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We aim to investigate the extent to which American liberals and conservatives consider different forms of cultural borrowing to be morally wrong. In this online study, liberal and conservative Americans recruited from Prolific.com will read a series of short scenarios each involving an instance of cultural borrowing either by a majority-group member (appropriation) or a minority-group member (assimilation). We predict that borrowing type and participant ideology will interact such that a) liberals will rate appropriation as significantly more morally wrong than they will rate assimilation, and b) liberals will rate appropriation as significantly more morally wrong than conservatives will rate appropriation.

This research aims to identify and describe cultural appropriation that were found in Moana. Cultural appropriation is one of the negative actions that can harm one culture. This action generally occurs due to a lack of understanding and appreciation of a culture. Based on Rogers[6] cultural appropriation as the use of a culture's symbols, artifacts, genres, rituals, or technologies by members of another culture, is inescapable when cultures come into contact, including virtual or representational contact. Rogers also divided cultural appropriation into four types, there are cultural exchange, cultural dominance, cultural exploitation, and transculturation. Based on Rogers theory above, cultural appropriation that were found in Moana is cultural exploitation. This research was used Qualitative descriptive method. The source data of this research are from “Moana” by Ron Clements and John Musker. This movie was released in 2016 with 113 minutes duration. This analysis shows there are four points of cultural appropriation that were found in “Moana”. Firstly, depiction figure of “Maui”, a demigod figure illustrated very different from the original form in the movie Moana. Secondly, depiction of Kakamora people. Thirdly, depiction of the cliché coconuts. Fourthly, Disney removing Maui’s family out of the tale. This leads to deviations in views towards the representatives of the population and Polynesian beliefs.

Cultural appropriation has often been linked to American treatment of indigenous cultures. In Playing Indian, for example, Philip J. Deloria investigates how images of Indianness, however inauthentic, stereotypical, or completely ethnocentric, work to help white Americans come to terms with their history of conquest and possession. While the term cultural appropriation has been linked to the conflict between dominant and indigenous cultures as Deloria suggests, it is used far less frequently with respect to American and Latin American cultural identities. Yet, the preponderance of movies and literary works in which Americans follow the same rubric – use Latin American culture to define American cultural identity – evoke the same sense of loss on the part of Latin Americans, in this case, Argentines. For over a century, for example, the gaucho has been examined, evaluated, and reevaluated by Argentines within gauchesque literature to make sense of modernization, notions of civilization versus barbarism, and what creates argentinidad, or what it means to be Argentine. Ricardo Güiraldes sought to respond to the cultural appropriation and misrepresentation of the gaucho, specifically that gaucho culture could be taken up by anyone and used for any purpose, no matter how benign; and that gauchos were a part of the past, eschewing modernization in forms such as industrial ranching and technology when, in fact, they embraced it. In Don Segundo Sombra, Güiraldes addresses these issues. Rather than permit cultural appropriation and ethnocentrism to remain unremarked upon, Güiraldes demonstrates that gaucho culture has remarkable qualities that cannot be imitated by novices, both foreign and native. He then examines gaucho culture, particularly the link between frontier life and economic displacement, in order to champion the gaucho and argentinidad as the models for Argentines to follow.

Supplementary materials: Supplementary material associated with this article can be found, in the online version, at doi https://doi.org/10.1016/j.jwb.2022.101417 Copyright © 2022 The Authors. Increasing internationalisation in organisations demands further research on acculturation within international business (IB). Based on triangulated qualitative data on South Asian diasporas’ food consumption in the UK and Bahraini contexts, we introduce two acculturative orientations: essentialism and boundary spanning. We contribute to literature by linking acculturative orientations with relevant drivers and resulting adoption and adaptation of cultures to offer a new perspective towards analysing (im)migrants’ appropriation of culture in personal and work settings. We push the boundary of IB research by highlighting and enriching the understanding of, and reciprocity between, social and occupational contexts that shape (im)migrants’ acculturation.

We aim to test the effect of intent on judgments related to cultural appropriation among Black and White Americans. In this online study, Black and White Americans recruited from Prolific.com will read a vignette (adapted from Mosley & Biernat, 2021) in which the protagonist, a chef, copies elements of Black culture with either negative intentions (to exploit it), positive intentions (to show respect), or no intention (he was unaware he was copying from Black culture). Replicating earlier studies, we hypothesize that, compared to the negative intention condition, White and Black Americans in the positive intention condition will: judge the actor as engaging in less appropriation, perceive less harm, judge the actor as less disrespectful of Black culture, judge the behavior as less disrespectful of Black culture, and endorse lower support for confronting the protagonist about their behavior. Based on the results of an earlier study, we also predict a main effect of race such that Black participants will generally make more extreme judgments (e.g., the actor caused more harm, was more disrespectful) than White participants across intent conditions. In an earlier study, we had predicted (and preregistered) an interaction between intent and participant race, such that Black participants would make more extreme judgments than White participants in the positive intention condition, and that this difference would be larger than the difference between Black and White participants in the negative intention condition. Instead, as described above, we found a main effect of race across intention conditions but no interaction. In the current study, we added the "no intention" condition to explore if we can find the previously predicted interaction between intent and participant race. Specifically, we are interested in seeing whether the “no intention” condition in which the actor is unaware of their copying might show the larger differences in judgements between Black and White participants that we expected to see in the positive intention condition in the last study.

