Marginal/minority popular music : the concept of the "third space" and the case for "hybridities" of cultures/identities /

The topic of this thesis is marginaVminority popular music and the question of identity; the term "marginaVminority" specifically refers to members of racial and cultural minorities who are socially and politically marginalized. The thesis argument is that popular music produced by members of cultural and racial minorities establishes cultural identity and resists racist discourse. Three marginaVminority popular music artists and their songs have been chosen for analysis in support of the argument: Gil Scott-Heron's "Gun," Tracy Chapman's "Fast Car" and Robbie Robertson's "Sacrifice." The thesis will draw from two fields of study; popular music and postcolonialism. Within the area of popular music, Theodor Adorno's "Standardization" theory is the focus. Within the area of postcolonialism, this thesis concentrates on two specific topics; 1) Stuart Hall's and Homi Bhabha's overlapping perspectives that identity is a process of cultural signification, and 2) Homi Bhabha's concept of the "Third Space." For Bhabha (1995a), the Third Space defines cultures in the moment of their use, at the moment of their exchange. The idea of identities arising out of cultural struggle suggests that identity is a process as opposed to a fixed center, an enclosed totality. Cultures arise from historical memory and memory has no center. Historical memory is de-centered and thus cultures are also de-centered, they are not enclosed totalities. This is what Bhabha means by "hybridity" of culture - that cultures are not unitary totalities, they are ways of knowing and speaking about a reality that is in constant flux. In this regard, the language of "Otherness" depends on suppressing or marginalizing the productive capacity of culture in the act of enunciation. The Third Space represents a strategy of enunciation that disrupts, interrupts and dislocates the dominant discursive construction of US and THEM, (a construction explained by Hall's concept of binary oppositions, detailed in Chapter 2). Bhabha uses the term "enunciation" as a linguistic metaphor for how cultural differences are articulated through discourse and thus how differences are discursively produced. Like Hall, Bhabha views culture as a process of understanding and of signification because Bhabha sees traditional cultures' struggle against colonizing cultures as transforming them. Adorno's theory of Standardization will be understood as a theoretical position of Western authority. The thesis will argue that Adorno's theory rests on the assumption that there is an "essence" to music, an essence that Adorno rationalizes as structure/form. The thesis will demonstrate that constructing music as possessing an essence is connected to ideology and power and in this regard, Adorno's Standardization theory is a discourse of White Western power. It will be argued that "essentialism" is at the root of Western "rationalization" of music, and that the definition of what constitutes music is an extension of Western racist "discourses" of the Other. The methodological framework of the thesis entails a) applying semiotics to each of the three songs examined and b) also applying Bhabha's model of the Third Space to each of the songs. In this thesis, semiotics specifically refers to Stuart Hall's retheorized semiotics, which recognizes the dual function of semiotics in the analysis of marginal racial/cultural identities, i.e., simultaneously represent embedded racial/cultural stereotypes, and the marginal raciaVcultural first person voice that disavows and thus reinscribes stereotyped identities. (Here, and throughout this thesis, "first person voice" is used not to denote the voice of the songwriter, but rather the collective voice of a marginal racial/cultural group). This dual function fits with Hall's and Bhabha's idea that cultural identity emerges out of cultural antagonism, cultural struggle. Bhabha's Third Space is also applied to each of the songs to show that cultural "struggle" between colonizers and colonized produces cultural hybridities, musically expressed as fusions of styles/sounds. The purpose of combining semiotics and postcolonialism in the three songs to be analyzed is to show that marginal popular music, produced by members of cultural and racial minorities, establishes cultural identity and resists racist discourse by overwriting identities of racial/cultural stereotypes with identities shaped by the first person voice enunciated in the Third Space, to produce identities of cultural hybridities. Semiotic codes of embedded "Black" and "Indian" stereotypes in each song's musical and lyrical text will be read and shown to be overwritten by the semiotic codes of the first person voice, which are decoded with the aid of postcolonial concepts such as "ambivalence," "hybridity" and "enunciation."

