The work of British-born, Delhi-based artist Bharti Kher spans sculpture, painting, and installation, but hybridity is a constant—cultural hybridity, as well as hybridity of genders, myth, and reality.
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Carmelita: I really like hybridity, that's what I think of.
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And thanks to multiculturalism, hybridity, as a political concept, became cool.
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However, contrary to monolithic representations, Mami Wata is the embodiment of hybridity.
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As such, Kingelez's models offer a positive perspective on globalisation and cultural hybridity.
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Without a doubt, her own hybridity enables her profound appreciation of the city.
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These five sculptures push harder at discontinuity than "Sharp Shooter," making more of their hybridity.
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In their hybridity they are incalculable, and in their incalculability they shush the room they occupy.
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" No more the delicate, doomed "half-castes" of 19th-century novels like "Clotel" — "hybridity is in.
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J.C. Mr. Speed plays a number of reed instruments, and it's led to an inevitable hybridity.
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Try to Altar Everything is an exquisite, if sometimes gruesome, approach to spiritual transcendence and hybridity.
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This hybridity highlights the range of just who and what Christ's crucifixion represents, and further, who may use these images.
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"It prepared me in so many ways for this hybridity, but I didn't know it was preparing me," she says.
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Whatever motivated Prince to take his initial line, the story seemed to offer a ready-made explanation of his music's hybridity.
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Hybridity dominates, as witness the "live performance-exhibition" that pairs paintings by Gerhard Richter with compositions by Steve Reich and Arvo Pärt.
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The setup nicely illustrates the hybridity that Scholder played with throughout his career, between being a "Native" artist and an "American" one.
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The final output is shown on plexiglass screens surrounded by elegant hand-painted frames, a true hybridity of analog and digital practice.
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At Arquetopia, artists are pushed to ask tough ethical questions about the nature of hybridity, exoticism, and their own ways of seeing.
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Technically lush, Black Panther infuses itself with diasporic hybridity: Wakandan dress, architecture, and dialect pull from Mali, Nigeria, Kenya, Ethiopia, and South Africa.
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Since the appearance of the new service, roots, migration, purity and hybridity have dominated the conversation in WhatsApp groups, offices and tea shops.
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In his piece "Chimera," the first performer, David Thomson, made the physical, biological state of hybridity a metaphor for other types of heterogeneity.
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It wants to position Basquiat as being rooted in a scene marked by hybridity, but can't get past the shine of his singular greatness.
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"What they see in Asia, especially in Japan and Korea, is a lot of hybridity and playfulness with hair colors and styles," she said.
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With the addition of wearable technology, and even surgically implanted technology, humanity seems as though it is on a swift course toward hybridity with machines.
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Following up on the tone set by enveloping lead single "First To Say" featuring Vanessa Elisha, the record is full of lush pop-club hybridity.
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Young guitarists seeking fresh approaches and a new hybridity between their instruments and gear are increasingly treating jazz, metal and electronic music as interrelated systems.
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Lilla adopts the tone of a long-suffering professor who just wants to discuss Marx and Emerson but finds himself besieged by hybridity and intersectionality.
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The videos are beautiful and beguiling: for their strange hybridity, for the way they show the underlying melancholic grace of two very different American forms.
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It is not that she has suddenly become a hybrid artist, it is that she has discovered how to execute the hybridity she has always imagined.
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These references blur the line between the real and the digital, the concrete and the ephemeral, creating a new hybridity that attempts to describe the indescribable.
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Saini Kallat's perversity is gentle, subtle, and transient, functioning in a different tenor from the erotic, polymorphous, and disorienting hybridity of Matthew Barney's Cremaster Cycle, for instance.
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It's poised to become a significant engine of cultural production—if it isn't already—because its reality speaks to the challenges of today: hybridity, diversity, environmental change.
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Dating from a chapter of painting's recent history that saw all manner of Post-Minimalist hybridity, Overstreet's idiosyncratic use of paintings as sculptural material still looks fresh.