We aim to test the effect of intent on judgments related to cultural appropriation among Black and White Americans. In this online study, Black and White Americans recruited from Prolific.com will read a vignette in which the protagonist copies elements of Black culture either with either negative intentions (to exploit it) or positive intentions (to show respect). Replicating earlier studies, we hypothesize that, compared to the negative intention condition, White Americans in the positive intention condition will: judge the actor as engaging in less appropriation, perceive less harm, judge the actor as less disrespectful of Black culture, judge the behavior as less disrespectful of Black culture, and endorse lower support for confronting the protagonist about their behavior. We also hypothesize that participant race will interact with intention condition such that Black Americans will be less sensitive to intent than White Americans in their judgments of appropriation, the behavior's level of disrespect, and endorsement of confrontation. Specifically, we predict that when intent is positive, Black Americans will be more likely to say that the act constitutes cultural appropriation, more likely to perceive the behavior as disrespectful, and more likely to endorse confronting the person than White Americans. Finally, we predict a 3-way interaction between intent, participant race, and target of disrespect judgment (person vs. behavior). We have two predictions about the shape of this interaction: one is that the difference between Black and White participants' judgments will be smallest when rating the disrespectfulness of the target's behavior in the negative intent condition. The second is that when intent is negative, Black participants will distinguish less between person and behavior than White participants.

This study is a pre-registered replication of an earlier study in which we tested the effect of intent on judgments related to cultural appropriation. In this online study, White Americans recruited from Prolific.com will read a vignette in which the protagonist copies elements of Black culture either with either negative intentions (to exploit it) or positive intentions (to show respect). We hypothesize that, compared to the protagonist with negative intentions, White Americans will judge the protagonist with positive intentions as engaging in less appropriation. We also predict that White Americans will distinguish between the protagonist's own respect for Black culture and the respect shown by the protagonist's behavior, especially in the positive intention condition. Specifically, while we predict that both the person and the behavior will be judged as more disrespectful in the negative intention condition than in the positive intention condition, we also expect an interaction between intention condition and judgment type such that the difference between person- and behavior-respect will be greater in the positive intention condition than in the negative intention condition.

During the Twentieth century Native American literature evolved from anonymity into prominence by assuming a commitment to reflect the particular challenges that faced Native American people during last two centuries. Native American Literature illuminates about Native American lives, culture and how Indian values have changed from traditional tribal to mainstream ones that threatened tribal existence. The paper seeks to substantiate that this literature documents the horrible impact of brutal federal government on Indian’s lives through policies and programs designed to subject them to degrading and confining existence both on physical and mental levels. The paper also seeks to prove that the Indians in order to adapt themselves to the mainstream Euro-American ways lost their old ones along the way but could not adopt mainstream American lifestyle. At the turn of the Twenty First century, because of the coercive strategies for assimilation, American Indians residing on reservations could not become a part of mainstream America but the way back to traditionalism was also farther away and irreversible. The paper also strives to substantiate that Native American literature documents and provokes Indians to assert their tribal identity by retaining many of the tribal ways and values.

Cultural appropriation has been described and discussed within academic and everyday discourse, but little research has examined its role in the psychological context of intergroup relations. We sought to examine whether minority and majority group members (i.e., Black and White Americans) would differentially judge instances of cultural exchange as cultural appropriation. Five experiments (3 were preregistered on OSF) using a variety of potential cases of cultural appropriation demonstrated that Black participants were more likely than White participants to view these incidents as appropriation when they involved White perpetrators appropriating Black culture (vs. scenarios of Black perpetrators appropriating White culture), an effect mediated by distinctiveness threat. Black (vs. White) participants were also more likely to perceive White actors who appropriate Black culture as harmful and as intentional. In Study 4, explicit manipulation of distinctiveness threat eliminated the participant race effect: Perceivers viewed White perpetrators as more appropriative than Black perpetrators. When actors were portrayed as using either an ingroup or outgroup cultural product (Study 5), participants perceived use of an outgroup cultural product as more appropriative. Studies 3-5 were preregistered on OSF. This research illuminates how group-based status interacts with and adds to perpetrator prototypically to influence perceptions of cultural appropriation, distinguishes perception of appropriation from perception of racism, and points to the importance of distinctiveness threat as a contributor to differential race-based perceptions. Implications of perceiving cultural appropriation for intergroup relations are discussed. (PsycInfo Database Record (c) 2021 APA, all rights reserved).

