This work provides an account of culture in an age of globalization. Ulf Hannerz argues that, in an ever-more interconnected world, national understandings of culture have become insufficient. He explores the implications of boundary-crossings and long-distance cultural flows for established notions of "the local", "community", "nation" and "modernity" Hannerz not only engages with theoretical debates about culture and globalization but raises issues of how we think and live today. His account of the experience of global culture encompasses a shouting match in a New York street about Salman Rushdie, a papal visit to the Maya Indians; kung-fu dancers in Nigeria and Rastafarians in Amsterdam; the nostalgia of foreign correspondents; and the surprising experiences of tourists in a world city or on a Borneo photo safari.

An account of culture in an age of globalization

This work provides an account of culture in an age of globalization. Ulf Hannerz argues that, in an ever-more interconnected world, national understandings of culture have become insufficient. He explores the implications of boundary-crossings and long-distance cultural flows for established notions of "the local", "community", "nation" and "modernity" Hannerz not only engages with theoretical debates about culture and globalization but raises issues of how we think and live today. His account of the experience of global culture encompasses a shouting match in a New York street about Salman Rushdie, a papal visit to the Maya Indians; kung-fu dancers in Nigeria and Rastafarians in Amsterdam; the nostalgia of foreign correspondents; and the surprising experiences of tourists in a world city or on a Borneo photo safari.

This volume explores the transnationality and interculturality of early modern performance in multiple languages, cultures, countries and genres. Its twelve essays compose a complex image of theatre connections as a socially, economically, politically and culturally rich tissue of networks and influences. With particular attention to itinerant performers, court festival, and the Black, Muslim and Jewish impact, they combine disciplines and methods to place Shakespeare and his contemporaries in the wider context of performance culture in English, Spanish, French, Dutch, German, Czech and Italian speaking Europe. The authors examine transnational connections by offering multidisciplinary perspectives on the theatrical significance of concrete historical facts: archaeological findings, archival records, visual artefacts, and textual evidence.

This book challenges the definitions of globalisation and transnationalism as a one way process generated mainly by the Western World and the view that the latter is a twentieth century phenomenon.

Since restrictions on commonwealth labour immigration to Britain in the 1960s, marriage has been the dominant form of migration between Pakistan and the UK. Most transnational Pakistani marriages are between cousins or other more distant relatives, lending a particular texture to this transnational social field. Based on research in Britain and Pakistan, this book provides a rounded portrayal incorporating the emotional motivations for, and content of, these transnational unions. The book explores the experiences of families and individuals involved, including the neglected experiences of migrant husbands, and charts the management of the risks of contracting transnational marriages, as well as examining the consequences in cases when marriages run into conflict. Equally, however, the book explores the attractions of marrying ‘back home’, and the role of transnational marriage in maintaining bonds between people and places. Marriage emerges as a crucial, but dynamic and contested, element of Pakistani transnational connections. This book is of interest to students and scholars in the fields of migration studies, kinship/the family and South Asian studies, as well as social work, family law and immigration.

It is one of the great ironies of the history of fascism that, despite their fascination with ultra-nationalism, its adherents understood themselves as members of a transnational political movement. While a true “Fascist International” has never been established, European fascists shared common goals and sentiments as well as similar worldviews. They also drew on each other for support and motivation, even though relations among them were not free from misunderstandings and conflicts. Through a series of fascinating case studies, this expansive collection examines fascism’s transnational dimension, from the movements inspired by the early example of Fascist Italy to the international antifascist organizations that emerged in subsequent years.

This edited collection assesses the complex historical and contemporary relationships between US and Australian cinema by tapping directly into discussions of national cinema, transnationalism and global Hollywood. While most equivalent studies aim to define national cinema as independent from or in competition with Hollywood, this collection explores a more porous set of relationships through the varied production, distribution and exhibition associations between Australia and the US. To explore this idea, the book investigates the influence that Australia has had on US cinema through the exportation of its stars, directors and other production personnel to Hollywood, while also charting the sustained influence of US cinema on Australia over the last hundred years. It takes two key points in time—the 1920s and 1930s and the last twenty years—to explore how particular patterns of localism, nationalism, colonialism, transnationalism and globalisation have shaped its course over the last century. The contributors re-examine the concept and definition of Australian cinema in regard to a range of local, international and global practices and trends that blur neat categorisations of national cinema. Although this concentration on US production, or influence, is particularly acute in relation to developments such as the opening of international film studios in Melbourne, Sydney, Adelaide and the Gold Coast over the last thirty years, the book also examines a range of Hollywood financed and/or conceived films shot in Australia since the 1920s.

Many Europeans think that town twinning has greatly contributed to integration in Europe after the Second World War. This book, based on observations and interviews with twinning practitioners in small towns, reveals the social and cultural processes that inform twinning as a transnational practice, its perspectives and its limits.

Given the recent and rapid changes to migration patterns and citizenship processes, this volume provides a timely, compelling, empirical and theoretical study of the gendered implications of such developments. More specifically, it draws out the multiple connections between migration and citizenship concerns and practices for women. The collection features original research that examines women's diverse im/migrant and refugee experiences and exposes how gender ideologies and practices organize migrant citizenship, in its various dimensions, at the local, national and transnational levels. The volume contributes to theoretical debates on gender, migration and citizenship and provides new insights into their interrelation. It includes rich case studies that range from the Philippines and Somalia to the Caribbean and from Australasia to Canada and Britain. Designed to have a multidisciplinary appeal, it is suitable for courses on migration, diversity, gender, race, ethnicity, law and public policy, comparative politics and international relations.