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High-profile instances of brands accused of cultural appropriation suggest that even the most prominent brands fail to fully understand the complexities of this phenomenon. This work experimentally unpacks consumer perceptions of cultural appropriation and its impact on brand attitudes and purchase interest. The authors begin by developing and validating a scale for measuring perceptions of cultural appropriation. Next, a series of studies demonstrates that viewing this phenomenon through a historical lens can help determine when and why the use of cultural elements is viewed as appropriative. Specifically, an emphasis on historical power imbalance explains why liberal consumers are more likely to recognize cultural appropriation and why commercializing disadvantaged cultures is considered appropriation, whereas using elements from advantaged cultures may be more acceptable. The conceptualization further identifies brand actions and interventions that influence perceptions of cultural appropriation, including externally emphasizing historical power imbalance, how brands obtain cultural elements, and how brands represent the culture in their product offerings and marketing. These findings help marketers (1) avoid launching products that can be damaging to the brand and offensive to consumers and (2) understand how to better promote products in a way that prevents rather than amplifies these negative perceptions. [ABSTRACT FROM AUTHOR]

Countervailing discourses of cultural appreciation versus cultural appropriation are fueling a tension between the ethnic consumer subject, who views the consumption of cultural difference as a valorized identity project, and the responsibilized consumer subject, who is tasked with considering the societal impacts of such consumption. Drawing on an extended qualitative investigation of international K-pop consumers, this study illustrates that this tension spurs consumers to pursue self-authorization—the reflexive reconfiguration of the self in relation to the social world—through which consumers grant themselves permission to continue consuming cultural difference. Four consumer self-authorization strategies are identified: reforming, restraining, recontextualizing, and rationalizing. Each strategy relies upon an amalgam of countervailing moral interpretations about acts of consuming difference, informing ideologies about the power relationships between cultures, and emergent subject positions that situate the consuming self in relation to others whose differences are packaged for consumption. Findings show notable conditions under which each self-authorization strategy is deployed, alongside consumers' capacity to adjust and recombine different strategies as they navigate changing sociocultural and idiographic conditions. Overall, this study advances understanding of how consumers navigate the resurgent politics of marketized cultural diversity in an era of woke capitalism. [ABSTRACT FROM AUTHOR]

Poiyonce is a dance that combined traditional Māori Poi with moves Beyoncé performed in her 2011 music video Move Your Body. Danced by students attending Tāreikura/Māori Arts Academy in Rotorua Aotearoa/New Zealand (NZ), this video clocked up over 1.5 million social media views. A media and dance analysis reveals that Poiyonce is not only a Poi meets Beyoncé dance, but it also signifies a Black Pacific ethnosphere in New Zealand. This research explores the role that Black/African diaspora dance and music has in the evolution of indigenous Māori dance. While the dance fusion is fraught with cultural appropriation and commercialization tensions, it also represents a genius indigenous and diaspora cultural convergence. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

AbstractThis article analyzes the original 19th-century published transcripts of Sojourner Truth’s “Ain’t I a Woman?,” one of the most well-known addresses in U.S. history. We provide a first-time analysis of two versions of the speech created by white writers and activists. Using discourse analysis and technology studies for examining the emergence of this “speech journey,” we reveal how both versions were based on different covert white journalistic and editorial practices that were celebrated as inclusive of the Black voice but also functioned to control it and reproduce racist hierarchies. We explore the “playful” ways the first two transcribers edited Truth’s words while addressing their own political aims and social views. Our work reveals three leading practices used in white appropriation of the Black voice: mediation, manipulation, and gatekeeping. We argue that while the original transcribers positively evaluated Truth and assisted in delivering the speech, they contributed to the production of a white, hegemonic narrative of Truth embedded in historical power structures, systemic racism, and oppression of marginalized voices. These historically influenced Truth’s public perception. As we offer a new methodological inquiry into “speech journeys,” our findings encourage reflection on the intersectional boundaries of identity, experience, and the ethics of transcriptions. [ABSTRACT FROM AUTHOR]

Background: Integrative Health (IH) professional organizations are responsible for advancing health equity and addressing structural racism. Objective: The Academy of Integrative Health and Medicine (AIHM) partnered with the University of Miami Miller School of Medicine to co-create a longitudinal curriculum for its board and staff to address structural racism and health equity in IH. Methods: We administered a 2-phase curriculum addressing health equity in IH. We evaluated the curriculum with pre & post-surveys of knowledge, attitudes, skills, and behaviors and conducted a qualitative analysis of open-ended questions and personal reflections. Results: Thirty one respondents took the pre-training survey. The mean knowledge scores for each seminar improved. Qualitative analysis revealed that participants grappled with the pervasiveness of racism and bias engrained within health care. Conclusion: This curriculum serves as a valuable model for IH professional organizations aiming to address their role in disrupting the effects of racism on health outcomes. [ABSTRACT FROM AUTHOR]

