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The critical fortunes of "the transnational" have swelled in recent years, as it has made its way from disciplinary buzzword to become the banner for a genuinely rigorous and self-reflexive kind of geopolitical criticism. Along that path to widespread recognition and application, transnationalism has confronted its own procedural hurdles as an interpretive and epistemological framework, conceding potential frictions within its contentions-frictions implicit in decisions about which identifications and experiences might legitimately be celebrated or resisted. It's a state of affairs neatly summarized by Sallie Westwood and Annie Phizacklea, who point out that we have "[o]n the one hand the continuing importance of the nation and the emotional attachments invested in it, and on the other hand those processes such as cross-border migration which are transnational in form."

This essay attempts to make more pliable three overly rigid claims persistent in the diaspora literature: that diaspora members' imaginations of the homeland are either beautifying/idealizing or unequivocally inimical; that their relations with the host country are inherently distant - they are in it but not of it; and that diasporism and (im)migrant transnationalism constitute two distinct phenomena. It also aims at genderizing the stubbornly genderless study of diasporas. The empirical analysis compares representations of the homeland among turn-of-the-twentieth-century and present-day lower-class Polish migrs in the United States and the United Kingdom, first-wave (1959-61) Cuban refugees in Miami and 1956 Hungarian political refugees dispersed into different west European countries, and contemporary Mexican men and women migrants in the American Southwest. On the basis of these comparative assessments, the author identifies the major circumstances that shape diaspora members' portrayals of the homeland.

This article examines topographies and counter-topographies of power operating transnationally across a range of sites inhabited by asylum-seekers en route between nation-states. In locations such as tunnels, detention centers and islands, journeys across time and space are truncated in myriad ways. For asylum-seekers, temporality is often conceptualized as waiting, limbo or suspension. These temporal zones map onto corresponding spatial ambiguities theorized here as liminality, exception and threshold. A feminist counter-topography of sites along time-space trajectories between states addresses both the architecture of exclusionary enforcement practices that capture bodies, and the transgressive struggles to map, locate, counter and migrate through the time-space trajectories between states. In outlining such counter-topography, the analysis enters into conversation with transnational feminist scholarship on politics of location and differentiation in order to challenge the universal dimensions of Giorgio Agamben's zones of exception that leave the un-differentiated body always paradoxically outside of juridical order.

"The introductory essay offers a brief overview of current trends in critical globalization studies and international relations scholarship that shed light on three intersections: between imperialism and humanitarianism, between neoliberal globalization and "rescue industry" transnationalism, and between patterns of geopolitical hegemony and trajectories of peacekeeping internationalism. These research agendas have been generative and politically useful, but have tended to neglect the forms of humanitarian and peacekeeping agency emanating from the global south. In order to address this gap, this introduction lays out a new research agenda that combines interdisciplinary methods from global studies, gender and race studies, critical security studies, police and military sociology, Third World diplomatic history, and international relations. This introduction also theoretically situates the other contributions and case studies gathered here, providing a framework of analysis that groups them into three clusters: (I) Globalizing Peacekeeper Identities, (II) Assertive "Regional Internationalisms," and (III) Emergent Alternative Paradigms."

Recent trends of mass-level euroscepticism seriously challenge Deutsch's transactionalist theory that increased transnational interactions trigger support for further political integration. While transnational interactions have indeed proliferated, public support for European integration has diminished. This article aims to solve this puzzle by arguing that transnational interaction is highly stratified across society. Its impact on EU support therefore only applies to a small portion of the public. The rest of the population not only fails to be prompted to support the integration process, but may see it as a threat to their realm. This is even more the case as, parallel to European integration, global trends of integration create tensions in national societies. The following hypotheses are proposed: first, the more transnational an individual, the less she or he is prone to be eurosceptical; and second, this effect is more pronounced in countries that are more globalised. A multilevel ordinal logit analysis of survey data from the 2006 Eurobarometer wave 65.1 confirms these hypotheses.