The term blackfishing, which takes a twist on the concept of catfishing, that is, tricking people online into thinking you are someone else, refers to the practice of (mostly) White women pretending to be Black by using makeup, hairstyles, and fashion that originate in Black Culture to gain financial benefits. This article aims to contextualize the concept of blackfishing through a critical literary review that will cover the following elements: cultural appropriation, the commodification of Black culture, the representation of Black women in North America, and the operationalization of blackfishing.

espanolLo llamado “oriental” siempre ha sido objeto de fascinacion “occidental”. Hoy en dia, la escenificacion de “Oriente” en la fotografia de modelos (por aficion) es uno de los temas mas populares: se combinan trajes y accesorios de diversos contextos culturales para formar un nuevo conjunto. Basandose en la observacion participativa y en las entrevistas, el articulo rastrea las posibles motivaciones individuales para encarnar lo “oriental”, entre ellas la nostalgia, que se corresponde con la descripcion de lo oriental como “intemporal”, la necesidad de espiritualidad, el deseo de expresar la feminidad y de trabajar la identidad con respecto a los ensayos de identidad y la definicion de la propia identidad con ayuda de su opuesto imaginado. Teniendo en cuenta la sociedad en su conjunto y su zeitgeist, el fenomeno se interpreta utilizando los conceptos de escapismo y kitsch, que tambien pueden observarse en la cultura dominante. Ademas, se discute la apropiacion cultural como una forma de evitar el conocimiento de otras culturas, pero al mismo tiempo, la sesion de fotos “oriental” tambien se ve como una oportunidad para generar interes y practicar la creatividad. El articulo muestra que el analisis de las fotografias escenificadas ofrece una base para entender el contexto cultural en el que se han tomado y/o circulan, y que los motivos de las fotos pueden verse como expresiones de motivaciones psicologicas. EnglishThe so-called “oriental” has always been a subject for “western” fascination. Today, the staging of the “orient” in (hobby) model photography is among the most popular themes: costumes and props from various cultural contexts are combined to form a new whole. Based on participant observation and interviews, the article traces back possible individual motivations for embodying the “oriental,” among them nostalgia, corresponding with the description of the orient as “timeless,” the need for spirituality, the wish to express femininity, and to work on identity with regard to identity trials and the definition of the own identity through the help of its imagined opposite. Considering society as a whole and its zeitgeist, the phenomenon is interpreted using the concepts of escapism and kitsch, which can be observed in mainstream culture as well. Furthermore, cultural appropriation is discussed as a way to prevent getting to know other cultures, but at the same time, the “oriental” photoshoot is also seen as a chance to generate interest and to practice creativity. The article shows that the analysis of staged photographs offers a base for understanding the cultural context in which they have been taken and/or circulate, and that the photo motifs can be seen as expressions of psychological motivations.