This special issue, emerging from a symposium organised in Helsinki in November 2022, brings together contributions from a group of scholars, exploring the technoscientific practices of music and the critical implications of new technologies. The authors investigate the complex and evolving relationship between human creativity and advanced computational technologies, addressing the impact of artificial intelligence (AI) technologies on creative autonomy, ethical considerations in data and cultural appropriation, and the sustainability of technological consumption. The authors advocate for inclusive and responsible approaches to technology design that enhance human-machine collaboration while maintaining ethical standards. This introduction provides the context and motivation for the issue, outlining the contribution of each article. [ABSTRACT FROM AUTHOR]

Academic attention to cassette tapes has reached its first peak in 30 years. If anything, this focus demonstrates that the adoption of media is not as linear as has been commonly anticipated in the past. At the same time, a plethora of news outlets continue to rehash the idea of a ‘cassette comeback’ and although this notion surfaced as early as the late 2000s, its core claims have not changed in the past 15 years. Most articles celebrating the revival cite increased sales figures across Anglo-Saxon countries to frame cassettes as nostalgia-laden gimmicks. Such depictions are problematic when they brush music scenes aside that rarely get featured in official sales statistics but nevertheless have used cassettes since the 2000s when the Global North considered the format dead and gone. This article contrasts reductionist depictions with a comprehensive overview of the cassette’s hybrid materiality and resulting multifaceted cultural appropriations. With this, it presents a counterpoint to repetitive revival narratives and argues not only that the idea of a cassette comeback is nonsensical as cassette tapes never completely vanished in the first place but also that there is more to them persevering in the new media age than mere nostalgia. [ABSTRACT FROM AUTHOR]

This paper examines Trinidadian and Caribbean dance pedagogy adapted to classes in The United States. My pedagogical methodology utilizes "Rhythmokinetic Accenting," a concept by Thomas Talawa Prestø, that links language prosody to movement in Africana dance. I use the concept of "Accenting Dance" to emphasize cultural fluency and fluidity, while bridging cultural gaps, and offering a respectful and technically rigorous model to engage multiple dance vocabularies. Key themes include narrative-based teaching, experiential learning, and student-centered practices while addressing cultural appropriation. My examples illustrate how this method encourages critical inquiry, fostering culturally responsive dancers and educators in a global context. [ABSTRACT FROM AUTHOR]

This article analyses the reception of debates on 'cultural appropriation' in Latin America, as the term landed in the region in the late 2010s straight from the US and Canada. Upon arrival, the Anglo-Saxon meaning of 'cultural appropriation' competed with the literal equivalent apropiación cultural (or apropriação cultural in Brazil), known in Latin America previously, although with a totally different sense. By examining such a clash of meanings and examples of resistance against the Anglo-Saxon version and inconsistencies in its local use, its applicability in Latin America is discussed. It is argued that, due to the specificities of the local ethnic-racial dynamics, some types of interethnic migration of cultural elements can indeed be analysed as variants of cultural appropriation, while others become incomprehensible when interpreted with conceptual frames developed for North American realities. For the latter, this article presents the term 'cultural transpropriation' as an alternative. [ABSTRACT FROM AUTHOR]

Throughout the 20th century the question of culture was a central pillar of social scientific thought. From Durkheim to Levi-Strauss, from Stuart Hall to Dennis Cosgrove, the question of culture and cultural difference was a touchstone for understanding the structures, norms and expectations that organised society. Yet, today the concept has disappeared from the academic landscape, including geography, where it is absorbed into other debates and terms, or discarded as an antiquated essentialist construct. Despite pressing political debates about culture wars, identity politics, cultural appropriation and nativism, there seems to be little interest in discussing, debating, much less theorising, the concept of culture as a credible explanatory tool. The aim of this lecture is two-fold: first it explores what has been lost by forsaking the question of culture (in geography and elsewhere); and second, it endeavours to reframe the question of culture in terms that emancipate it from the problem of difference. Indeed, at its heart, I argue that while geographers commonly study difference as an obvious empirical fact of life, emerging and receding at various scales, the nature of difference itself is unknowable. Yet rather than seeing this as an obstacle to theorising culture, the lecture uses it as an invitation to think culture differently: culture not as an explanation for difference but as an elucidation of the phenomenon of claiming difference. The lecture will focus on explaining this distinction and how it fundamentally changes the question of culture. The plenary lecture explores and develops arguments examined in my forthcoming monograph, Dreams of Presence: a Geographic Theory of Culture (University of Toronto Press, 2024). [ABSTRACT FROM AUTHOR]