This article explores how the powerful mechanisms of nation-state discourse in the news media obscure emerging constructions of transnational political thought and action. With the aid of empirical examples from qualitative media studies on critical events extensively covered by the news media, the article demonstrates how national identity in the news media represses transnational political identities of the intentional as well as the unintentional kind.

This essay attempts to make more pliable three overly rigid claims persistent in the diaspora literature: that diaspora members' imaginations of the homeland are either beautifying/idealizing or unequivocally inimical; that their relations with the host country are inherently distant - they are in it but not of it; and that diasporism and (im)migrant transnationalism constitute two distinct phenomena. It also aims at genderizing the stubbornly genderless study of diasporas. The empirical analysis compares representations of the homeland among turn-of-the-twentieth-century and present-day lower-class Polish migrs in the United States and the United Kingdom, first-wave (1959-61) Cuban refugees in Miami and 1956 Hungarian political refugees dispersed into different west European countries, and contemporary Mexican men and women migrants in the American Southwest. On the basis of these comparative assessments, the author identifies the major circumstances that shape diaspora members' portrayals of the homeland.

"This essay analyzes the cultural functions of Frankenstein as a figure of globalization in postcolonial popular culture. Focusing on the case of Canadian film production, I begin by contextualizing Canadian film as a postcolonial site of globalized popular culture, characterized by 'technological nationalism'. In this context, I consider three Canadian films that adapt Mary Shelley's Frankenstein to represent globalization. David Cronenberg's Videodrome (1983) borrows from Frankenstein and Marshall McLuhan to critique new media in the 'global village'; Robert Lepage's Possible Worlds (2000) quotes from the Universal Frankenstein film; and Mark Achbar and Jennifer Abbot's The Corporation (2003) uses Frankenstein as a recurring analogy for the modern corporation. This essay signals a starting point for a more interculturally and transnationally comparative investigation of how Frankenstein adaptations provide a powerful repertoire of representational devices for a postcolonial theory of globalization"

The relationship between globalisation and national identity is puzzling. While some observers have found that globalisation reduces people's identification with their nation, others have reached the opposite conclusion. This article explores this conundrum by examining the relationship between globalisation and people's feelings towards national identity. Using data from the International Social Survey Program National Identity II () and the World Values Survey (), it analyses these relations across sixty-three countries. Employing a multilevel approach, it investigates how a country's level of globalisation is related to its public perceptions towards different dimensions of national identity. The results suggest that a country's level of globalisation is not related to national identification or nationalism but it is related negatively to patriotism, the willingness to fight for the country and ethnic conceptions of membership in the nation. An examination of alternative explanations indicates that globalisation has a distinct impact on national identity.

"At the roots of many travels to distant destinations, whether in the context of tourism or migration, are historically laden and socioculturally constructed imaginaries. People worldwide rely on such imaginaries, from the most spectacular fantasies to the most mundane reveries, to shape identities of themselves and others. These unspoken representational assemblages are powerful because they enact and construct peoples and places, implying multiple, often conflicting, representations of Otherness, and questioning several core values multicultural societies hold, by blurring as well as enforcing traditional territorial, social, and cultural boundaries. What are the contours of power, agency, and subjectivity in imaginaries of transnational mobility and the intersecting social categories those visions both reify and dissolve? Ethnographic studies of human (im)mobility provide an innovative means to grasp the complexity of the global circulation of people and the world-making images and ideas surrounding these movements. As a polymorphic concept, mobility invites us to renew our theorizing, especially regarding conventional themes such as culture, identity, and transnational relationships. This article critically analyzes some preliminary findings of an ongoing multisited research project that traces how prevalent imaginaries of transnational tourism to and migration from the "global South" are (dis)connected. I suggest anthropology has unique contributions to make to the current debate in the social sciences by ethnographically detailing how mobility is a contested ideological construct involving so much more than mere movement."