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Judd is an inspirational character, but his furniture was about universal, pure form, and I focus on mutations and hybridity [in works like the 2007 "Monoforms" bench].
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In "cosmopolis"—Ash's forward-thinking name for our current interconnected world—difference is the grist for advantageous hybridity and funny jokes, as long as we're liberal about it.
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As El Anatsui combines traditional crafts from Ghana to Nigeria with contemporary art practices, his emphasis on hybridity informs his choice to bring different aesthetic possibilities to each sculpture.
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Referring to the artists' works, she wrote: The hybridity of their inspirational sources motivate these artists to investigate a multiplex of particularities and to translate them into singular aesthetic languages.
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This is the unique claim on the truth that black art can make: It draws its energy from its embrace of hybridity, from a rejection of the illusion of American purity.
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All of them replace the fiction of cultural authenticity — and, by implication, the oversimplified idea of "cultural appropriation" — with a far broader constellation of terms: translation, simulation, exchange, conquest, recombination, hybridity.
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Such recognition was often aided by titles like "More Than You Know" and "Don't Go." This hybridity lay along a Chicago-New York vector, with a stop on the West Coast.
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And no single figure personifies this New and Old World hybridity more than Sonja Sekula, the Swiss-born poet and painter whose art converts subconscious Surrealist imagery into meticulous formal compositions.
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Instead, they take ecological hybridity — the interdependence of the human and the non-human, the natural and the synthetic — as a given and allow the viewer to dwell in its uncomfortable tensions.
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In this respect, these de-skinned boats bring to the fore a concern with the fine grain of migration and bodily experience, where hybridity and the crossing of permeable boundaries loom large.
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Advertise on Hyperallergic with Nectar Ads As a Kenyan-Indian Canadian living in the US, artist and dancer Brendan Fernandes draws on his composite identity to challenge received ideas about authenticity and hybridity.
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For this reason, it is necessary to critically reinvigorate modern public institutions, such as high schools, liberal arts colleges, museums, and factories, all of which provide much-needed social hybridity and participatory frameworks.
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The cultural hybridity was, in a way, a reversal of the one that emerged in Western Europe in the late-19th century, when Japonism swept through the region, captivating the Impressionists in particular.
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A digital printing extravaganza, Plato's Atlantis was one of McQueen's final and most famous collections, building on the themes of technological advancement, ecological meltdown, and hybridity that come up again and again in #techstyle.
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Or maybe it's that Chef Patel masterfully built a space like so few others where young people of color can gather—an act of resistance in a political landscape that attacks hybridity and culture.
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Nurtured early on by the experimental approach of the Association for the Advancement of Creative Musicians and a professor of music at Columbia since 1983, Mr. Lewis has long been interested in stylistic hybridity.
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Mr. Riley, a drummer, has been a shining exemplar of New Orleans rhythm — as a cultural study, a living language and a model of hybridity — since emerging on the national scene in the 1980s.
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Guests will have the opportunity to hear about her notions of hybridity, both in terms of identity and artistic practice, her relationship with painting and collage, as well as her recently awarded MacArthur Fellowship.
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She applauds Wells's novel "Ann Veronica" for the "jouissance it purveys" and "The Island of Doctor Moreau" for the "hybridity it literalises", and refers to his work being "washed by waves of violence and decimation".
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However, his work looks like a great deal of collage I have seen in the last few years and seems to make the same points about hybridity and evading the gaze that attempts to definitively define.
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Mr. Riley, who just turned 59, has been a shining exemplar of New Orleans rhythm — as a cultural study, a living language and a model of hybridity — since emerging on the national scene in the 1980s.
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"I was thinking about cultural flow, originality, hybridity and appropriation," said Bora Kim, 34, who came up with the idea of forming a K-pop pop act while completing a Masters of Fine Arts at Columbia University.
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The 33 portraits featured in Just My Type: Angela Dufresne, on view at the Samuel Dorsky Museum of Art at SUNY New Paltz, further embody this hybridity, playing with gender fluidity, sexual ambiguity, and myriad contradictions within type.