espanolEste articulo investiga el papel de la Ligue Internationale pour l'Education Nouvelle (LIEN) en la difusion de iniciativas, preceptos y principios incrustados por el movimiento de renovacion educactiva brasileno. Se propone rastrear contactos de dos de los tres principales integrantes de ese movimiento y miembros de la Liga, en el periodo 1924-1932, articulandose en torno a una cuestion central: ?habrian funcionado esos contactos como canales de circulacion de ideas e informaciones, suministrando modelos de algun modo incrustados en el programa de reconstruccion educativa expresado en la Declaracion de los Pioneros de la Educacion Nueva? Por lo tanto privilegiaremos las relaciones de dos de los principales signatarios de esta Declaracion, Fernando de Azevedo y Lourenco Hijo, con miembros de la Ligue Internationale pour l´Education Nouvelle, particularmente del Grupo Frances de Educacion Nueva (GFEN), organo de la Liga. EnglishThe article examines the role of the New Education Fellowship in promoting the principles and activities of the Brazilian movement for educational reconstruction. The study explores the relations between two of the three most important representatives of the movement and members of the Fellowship in the period 1924-1932, to assess their role in the circulation of ideas, information and models for the programme of educational reconstruction articulated in the New Education Pioneers Declaration. The analysis focuses on the relations of two of the main signatories of the manifesto, Fernando de Azevedo and Lourenco Filho, with members of the Fellowship, particularly the French New Education Group. galegoEste artigo investiga o papel da Ligue internationale pour l'Education Nouvelle (LIEN) na difusion de iniciativas, preceptos e principios incorporados polo movemento de renovacion educativa brasileiro. Nel se propon rastrear os contactos de dous dos tres principais integrantes dese movemento e membros da Liga, no periodo 1924-1932, articulandose en torno a unha cuestion central: terian eses contactos funcionado como canles de circulacion de ideas e informacions, fornecendo modelos dalgun modo incorporados no programa de reconstrucion educativa expresado no Manifesto dos Pioneiros da Educacion Nova? Polo tanto privilexiaremos as relacions de dous dos principais asinantes dese Manifesto, Fernando de Azevedo e Lourenco Fillo, con membros da Ligue Internationale pour l´Education Nouvelle, particularmente do Grupo Frances de Educacion Nova (GFEN), organo da Liga. portuguesEste artigo investiga o papel da Ligue internationale pour l’Education Nouvelle (LIEN) na difusao de iniciativas, preceitos e principios incorporados pelo movimento de renovacao educacional brasileiro. Ele se propoe a rastrear contatos de dois dos tres principais integrantes desse movimento e membros da Liga, no periodo 1924-1932, articulando-se em torno de uma questao central: teriam esses contatos funcionado como canais de circulacao de ideias e informacoes, fornecendo modelos de algum modo incorporados no programa de reconstrucao educacional expresso no Manifesto dos Pioneiros da Educacao Nova? Para tanto privilegiaremos as relacoes de dois dos principais signatarios desse Manifesto, Fernando de Azevedo e Lourenco Filho, com membros da Ligue Internationale pour l´Education Nouvelle, particularmente do Grupo Frances de Educacao Nova (GFEN), orgao da Liga.

This article explores the relationship between cultural appropriation, musical protest, and African American history, as foregrounded in the music of avant-garde metal band Zeal & Ardour. Under the...

In 2018, the Art Gallery of Ontario retitled a painting by Emily Carr which contained an offensive word. Controversy ensued, with some arguing that unsanctioned changes to a work’s title infringe upon artists’ moral and free speech rights. Others argued that such a change serves to whitewash legacies of racism and cultural genocide. In this paper, I show that these concerns are unfounded. The first concern is not supported by law or the history of our titling practices; and the second concern misses the mark by ignoring the gallery’s substantial efforts to avoid just such an outcome. Picking up on a suggestion from Loretta Todd, I argue that we can use Aboriginal Title as a model for thinking about the harms perpetuated by cultural appropriation, and the practices we should adopt to mitigate them.

This paper seeks to clear up the confusion surrounding debates over cultural appropriation. To do so, I argue for an agent-centred approach—a focus on appropriators more than appropriation. In my view, cultural misappropriation involves agents who exhibit disregard toward a relevant culture and its members. I argue further that this approach improves upon recent alternative philosophical approaches to cultural appropriation, which I divide into two camps: toleration-based and power-based.

Some writers have objected to cultural appropriation in the arts on the grounds that it violates cultures’ property rights. Recently a paper by Erich Matthes and another by C. Thi Nguyen and Matthew Strohl have argued that cultural appropriation does not violate property rights but that it is nevertheless often objectionable. Matthes argues that cultural appropriation contributes to the oppression of disadvantaged cultures. Nguyen and Strohl argue that it violated the intimacy of cultures. This paper argues that neither Matthes nor Nguyen and Strohl succeed in showing that cultural appropriation is often objectionable.

Cultural appropriation, as both concept and practice, is a hugely controversial issue. It is of particular importance to the arts because creativity is often found at the intersection of cultural boundaries. Much of the popular discourse on cultural appropriation focusses on the commercial use of indigenous or marginalized cultures by mainstream or dominant cultures. There is, however, growing awareness that cultural appropriation is a complicated issue encompassing cultural exchange in all its forms. Creativity emerging from cultural interdependence is far from a reciprocal exchange. This insight indicates that ethical and political implications are at stake. Consequently, the arts are being examined with greater attention in order to assess these implications. This article will focus on appropriation in literature, and examine the way appropriative strategies are being used to resist dominant cultural standards. These strategies and their implications will be analyzed through the lens of Deleuze and Guattari’s notion of minor literature.

Con la novela A la Costa (1904) de Luis A. Martínez, el espacio de la Costa entra en la narrativa del Ecuador. La relación entre geografía y literatura da fe, aquí, de una original apropiación cultural de la naturaleza costeña, la cual es transformada por las numerosas y detalladas descripciones del narrador en espacios-valores. La autora estudia las modalidades del trato de los espacios y de los paisajes, entre realismo, costumbrismo y romanticismo herderiano, para entender los valores que asumen los espacios costeños; valores que no solo son económicos, políticos o ideológicos, sino también identitarios y hasta espirituales. Se observa cómo van moldeando un genio que remite a un Volkgeist singular en el panorama cultural de la época, por tener una dimensión sublime, la misma que caracteriza, por cierto, la producción pictórica del Martínez paisajista.