"This article examines the ways in which young Canadians represent the 'the War on Terror' in their narratives. I explore how a hegemonic nationalist narrative enters into this representation in different ways and positions itself in a dynamic tension with the USA, at times eliding the difference and at times affirming it. I illustrate that these students do not simply tell the narrative of the war, but use the deixis of 'we/us/our' or 'them/they/their' in a way that constructs multiple imagined communities. I argue that these presumably benign representations of Canadian involvement in the war produce banal nationalism that excludes 'others', and binds human imagination into a framework that works against critical thinking."

"Pan-Africanism is usually considered a progressive movement for black socio-political and economic advancement. This focus on activism alone sometimes occludes the profound philosophical issues that inform Pan-Africanist discourse. The last decade has witnessed tremendous changes in the ideological posture of the African Union (AU) as reflected in the change of name from the Organization of African Unity (OAU). This paper explores the historical and philosophical contexts for understanding the agenda of the African Union and highlights the consequences of such an agenda. The paper argues that the establishment of the African Union conforms to certain aspects of W.E.B. Du Bois's philosophy of Pan-Africanism that focuses on economic self reliance, at the same time that it uses Du Bois as a template for critiquing the neoliberal economic dispensation of the African Union implemented through its program, the New Partnership for Africa's Development. This it accomplishes with its emphasis on Du Bois's critique and skepticism of modernism and Western philanthropy."

"This article explores the use of nonstandard English forms and intertextuality in two recent works by Nigerian writers in English living abroad. To date, Chris Abani's Graceland and Uzodinma Iweala's Beasts of No Nation have attracted little critical commentary, far less any academic survey of their language, yet each book is in its own way representative of conflicting treatments of nonstandard varieties of Nigerian English by writers in the diaspora. Beasts of No Nation owes a considerable debt to the linguistic and stylistic experiments Ken Saro-Wiwa made in his novel Sozaboy and Iweala has drawn heavily on this work in his use of a first person narrator and his assignment of a limited, if forcefully expressive, language to his hero. According to Saro-Wiwa, Sozaboy is written in a mixture of Nigerian Pidgin (NP), Standard English (SE) and other forms. Graceland, however, makes selective use of nonstandard forms for reasons closer to those of earlier writers and makes this clear through its author's insertion of intertextual elements. After providing an overview of the background to and characteristic features of NP and Nigerian English this article surveys their use in Nigerian literature and concludes by examining the language of Graceland and Beasts of No Nation through a linguistic comparison of shared episodes and a consideration of thematic similarities in order to place these two novels in a continuum of Nigerian writing in English through their use of language."

"This article pieces together a complex genealogy of the multiple contexts that helped reshape women's international organizing and create a global women's human rights movement following the United Nations (UN) Decade for Women, 1975-85. It maps a multilayered history consisting of many different strands of women's activities around the globe that increasingly converged in the 1970s, although in unanticipated ways. Through its broad focus on women in distinct social, political, and intellectual arenas, it links the UN human rights system and its oversight committees and commissions with the first two UN Development Decades of the 1960s and 1970s. And it interconnects these global structures, discourses, and activities with old and new patterns of women's postwar organizing and with the emerging challenges to canons of knowledge and research methodologies from feminist theory and epistemology. Starting in the mid-1970s, four distinct yet overlapping endeavors converged: the work for international human rights, colonial and postcolonial expectations of economic development and well-being, women's rights and liberation movements, and women's studies in their global translations. This critical history, however, has all but been lost in the fraught contemporary debates about human rights as a vehicle for radical gender and social change."

"This paper examines the construction of transnational social spaces among Latin American migrants living in the UK in relation to their multiple connections with homelands and other European countries, especially Spain. Drawing on Bourdieu's forms of capital approach, it explores how transnational practices underpin the functioning of these spaces in relation to how civic, economic, institutional cultural and social capital are mobilized, converted and depleted. It highlights the need to move beyond conceptualizations of negotiating capitals across simple home-destination connections and instead acknowledge that transnational social spaces comprise complex linkages among migrants across more than one border with evidence of important linear moves via intermediate countries on their way to their destination."

