El cruce entre las antropologías. Una mirada interdisciplinaria en torno a la genética de poblaciones, las memorias familiares y la construcción identitaria

In the context of globalization and modernization, the cultural identity of ethnic minorities is undergoing a dynamic transformation. As a specific ethnic-gender group, Mongolian women face particularly salient issues regarding cultural identity. They not only bear the responsibility of carrying forward traditional culture but also confront the challenges of modernity, rendering them a crucial lens through which to observe cultural adaptation and identity construction. Therefore, the study of the cultural identity of Mongolian women holds both theoretical and practical significance. This study employs a combination of literature review and case study analysis to focus on the mechanisms and expressions of cultural identity among contemporary Mongolian women, exploring their pathways of identity negotiation and construction within multicultural contexts. The findings indicate that their cultural identity is shaped by historical, social, and individual factors. Subsequent to the establishment of New China, their social roles underwent significant transformation, revealing a dual nature of cultural self-perpetuation and social construction, while also facing pressures from modernization and inherent tensions between ethnic and gender identities.

The construction of identity in contemporary literature of the self has become a recurring fact in recent years. The limits that blur autofictions, where hazy boundaries separate the real from the fictitious, allow for life experiences to become diluted within the literary experience. Within the context of exile, all forms of identity construction are placed “in transit”: a learning process that involves an adaptation to a new territory and a new language. The second volume in Laura Alcoba’s trilogy, El azul de las abejas (2014 [2013]), shows how the exiled subject’s identity is constructed as a result of the changes arising from linguistic configuration and learning.

This paper examines the interaction between ethnic politics and conflict management in Guinea. The country belongs to the category of nations characterized in the literature as ‘deeply divided societies’ which, according to much literature, constitute a high-risk variable for ethnically induced armed conflicts. Yet Guinea has not succumbed to large-scale violence, giving rise to the question as to why armed conflict has not been a feature in Guinea despite its population being deeply divided along ethnicity and regional affiliation. The paper explores how various constructions of identity have been actively used by political agents to sustain stability through delicate ethnic balancing in a society characterized by its deep ethnic divisions. It is concluded that in contrast to findings in much of the existing literature where deep ethnic division is strongly linked with the onset of large-scale violent civil conflicts, Guinea’s deep ethnic divisions has been actually an impetus for stability rather than unrest. However, events in recent times indicate that, the use of various forms of identity construction by political elites to serve their own interests and ward off threats to their power is likely to go wrong as the nation moves to multi-party democracy, thereby posing a real danger to the country’s stability.

Rethinking Linguistic Relativity

In this article, I examine lesbian, gay, bisexual, trans, queer/questioning, intersex, and asexual (LGBTQIA) Tumblr bloggers’ bio boxes and “About Me” pages to show the ways gender and sexual orientation identities are constructed through community-regulated and community-generated labeling practices. Tumblr encourages counter-cultures (and labeling practices) to not only form but also to thrive due to its distinctive affordances including tagging and blog formatting. This article examines not only how these affordances shape usage and, subsequently, identity construction on Tumblr but also the ways in which Tumblr bloggers have embraced affordances to create community-accepted conventions of identity construction. Additionally, building upon online identity scholarship by Bargh, McKenna, and Fitzsimons and Tiidenberg, this article discusses true self and nonbinary gender and sexual orientation labeling as forms of identity construction that allows LGBTQIA identifying individuals a method for nuanced descriptions of feelings and desires. However, far from perfect, these labeling practices are also grounded in hegemonic female/male, feminine/masculine binary discourse. In a Foucauldian sense, bloggers construct discourse within existing power structures that ignore or erase LGBTQIA as sexual “abnormalities.” Although it is nearly impossible to fully break away from the dominant discourse, these labeling practices can be a useful starting point for conversations about genders and sexualities that lie outside of the hegemonic binary.

This research proposes a reflection about collaborative technology and the visuality as the main elements for identity construction on social networks, focusing on photography and video. The explosion, on the last 20 years, of technologically mediated processes that are becoming part of the everyday life, has shaped a new form of identity construction that I have called Expanded Identities. In this work I describe two different but interconnected trajectories that set the base for an understanding of these expanded identities. With these trajectories as a base the analysis, describes several cases in media and art works that engage with these identities and outline an emergent field. The first trajectory frames Internet history focusing on the technologies that make possible the so-called Web 2.0, a "social web". These set of technologies create affordances that shape new models of identity that are centered on the over exhibition of networked images. The second trajectory accounts for the technologies of vision that had been traditionally used only by artists as a self-exploration analysis, being the self-portrait as the main genre. This relationship is challenged right now because of the excess of self-images online known as Selfies. These trajectories converge precisely in the Selfie as the paradigmatic practice of the networked image. The selfie is used asfocus ofstudy because it is a good example of how technologies, visuality and identities are influencing the media and new artistic practices. The main objective of this research is to reflect upon the relationship between technologies,subjectivity processes, digital images and artistic practices that form a dialogue on the radical transformations of contemporary visuality.