This article examines the role of French language and culture in the fourteenth-century Arthurian text, La Faula, by the Mallorcan, Guillem de Torroella. Reading the appropriation of French language and literary models through the lens of earlier thirteenth-century Occitan resistance to French political and cultural hegemony, La Faula’s use of French dialogue becomes significant in light of the political tensions in the third quarter of the fourteenth century that saw the conquest of the Kingdom of Mallorca by that of Catalonia-Aragon and the subsequent imposition of Catalano-Aragonese political and cultural power. La Faula’s clear intertextual debt to French literary models and its simultaneous ambivalence about the authority and reliability of those models makes French language into a space for the exploration of the dynamics of cultural appropriation and political accommodation that were constitutive of late fourteenth-century Mallorca.

Teaching a graduate course focused on critical understandings of interculturality offers an opportune space in which to explore decolonizing pedagogical practices. In this short paper, I examine my...

As a chef, culinary historian, and resident of Charleston, South Carolina, USA, I have always been intrigued by the debate over the cultural appropriation , exploitation, and the appreciation of food from other cu l tures. It has always been important for me to know not only about food and ingredients, but also the associated culture. In this article I take a sociological approach to discuss cultural appropriation as it relates to food. It also offers a meeting of my two worlds—as a professional chef and as a budding scholar.

Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992) As argued by Wilcomb Washburn, no other ethnic group has been misrepresented in media and popular culture to such extent as the Native Americans (2010). Movies that shaped their image did so by crystallizing stereotypes and misconceptions, through which indigenous peoples have been perceived until the present day. Thomas Edison’s vignettes, early westerns, as well as subsequent motion pictures of the 1960s and 1970s strengthened the stereotypes of the vanishing Indians, bloodthirsty savages, and their noble alter ego. The 1990s brought about a revival of the western in its new, revisionist form, mainly due to the achievements of the American Indian Movement. This paper argues that the movie Thunderheart (1992) by Michael Apted — albeit belonging to that ostensibly revolutionary current — continues to reproduce various well established stereotypes in the portrayal of the Native Americans . It examines significantachievements of this partly liberal motion picture, as well as its failures and faults. Thisarticle argues that Thunderheart departs from traditional, dualistic portrayals of Native Americans as bloodthirsty and noble savages and manages to present a revisionist version of historical events; at the same time, it fails to omit numerous Hollywood clichés, such as stereotypical representation of native spirituality, formation of an “Indian identity”, and “othering” of the Native Americans, which contributes to their further alienation and cultural appropriation. This paper provides an insightful analysis of the movie, drawing on scholarship in the field of cultural and indigenous studies in order to lay bare the ambivalence towards indigenous people in the United States, that is reflected in the movie industry. Moreover, it indicates towards the commodification of native culture, as well as the perception of Native Americans as primitive and inferior, allowing to classify Thunderheartas an unfortunate product of colonialism.

Using an original online experiment, we test whether the appropriation of Amish group identity influences voter behavior. We do not find that the appropriation of Amish group identity influences intended vote choice. However, there is evidence that associating the Amish with a candidate who was subjected to negative advertisements resulted in a reduction in approval rating for the Amish as a group. In addition, we find that the attitudes toward the Amish vary by respondent ideology and, consistent with the contact hypothesis, those individuals who interact regularly with the Amish reported more favorable ratings toward the Amish. The results raise important questions regarding the appropriation of a group's image in the course of a political campaign.

This paper examines the wardrobe of the first prime minister and president of Ghana, Kwame Nkrumah, to show how he created a set of “suits” or “looks” to mirror his overlapping traditional, modern,...

This study considers the dialogic relationship between the 2017 Disney live-action film Beauty and the Beast with Gabrielle-Suzanne de Villeneuve’s fairy tale and Disney’s 1991 animated version. Drawing on cultural and feminist discourse, the study seeks to examine Disney’s live-action film for incidents of cultural appropriation of gender representation compared to Villeneuve’s fairy tale and Disney’s 1991 animated version. The Study argues that the 2017 film adaptation reverses the traditional patriarchal notions and embraces a transgressive feminist discourse/approach as part of Disney’s strategy of diversity and inclusion of gender, race, class, and sexual orientation as constantly evolving cultural categories. This study finds significant alterations made to the physical and psychological attributes of the 2017 film’s three characters: Beauty/Belle, the Beast, and the Enchantress, changes that align with the film’s gendered discourse. By reversing the characteristic privileging of the male and the empowerment of the female, the live-action succeeds in addressing the contemporary audience demands of diversity and inclusion. The study concludes that the changes made in the 2017 film adaptation displace the oppressive patriarchal notions and stereotypical modes of representing the male and female as they have been perceived in the original fairy tale, for they are no longer compatible with contemporary cultures’ assumptions on gender.

