This article builds on Pollock, Van Reken and Pollock's de nition of Third Culture Kids and on studies of adolescence in Developmental Psychology in order to analyse Yann Martel's third culture novel Self.Interdisciplinarity is an innovation in this piece, but the key insight presented in the article is the need to consider Third Culture Kid detachment in 3D.Often, Third Culture Kid is depicted in a Venn diagram, overlapping rst and second cultures, as though all were terrestrial.However, I argue that Third Culture actually oats some distance above, cloudlike and unrooted in any nation.This is a new insight within Third Culture Kid studies; it is also the crucial element that distinguishes third culture from other types of international dislocation (diaspora, transnational, borderland, liminal) and their subtending preoccupation with (terrestrial) nation."Third Culture Kid" is a term used to describe individuals who, because of frequent international relocation during their developmental years, have a stronger connection to other unrooted individuals like themselves than to a geographic nationality.
Having an accent in spoken English is a common linguistic reality for many migrants and their subsequent generations.In reality, having a linguistic variation can result in "othering", prejudice, discrimination, and racism.I wanted to explore and respond to what it means to have an accent, for both speakers and listeners.This essay includes moments of the personal with cultural, critical, and contemporary responses; poetic interruptions and instances of first language loss; of how accented language can be used to exclude and identify, but should be used to include.
The Muslim WorldVolume 111, Issue 2 p. 255-257 Original Article Arm’s Length Safia Elhillo, Safia ElhilloSearch for more papers by this author Safia Elhillo, Safia ElhilloSearch for more papers by this author First published: 14 May 2021 https://doi.org/10.1111/muwo.12386Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume111, Issue2Special Issue: Anglophone Muslim Women WritingMay 2021Pages 255-257 RelatedInformation
Tara June Winch is an unusual example of an Aboriginal writer with a long background of international travel and residence. This paper considers the various negotiations of writer and reception systems among transnational circuits, national spaces, and Indigenous ties to region and "country". It reviews Winch’s three book publications, Swallow the Air, After the Carnage, and The Yield in the context of "the transnational turn" in Australian literary studies, working from a postcolonial background.
Here and There is a life writing piece written by a Malaysian living in Belfast, Northern Ireland, during the Covid-19 pandemic.
