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- Genre: Doctoral Dissertation
Description
Since the departure of the UN Transitional Authority (UNTAC) in 1993, the Cambodian Muslim community has undergone a rapid transformation from being an Islamic minority on the periphery of the Muslim world to being the object of intense proselytization by foreign Islamic organizations, charities and development organizations. This has led to a period of religious as well as political ferment in which Cambodian Muslims are reassessing their relationships to other Muslim communities in the country, fellow Muslims outside of the country, and an officially Buddhist state. This dissertation explores the ways in which the Cham Muslims of Cambodia have deployed notions of nationality, citizenship, history, ethnicity and religion in Cambodia's new political and economic climate. It is the product of a multi-sited ethnographic study conducted in Phnom Penh and Kampong Chhnang as well as Kampong Cham and Ratanakiri. While all Cham have some ethnic and linguistic connection to each other, there have been a number of reactions to the exposure of the community to outside influences. This dissertation examines how ideas and ideologies of history are formed among the Cham and how these notions then inform their acceptance or rejection of foreign Muslims as well as of each other. This understanding of the Cham principally rests on an appreciation of the way in which geographic space and historical events are transformed into moral symbols that bind groups of people or divide them. Ultimately, this dissertation examines the Cham not only as an Islamic minority, but as an Islamic diaspora - a particular form of identity construction which has implications for their future development and relations with non-Muslim peoples. It reconsiders the classifications of diasporas proposed by Robin Cohen and William Safran, by incorporating Arjun Appadurai's conception of locality as a construct that must be continuously rendered in praxis to generate the socially shared understanding of space, geography and its meaning for communitarian identity. This treatment of Islamic transnationalism within the context of diaspora studies can contribute to the broader conversation on the changing face of Islamic identity in an increasingly globalized world.
ContributorsPérez Pereiro, Alberto (Author) / Jonsson, Hjorleifur R (Thesis advisor) / Eder, James F. (Thesis advisor) / Woodward, Mark (Committee member) / Arizona State University (Publisher)
Created2012
Description
After the implementation of the racial laws sanctioned by Mussolini in 1938, many Italians Jews looked for safe haven in Argentina and Uruguay. This research study aims to investigate the transnational cultural space that emerges as result of the Italian Jewish diaspora to the La Plata River during fascism. This phenomenon has not been fully addressed by contemporary Jewish Latin American Studies conducted in the US and in Latin America. This study attempts to illustrate how this particular diaspora is closely linked to the specific nature of the host countries, in particular, to the fact that these are countries with a strong immigration tradition and with a significant representation of Italians. This research emphasizes the transnational dimension of the experience, the phenomenon is approached from a regional perspective, encompassing two countries that share common cultural and historical roots, Argentina and Uruguay. The study is also rooted in a global perspective, linking the region with Italy in the context of the Europe of the time. On this basis, the study is guided by the following main assumption: The specific Italian diaspora generated original spaces of transnational cultural production that had an impact in the River Plate region and in Italy. This is done by studying some of the cultural manifestations of this multifaceted experience. This work is theoretically guided by an integration of perspectives emerging from cosmopolitanism, diasporic criticism and Bakhtinian dialogism. More specifically, when studying autobiographical texts, the research focused on critical essays on life narratives in general and on studies linking this discursive typology to the narratives of the Shoah, including the human capacity for resilience and adaptation in the face of adversity and trauma. The diaspora has created a prolific and unique body of transnational cultural expressions and, moreover, this particular diaspora has proved to be closely linked to the specific nature of the host countries. The findings make contributions to the field of Jewish Latin American Studies and Transatlantic Studies.
ContributorsMarsiglia, Edith (Author) / Volek, Emil (Thesis advisor) / Rosales, Jesus (Committee member) / García-Fernández, Carlos (Committee member) / Arizona State University (Publisher)
Created2015
Description
The turmoil that China endured during the twentieth century triggered a series of social and political revolutions. As China struggled to resolve domestic questions of dynasticism or democracy and nationalism or communism, Western industrialization and imperialism dragged China rapidly into the globalizing world. Likewise, Chinese painting had to confront the West, as Chinese artists dealt with the twentieth-century version of the recurring question of modernizing Chinese painting for its times: how does one reconcile an ancient painting tradition with all the possibilities Western interactions introduced? This dissertation focuses on one artist's lifelong struggle, often overlooked, to answer this question. By examining C. C. Wang (1907-2003) and his life in art, this case study reveals broader truths about how twentieth century Chinese diaspora painters, such as Wang, modernized the tradition of Chinese ink painting.
Wang's reputation as a connoisseur of ancient Chinese painting has overshadowed his own artwork, creating a dearth of research on his artistic development. Using public and private sources, this dissertation applied stylistic analysis to track this development. The analysis reveals an artist's lifelong endeavor to establish a style that would lift the Chinese painting tradition into a modern era, an endeavor inspired by modern Western art ideas and a desire to play a role in the larger movement of elevating Chinese painting. The argument is made that these efforts establish Wang as an influential twentieth century Chinese ink painter.
To clarify Wang's role within the broader movement of Chinese diaspora painters, this dissertation employs a comparison study of Wang with such established twentieth century ink painting artists as Zhang Daqian, Liu Guosong, and Yu Chengyao. It is
asserted that the 1949 diaspora forced this cohort of artists to adjust their style and to transcend traditional Chinese painting by integrating newly-salient ideas from Western art, particularly the abstract movement. Meanwhile, the essential Chinese identity in their art collectively became more significant. The solidarity of purpose and identity is a distinctive part of the answer this group of twentieth century Chinese diaspora painters proposed to their generation's inherited challenge of enriching the tradition.
