Papers by Elisabela Larrea
Unravel Linguistic Magazine (8), Singapore., 2016
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The Newsletter, No.64, 2013
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Conference Presentations by Elisabela Larrea
Conference paper presented at The 23rd International
Conference of the International Association ... more Conference paper presented at The 23rd International
Conference of the International Association for Intercultural Communication Studies
(IAICS) Part I: Macao. Macau Polytechnic Institution.
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Patuá, the creole dialect of the Macanense is a form of discourse by which Macau’s Eurasian creol... more Patuá, the creole dialect of the Macanense is a form of discourse by which Macau’s Eurasian creoles present their identity, a medium from which they gain a sense of self and community belonging. Dóci Papiaçam di Macau, a theatrical company established by creole Macanese thespians, is the sole group that offers public performances via the UNESCO listed “critically endangered” language -- Patuá.
First used only as a home language, its creole theatre appeared in the colonial era as a form of public performance reflecting social discontents of the marginal creole community. Yet with socio-historical factors leading to its abandonment and the change of sovereignty, the survival of Patuá and Macanese creole culture faces the danger of obsolescence.
Language plays a major role in the construction of cultural identity. My presentation will be an introduction of my ongoing doctoral dissertation research that focuses on the changes of Patuá creole theatre in various aspects such as its formation, membership structure, language use, theatrical themes, settings, integration of new media and audience receptiveness to understand the contemporary negotiation of creole identity under social and political changes. Data is collected though participant-observation, face-to-face interviews, online surveys and discourse analysis of over two decades of video recordings and short films.
Choices of identification had always been problematic for the Macanese, affected by societal and individual histories. Under the theoretical framework of cultural identity, cultural representation and third space, I propose that Patuá has evolved from a home language to a performance language. Positioning theory suggests that subjects locate themselves and others in response to macro-level phenomenon. Ethnicity is performed through the display of visible markers such as Eurasian features and language usage. As Victor Turner, anthropologist of liminality and social drama, once expressed that awareness of cultures are raised in ritual and theatrical performances.
In the moment of political and social change, cultural identity faces instability and negotiation. The third space, applied by Homi K. Bhabha, is one of the postcolonial identity concepts realized through enunciation. The third space is where a hybrid culture is produced and where identity is articulated. The stage, a third space in the creole community, produces revolutionary and discontinued meaning of identity in the postcolonial context, redefining identity in the public sphere. The creole theatre allows us to look at hybrid manifestation of identity, through their expressed creole language theatre. Preliminary analysis of two respective performances by Dóci Papiaçam di Macau, i.e. Olâ Pisidénte presented in 1993 and Qui Pandalhada, presented in 2011, will be used as a tool for illustration of the preliminary findings of the study.
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Paper presented at the III Colloquium about Macanese Identity of Associação dos Macaenses.
Macau... more Paper presented at the III Colloquium about Macanese Identity of Associação dos Macaenses.
Macau Polytechnic Institution.
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Thesis Chapters by Elisabela Larrea
Master Thesis presented to the Faculty of Social Sciences and Humanities, University of Macau.
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Talks by Elisabela Larrea
由跨文化研究博士生黎若嵐領讀澳門土生文化和生活有關的文章或影片欣賞,和讀者一起尋找澳門個性。
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透過跨文化的融入和衝擊,澳門產生了一群獨有的族裔─土生Macaense。過去一些學者常以三大特點來定義何謂土生,包括:血統、語言及宗教。然而,有著數百年文化混合特色的土生族群,在急速的城市發展及... more 透過跨文化的融入和衝擊,澳門產生了一群獨有的族裔─土生Macaense。過去一些學者常以三大特點來定義何謂土生,包括:血統、語言及宗教。然而,有著數百年文化混合特色的土生族群,在急速的城市發展及全球化影響下,其定義又何止如此? 講座將透過各種文字載體,包括詩詞、短文、長篇小說、劇本及歌曲,與大家一同探究土生文化精萃及澳門情懷。
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Papers by Elisabela Larrea
Conference Presentations by Elisabela Larrea
Conference of the International Association for Intercultural Communication Studies
(IAICS) Part I: Macao. Macau Polytechnic Institution.