This paper examines the antifeminist appropriation of cancel culture in South Korea, focusing on the controversy surrounding the finger-pinching motif, allegedly associated with Megalia, a now-defunct feminist online community. While cancel culture originated from marginalized groups challenging systemic injustices, it is now appropriated by dominant groups to reinforce social structures—in this case, to protect male privilege and undermine feminism. The study reveals how antifeminist canceling in the country has extended over the years beyond subcultural industries to companies, government agencies, and public institutions. Although both feminists and antifeminists engage in cancel practices, antifeminist canceling has led to the removal of numerous advertisements and the sanctioning of women and precarious workers, reflecting the fundamental gender power imbalance in South Korea. By examining social, public, and institutional responses, I argue that such institutional enforcement upholds and reproduces the antifeminist hijacking of cancel culture, further silencing marginalized communities. [ABSTRACT FROM AUTHOR]

This article pays attention to gentrification, race and gender in the work of Ezra Daniels and Ben Passmore, as well as the specific forms of 'erasure' that connect these themes in their work. The erasure of identity that stems from racial, economic and gender disparity – the processes of marginalization that affect non-white voices and identities through logics of white supremacy and cultural appropriation – have been abiding themes of these artists. Reading Passmore's and Daniels's approach to these themes as part of a longer history of black comics activism, their work (like 2019's BTTM FDRS) can be seen as an example of an 'intersectional' urban conscience, one that is mindful of the underrepresented history of black women's participation in urban struggle (whether in the form of direct action or the production of graphic media), and how this participation is a key nexus in the web that connects race and gender with the problem of gentrification. [ABSTRACT FROM AUTHOR]

The approach taken by Marvel and Hanna-Barbera to adapting Godzilla for a young American audience is a form of cultural appropriation. Cultural appropriation involves removing the subject from its cultural context. In this case, Marvel and Hanna-Barbera removed the character from its origin, where it emerged as a consequence of the atomic bomb. Gojira is first a scourge of Japan and later its savior against invasion from cosmic forces and nefarious kaiju. Godzilla is changed into what is ultimately a sanitized version of imperial inventory. The properties of the 1970s Godzilla, however, were not wholly negative. Indeed, they laid the foundation for an American rediscovery of the original Gojira film and its sequels, which have since been released in their original versions. This article will examine how Marvel Comics and Hanna-Barbera cartoons culturally appropriated Godzilla for American children, but how this also led to an appreciation of the Japanese films. [ABSTRACT FROM AUTHOR]

Cultural appropriation in the United States is an issue that individuals do not acceptleading cultures to be viewed as humorous and not dignified of respect. In particular, the fashionindustry has previously had problems with the address of cultural appropriation in designelements and similarities in clothing appearance in designers and clothing companies. Designersare not supplying adequate references to contributors or evidence of the clothing design beingdifferent than a cultural clothing item. The inappropriate use of cultural elements results inculture being represented inappropriately by others and for worldviews to be modified intonarrow categories regarding the characteristics of a particular culture, therefore, fostering biasesand stereotypes. Despite the ongoing prevalence of cultural appropriation within the realm offashion design, I want to understand why certain cultural groups like Mexicans are targeted byfashion designers and clothing companies. To understand the continuing process of culturalappropriation, I conducted a literature review on different cases of clothing companies accusedof Mexican cultural appropriation by the media. The literature review highlights the importanceof being aware of other cultural values, elements, and traditional clothing to avoid culturalappropriation. In the need to be influenced by other cultures in clothing design elements properjustification and accreditation must be given to demonstrate respect to other cultures. Regulatingcultural appreciation and acceptance of other cultures will increase unity and decrease theproblems associated with cultural appropriation among fashion designers and clothingcompanies.

This article examines the development of digital fabrication in Peru, focusing on Lima Makers, the country's first maker space. Through this case, the study explores the dynamics of socialization, collaborative identity, and innovation practices in a context where digital fabrication intersects with local artistic and technological culture. Utilizing the concepts of recursive publics, communities of practice, and infrastructuring, the analysis shows how Lima Makers fosters cohesion among its members and encourages creativity, while also facing challenges in forming active recursive publics involved in the governance of digital fabrication in Peru. Furthermore, the article argues that this local dynamic reflects a process of cultural appropriation and the creation of new technological identities in the global south. [ABSTRACT FROM AUTHOR]

