. Norton Wise, Aesthetics, Industry & Science: Hermann von Helmholtz and the Berlin Physical Society. Chicago: University of Chicago Press, 2018. xxi + 405 pp. ISBN 978-0-226-53135-9. $48.00 (cloth). Iwan Rhys Morus Iwan Rhys Morus Department of History and Welsh History, Aberystwyth University, Aberystwyth, Wales SY23 3FL. irm@aber.ac.uk. Search for other works by this author on: This Site PubMed Google Scholar Historical Studies in the Natural Sciences (2021) 51 (5): 634–641. https://doi.org/10.1525/hsns.2021.51.5.634 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Iwan Rhys Morus; Social Scientists. Historical Studies in the Natural Sciences 1 November 2021; 51 (5): 634–641. doi: https://doi.org/10.1525/hsns.2021.51.5.634 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentHistorical Studies in the Natural Sciences Search Scientists live outside society, or so, at least, some conventional narratives would have it. They inhabit another, internal, world of ideas that has little, if any, contact, with the grubby social. The asociality of science was a key feature of the historical perspective developed by early twentieth-century historians of science such as Alexandre Koyré and Herbert Butterfield. In their histories science was not just asocial, but depended for its success on its ability to get away from society. This was what made science distinct—it was disinterested precisely because of its escape from the social.1 Since none of us think this now, it is important to remember just how deeply embedded this perspective was in the formation of our modern discipline. It still remains a powerful narrative in popular histories of science (think of books with subtitles such as A Man Out of Time). As others have shown, the... You do not currently have access to this content.

Enthused by the invitation to bring narrative and autoethnographic data to engage critically (with) key global education policy issues, I present a rather unconventional way of scholarly writing, in which there is neither a showcase of a generic formulaic academic article nor an exclusive report of a specific research study. Instead, anchored in my original theorisation of ‘multiple selves' informed by my academic and creative works, this article shapes itself through multiple conversations and interactions between me and my Inner-Voice. We engage each other and others in debates, observations and scholarly developments central to transnational academic mobility/ies – one of the most written/talked about phenomena in global higher education. The means and mode of engagement present in the article show the importance of learning and being differently in the global education policy field and the associated knowledge production.

While studying the author’s creative work, present-day philological studies take into account a number of linguоcultural and linguocognitive factors that shape the author’s individual style. New perspectives and insights into the research of the creative work of the Roman poet Gaius Valerius Catullus (87–54 BC) prompted the scholars to refocus their attention onto a unique collection of 116 poems, which was rather popular among the ancient Romans. This paper is aimed to analyse one the expressive means typical of Catullus’ poetry, namely the borrowing, which clearly reflects the individual author’s style. It is outlined in the paper that Greek borrowings have been studied by A. Garnyk, O. Malein, and O. Mikina. Some aspects of Greek borrowings functioning in Catullus’ poems are represented in I. Shtal’s and E. Nazhott’s works. Researchers point out that the specificity of Graeco-Latin contacts lies not only in their cultural and religious relations, but also in their every-day life which affected the Latin language and thus was reflected in the Latin vocabulary. Accordingly, the existing literary traditions as well as the author’s own creative discoveries contributed to the fact that Catullus actively used Greek words in his poetry, assimilating them to the morphological system of the Latin language. By way analyzing authentic Catullus’ poems, the present paper substantiates the reasons of this vocabulary actualization in poetic works, offers a comprehensive classification of borrowings according to the criteria of their derivation type and thematic group as well as describes the specificity of their functioning and stylistic value in poetic texts. In particular, the nouns are classified into the following thematic groups: anthroponyms (ethmonyms, theonyms, mythonyms, cosmonyms), chrematonyms (i.e. the lexical units denoting material values and the results of human activities), toponyms (choronyms, hydronyms, oronyms, natural phenomena), phytonyms (the words, designating various plants), zoonyms (the vocabulary denoting animals). We have also singled out qualitative and relative adjectives belonging to the group of Greek borrowings. It was found out that qualitative adjectives are predominantly formed from mythological and geographical names with the help of various word-formative means. Despite the fact that a large number of Graecisms historically became a part of the Latin vocabulary and were used by the Romans rather unconsciously, in the analyzed texts there are cases of specifically individual use of Graecisms by Catullus when the author deliberately ignores the Latin equivalents. The analysis results demonstrate that borrowings play an important role in presenting a comprehensive view on Catullus’ idiostyle. It has been found out that Graecisms should be viewed as one of the characteristic means of Catullus’ poetic language that reflect the author’s desire to create poetry of the elevated style complying at the same time with the requirements of established literary traditions. Borrowing from the Greek language proves to be an active word-formative element of Catullus’ idiostyle, while their frequent use is conditioned by the subject matter of poetic works, their general expressive potential as well as by Catullus’ desire to create vivid poetic images.