First used only as a home language, its creole theatre appeared in the colonial era as a form of public performance reflecting social discontents of the marginal creole community. Yet with socio-historical factors leading to its abandonment and the change of sovereignty, the survival of Patuá and Macanese creole culture faces the danger of obsolescence.
Language plays a major role in the construction of cultural identity. My presentation will be an introduction of my ongoing doctoral dissertation research that focuses on the changes of Patuá creole theatre in various aspects such as its formation, membership structure, language use, theatrical themes, settings, integration of new media and audience receptiveness to understand the contemporary negotiation of creole identity under social and political changes. Data is collected though participant-observation, face-to-face interviews, online surveys and discourse analysis of over two decades of video recordings and short films.
Choices of identification had always been problematic for the Macanese, affected by societal and individual histories. Under the theoretical framework of cultural identity, cultural representation and third space, I propose that Patuá has evolved from a home language to a performance language. Positioning theory suggests that subjects locate themselves and others in response to macro-level phenomenon. Ethnicity is performed through the display of visible markers such as Eurasian features and language usage. As Victor Turner, anthropologist of liminality and social drama, once expressed that awareness of cultures are raised in ritual and theatrical performances.
In the moment of political and social change, cultural identity faces instability and negotiation. The third space, applied by Homi K. Bhabha, is one of the postcolonial identity concepts realized through enunciation. The third space is where a hybrid culture is produced and where identity is articulated. The stage, a third space in the creole community, produces revolutionary and discontinued meaning of identity in the postcolonial context, redefining identity in the public sphere. The creole theatre allows us to look at hybrid manifestation of identity, through their expressed creole language theatre. Preliminary analysis of two respective performances by Dóci Papiaçam di Macau, i.e. Olâ Pisidénte presented in 1993 and Qui Pandalhada, presented in 2011, will be used as a tool for illustration of the preliminary findings of the study.
Macau Polytechnic Institution.
Thesis Chapters by Elisabela Larrea
Talks by Elisabela Larrea
Conference of the International Association for Intercultural Communication Studies
(IAICS) Part I: Macao. Macau Polytechnic Institution.
First used only as a home language, its creole theatre appeared in the colonial era as a form of public performance reflecting social discontents of the marginal creole community. Yet with socio-historical factors leading to its abandonment and the change of sovereignty, the survival of Patuá and Macanese creole culture faces the danger of obsolescence.
Language plays a major role in the construction of cultural identity. My presentation will be an introduction of my ongoing doctoral dissertation research that focuses on the changes of Patuá creole theatre in various aspects such as its formation, membership structure, language use, theatrical themes, settings, integration of new media and audience receptiveness to understand the contemporary negotiation of creole identity under social and political changes. Data is collected though participant-observation, face-to-face interviews, online surveys and discourse analysis of over two decades of video recordings and short films.
Choices of identification had always been problematic for the Macanese, affected by societal and individual histories. Under the theoretical framework of cultural identity, cultural representation and third space, I propose that Patuá has evolved from a home language to a performance language. Positioning theory suggests that subjects locate themselves and others in response to macro-level phenomenon. Ethnicity is performed through the display of visible markers such as Eurasian features and language usage. As Victor Turner, anthropologist of liminality and social drama, once expressed that awareness of cultures are raised in ritual and theatrical performances.
In the moment of political and social change, cultural identity faces instability and negotiation. The third space, applied by Homi K. Bhabha, is one of the postcolonial identity concepts realized through enunciation. The third space is where a hybrid culture is produced and where identity is articulated. The stage, a third space in the creole community, produces revolutionary and discontinued meaning of identity in the postcolonial context, redefining identity in the public sphere. The creole theatre allows us to look at hybrid manifestation of identity, through their expressed creole language theatre. Preliminary analysis of two respective performances by Dóci Papiaçam di Macau, i.e. Olâ Pisidénte presented in 1993 and Qui Pandalhada, presented in 2011, will be used as a tool for illustration of the preliminary findings of the study.
Macau Polytechnic Institution.