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Whereas past exhibitions have focused on the diversity and hybridity inherent in the Caribbean, Flores explains that Relational Undercurrents is meant to highlight the connections among different experiences in the Caribbean, bringing together artists from variegated backgrounds and languages.
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Back then, I struggled with the idea, eventually giving up on it to think about other things, and then, a couple of weeks ago, BRIC presented an evening of performance art that made the idea of hybridity more graspable.
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" He says, "When I created the piece, A Place To Call Home, it really is for me about this place in my mind where I come from because I think the hybridity of my identities is very hard to place.
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This tea ceremony realized from found objects, construction material, and calculated engineering may seem at odds with the organic stone forms for which the Japanese-American sculptor is known, but a love of hybridity and handicraft binds Noguchi and Sachs.
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Born in Nashville, Tennessee to a Liberian mother and Kenyan father and now based in Brooklyn, I grew up moving through various geographic, cultural, and linguistic spaces, which informs my work and my interest in hybridity and layered imagery and content.
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In ways, both deliberate and unconscious, their work distills many common threads: the risk of exploration and experimentation; the hybridity of practice that dissolves standard boundaries of genre and the inquiry into the desire to empathize, with each other and in broader, more global terms.
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Céu, born Maria do Céu Whitaker Poças in São Paulo, Brazil, has long had a fondness for sleek hybridity: Her previous albums established her reputation as an artist informed not only by samba and bossa nova but also by jazz, Afrobeat and much else besides.
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It was Shonibare's own hybridity — he was born in London but moved to Nigeria as an infant, only to return to London to graduate from Goldsmiths College as part of the notorious YBAs — that launched his career-long inquiry into cultural and national identities.
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Unhappy with the binary notion of race popular in the United States, Morales offers the concept of mestizaje, or hybridity, that encompasses a spectrum of identity, the result of hundreds of years of intermixing among African, European and indigenous peoples in Mexico, Latin America and the Caribbean.
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It is a physical representation that I can point to when I feel like the puzzle pieces of my own hybridity just aren't matching up—a reminder that all the jagged parts of my cultural identity have the potential to coalesce as easily as they do within the confines of Besharam.
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Following on thoughts of hybridity, this carnal, sticky bacchanal made me reflect on our practice of putting on fragrances, oils, and lotions — not as drastic as covering oneself with chocolate, but still a subtle morphing of our bodies into other bodies, ones that we desire or hope will be desired.
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The editors write: This book's hybridity springs from two impulses: an intangible sense, on the one hand, that everyone should have the opportunity to see these strange, often beautiful drawings; and a recognition, on the other, that Nabokov ended up making a highly significant contribution to the sciences of evolutionary biology and biogeography — one that these fields were slow to recognize and appreciate.
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The latter are the most ambitious in their hybridity of masculine formalism and feminine connotation and contingency — works such as "Anatomy of a Kimono" (1976), a massive multipaneled piece in the collection of Bruno Bischofberger, and "Wonderland" (1983), a large work in the collection of the Smithsonian American Art Museum and one of the finest and most poignant of Schapiro's homages to domesticity and traditional needlework crafts.
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From the cut and paste, polaroid-camera aesthetic pioneered by Xavier and Gaspard's friend and collaborator So Me, to the proliferation of MP3 blogs and remixes, Justice were at the forefront of a revolution centered around Ed Banger—one that hinged on a logic of musical hybridity, and in doing so located the common ground between Franz Ferdinand and Diplo, the stadium and the club.
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But there is a lot of fluidity, hybridity, intersectionality and transgression on display here too, that, in the Balkan context, criticizes both the callousness of the Soviet regime that once dominated the region (during the Cold War, most of the countries in the Balkans were ruled by Soviet-supported communist governments), and the superficiality of American materialism and its cultural pop desolation that awaited it.