 
 
 Nine Inch Nails have just released a new single; In addition to the usual formats, “The Hand That Feeds” was available for free download in Garageband format. Trent Reznor explained, “For quite some time I’ve been interested in the idea of allowing you the ability to tinker around with my tracks – to create remixes, experiment, embellish or destroy what’s there” (MacMinute 15 April 2005). Reznor invites creativity facilitated by copying and transformation. “Copy” carries connotations of unsavoury notions such as piracy, stealing, fake, and plagiarism. Conversely, in some circumstances copying is acceptable, some situations demand copying. This article examines the treatment of “copy” at the intersection of musical creativity and copyright law with regard to cover versions and sampling.
 
 Waldron reminds us that copyright was devised first and foremost with a public benefit in mind (851). This fundamental has been persistently reiterated (H. R Rep. (1909); Sen. Rep. (1909); H. R. Rep. (1988); Patterson & Lindberg 70). The law grants creators a bundle of rights in copyrighted works. Two rights implicated in recorded music are located in the composition and the recording. Many potential uses of copyrighted songs require a license. The Copyright Act 1976, s. 115 provides a compulsory licence for cover versions. In other words, any song can be covered for a statutory royalty fee. The law curtails the extent of the copyright monopoly. Compulsory licensing serves both creative and business sides of the recording industry. First, it ensures creative diversity. Musicians are free to reinterpret cultural soundtracks. Second, it safeguards the composer’s right to generate an income from his work by securing royalties for subsequent usage. Although s. 115 permits a certain degree of artistic licence, it requires “the arrangement shall not change the basic melody or fundamental character of the work”. Notwithstanding this proviso, songs can still be transformed and their meaning reshaped. Johnny Cash was able to provide an insight into the mind of a dying man through covering such songs as Nine Inch Nails’ “Hurt”, Depeche Mode’s “Personal Jesus” and Parker & Charles’ “We’ll Meet Again”.
 
 Compulsory licensing was introduced in response to a Supreme Court decision that deprived composers of royalties. Congress recognised:
 
 The main object to be desired in expanding copyright protection accorded to music has been to give to the composer an adequate return for the value of his composition, and it has been a serious and difficult task to combine the protection of the composer with the protection of the public, and to so frame an act that it would accomplish the double purpose of securing to the composer and at the same time prevent the formation of oppressive monopolies, which might be founded upon the very rights granted to the composer for the purpose of protecting his interests (H. R. Rep. (1909)).
 
 
 Composers exercise rights over the initial exploitation of a song. Once a recording is released, the right is curtailed to serve the public dimension of copyright. 
 
 A sampler is a device that allows recorded (sampled) sounds to be triggered from a MIDI keyboard or sequencer. Samplers provide potent tools for transforming sounds – filters, pitch-shifting, time-stretching and effects can warp samples beyond recognition. Sampling is a practice that formed the backbone of rap and hip-hop, features heavily in many forms of electronic music, and has proved invaluable in many studio productions (Rose 73-80; Prendergast 383-84, 415-16, 433-34). Samples implicate both of the musical copyrights mentioned earlier. To legally use a sample, the rights in the recording and the underlying composition must be licensed. Ostensibly, acquiring permission to use the composition poses few obstacles due to the compulsory licence. The sound recording, however, is a different matter entirely. 
 