This study carries out an analysis of the Hernández commercial passage located in the historic center of the city of Bogotá, to understand its configuration as a cultural space and emerging tourist destination and the tensions and conflicts that have arisen from its management. The methodological structure was defined from the qualitative approach and the method used was descriptive. The findings indicate that the Hernández commercial passage is moving towards a process of tourist heritage created by political and economic actors who establish other cultural and commercial dynamics, making the commercial passage a commodity for cultural consumption. It is concluded that conflicts in the use and appropriation of cultural heritage are evident in the commercial passage since its heritage activation through tourism shows that the forms of political and economic power seek to maintain their hegemony in the local order. [ABSTRACT FROM AUTHOR]

Cultural appropriation—a complex convergence of capitalist, racist, and colonial structures—is embedded in popular brands such as Urban Outfitters, a U.S.-based multinational lifestyle retail corporation. Through an innovative blend of participatory visual research, augmented reality (AR) technology, and theoretical frameworks informed by intersectional feminism and postcolonial theory, I expose cultural appropriation by Urban Outfitters in the rebranding of the Palestinian scarf and the unauthorized use of the Navajo Nation tribe's name and design. Concerning intersectionality, belonging, objectification, and neocolonialism, the study reveals university complicity in cultural appropriation intertwined with systemic inequalities. The essay culminates with a call to action, advocating for the broader application of participatory visual research and AR technology to challenge social injustices, thereby enriching the discourse on cultural appreciation, equity, and justice. [ABSTRACT FROM AUTHOR]

Despite its presence in everyday life, cultural appropriation is not well understood, perhaps because its definition, bounds, and conditions have not been clearly unpacked. The present study uses a between-subjects, mixed-methods approach and culinary-related scenarios to address possible factors that constitute appropriation (e.g., actor background and intent). Utilizing a sample of emerging adults from a small, liberal arts university (N = 167, 52% female, 65% white), results suggest that an actor's background is not the sole factor in deeming an act appropriative. Rather, intent appears to be an even more pertinent factor to examine. Participants believe that it is possible to engage with cultural products or practices in a respectful manner, further emphasizing the role intent plays in perceptions of appropriation. Although our results help define the bounds of cultural appropriation, future research should consider connections between authenticity and appropriation as well as how observer background might impact perceptions of appropriation. [ABSTRACT FROM AUTHOR]

Copyright of Latino Studies is the property of Palgrave Macmillan Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study examines the reinvention of Portugal's traditional arraial festival in the postcolonial city of Macau. It assesses the transposition of the arraial 's cultural significance from a Portuguese summertime event to an innovative tourist attraction that integrates Portuguese colonial symbols with interactive augmented reality experiences in three historic Macau neighborhoods. The research draws on stakeholder interviews, ethnographic observations, and analysis of game content to scrutinize how this tourist festival forges Macau's hybrid post-colonial identity through visitor virtual engagement with Portuguese heritage. While the arraial is unique among Macau's tourist festivals for its emphasis on Portuguese culture, it sometimes sanitizes colonial events or perpetuates historical social divides under the premise of harmonious cultural fusion. The research offers insights into the dynamics of tourism in postcolonial regions, the impact of cultural festivals as tourist attractions, and the educational potential of gamification in conveying heritage. [ABSTRACT FROM AUTHOR]

Conventions that draw inspirations from non-Western culture to create new designs have been generalised and used as a design development method in contemporary fashion. However, discussions on appropriation in fashion become urgent when minority cultures are being exploited with an unintended image and commercialisation. This study analysed formative characteristics of four non-Korean brand collections that used hanbok as a motif and presented criteria for distinguishing cultural appropriation from borrowing. The results included the following three attributes: partial application of hanbok structure, use of hanbok's formative elements deprived of functional aspect, and juxtaposition of hanbok with other Asian dresses. We examined these findings as cultural appropriation or borrowing based on respect for the traditional dress and practical compensation for the community. Consequently, this study found partial to extensive cultural appropriation in reproducing hanbok elements superficially without sufficient narrative and in mixing hanbok with sartorial elements of other Asian cultures. [ABSTRACT FROM AUTHOR]

In this article, I examine Paul Muldoon's interest in the nineteenth-century Apache leader Mangas Coloradas. The recurrence of this figure in Muldoon's poetry reflects his well-known fascination with indigenous American history and culture but, I argue, must also be understood in relation to recent debates about cultural appropriation, derogatory place names, and the repatriation of indigenous artifacts and remains. While recognising the sensitive issues at play when Muldoon writes about – and even in the voices of – indigenous American figures, I show how his poems about Mangas Coloradas reveal a complex awareness of the processes by which indigenous names are appropriated by non-indigenous actors, emptied of their content, and turned into commodities of different kinds. These poems also exemplify the poet's technique of combining the cinematic with what he calls the 'imharragistic', or the bleeding of one image into another. Through the dynamic play of images flowing together and cinematic shifts from scene to scene, Muldoon's Mangas poems ultimately perform a crucial act of self-awareness that invites us to imagine the political and poetic possibilities of 'semantic repatriation'. [ABSTRACT FROM AUTHOR]