Throughout the translation of Beowulf, the Irish poet Seamus Heaney employs occasional dialectal diction, which has aroused heated debate on the subject of cultural appropriation. While some argue ...

Perhaps the most difficult assignments in architecture are those requiring that tradition be brought into the design. This wish might be included in the assignment by the client or it may be a goal set by the designers themselves. This article takes up the topic of cultural borrowings as well as the relationship between the designer and the features of the local culture – specifically, the Sámi lavvu theme. In this article, some attempts will be presented to make Sámi culture visible in architecture at different times. Architecture follows the same kinds of stereotypical representations that are now criticized in museums when presenting Indigenous peoples. The Sámi are often presented in national museums as a separate theme, and, in architecture, certain themes are highlighted as “Sámi” features. Architecture has remained a discipline that celebrates the mixing of elements and motifs, while many art practices are tightening the boundaries around cultural license. However, this article does not focus on cultural appropriation in architecture or on the imbalance of power in planning; rather, it presents a contribution of how architects have interpreted the lavvu theme in their design between the 1940s and the 1990s. It also highlights the process of change that has taken place over a few decades; strengthening respect for Indigenous cultures and criticizing cultural exploitation have also had an influence on planning.

In three studies we examined lay definitions of cultural appropriation in U.S. community and college student samples. In a fourth study we examined correlates of perceptions of cultural appropriation. Using community and undergraduate student samples (Studies 1-2), and popular media articles (Study 3) we examined definitions of cultural appropriation following Rogers’ (2006) typology of cultural exchange, dominance, and subordination. The results across three studies revealed that cultural appropriation was defined predominantly as cultural exploitation. In Study 4 we examined political correctness (emotion and activism), social justice, empathy (perspective taking and empathic concern), and political orientation as correlates of cultural appropriation perceptions. Using canonical correlations, we found that cultural exploitation was the primary contributor to the synthetic predictor, and political orientation, emotion political correctness, activism political correctness, and social justice made significant contributions to the criterion variable, but not empathy. Implication and further research directions are discussed.

Cultural appropriation can be understood as involving members of one culture taking or adopting objects or practices which ‘belong’ to another culture in the sense of being affiliated or connected to that other culture in a unique or special way. But what constitutes this ‘belonging’ precisely? This paper proposes that belonging, in the targeted sense, is determined by meaningful connections between an object or practice and the relevant culture—in other words, connections that could be described as the thing’s ‘meanings’. Such meanings primarily include relations of causality, teleology, and symbolic representation. After expounding this account, the paper closes with a word of caution. The term ‘belongs’ is sometimes ambiguous, indicating both affiliation and legal or moral property rights. Despite this, belonging as affiliation or meaningful connectedness is not equivalent to rightful ownership. Nor does the former, by itself, entail the latter.

Este artigo tem como objetivo apresentar uma reflexão sobre o modelo de desenvolvimento historicamente eleito e culturalmente moldado pela sociedade brasileira, cujas atividades humanas revelam-se incompatíveis com as necessidades sociais de comunidades locais e com a dinâmica dos ecossistemas, inserindo a causa socioambiental em posição secundária na hierarquia dos interesses políticos e econômicos. A questão central que o permeia é a seguinte: Quais os impactos das atuais declarações do presidente brasileiro em termos de participação social e apropriação cultural do meio ambiente no Brasil? Para tanto, adota uma abordagem qualitativa (BOGDAN; BIKLEN, 1994) e se constitui como uma revisão de literatura, por meio da qual são consultados artigos, dissertações, teses, capítulos, livros e outras fontes que tratam da temática em estudo, o que subsidiará as reflexões posteriores. Com as considerações finais, concluímos entendendo que a humanidade, ao longo dos tempos, vive um paradoxo sócio, político, econômico e ambiental que se traduz na concepção incompatível de progresso com a causa socioambiental. Com isso, os problemas ambientais são agravados, em meio aos discursos políticos por vezes de cunho puramente ideológico, ora fundados (re)apropriação social da natureza, ora na racionalidade econômica. Palavras-chave: Participação social. Apropriação cultural. Causa socioambiental. Discursos políticos.