 There is no compulsory licence for sound recordings. Copyright owners (usually record labels) are free to demand whatever fees they see fit. For example, SST charged Fatboy Slim $1000 for sampling a Negativland record (Negativland). (Ironically, the sample was itself an unlicensed sample appropriated from a 1966 religious recording.) The price paid by The Verve for sampling an obscure orchestral version of a Rolling Stones song was more substantial. Allan Klein owns the copyright in “The Last Time” released by The Andrew Oldham Orchestra in 1965 (American Hit Network, undated). Licence negotiations for the sample left Klein with 100% of the royalties from the song and The Verve with a bitter taste. To add insult to injury, “Bittersweet Symphony” was attributed to Mick Jagger and Keith Richards when the song was nominated for a Grammy (Superswell, undated). License fees can prove prohibitive to many musicians and may outweigh the artistic merit in using the sample: “Sony wanted five thousand dollars for the Clash sample, which … is one thousand dollars a word. In retrospect, this was a bargain, given the skyrocketing costs of sampling throughout the 1990s” (McLeod 86). Adam Dorn, alias Mocean Worker, tried for nine months to licence a sample of gospel singer Mahalia Jackson. Eventually his persistent requests were met with a demand for $10,000 in advance with royalties of six cents per record. Dorn was working with an album budget of a mere $40 and was expecting to sell 2500 copies (Beaujon 25). Unregulated licensing fees stifle creativity and create a de facto monopoly over recorded music. Although copyright was designed to be an engine of free expression1 it still carries characteristics of its monopolistic, totalitarian heritage. The decision in Bridgeport Music v. Dimension Films supported this monopoly. Judge Guy ruled, “Get a license or do not sample. We do not see this stifling creativity in any significant way” (397).
 
 The lack of compulsory licensing and the Bridgeport decision creates an untenable situation for sampling musicians and adversely impacts upon the public benefit derived from creative diversity and transformative works (Netanel 288, 331). The sobering potential for lawsuits, ruinous legal costs, injunctions, damages (to copyright owners as well as master recordings), suppresses the creativity of musicians unwilling or unable to pay licence fees (Negativland 251.).
 
 I’m a big fan of David Bowie. If I wanted to release a cover version of “Survive”, Bowie and Gabrels (composers) and BMI (publishers) could not prevent it. According the Harry Fox Agency’s online licensing system, it would cost $222.50 (US) for a licence to produce 2500 copies. The compulsory licence demands fidelity to the character of the original. Although my own individual style would be embedded in the cover version, the potential for transformation is limited. Whilst trawling through results from a search for “acapella” on the Soulseek network I found an MP3 of the vocal acapella for “Survive”. Thirty minutes later Bowie was loaded into Sonar 4 and accompanied by a drum loop and bass line whilst I jammed along on guitar and tinkered with synths. Free access to music encourages creative diversity and active cultural participation. Licensing fees, however, may prohibit such creative explorations. Sampling technology offers some truly innovative possibilities for transforming recorded sound. The Roland VariOS can pitch-eliminate; a vocal sample can be reproduced to a melody played by the sampling musician. Although the original singer’s voice is preserved the melody and characteristic nuances can be significantly altered:
 
 V-Producer’s Phrase Scope [a system software component] separates the melody from the rest of the phrase, allowing users to re-construct a new melody or add harmonies graphically, or by playing in notes from a MIDI keyboard. Using Phrase Scope, you can take an existing vocal phrase or melodic instrument phrase and change the actual notes, phrasing and vocal gender without unwanted artefacts.
 
 
 Bowie’s original vocal could be aligned with an original melody and set to an original composition. The original would be completely transformed into a new creative work. Unfortunately, EMI is the parent company for Virgin Records, the copyright owner of “Survive”. It is doubtful licence fees could be accommodated by many inspired bedroom producers. EMI’s reaction to DJ Dangermouse’s “Grey Album“ suggests that it would not look upon unlicensed sampling with any favour. Threatening letters from lawyers representing one of the “Big Four” are enough to subjugate most small time producers. Fair use? If a musician is unable to afford a licence, it is unlikely he can afford a fair use defence. Musicians planning only a limited run, underground release may be forgiven for assuming that the “Big Four” have better things to do than trawl through bins of White Labels for unlicensed samples. Professional bootlegger Richard X found otherwise when his history of unlicensed sampling caught up to him: “A certain major label won’t let me use any samples I ask them to. We just got a report back from them saying, ‘Due to Richard’s earlier work of which we are well aware, we will not be assisting him with any future projects’” (Petridis).
 
