The Arts, Artifacts, and Artifices of Identity

Oring, Elliott

doi:10.2307/541199

Cited by 19 publications

(5 citation statements)

References 51 publications

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“…Arguably, performance comes out of a view of an individually constructed identity rather than a social precedent. Accordingly, American perspectives on performance frequently emphasise individuals as artists; they show the malleability of identity in different situations (see Bauman 1987;Oring 1994;Jones 2000a). But the kind of material considered is therefore more limited to the action rather than the acting involved.…”

Section: Semantics Of Practicementioning

confidence: 97%

Practice Theory in Folklore and Folklife Studies

Bronner¹

2012

Folklore

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Section: Semantics Of Practicementioning

confidence: 97%

Practice Theory in Folklore and Folklife Studies

Bronner¹

2012

Folklore

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“…Meaning and signifi cance can only arise if a progression is involved, and this progression always entails a degree of renegotiation, a shift in stance, even if the potential for arriving at that stance has always been latent. Likewise, Oring (1994) notes how personal and social identity do not negate each other, but are two sides of the same coin, since the "personal" takes shape through constant interaction, and the "social" results from the congruence of individual dispositions.…”

Section: Resultant Social Unitymentioning

confidence: 99%

The Lyrical Creation of Community: Song as a catalyst of social cohesion in Andean Peru

Pigott

2013

AlterNative: An International Journal of Indigenous Peoples

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This article examines the performative role of waynu, a widespread song-genre in the Andes, in creating an "intersubjective community" among participants. The data-corpus comprises extracts from interviews which I conducted during a year's period of fi eldwork (2011-2012) in Chiquián and Pomabamba, Ancash department, Peru. I couple my analysis of the extracts with congruent concepts in Quechua, the indigenous language, in order to show how indigenous philosophical orientations can provide as robust an analytical framework as concepts in formal scholarship. I conclude by suggesting that the application of an intersubjective analytical framework to the study of verbal art can constitute a productive agenda for future research on indigenous traditions.

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“…12 For Oring Elliot, identity refers to "that sense of space-time connection with states, thoughts and actions from the past." 13 Stuart Hall defines identity as a position of articulation, as the plural and different ways human subjects are positioned by, and their positioning within, the narratives of the past. Thus for Hall, identity is a production which, however, is "never complete, always in process, and always constituted within, not outside, representation."…”

Section: Identity Transnational Migration and Border Crossingmentioning

confidence: 99%

Transnational Migration, Identity, and the African Literary Experience

Ahmed¹

2022

Ufahamu

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This essay seeks to examine transnational migration by looking primarily at 20 thcentury writers historicizing the concept of the 'post-colonial' and pointing to its development as captured in their writing. In the paper, transnational migration is viewed as the movement of persons across national boundaries where the migrants live their lives across borders, participating simultaneously in social relations that embed them in more than one nation-state, and in which there is a process by which such immigrants forge and sustain multi-stranded social relations that link together their societies of origin and settlement. Going by this definition, all major African writers (such as Ayi Kwei Armah, Chinua Achebe, Ben Okri, and the like), with the possible exception of Ayi Kwei Armah, are transmigrants. This is because their migration took place-is taking place-within fluid social spaces and identity-forming contexts, which are constantly reworked through their simultaneous connectedness to more than one society. In this case, the term that better expresses this situation is 'post-colonial'. Although there is a growing community of African writers and artists living in the West, it is uncertain how they might influence the events, politics, and cultural discussions within their original homeland. The conclusion is that it is not clear how the transmigration of African intellectuals could help shape the identity and tenor of the post-colonial African literary experience, which has been historically and culturally shaped by the impact of the African colonial experience. In this sense, then, recent migration by the African literati (specifically novelists) to the West is only the latest version of the pull that Europe and the United States of America exert on African post-colonial identity. This is not likely to slow down in the foreseeable future.

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The Arts, Artifacts, and Artifices of Identity

Cited by 19 publications

References 51 publications

Practice Theory in Folklore and Folklife Studies

Practice Theory in Folklore and Folklife Studies

The Lyrical Creation of Community: Song as a catalyst of social cohesion in Andean Peru

Transnational Migration, Identity, and the African Literary Experience

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