Incense is essential in religious ceremonies, even in relatively new religious and spiritual movements such as New Age and Neopaganism. These garner little attention from ethnobotanists, although they trigger an international trade in wild-harvested plants. In this paper, we studied the botanical ingredients of smudge sticks (dried plant bundles burned for purification) in the Netherlands, and people's motivations to use them posing the following questions: what plant species are included in smudge sticks? what are they used for? and are exotic plants preferred over native Dutch plant species? We visited online and physical shops in Dutch cities, acquiring a total of 29 different smudge sticks containing at least 15 species. We held semi-structured interviews with 11 users, vendors, and herbal experts, and collected data from 33 questionnaires. Salvia apiana L. was most frequently found, along with North American species of the genus Artemisia. The rise of the New Age movement resulted in North American ritual plant species being easily available in (online) shops in the Netherlands and smudge sticks being used for personal protection and cleansing. Despite the smudge sticks' commercial demand, there is no data regarding the pressure on wild populations of species used in these bundles. For the preservation of these species it is crucial that scientific monitoring of their harvest is undertaken in the future. [ABSTRACT FROM AUTHOR]

Třebíč is the only Czech town, but one of several in the world, to have its Jewish quarter separately listed on the UNESCO World Heritage List. For more than twenty years, this small town has held not one but two events related to Jewish culture: Shamayim Jewish Culture Festival and Jewish Town Revived, a cultural and historical festivity. Based on long-term and repeated fieldwork from 2017 to the present, the article explains how the acquisition of the UNESCO World Heritage status of the local Jewish quarter determined the reinterpretation and appropriation of the tangible monuments and immaterial references to Jewish culture from a more or less tolerated and dilapidated relic of the past into an essential and prestigious identity marker of today’s completely non-Jewish Třebíč. What elements other than Jewish material cultural heritage do the Třebíč festivities refer to, and how do today’s music/dance/theatre performers – who are overwhelmingly non-Jewish – present them? How do the festivities relate to the local Jewish past and where are the limits of imagination and reference to historical realia? What other purposes do the festivities serve today and how do they affect the revitalization of the quarter? [ABSTRACT FROM AUTHOR]

The article offers information on the complexities and controversies surrounding literary translation as an act of cultural appropriation. Topics discussed include historical instances where translation altered religious and literary texts; the risks translators have faced when involved in politically sensitive works; and debates over the qualifications required to authentically translate a text from one culture to another.

Webtoons optimize interactivity and participation of media users in the world of digital media by consolidating a unique digital culture. This article examines the role of users in interactive media by exploring the case of webtoons in the context of a changing global political economy and cultural dominance. Korean platform monopolies have established a new business model for webtoons and developed it as a center of Korean creative power. While webtoons have increasingly expanded and attracted the global market and the global audience, some persistent social issues remain, including the precarious labor structure, monopolistic power in the industry, and ideological dominance in content. Although webtoon viewers are often recognized as cultural intermediaries and powerful agents for their contributions to interactive creativity, their role has fluctuated according to changing political-economic structures and industrial strategies. In the course of expanding to the global market and to new business areas such as intellectual property (IP), webtoons have evolved in new fashions while disclosing the ambivalent nature of participatory media and digital interactivity. This article elucidates the double faces of interactive creativity focusing on viewers' participation in webtoon production in the context of changing webtoon industry and growing partnership with global media. [ABSTRACT FROM AUTHOR]

The purpose of this article is to conceptualise the teaching of online information evaluation through a technofeminist lens. This lens draws on work on entangled relationality in intra-activity, interconnectedness, materialities, and agencies while questioning the human/non-human binary. We provide a rationale for setting a research agenda about teaching online information literacies as spaces where technologies and literacies represent indistinguishable fluid ecologies. To achieve our goal of positioning the technofeminist perspective on the practice, research, and policy landscapes of online information evaluation, we focus on three broad perspectival attunements in thinking about online information evaluation as a concept. To illustrate these shifts, we draw on a curricular unit where preservice teachers are asked to interrogate the cultural appropriation of Indigenous design alongside online source evaluation.