Living between two cultures : personality and adaptation in Chinese immigrant youth /

The aim of the present study was to examine the relationship between shyness and acculturation modes of Chinese immigrant youth in Canada and whether shyness moderates the relationship between acculturation and adaptation. In addition, I examined whether shyness, in conjunction with sociability, moderates the relationship between acculturation and adaptation. Ninety-nine young Chinese immigrants (42 men), ranging in age from 16 to 26 years old, completed a questionnaire that assessed their demographic information, acculturation modes, shyness, sociability, psychological adaptation Oife satisfaction, self-esteem, and depression), and socio-cultural adaptation. Results showed that Chinese orientation was significantly and negatively correlated with age, generation status, English proficiency, and length of residence in Canada. In contrast, Canadian orientation was significantly and positively correlated with generation status, English proficiency, and length of residence in Canada. Canadian orientation was also significantly and negatively correlated with shyness and positively correlated with sociability and psychological and socio-cultural adaptation. Participants who were shyer were more likely to have poorer psychological and socio-cultural adaptation, and to report lower life satisfaction and self-esteem and higher depression. Results from hierarchical multiple regression analyses indicated that Chinese immigrant youth who were separated had higher scores on shyness than those who were integrated and assimilated. There were no significant differences in shyness between youth who were separated and youth who were marginalized, nor were there differences between youth who were integrated and those who were assimilated. Furthermore, integrated Chinese youth reported significantly higher scores in sociability than those who were separated and marginalized but not significantly higher than those who were assimilated.' Shyness did not moderate the relationship between acculturation modes and psychological and socio-cultural adaptation. Unfortunately, the hypothesis to examine if shyness, in combination with sociability, moderated the relationship between acculturation and psychological adaptation could not be tested in the present study because of limitations in cell sizes. The findings suggested that how Chinese immigrant youth acculturate in the receiving country might not be the crucial factor in determining their adaptation. Instead, other factors, such as personality characteristics and nature of the acculturating group, may playa more crucial role. Shyness may have important ramifications for the acculturation and adaptation of young Chinese immigrants to a new society.

Study of new yeast strains as novel starter cultures for Riesling icewine production

Icewine is a sweet dessert wine fermented from the juice of grapes naturally frozen on the vine. The production of Icewine faces many challenges such as sluggish fermentation, which often yields wines with low ethanol, and an accumulation of high concentration of volatile acidity, mainly in the form of acetic acid. This project investigated three new yeast strains as novel starter cultures for Icewine fermentation with particular emphasis on reducing acetic acid production: a naturally occurring strain of S. bayanus/S. pastorianus isolated from Icewine grapes, and two hybrids between S. cerevisiae and S. bayanus, AWRI 1571 and AWRI 1572. These strains were evaluated for sugar consumption patterns and metabolic production of ethanol, glycerol and acetic acid, and were compared to the performance of a standard commercial wine yeast KI-VI116. The ITS rONA region of the two A WRI crosses was also analyzed during fermentations to assess their genomic stability. Icewine fermentations were performed in sterile filtered juice, in the absence of indigenous microflora, and also in unfiltered juice in order to mirror commercial wine making practices. The hybrid A WRI 1572 was found to be a promising candidate as a novel starter culture for Icewine production. I t produced 10.3 % v/v of ethanol in sterile Riesling Icewine fermentations and 11.2 % v/v in the unfiltered ones within a reasonable fermentation time (39 days). Its acetic acid production per gram sugar consumed was approximately 30% lower in comparison with commercial wine yeast K I -V 1116 under both sterile filtered and unfiltered fermentations. The natural isolate S. bayanus/S. pastorianus and AWRI 1571 did not appear to be suitable for commercial Icewine production. They reached the target ethanol concentration of approximately 10 % v/v in 39 day fermentations and also produced less acetic acid as a function of both time and sugar consumed in sterile fermentations compared to KI-V1116. However, in unfiltered fermentations, both of them failed to produce the target concentration of ethanol and accumulated high concentration of acetic acid. Both A WRI crosses displayed higher loss of or reduced copies in ITS rDNA region from the S. bayanus parent compared to the S. cerevisiae parent; however, these genomic losses could not be related to the metabolic profile.