This article considers cases in the media of the cultural appropriation of Hindu symbols by Western fashion designers. Hinduism has a rich tradition of visual and material culture and designers are attracted to the aesthetic and symbolism of Hindu imagery. This has led to protests by Hindu groups who have objected to the uses to which their religion has been put. This article addresses the issues that have caused offence as a way of understanding what is sacred to the aforementioned group and of establishing greater understanding about what is deemed to be acceptable.

The Children, Young Persons and Their Families Act (1989) heralded family group conferences as an innovative mechanism to reinforce the role of family in child welfare decision-making. While many have regarded family group conferences as a culturally appropriate response, continued managerialism reflected a guise of cultural responsiveness and family involvement that has actively disempowered whānau and the young person in decision-making processes. Similar to concerns that led to the formation of the 1989 Act, institutional racism inspired Rangitāne o Wairarapa (Rangitāne) to reclaim the family group conference process, and child welfare decision-making, as an iwi function. The current study reports on the development of a family group conference practice model of one iwi (Rangitāne) as a case study of cultural reclamation. The success of the approach is juxtaposed against the iwi practice model, critical success factors and opportunities for the development of such practice models across Aotearoa New Zealand.

This article considers ways in which solidarity across social locations might play a role in fostering resistance to vulnerability. My case study consists of the interplay between writer George Ryga’s 1967 play The Ecstasy of Rita Joe, and Okanagan Syilx writer and scholar Jeannette Armstrong’s 1985 novel Slash. While these important and compelling texts have received considerable critical attention, the relationship between them is less known. I am interested in the ways in which these works both hail and offer critique to one another. In the contemporary moment, in which questions of appropriation of voice have gained renewed urgency within Indigenous literary circles in Canada and beyond, the relationship between these texts speaks to a historical instance of appropriation, but also of complicated processes of alliance-building. These texts demonstrate how agency resides across multiple locations. I read Ryga’s Ecstasy in the context of Jeannette Armstrong’s engagement with the play within her novel Slash in order to witness the ways in which Ryga’s text, in the first instance, appropriates Indigenous voices into an anti-capitalist critique. In the second instance, I read these works in order to witness how they might simultaneously provide a compelling analysis of the vulnerability of the people who are the subject of both works. I compare the interplay between Armstrong and Ryga’s texts to contemporary debates around appropriation in order to argue for the historical and ongoing importance of these two works as precursors to the crucial interventions made by contemporary Indigenous critics and writers.

This article examines allusions to Greek poetry in two Greek verse inscriptions carved on public monuments for Lycian dynasts of the late fifth and early fourth centuries b.c. (CEG 177, 888). Scholarship on these epigrams celebrating the rule, achievements and outstanding qualities of the dynasts Gergis (Lycian Kheriga) and Arbinas (Erbinna) has largely focussed on the evidence they provide for Lycian history, dynastic ideology and Lycia's relationship to Greece. Less attention has been paid to the possible significance of their long-noted echoes of Greek poetry. Literary analysis of these epigrams has been sidelined, it seems, owing to a prevailing assumption that they were composed and inscribed primarily for Greeks visiting or resident in Xanthus, the Lycian ‘capital’ where they were inscribed, and so their literariness, unheard by Lycian ears, cannot add to our understanding of Lycia and Lycians. Yet, a recent observation of Peter Thonemann suggests that the appropriation and manipulation of Greek poetry is in fact central to the dynastic intent of the epigrams: to assert Lycia's non-Greek, ‘Asiatic’ identity.

This paper investigates the Yellow Vests movement and the extent it constitutes an original platform for resistance to a sustainability transition agenda in the French context. The movement represents a disruption to global climate mitigation solutions that are often formalized at a global scale, and illustrates cultural and economic constraints in providing social justice in the age of climate change. Using a cultural performative approach, this case study reveals the relevance of framing and cultural analyses to understand such resistance. This qualitative exploration initiates a narrative analysis to assess how the universal resolve of the 2015 Paris Conference and the related legitimacy of the sustainability discourse has been further contested by the Yellow Vests and their fractured framing. From the ‘end of the world’ to the ‘end of the month’, we investigate the rise and fall of the legitimacy of the French sustainability discourse by analysing politicians’ and activists’ speeches, historical narratives as well as visual materials of resistance in France in the context of sustainability transitions. Tip of a broader social crisis, the movement reveals an original conflict of temporalities, symptomatic of the inevitable interdependency of socio-economic inequalities to sustainability transitions. Beyond the resistance itself, the Yellow Vests embody an original exemplar for the importance of cultural appropriation within the sustainability discourse’ legitimation processes.

