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This study reports on a four-month ethnographic project conducted among young Catholic women in Mumbai, India. Here, the author examines how the media consumption of participants is implicated in reconstituting Indian national identity. Because Hinduism is closely tied to conceptualizations of Indianness and because women continue to be marginalized in Indian society, Catholic women in India are viewed as second-class citizens or “not Indian enough” or “appropriately Indian” by virtue of their gender and religious affiliation. However, through media consumption that emphasizes hybridity, participants destabilize narrow definitions of Indian identity. Specifically, participants cultivate hybridity as central to an Indian identity that is viable in an increasingly global society. Within this formulation of hybridity, markers of their marginalization are reframed as markers of distinction. By centering hybridity in their media consumption, young, middle-class Catholic women (re)imagine their national identity in translocal cosmopolitan terms that subverts marginalization experienced by virtue of their religion and leverages privileges they enjoy by virtue of their middle-class status. Importantly, this version of Indian identity remains elitist in that it remains inaccessible to poor women, including poor women of minority groups.

A growing number of individuals identify as cosmopolitans, that is, citizens of the world. They voluntarily move from country to country in pursuit of self-fulfilment in both life and work, and construct a cosmopolitan identity in the process. With the help of three entrepreneurial narratives the authors investigated how cosmopolitan disposition affects entrepreneurial behaviour. The authors found that cosmopolitan entrepreneurs share many common entrepreneurial characteristics, such as openness to opportunities, a need for achievement and the locus of control. However, they also challenge the understanding of entrepreneurship by downplaying the role of environment and interpreting success in an unconventional way. The study demonstrates that this growing group of entrepreneurs deserves more attention from entrepreneurship scholars.

This study aims to discuss the ethical and political possibilities offered by the presence of teaching artists (TAs) and visual artwork in racially and culturally diverse high school literacy (English Language Arts) classrooms.

This study explores episodes from two separate ethnographic studies that were conducted in one teacher’s critical literacy classroom across a span of several years. This study uses a transliteracies approach (Stornaiulo et al., 2017) to think about “meaning-making at the intersection of human subjects and materials” (Kontovourki et al., 2019); the study also draws on critical scholarship on art and making (Ngo et al., 2017; Vossoughi et al., 2016). The TA, along with the materials and processes of artmaking, decentered the teacher and literacy itself, inviting in new social realities.

TAs’ collective interpretation of existing artwork and construction of new works made visible how both human and nonhuman bodies co-produced “new ways of feeling and being with others” (Zembylas, 2017, p. 402). This study views these artists as catalysts capable of provoking, or productively disrupting, the everyday practices of classrooms.

Both studies demonstrated new ways of feeling, being and thinking about difference, bringing to the forefront momentary possibilities and impossibilities of complex human and nonhuman intra-actions. The provocations flowing from the visual artwork and the dialogue swirling around the work presented opportunities for emergent and unexpected experiences of literacy learning.

This work is valuable in exploring the boundaries of literacy learning with the serious inclusion of visual art in an English classroom. When the TAs guided both interpretation and production of artwork, they affected and were affected by the becoming happening in the classroom. This study suggests how teaching bodies, students and artwork pushed the transformative potential of everyday school settings.

Yet, this is not a book on the tourism industry; nor is it on the changes induced by it, or on how it has been analyzed by social science disciplines, but on the social nature of tourism. Together, all the case studies reflect an effort to understand global and mobile dynamics and the production of collective memories and cultural identities in the Mediterranean region through ethnographic examples from different areas (such as Andalusia, Crete, Istria, Costa Blanca, Marseille, Mallorca, Lesvos, and Marrakech). However, this context of global mobilities cannot be understood apart from the constant presence of tourists in the Mediterranean coasts. Tourism has been the driving agent of the essence and orientalizing images of most of Mediterranean territories during the last 100 years (Tzanelli, 2003). Labor immigrants, tourists, and new residents from various nationalities and with different personal motivations converge and share with locals the same locations, and create new places that mushroom all over the territories, be it urbanizations, private beaches, or even detention hotels. Besides, the increasing voting relevance of these new social categories through their participation in local and regional elections is adding value to their role as social agents in the political sphere (Chueca Sancho & Aguelo Navarro, 2009; Janoschka, 2010). The practices and the meanings that give sense to daily life (culture) seem to blur traditional dichotomous notions such as leisure/labor, locals/residents, and nationals/foreigners.