Social media and social networks have been consistently gaining momentum due to the sweeping velocity of the new technologies. People, groups and individuals communicate, socialize, interact and "live together" on cyberspace which provides a new realm of communication shaped by digital culture. People are now using social media to build up communities and social groups that transcend the conventional concepts of time, space, body, memory and community, generating a new lexicon that pertains to the digital world, namely, cyberspace, cyber culture, cyber anthropology, virtual communities and online identities. All these digital-based concepts were born on the internet and enhance the culture of the Internet which is to be conceived as a shaping force. People are, indeed, shaped by the digital tools they have themselves invented! Human intelligence, memory and senses have been projected onto our digital devices, embodying, therefore, the human-machine metaphor (Wiener, 1948) which was seminal to the rise of digital technologies. In this paper, I intend to provide a theoretical framework of the concepts of cyber anthropology, cybernetics, cyberspace, online identities on the one hand, and the construction of memory on cyberspace, on the other hand. My hypothesis is that digital identities and memories are shifting, elusive and amorphous which leads us to reflect on the viability of digital cultures and their modes of transmission in the post-organic societies or what Umberto Eco calls "Cyberia", the electronic social groups.

This article discusses the role of media, especially Javanese cultural content, in the construction of the cultural identity of the Javanese transmigrant descendants in Lampung, Indonesia. The formulation of the problem in this study is how the role of Javanese cultural content in the construction of the identity of the descendants of Javanese transmigrants--in particular third and fifth generation--in Lampung? It is further divided into three research questions, which are how is Javanese cultural content displayed in the media in Lampung? What media are consumed by the descendants of Javanese transmigrants in Lampung? How does Javanese cultural content in the media play a role in the construction of the cultural identity of Javanese transmigrants in Lampung? This is a case study research, and the data was collected through in-depth interviews with 8 descendants of Javanese transmigrants in Lampung, 3 local media managers, and participative observations. The results showed that the descendants of Javanese transmigrants used both traditional and digital media. Elderly informants used print media (Javanese-language magazine), radio, and television, as well as a small amount of digital media. Meanwhile, adolescent informants consume Javanese cultural content through digital media, especially YouTube and TikTok. These results prompted researchers to argue that media and technology play a role in the construction of transmigrants' identities. The Javanese cultural content helps transmigrants to maintain their Javanese cultural identity. Keywords: Media, identity construction, transmigration, cultural identity, Javanese culture.

Cohors the governor and his entourage in the self-image of the Roman republic, David Braund punic persistence - colonialism and cultural identities in Roman Sardinia, Peter van Dommelen constructing the self and the other in Cyrenaica, Eireann Marshall Roman imperialism and the city in Italy, Kathryn Lomas landscape and cultural identity in Roman Britain, David Petts territory, ethnonyms and geography - the construction of identity in Roman Italy, Ray Laurence romancing the Celts - a segmentary approach to acculturation, Alex Woolf a spirit of improvement? marble and culture in Roman Britain, Raphael M.J. Isserlin material culture and Roman identity - the spatial layout of Pompeian houses and the problem of ethnicity, Mark Grahame the identity of the dead - marginal groups in Roman Nimes, Valerie M. Hope.

This study explores the dynamic process of cultural inheritance, identity reconstruction and social integration experienced by Chinese families in Malaysia during the process of transgenerational migration. Through in-depth interviews with 15 Chinese families in Malaysia spanning three generations, this paper analyzes the inheritance and changes of Chinese culture in these families in a multicultural context, as well as the differences between different generations in cultural identity, language use and identity construction. The study found that over time, the cultural identity of Chinese in Malaysia gradually shifted from a strong Chinese cultural identity to a more diversified identity, showing the complexity of cultural integration and identity reconstruction. This study not only enriches our understanding of the Chinese community in Malaysia, but also provides a new perspective for the broader study of transgenerational migration.

The current study unravels religious practices, politics and perceptions as forms of multiple identities within and amongst different types of migrant groups in South Africa. Using purpose sampling from members of the Christ Assembly Church of Africa, we explore how the appeal to religion is a form of identity construction that differentiates Congolese from other groups of migrants. We utilized social identity theory in showing how Congolese use religious practices at the mentioned church to assert and reaffirm their identity and use it as a form of resilience to any external threat to the existence of their ‘culture’. Our findings reveal that there exists a complex relationship between religion and Congolese refugees in Durban that is an identity maker that acts as a form of mobilization and resilience to any form of external threats to the identity of the Congolese community in Durban. Furthermore, our findings reveal that the negotiation and construction of Congolese identity through religious practices at Christ Assemblies Church of Africa can play an important role in determining how prejudices and behaviour that reject, exclude and often vilify persons based on the perception that they are outsiders or foreigners to the community are constructed.