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And, naturally, Rick Owens continued an always fascinating exploration of hybridity — of gender; of nationality (his show was titled "Tecuatl," in reference to his maternal grandmother's Mixtec heritage); of politics (some clothes were emblazoned with the Aztec Eagle logo of the United Farm Workers union, for which Mr. Owens's father worked as a translator in the California courts (proceeds from the clothes, and from some related jewelry, will benefit the UFW); and of anatomical morphology in a transformative age of machines.
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Hybridity Music, commonly referred to as Hybridity, is an independent Canadian record label.
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His bibliography includes Hybridity in Animals and Plants (1847), Additional Observation on Hybridity (1851), and An Illustrated System of Human Anatomy (1849).
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Colonial Desire: Hybridity in Theory, Culture and Race, 1995, Putnam, . Its contemporary uses are scattered across numerous academic disciplines and is salient in popular culture.pp.106-136. Hutnyk, John. ‘Adorno at Womad: South Asian crossovers and the limits of hybridity-talk’, in Debating Cultural Hybridity, ed.
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Hybridity is focused on artists who produce cross genre'd music and media that span installation, visual art, music, technology, and performance. As an artist-run label, Hybridity supports music artists by handling their management, distribution, PR, publishing, branding, and overall trajectory, improving their aesthetics through consultation, discussion, and implementation. Hybridity regularly throws events and curates exhibitions in Vancouver and New York.
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This concept of hybridity does not equate that the diversity in ethnic backgrounds with equality and even similar circumstances. Hybridity is merely a lens to view cultural developments and human actions in the context of colonialism.
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Hybridity, in its most basic sense, refers to mixture. The term originates from biologyHermsen, J. G. Th., and M. S. Ramanna. 'Barriers to hybridization of Solanum bulbocastanum Dun. and S. Verrucosum Schlechtd. and structural hybridity in their F1 plants.
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In addition, Shori's hybridity also symbolizes an enhanced or "correct" type of mutualistic symbiosis, as she literally embodies human and Ina DNA working together. Thus, Butler connects hybridity to the survival of not just the Ina, but also of humanity. As Pramrod Nayar contends, in Fledgling hybridity means to take on the qualities of the other race and thus becomes a "companionate species" of others in order to survive.
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However, its integral use of hybridity, reflexivity, and hypertextuality make it a postmodern work overall.
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Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 10.
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Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 1-33.
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Hybridity and Identity in Latino Popular Music, by Deborah Pacini Hernandez, Temple University Press, 2010, pp. 77–105.
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Lambert, James. 2018. A multitude of 'lishes': The nomenclature of hybridity. English World-wide, 39(1): 22-23.
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Actually, the discussion should begin with alternative ways of framing themes as concepts of hybridity, simultaneousness and coexistence.
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Hybridity takes into account the anthropological fact that humans are hybrid with both natural and technical essences, making them designers with an individual "Leib," which is a term in phenomenology that denotes subjectivity of one's own corporeality. Biofacticity, on the other hand, is an epistemological and ontological term that reflects upon the anthropological term of hybridity. The latter deals with the self-definition of subjects rather than objects. Hybridity, thus, is an anthropological concept particularly when used for philosophical purposes while biofacticity is an epistemological concept.
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Used in discussing such studies as management, economics, international relations, and linguistics, the concept is criticized for overlooking regional hybridity.
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Shim Doobo. (2006). 'Hybridity and Rise of Korean Popular Culture in Asia.' Media, Culture & society. 28 (1), pp. 25–44.
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Bilingualism is an essential component of hybridity. Results of socio-linguistic research are therefore of importance to work on migrant literature.
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Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 14. DOI: 10.1075/eww.38.3.
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Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 30. DOI: 10.1075/eww.38.3.
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Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 29-30. DOI: 10.1075/eww.38.3.
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Hybridity or the cultural logic of globalization. Delhi: Dorling Kindersley. (see also: Methodological refinements and the relativization of the media imperialism thesis).
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It is used with the terms cultural hybridity and intertextuality, which continue the theory of cultures, texts, and ideas mixing with one another.