I am most honored and perhaps also startled to read these comprehensive scholarly essays dedicated to the question of the appropriation of Gender Trouble in Asian studies. Sometimes “appropriation” is a problematic activity, such as the cultural appropriation of artworks and styles from minority communities, such as the indigenous, for the purposes of market circulation, profit, or the augmentation of human capital. But when texts such as Gender Trouble enter the global market of books, a different kind of appropriation becomes possible. The book is at once taken up and refused, indicating the limits of translation or marking a resistance to cultural imperialism.

The Igorots, the indigenous communities in North Luzon, Philippines, continue to be hounded to this day, due to the countless photographs and documents whose ultimate purpose was to project the Igo...

The article deals with selected aspects of the cultural appropriation of post-Stalinist Soviet poetry by Anglo-American poets and translators. The article focuses on Yevgeny Yevtushenko and Andrei Voznesensky, two eminent representatives of Russian lyric poetry of the “Thaw.” English translations of Yevtushenko’s and Voznesensky’s poems are discussed in relation to Cold War issues and imagery, such as the themes of the Second World War, the Holocaust, and the rediscovery of America. The article demonstrates that the Soviet-Russian authors and their Anglo-American translators appealed to their governments and audiences over the moral and aesthetic barriers imposed by the Cold War. The opportunity for independent, liberal, romantic, or leftist English-speaking authors to collaborate with the post-Stalinist Russian poets of the Thaw was made possible by the latters’ willingness to break the cultural isolation of the Soviet Union after Stalin’s death.

O artigo aborda a circulação de plantas no espaço colonial francês à época da monarquia parlamentar, utilizando como fonte publicações produzidas pela Marinha francesa e registros da comunicação mantida entre atores baseados tanto em espaços coloniais quanto em espaços metropolitanos. Analisam-se principalmente cartas referentes ao debate sobre a prática da enxertia em plantações de café na Guiana francesa. Conclui-se que práticas de cultivo foram continuamente atualizadas em função da comunicação estabelecida no interior do Ministério da Marinha e das Colônias francês. Assim, demonstra-se em que medida a apropriação cultural de regiões intertropicais por parte de Estados centralizados europeus se deu mediante práticas situadas em ecologias específicas, para as quais colaboraram, em rede, tanto atores em espaços coloniais como em espaços metropolitanos, e em função das quais os “trópicos”, enquanto espaço conceitual, tornaram-se cada vez mais complexos.

If there are three pressing issues in both the academic study and public debate around fashion at the present moment, they are sustainability, inequality, and cultural appropriation. It is hard to ...

If white authors speak on behalf of dark-skinned characters in their texts, African-American critics and writers often accuse them of attempting cultural appropriation. In this case, according to African-Americans, white people describe them only stereotypically and thus deprive them of a voice. Despite this, such attempts continue. In 2009, K. Stockett released her novel “The Help”, which is narrated by three women, including two dark-skinned maids (Aibileen Clark and Minny Jackson). These characters tell about their experiences working for white masters in the early 1960s, in the city of Jackson, Mississippi, during a time of severe racial segregation. Newly arising after every release of such literary or film texts (just remember the recent film “Green book”), the ongoing controversy over cultural appropriation determines the relevance of addressing this topic. K. Stockett presents these characters as anti-racism fighters, with the word as their main weapon. Minny bluntly tells her employers what she thinks of them, which is in line with how African-American authors describe in their texts a way of speaking boldly to those you obey, called “to sass”. On the other hand, Aibileen tries not to show her attitude to white people and, in conversations with them, encodes the true content of her statements as much as possible, in fact using the practice of “signifying”, also characteristic of African-American culture: persuading other maids to tell a white girl about the relationship between masters and servants in their city, in order for it to be published. She deems the written preservation of an ethnic group history as a way to fight against racism. The author comes to the conclusion that K. Stockett follows, consciously or not, the traditions of African-American literature, in which many dark-skinned characters appear as tricksters.

This article analyses the opposition of the Council of Pilgrim Nations of Lord Quyllurit’i to the appropriation of the pablito/ukuku dancer by the Kausachun Cusco Political Movement during the 2014...

This article historicizes cultural appropriation in Canadian literature today by examining key texts from the critiques of cultural appropriation in Canadian culture in the 1990s. Appropriation is contextualized in relation to a modernist temporality that constructs an Other outside of modernity and to the temporality in Frantz Fanon’s A Dying Colonialism, a temporality in which the colonized is liberated but the colonizer is still “choked” and not yet rehabilitated. Reading appropriation through its cultural historical context in relation to modernist art and conceptual art, the practice of appropriation emerges as an extension of colonial practices and as an extractivist economy. Countering this, I point to the Indigenous concept of “cultural belongings” as a form of critique and alterity that counters the logic of cultural appropriation.