"This article examines the hybrid cultural geographies of indigenous video with Donna Haraway's visual strategy of diffraction. Drawing on ethnographic inquiry, one particular video is explored from three different perspectives. First, a festival audience celebrates how the video represents place-based belonging, the joys of collective labor, and indigeneity. Second, a geographical analysis articulates the transnational circuits of advocacy and collaborative practices of knowledge production that shaped this video and its subsequent travels. Third, an extended conversation with the video maker about his target audience reveals a political intervention not visible from the first two angles of analysis. When diffracted, this thrice-told story about one video provides lessons about the potential for indigenous video to decolonize scholarly authority."

This article assesses Thomas Pogge's recent argument that it is sometimes justifiable to harm innocent persons in light of his claims about the causes of global poverty. It argues that if Pogge's two theses are correct then a third thesis follows: that those immiserated by the international system can legitimately resist the institutions responsible for the systemic violations of human rights, even at the cost of grievously harming innocent persons. This article does not assess the validity of Pogge's theses, but draws attention to a neglected topic in the debate on transnational economic justice: the right of resistance.

Jamaica Kincaid's compact and succinct story "Girl," the lead story in the collection At the Bottom of the River (1983), has been lauded as one of the premier works in Kincaid's corpus, particularly her discourse on the making of "woman" in postcolonial Caribbean contexts. The text is essentially a set of instructions offered by an adult (assumed to be a mother), laying out the script for the performance of womanhood in the fictional society in which the female child is expected to live and perform her gender. "Girl"'s emphasis on performative acts reiterates the inextricable link between gender and performance. Undoubtedly, this landmark Kincaid story is in dialogue with Butler's theorization of the centrality of stylized acts in the creating and crafting of gendered selves. Less well known is Oonya Kempadoo's debut novel Buxton Spice (1999). Buxton Spice chronicles the experiences of four pubescent girls in 1970s Guyana as they learn about, participate in, and challenge some gender expectations of their immediate and wider communities. The story is told from the point of view of Lula, who keenly observes the ways in which gender roles are enacted and how these roles may be re-enacted. Her observations alert the reader to the novel's preoccupation with uncovering, or perhaps reconfiguring, how gender roles might be at once imagined and played out in contemporary Caribbean societies. Both texts illustrate how the tensions and contradictions surrounding the constructions of womanhood, and in Buxton Spice, manhood, are engaged through performative acts, some of which ostensibly conform to prescribed gender roles but that actually undermine them.

In the foreword to his 1938 novel Kanthapura, about the growing participation of village women in the Gandhian movement, Raja Rao explains the experimental method of the tale as a combination of colonial hybridity and cultural difference in language, style, and narrative form: The telling has not been easy. One has to convey in a[n alien] language that is not one's own the spirit that is one's own.… I use the word "alien," yet English is not really an alien language to us. It is the language of our intellectual make-up-like Sanskrit or Persian was before-but not of our emotional make-up.… After language the next problem is that of style. The tempo of Indian life must be infused into our English expression, even as the tempo of American or Irish life has gone into the making of theirs. We, in India, think quickly, we talk quickly.… There must be something in the sun of India that makes us rush and tumble and run on. And our paths are paths interminable. The Mahabharatha has 214,778 verses and the Ramayana 48,000. Puranas there are endless and innumerable. We have neither punctuation nor the treacherous "ats" and "ons" to bother us-we tell one interminable tale. Episode follows episode, and when our thoughts stop our breath stops, and we move on to another thought. This was and still is the ordinary style of our storytelling.

This article examines the linkage between entrepreneurship and the making of popular culture in East Asia. The central argument presented here is that the notion of entrepreneurship is central for understanding and conceptualizing the process of constructing trans-national markets for popular culture and for building new circles of 'Asian' recognition. In other words, entrepreneurial vision is not only transforming the local cultural markets by underpinning a region-wide cultural production system but also un-intentionally spurring feelings of 'Asian' sameness. The study itself focuses on four cases of entrepreneurship which exemplify the driving forces and the intended and unintended consequences of entrepreneurship, and outlines the wider theoretical and methodological implications for this concept by defining the relations between structural determinism and human agency in popular culture.