Taking the debate about cultural appropriation as a starting point, this article explores the relationship different members of the South Asian Australian diaspora have to the Australian multicultural project. Specifically, this article employs an archive of interviews from 2018 with second-generation South Asian Australian women and their (first-generation) mothers and/or grandmothers and explores how they feel about the cultural appropriation of South Asian cultural artefacts (hereafter, 'Indo chic'). These interviews revealed that first-generation respondents were generally uncritical of Indo chic and perceived non-South Asian Australians consuming South Asian cultural artefacts as a sign of positive cross-cultural exchange that is emblematic of Australian multiculturalism. The second-generation respondents, however, felt threatened by Indo chic and felt appropriation was a racist microaggression that served to reiterate their racial difference (and inferiority) in a white settler society. The generational difference in sentiment reveals a productive fissure within migrant Australian communities to interrogate our feelings about being and feeling 'Australian'. This article argues that conversations and debates about 'Indo chic' within South Asian Australian diasporas reveal the contours of what it is like to be a South Asian woman in contemporary multicultural Australia while also revealing flaws in the Australian multicultural project. In this article, I employ an affective analysis of their responses, drawing on Lauren Berlant's idea of 'cruel optimism' and Sara Ahmed's conceptions of love and the nation to fully explore the complicated somatics 'Indo chic' debates reveal for my respondents. [ABSTRACT FROM AUTHOR]

Drawing on qualitative interviews with K-pop fans in Lima, Peru, this study explores how Latin fans think about and negotiate K-pop industries' citations of Latin pop music tropes. It addresses the ways in which K-pop's practices of citing other cultures are perceived by the audience whose culture is cited. The Peruvian fans in this study suggest that the citations of other cultures observed in K-pop offer versatile entry points for them to easily engage in the cultural genre. For them, K-pop is a novel cultural genre that has become an alternative yet intimate cultural resource, especially compared to hegemonic American pop music. By providing an analysis of Latin K-pop fans' lived experiences through the lens of cultural hybridity and appropriation, this audience study contributes to the field of transcultural media research. [ABSTRACT FROM AUTHOR]

The tulip tree, Spathodea campanulata, is an invasive alien species introduced to the island of Tahiti in 1932 and officially declared a "threat to biodiversity in French Polynesia" in 1998. As part of the CADISPAT project (CApacité de DIspersion de SPAThodea, 2019-2020) devoted to the study of the dispersal of the tulip tree in the Society Islands in French Polynesia, a questionnaire survey was conducted in September 2019 among 291 people on the islands of Tahiti and Moorea in order to collect information on the level of knowledge and societal representations of the local population on this invasive species. The results of the survey revealed an overall low level of knowledge of the tulip tree, even if it varies somewhat according to a number of sociodemographic criteria and a social perception that seems rather positive. While the tulip tree of Gabon is described, in a pragmatic manner, as invasive and associated with a certain number of nuisances, it also appears to be highly appreciated for the aesthetic character of its glowing red flowers and is associated with various functions. This recalls the importance of trees in Ma'ohi culture, but also seems to suggest a certain cultural appropriation of the tulip tree introduced in French Polynesia almost 100 years ago. This could limit the population's adherence to the management of this invasive species. The African tulip tree, Spathodea campanulata, is an invasive species introduced on the island of Tahiti in 1932 and officially declared a "threat to biodiversity in French Polynesia" in 1998. As part of the CADISPAT project (Dispersal ability of Spathodea, 2019-2020) devoted to the study of the dispersion of the African tulip tree in the Society Archipelago in French Polynesia, a survey by questionnaire was conducted among 291 people on the islands of Tahiti and Moorea in September 2019. The aim of this survey was to collect information on the level of knowledge and the societal representations of the local population on this invasive species. The results of the survey revealed an overall low level of knowledge of the tulip tree, even if it varies somewhat according to a certain number of socio-demographic criteria and a social perception which seems rather positive. If the African tulip tree is described, in a pragmatic way, as invasive and assimilated to a certain number of nuisances, it also appears to be very appreciated for the aesthetic character of its red flowering and is associated with various functions. This recalls the importance of trees in Ma'ohi culture, but also seems to suggest a certain cultural appropriation of African tulip tree introduced into French Polynesia almost 100 years ago today. This could limit the population's support for the management of this invasive species. [ABSTRACT FROM AUTHOR]