Wang's reputation as a connoisseur of ancient Chinese painting has overshadowed his own artwork, creating a dearth of research on his artistic development. Using public and private sources, this dissertation applied stylistic analysis to track this development. The analysis reveals an artist's lifelong endeavor to establish a style that would lift the Chinese painting tradition into a modern era, an endeavor inspired by modern Western art ideas and a desire to play a role in the larger movement of elevating Chinese painting. The argument is made that these efforts establish Wang as an influential twentieth century Chinese ink painter.
To clarify Wang's role within the broader movement of Chinese diaspora painters, this dissertation employs a comparison study of Wang with such established twentieth century ink painting artists as Zhang Daqian, Liu Guosong, and Yu Chengyao. It is
asserted that the 1949 diaspora forced this cohort of artists to adjust their style and to transcend traditional Chinese painting by integrating newly-salient ideas from Western art, particularly the abstract movement. Meanwhile, the essential Chinese identity in their art collectively became more significant. The solidarity of purpose and identity is a distinctive part of the answer this group of twentieth century Chinese diaspora painters proposed to their generation's inherited challenge of enriching the tradition.
ContributorsHua, Ming (Author) / Brown, Claudia (Thesis advisor) / Baker, Janet (Committee member) / Fahlman, Betsy (Committee member) / Arizona State University (Publisher)
Created2014
Description
The Philippine Sea refers to the East and West Philippine Sea that are within the sovereign territory of the 7,641 islands of the Philippine archipelago. Historically, Spain, the United States, and Japan have colonized the islands, and the United States and China continue to maintain imperial interests in the area. Filipino/a/x diasporic activists in the U.S. and allies have participated in the anti-imperial struggle in support of demilitarization of the Pacific and of neo-colonized states across the globe. Responding to the problematics of anti-imperialism and solidarity, this dissertation advances the concept of agos or moving relations to attune to the sea as an analytic in theorizing activism, communication, and performance. This project was written on the unceded ancestral homelands of the Onk Akimel O’odham and Xalychidom Piipash, was inspired by the works of Black and Indigenous communities and scholars, and was influenced by Kale Fajardo’s notion of crosscurrents and Loma Cuevas-Hewitt’s concept of archipelagic poetics. Across critical organizational communication, critical intercultural communication, and performance studies, agos theorizes the relationalities of movements and the movements of relationalities. Utilizing critical qualitative, rhetorical, and performance methods, this project develops three instantiations of agos. In “Whirlpool Organizing,” the processes of anti-imperial organizers’ relationship and coalition building are examined to demonstrate the liquidities that animate dialectics and differences. In “Anchored Relationality,” U.S. diasporic Filipino/a/x’ varied and complex reconnections with Philippine waters are explored to illustrate the fluidities of positions and relations. In “Archipelagic Performance,” the staged production of “What sounds do turtles make?” is analyzed to showcase the flows of a decolonial and relational mode of performance.
ContributorsLabador, Ma Angela San Luis (Author) / LeMaster, Loretta (Thesis advisor) / Kim, Heewon (Thesis advisor) / Leong, Karen (Committee member) / Hastings, Rachel (Committee member) / Arizona State University (Publisher)
Created2023
Description
It is estimated that 3000 Mauritian immigrants live in the Canadian province of Ontario, yet despite this relatively small number they are culturally distinct in the city of Toronto. Using ethnographic methods, this dissertation examines immigrants’ changing identities, engagement in transnational politics, and transnational relationships with family members still in Mauritius. Mauritian immigrants in Toronto tend to conceptualize of a unified Mauritian community, created out of a sense of pride that Mauritians are doing well economically, as well as through shared cultural practices like speaking the Mauritian kreol language. However, there are also divisions within the diaspora along ethnic and religious lines, mirroring those in Mauritius. Immigrants also identify as Canadian to a degree, even though what it means to be Canadian varies. Mauritian immigrants’ engagement with Canadian governance influences their likelihood of engaging in transnational politics, even though this is further mediated by the context of migration. Those who migrated as adults with a fully established social network are more likely to try and actively engage in transnational politics compared to those who migrated as young adults to pursue higher education. The latter tend to show an aspiration to engage in transnational politics or a complete lack of engagement from the Mauritian state. Finally, family relationships, including transnational family ties, are an important factor in migration decisions, both in choosing to migrate and choosing to return home. The decision to migrate to Canada is not taken simply at the individual level but is made with input from other family members, or for the children’s welfare. Immigrants retain transnational ties to other kin through internet technologies, frequent visits back to Mauritius, and the sending of remittances. Immigrants are ambivalent about returning home because they do not wish to leave behind their children or grandchildren who have an established life in Canada. This dissertation contributes to the immigration literature by showing that there are generational factors in how immigrants identify and engage in transnational relationships. It also provides policy implications both for the Mauritian government and receiving countries concerned with culturally distinct diasporic populations.
ContributorsLuchmun, Rachel (Author) / Tsuda, Takeyuki (Thesis advisor) / Estrada, Emir (Committee member) / Ruth, Alissa (Committee member) / Arizona State University (Publisher)
Created2021