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Orbaugh notes that "the young protagonists incarnate monstrosity/hybridity in several ways simultaneously", highlighting their cyborgization with the Evangelions and the "Angel" DNA which allows their synchronization, with additional hybridity for the mixed race Asuka and the cloned Rei.Orbaugh, Sharalyn. The Genealogy of the cyborg in Japanese popular culture. In World weavers: globalization, science fiction, and the cybernetic revolution, ed.
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The Boxer Codex is exemplary of the first form of hybridity, as the numerous influences shape one object, in this case, the manuscript itself.
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See p. 51 in Zuckermann, Ghil'ad (2009), "Hybridity versus Revivability: Multiple Causation, Forms and Patterns", Journal of Language Contact, Varia 2, pp. 40-67.
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The term Spanglish is first recorded in 1933.Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 31.
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Another colloquial portmanteau word is Paklish (recorded from 1997).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World- wide, 39(1): 29.
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Legitimacy and accountability of these relatively novel arrangements rests upon establishing the right degree of institutionalisation and balanced hybridity, both of which vary within different contexts.
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Founded in Vancouver by Malcolm Levy in 2012, Hybridity is an artist-run label that works in the areas where performance, music, art, and technology cross over. Their first release was the Traps EP by Vancouver duo Humans. The label was introduced by XLR8R with a video for the Max Ulis remix of "De Ceil." Hybridity Music is part of a larger concept centring on trans-disciplinary art and collaborative practice.
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Organization, 11(6), 793-824. hybridity (Castor & Cooren, 2006), imbrication (Taylor, 2011),Taylor, J. R. (2011). Organization as an (imbricated) configuring of transactions. Organization Studies, 32(9), 1273-1294.
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Bayraktar-Aksel, Damla. "Transnationalism and hybridity in the art of Hussein Chalayan". Trespassing Journal: an online journal of trespassing art, Science, and philosophy 1 (Spring 2012). Retrieved 20 September 2013.
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Other colloquial portmanteau words include (chronologically): Minglish (2006), Malglish (2016), and Manglish (2016).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 28.
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In previous examples, successful institutions are defined by strong hybridity. However, hybridity which is too strong can challenge the legitimacy of academic-scientific-private hybrids. Gulbrandsen highlights the dilemma faced by Research Institutions in their engagement with the private sector and universities. Stockholm syndrome, whereby hostages develop loyalty to their captors, is used to describe a scenario where the need for private funding jeopardises the neutrality of the research process in favour of a particular clients’ perspective.
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One of Karafyllis' thesis is that a technical change in living objects, i.e. an increase in biofacticity, will shift the anthropological concept of hybridity towards a technological self- definition of the human.
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A multitude of 'lishes': The nomenclature of hybridity. English World-wide, 39(1): 23. DOI: 10.1075/eww.38.3.04lam To some extent, the influence of English on German can be from normal language contact.
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Ethan is also a writer of short stories, theater and poetry. Known for many distinctive stylistic trademarks including genre hybridity,Jaffe, Ira. "Hollywood Hybrids: Mixing Genres in Contemporary Films". Rowman & Littlefield Publishers, 2007.
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B. Kojo Laing or Bernard Kojo Laing (1 July 1946 – 20 April 2017)"Writers pay tribute to Kojo Laing: ‘Africa’s best novelist, by far’ – Binyavanga Wainaina", The Reading List. was a Ghanaian novelist and poet, whose writing is characterised by its hybridity, whereby he uses Ghanaian Pidgin English and vernacular languages alongside standard English.Moussa Issifou, "Beyond the Language Debate in Postcolonial Literature: Linguistic Hybridity in Kojo B. Laing’s Woman of the Aeroplanes", The Journal of Pan African Studies, vol. 6, no.
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Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 14. Other colloquial portmanteau words for Chinese English include: Chenglish (recorded from 1979), Chinlish (1996), Chinenglish (1997), Changlish (2000) and Chinelish (2006).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World- wide, 39(1): 23. A sign from Beijing's Silk Street, giving translations of common English phrases vendors may use when serving English speaking customers, as well as phrases advised against.