Copyright of Revista Linhas is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines transcultural fans of Battle Royale (Fukasaku 2000), building on limited empirical audience research into the Japanese cult hit, East Asian horror films, Asia Extreme Cinema, and Hollywood's 'remake ecology'. Analysing how online audiences value Battle Royale in relation to mainstream Western cinema, the article highlights fans' complex intertextual readings between films, genres, industries, and cultures. This begins by fans framing the film's violence as an 'ugly concept' that aesthetically and semiotically elevates Battle Royale above Hollywood spectacle. However, others draw thematic connections around teen-on-teen violence that revises preexisting East/West cultural binaries. Moreover, clustered within the Asia Extreme cycle, fans are both wary of a US remake of Battle Royale and want such industry adaptation to take place. Specifically, audiences discuss how revered North American horror creatives and 'indiewood' filmmakers could fix Battle Royale, complicating discourses around remakes as low cultural value rip-offs and cash-ins. Building on this, the article looks at shifting intertextual formations around The Hunger Games (Ross 2012) as an unacknowledged remake of Battle Royale. Anti-fans accuse Hunger Games' writer Suzanne Collins of plagiarism while locating it within Hollywood whitewashing practices. Yet, others argue – positively and negatively – that Hunger Games blocked an official Western remake of Battle Royale. To conceptualise this, the article offers the term prophylactic intertextuality that addresses prototextual suspension. Finally, moving outside of niche circles, the article highlights other audiences' discursive intertextual connections between the films via familial 'gifting' and 'transfandom', undermining subcultural gatekeeping and underground/mainstream distinctions that cult cinema studies frequently reproduce. [ABSTRACT FROM AUTHOR]

The article examines the cultural and historical heritage of Ukraine in the conditions of the Russian-Ukrainian war from 2014 to 2024. Topics discussed include challenges faced by Ukraine as Russia uses its geopolitical arsenal to manipulate the historical narrative of Ukrainian sovereignty, historical and cultural appropriation and destruction of historical monuments and heritage in Ukraine as a form of deglorification and desecration, cultural looting as a weapon of war, and restitution.

This article examines both industry-created and viewer-created paratexts of Disney’s new Mulan (2020) to shed light on the localization of industry-created paratexts for Chinese audiences, the reception of the film, and the tensions between industry-created and viewer-created paratexts in China. It reveals that Disney has localized the poster, trailers and promos of Mulan for Chinese audiences by highlighting the film’s all-star cast and creating an illusion of its faithfulness to The Ballad of Mulan, and the extolled virtues of filial piety and patriotism cherished in Chinese culture. The viewer-created paratext, danmu, of Mulan challenges the industry-created paratexts and demonstrates unfavorable reception of the film in China. It criticizes the film for its inauthenticity to The Ballad of Mulan, cultural appropriation, promotion of American values to meet the needs of English-speaking audiences for exoticness and cultural otherness. By investigating danmu as a viewer-created paratext, the present study has enriched paratextual research and reception studies in translation, media and film studies in the digital age. [ABSTRACT FROM AUTHOR]

This paper interrogates the concept of 'sensitivity' in creative writing. While the term appears to be relatively straightforward, the methods writers use to write sensitively differ: some may simply consider the feelings of the group represented, while others may engage with interviews or employ the use of a sensitivity reader. This paper uses complexity theory and critical race and whiteness scholarship to define and theorise how sensitivity is used within the current publishing landscape. It argues that, while writing sensitivity can offer greater opportunities for representation on the page, it can also further reinforce racial hierarchies already present within the publishing industry. [ABSTRACT FROM AUTHOR]

In this study, we aimed to better understand the experiences of ethnic minorities within institutions of higher education, especially in areas of conflict. We focused on the case of Palestinian students from East Jerusalem who study in one of Israel's major universities. We conducted a qualitative study using semi-structured interviews with nineteen students. The study found that Palestinian Jerusalemite's students face various linguistic, cultural, and academic barriers as an involuntary ethnic minority in a settler colonial context. We also highlight how the programs offered to integrate them cater to individual needs rather than addressing students' group identities. Furthermore, those who survived their initial cultural and linguistic barriers and opted to stay at the institution tend to develop an academic identity that compensates for the lack of space for their group affiliation. [ABSTRACT FROM AUTHOR]

The scholarly discourse on fanfic and other fan works emerged over a decade ago as a niche topic mostly of interest to fans. It has since generated dozens of articles and a small but steadily increasing amount of litigation. When the subject was new, each article had to begin with an explanation of what fan works are, why fictional characters are or are not protected by copyright, and how parody and fair use are related. This Article seeks to place a capstone on the author's work during that early era of fanfic scholarship and to move the discourse forward by providing a brief review of foundational issues and previous work in the field before looking to new developments and making hopeful predictions for the future of the law governing fan works. The Article first discusses the fundamental challenge of delineating the border between derivative and transformative uses and then addresses the rights that must be balanced by the law regulating fan works: those of authors and those of consumers/fandom. Copyright law primarily protects the economic rights of authors, but this protection is essentially static; the Article argues that fan works can act dynamically to save the underlying originals from becoming dated or being dragged down by the original author, and copyright law, as it evolves, should acknowledge the cultural interest thus protected. Future developments in copyright law must consider the need for a system of shared and limited copyright, address past cultural appropriation by authors and related harms, and look beyond the flaws of individual authors and toward the fandom as a whole. The Article ultimately suggests that the recognition of a shared common area for creativity between authors and fans can not only benefit fans but also authors, both economically and in non-quantifiable ways. [ABSTRACT FROM AUTHOR]