Ogam is a writing system invented for the Irish language and originally used as a monument script in inscriptions on stone in Ireland and western Britain between the fifth (or late fourth) and the seventh centuries. Even though it was no longer used as a means of communication after the eighth century, it became an emblem of linguistic and cultural identity for medieval and early modern Irish scholars and poets because of its distinctive form, structure and letter names. The paper describes the characteristics of ogam as a script system and traces its place in medieval learned traditions about the origin and status of the Irish language and its alphabet, its use as a terminological tool for descriptions of Irish grammar and phonology, and its contribution to the construction of cultural memory and identity.

Immersive theatre, as a contemporary performance form that integrates narrative, space, and sensory participation, has gradually expanded from entertainment consumption to a practice of cultural representation and memory construction. Audiences are no longer merely passive spectators but participate in the narrative through role-playing, situational interaction, and sensory triggers, thereby generating cultural identity and emotional memory. While existing research has preliminarily addressed the characteristics of immersive design and audience interaction, there remains a lack of in-depth exploration into how audiences, after the performance, come to develop cultural positional understanding and sustain memory through participatory practices. Drawing on three Taiwanese immersive productions with strong local cultural contexts—The Great Tipsy, Someone, and Ephemeral Light: Taiwan—this study employs participatory observation and content analysis as an exploratory qualitative inquiry. Findings indicate that audience subjectivity is shaped by role design and the degree of participatory freedom; the depth of interaction and cultural context within narrative strategies determine cultural reception; emotional triggers act as a catalyst for cultural memory construction; and the depth of immersion influences the intensity and continuity of post-performance cultural effects. The three works, respectively, embody “emotional,” “historical,” and “cognitive” modes of cultural influence, producing distinct levels of post-experiential effects. This study further reveals that the formation of cultural identity emerges from the interweaving of design strategies, affective triggers, and narrative participation. These insights not only inform immersive design practices but also suggest the importance of incorporating cultural aftereffect tracking and educational applications to extend the depth and breadth of cultural practice.

This chapter features narratives of adolescent Bosnian Muslim women who came to the United States as refugees following the Bosnian War in the 1990s. Each of the women featured in this chapter considers herself to be socially and culturally proficient both within immigrant Bosnian and mainstream U.S. cultures; each is also academically successful and professionally ambitious. In their own words, the young women relate their lived experiences in U.S. culture and their processes of acculturation and identity construction. The analysis highlights the conceptions and reconstruction of cultural and religious identity among these women, who all identify themselves as ethnically Bosnian and religiously Muslim. Narratives and analysis also discuss the role of race, language, and cultural distance in the women’s identity construction process. Each adolescent woman idealizes a bicultural identity in which she is able to step between both Bosnian and U.S. cultural worlds. The women describe various degrees of success with this cultural code-switching and explain their processes of highlighting or downplaying their religious and cultural identity in various social situations. While their experiences in U.S. schools and social contexts vary, all the women are conscious of various influences on their religious and cultural identities and ascribe personal agency to their bicultural identity construction.

The purpose of the study is a comprehensive analysis of the role of 21st century fine art in the processes of formation, expression and preservation of cultural identity in Ukraine and the world against the background of global socio-cultural challenges. The methodology is based on a comprehensive interdisciplinary approach that combines theoretical analysis, historical and cultural context, as well as analysis of visual practices of contemporary fine art. Special attention is paid to critical analysis of works by Ukrainian and international artists who, through their artistic practices, represent key cultural codes and traditions. The method of comparative analysis helps to identify the features of local and global trends in the construction of identity in 21st century fine art. The influence of socio-political and technological transformations on artistic means of expression of identity is also taken into account. The scientific novelty lies in the comprehensive study of the mechanisms of reflection and construction of cultural identity in the visual arts of the 21st century using the works of contemporary Ukrainian and international artists as an example. The role of modern visual strategies, in particular digital technologies, in the preservation, transformation and active representation of national cultural identity in the context of globalization is determined. Conclusions. The article confirms that the visual arts of the 21st century serve as an important tool for reflecting and constructing cultural identity in the context of globalisation. The proposed author’s methodological model provides a comprehensive analysis of the relationship between local cultural codes and global artistic trends. Particular attention is paid to the role of digital visual strategies in the preservation and transformation of national identity. The results of the study expand the theoretical foundations of the study of cultural identity in the visual arts and may be useful for further scientific research and practical activities in the field of culture and art.