 For record labels “copy” equals “money”. Allan Klein did very well out of licensing his newly acquired “Bittersweet Symphony” to Nike (Superswell). Inability to afford either licences or legal costs means that some innovative and novel creations will never leave the bedroom. Sampling masterpieces such as “It Takes a Nation of Millions to Hold Us Back” are no longer cost effective (McLeod). The absence of a compulsory licence for sampling permits a de facto monopoly over recorded music. Tricia Rose notes the recording industry knows the value of “cop

The article examines I. S. Nikitin’s poetics from the point of view of its continuity in relation to the achievements of his predecessors, lyric poets, and those original features the poet himself developed. The main method is an end-to-end textual analysis of I. S. Nikitin’s poetry collection in the unity of content and form. Additionally, the study used the research methods of linguistic stylistics, linguistic poetics, semasiology, and structural-semantic syntax. The metrical features of poetic texts are given in the interpretations of M. L. Gasparov’s school. Though I. S. Nikitin considered A. V. Koltsov his immediate teacher, his poems contain noticeable images, motifs, and linguistic reminiscences referring to other poets’ creative work, especially A. S. Pushkin’s. I. S. Nikitin creatively interpreted certain Pushkinian linguo-poetic techniques (the antithesis of vice–virtue in the reflection on the role of the poet and poetry, the illustrative comprehension of canonical Christian texts, the realistic use of the ballad and idyll genres, the patriotic pathos of civic poems, the use of classical metrical schemes, and others). I. S. Nikitin made a significant contribution to improving the artistic language of Russian realist poetry. He developed the song genre in literature, introduced a variety of dramaturgical principles into lyric poetry, and proposed original compositional schemes for philosophical, social, and landscape poems. In his writings, I. S. Nikitin refined the poetic syntax of homogeneous constructions. Moreover, he extended the motivic boundaries of Russian lyric poetry through elaboration and precise observations, as well as enriched the linguo-stylistic repertoire of its vocabulary. I. S. Nikitin’s work is organically, closely, and versatilely connected with the content and language development of Russian poetry in the second half of the 19th century.

This article examines the position of creative practitioners working in South African tertiary education, with specific focus on the scope and impact of the 2017 Policy on the Evaluation of Creative Outputs and Innovations produced by South African Public Higher Education Institutions. I argue that, although the Policy is a welcome development, several fundamental issues related to creative work, definitions of knowledge, differences between ‘pure practice’, artistic research and academic research and the position of creative work in the knowledge economy are not adequately addressed in the Policy. Furthermore there are several instances, I argue, where the Policy exposes biases towards certain disciplines and sub-disciplines, and shows a significant lack of consistency in terms of the evaluation of outputs in different fields. I probe the question of whether creative and academic work should be considered as equally valuable within academe, and if so, what the implications of such a position could be for creative practitioners working in South African tertiary education.

Uprooted Women: Migrant Domestics in the Caribbean. Paula L. Aymer. Westport, CT: Praeger, 1997. 172 pp. Caribbean Portraits: Essays on Gender Ideologies and Identities. Christine Barrow. ed. Kingston, Jamaica: Ian Randle Publishers, 1997. 497 pp. The Parish behind God's Back: Changing Culture of Rural Barbados. George Gmelch and Sharon Bohn Gmelch. Ann Arbor: University of Michigan Press, 1997.240 pp. Daughters of Caliban: Caribbean Women in the Twentieth Century. Consuelo Lopez Springfield. ed. Bloomington: Indiana University Press, 1997. 316 pp.

This thesis comprises a study about the scientific cinema, discussing language and aesthetics aiming to understand its status and its value in the audiovisual culture. The research hypothesis is that the scientific cinema lies within a context of creation and production of knowledge in which poetic language and imagination have a prominent place. By looking into the domain of science in cinema we targeted to understand the connections between science and cinema from the standpoint of the procedures, public and meanings (symbolization). In view of that, it was mandatory to find a broader definition of scientific genre within cinema, taking it as a hybrid, singular and transdisciplinary language. Regarding the method, it encompasses: studying the origin of scientific images and their evolvement from (since) illustration, photography and cinema; observing the use of techniques, languages and forms of enunciation in the scientific cinema; interviewing directors and groups of scientific cinema. The object of this research comprises Marcello Tassara's films De Revolutionibus and the series of short films Centro de massa (recovered and remastered for this research), and Nicholas Copernicus by Ray and Charles Eames. The analysis of these objects and other worldwide film productions supported the hypothesis of poetic and creative language in the scientific cinema.

Being and Becoming Academics: A Case Study of Chinese Returned Academics Working on Knowledge Recontextualisation