The article offers a decolonial reading and critically examines the ways in which Ukrainian literature and culture have been represented in Anglophone translation since the 19th century to the present day, revealing the colonial aesthetic and social imaginary influenced by both the Russian imperial and subsequent Soviet lenses. For this, I develop a decolonial analytics in the historical studies of translation through a four-step framework: 1) archeology of knowledge through (non-)translation, investigating the foundations of knowledge embedded in translation practices, 2) deconstructive reading of translations to analyze the power structures and built-in distortions, 3) paratextual positioning of translation, exploring the underlying ideologies, and 4) re-existence, concluding with a re-evaluation of translational contribution to decolonial resistance. Grounded in a corpus analysis, the article posits three common colonial strategies in the history of translating Ukrainian works via the Russian imperial/Soviet lens into English: 1) cultural appropriation, 2) indirect translation into English through Russian, and 3) centering on Russian imperial and Soviet recognition of the piece in its English-language publication. These strategies have resulted in a parallel, Russified narrative of Ukrainian literature in Anglophone academia. [ABSTRACT FROM AUTHOR]

This article explores the topic of cultural appropriation and its moral implications. It presents different perspectives on cultural appropriation, including the view that it can be offensive and perpetuate cultural colonialism. The author introduces a new perspective called the recognition account, which argues that cultural appropriation is wrong if it perpetuates the lack of social recognition of certain groups as cultural contributors. The article also discusses theoretical issues related to cultural appropriation, such as authenticity and forms of cultural engagement. It examines two moral analyses of cultural appropriation, the group intimacy account and the oppression account, and proposes a new moral analysis called the recognition account. The text provides examples to illustrate how cultural appropriation can detach cultural objects from their original cultural groups and prevent recognition of their contributions. It emphasizes the importance of considering the social context and power dynamics when analyzing cultural appropriation and highlights the role of epistemic injustices in limiting the impact and reception of presentations by oppressed groups. The article suggests that cultural ambassadors can help address recognition deficits by engaging with cultural objects in ways that promote social recognition of oppressed groups. Collaboration between dominant and oppressed groups is seen as a stronger form of cultural ambassadorship, allowing for the foregrounding and support of the participatory role of oppressed groups in cultural development. The text concludes by emphasizing the importance of addressing the social conditions that perpetuate representational disadvantages for oppressed groups. [Extracted from the article]

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The following paper analyzes the ways in which imagination is a key mechanism in defining the concept of identity (of a persona or of the other). It does so by articulating two concrete experiences of Europeans visiting Japan: the literary theorist Roland Barthes in 1966 and the jazz pianist Keith Jarrett in 1976. Both cases are relevant and symptomatic not only for those historical periods, but also for essential contemporary debates concerning cultural appropriation, multiculturalism and the perspectives through which we encounter, comprehend, and behave towards alterity. Several more theoretical dimensions are revisited, from Martin Heidegger’s rooting of the sense of Being in a precise here and now to ethical considerations on what constitues an Event (and not only an aesthetic one) and to the way music can teach us different nuances for redefining contemporary theory in connection to today’s most urgent needs. [ABSTRACT FROM AUTHOR]

Copyright of Mendive - Revista de Educacion is the property of Universidad de Pinar del Rio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study addresses the issue of how religious authority is negotiated and redefined in the age of digital media, focusing on the case of Raja Zia ul Haq, a Pakistani Muslim cleric. Utilizing Multimodal Critical Discourse Analysis, the study posits that Zia ul Haq's strategic semiotic choices in attire and symbolism serve as calculated maneuvers to navigate complex dialogues of power, identity, and cultural capital. The findings reveal that his appropriation of biker club symbolism disrupts traditional paradigms of Islamic clerical authority in Pakistan. These choices resonate with a younger, digitally savvy audience and function as a form of religious rebranding. The study argues that Zia ul Haq's semiotic choices challenge monolithic interpretations of Islamic authority, thereby opening new avenues for religious engagement and interpretation. The significance of this work lies in its transnational implications, offering a counter-narrative that challenges prevailing stereotypes about Islamic scholars and suggests new paradigms for understanding religious authority in a globalized world. [ABSTRACT FROM AUTHOR]