This research aims to scrutinize the dwelling of digital nomads in postmodernism’s social, cultural and political context and to illuminate their post-tourist characteristics.

Using a conceptual approach and sociological considerations, the study closely investigates the characteristics of digital nomads and offers a postmodernist ontological, epistemological and methodological stance.

The study highlights the ambiguity of the concepts of digital nomadism and tourism. Furthermore, since every digital nomad is a potential tourist with a work-leisure balance, it points out the need to grasp tourism and work from a different perspective than the dichotomy of modernism.

The postmodernist perspective offers a fruitful approach to illuminate the social conditions in which digital nomads dwell and concomitantly encompasses the tourist and nomad by rejecting dichotomies. The study also points out the need to place the agency of digital nomads in a broader context and analyze these mobilities from local and global interactions in addition to the nomads' point of view.

This study provides a new perspective on the relationship between digital nomads, postmodern conditions and their role as post-tourists.

–The paper originated in challenges trying to theorize and research practices and processes of actors engaged in transnational activities for business and everyday life. Key concern was the assumption that actors’ identities remain the same regardless of time/space. While intersectional analysis once seemed a reasonable analytical approach the authors wondered about starting from identity-based categorical schemes in a world where mobility may be ever more the ontological status of everyday experiences and social structuring. Thus, the paper addresses limitations of intersectional analysis in such situations and advances its recasting via mobile conceptualizations, redressing its analytical purchase for contemporary subject formation.

Discusses emergence of intersectionality at a particular point in time, its success and proliferation, and more recent critiques of these ideas. Develops alternative conceptualization – mobile subjectivities – via literatures on mobilities in the context of globalization. Illustrates the value of these arguments with ethnographic examples from a multi-sited ethnographic project and analyses. Concludes by examining implications for new feminist theorizations under neoliberalism and globalization.

Observing the constitution of a “mobile selfhood” in actual transnational business activities is a step toward making sense of complex processes in contemporary subject formation under globalized market neoliberalism.

“Mobile subjectivities” suggest that analyses of oppression and subordination must be ongoing, no matter which “new subjectivities” may appear under “the latest regime.”

Theoretical and empirical analyses facilitated a reconceptualization of intersectionality as a mobile, precarious, and transitory accomplishment of selfhood temporarily fixed by the neoliberal rhetoric of “choice” and “self-empowerment.” This is of particular value for understanding transnational practices and processes of contemporary organizational actors.

Purpose – This chapter examines place attachment and spatial mobility intentions among highly skilled professionals who are descendants of low-skilled migrants from Turkey. Having achieved considerable intergenerational mobility, these professionals work in prestigious international firms.

Research Design – The analysis in this chapter is based on 27 indepth interviews with descendants of migrants from Turkey, who now occupy leading positions within the corporate business sector in France, Sweden, Germany and the Netherlands.

Findings – The study reveals that respondents feel attached to the city they live and work in, but feel less attached to the country at large. Along with this ambiguity towards their home country, they are open to spatial mobility and would move to another country based on their career aspirations. They display a feeling of ‘inbetweenness’, but they are able to turn this condition to their advantage by framing it as an inherent adaptability to the marketdriven requirement to be mobile.

Originality and Implications – The study provides an original contribution to the field by focussing on an understudied group: highly educated descendants of migrants from Turkey. The findings have practical and social implications, showing that, despite their steep upward mobility and success in the labour market, descendants of migrants continue to be the subject of integration and exclusion discourses that influence their sense of belonging to the countries where they were born and raised.

The term Canterbury Sound emerged in the late 1960s and early 1970s to refer to a signature style within psychedelic and progressive rock developed by bands such as Caravan and Soft Machine as well as key artists including Robert Wyatt and Kevin Ayers. This chapter explores Canterbury as a metaphor and reality, a symbolic space of music inspiration which has produced its distinctive ‘sound’.

Drawing on ethnographic fieldwork, particularly observations and interviews with music artists and cultural intermediates (Bourdieu, 1993), we suggest that the notion of the Canterbury Sound – with its affinity for experimentation, distinctive chord progressions and jazz allusions in a rock music format – is perceived as a continuing artistic and aesthetic influence. We interpret the genealogy of the Canterbury Sound alternativity through discussions focused on the position of the ‘Sound’ within contemporary heritage discourses, the metaphorical and geographical implications of place in relation to popular music, and cultural longevity of the phenomenon.