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There is no longer a clear line between the old dualities of human/machine, human/environment, and technology/environment. Brenda Brasher thinks that this revelation of the hybridity of human nature present insurmountable problems for scriptural based theological metaphors bound in "pastoral and agrarian imagery." Garner, however sees a multitude of metaphors within Christian tradition and scripture that already speak to this reality. He says, that in the three major areas of hybridity in Christianity are eschatology, Christology, and theological anthropology.
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This is known as "cultural hybridity". This hybridity is a direct result of immigration patterns of the 19th century, when many Mexicans began entering the Southwestern States. Since that time, ethnic Mexican food has risen to be the most popular non-native food type in America. Mexican culinary practices that were brought to the Southwest were quickly combined with the local culture to create a new form of Mexican-style food; this culinary style is now recognized as Tex-Mex.
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English World-wide, 39(1): 14. Other colloquial blends for French influenced English include: Franglish (recorded from 1967), Frenchlish (1974), and Fringlish (1982).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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A multitude of 'lishes': The nomenclature of hybridity. English World-wide, 39(1): 31. DOI: 10.1075/eww.38.3.04lam Taglish is widely used in the Philippines, but is also used by Filipinos in overseas communities.
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Other colloquial portmanteau words for Vietlish include (chronologically): Vietglish (1992), Vinish (2003), Vinglish (2010) and Vietnamiglish (2016).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 32.
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04lam Other colloquial portmanteau words for Swenglish include (chronologically): Swinglish (from 1957), Swedlish (1995) and Sweglish (1996).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 31.
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A multitude of 'lishes': The nomenclature of hybridity. English World-wide, 39(1): 23. DOI: 10.1075/eww.38.3.04lam The word has been adopted in English in an anglicised form as Denglish, recorded from 1996.
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The third floor of the Baba House has been converted into an art gallery to host exhibitions that explore an evolving discourse on the Straits Chinese, cultural encounters and hybridity, and urban developments in Singapore.
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The term Hokaglish is a portmanteau or blend of Hokkien and Taglish, itself a blend of Tagalog and English. It was first recorded in 2016.Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Namlish (a portmanteau of the words Namibian and English) is a form of English spoken in Namibia.www.namibian.org Namlish The term was first recorded in 1991.Lambert, James. 2018. A multitude of 'lishes': The nomenclature of hybridity.
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Often failing to be able to claim the monopoly of force in their territories. The hybridity of security ‘governance’ or ‘providers’ thus exists.Luckham, R., & Kirk, T. (2012). Security in hybrid political contexts: An end-user approach.
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Saya Woolfalk (born 1979, Gifu City, Japan) is a New York-based artist known for her multimedia exploration of hybridity, science, race and sex. Woolfalk uses science fiction and fantasy to reimagine the world in multiple dimensions.
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The sounds of the trumpets coincided well with Hall's thoughts on identity formation and hybridity. Pointing out the history of Jazz music is important because the roots of Jazz are tied deeply within the African-American experience.
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In his films, Mambéty confronted and engaged with complexities and contradictions in the emerging society in Senegal depicting hybridity. Mambéty's earliest film, a short entitled Contras City (1968), contrasted cosmopolitanism in Dakar's baroque architecture against the poverty-stricken areas. In 1970 Mambéty released his next short, Badou Boy, another cynical look at Senegal's capital which depicts a non-conformist individual against a heavily caricatured policeman who pursues him through comedically improbable scenarios. Mambéty's feature-length debut, Touki Bouki (The Hyena's Journey) addresses themes of hybridity and social isolation in Senegal.
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The codex itself is a synthesis of European, Chinese, and even potentially Tagalog traditions, all of which are representative of the colonial experience in Spanish Manila. It literally has both Spanish text and Chinese characters. The codex is symbolic of the cultural convergence that was present in Manila, evidence of particular hybridity that was present. There are two ways to observe hybridity in the archaeological record, the first being an object that is observed to have characteristics from multiple origins and the second being a particular assemblage of materials from different areas.
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She draws upon sources as far-ranging as Japanese anime and African masks and textiles used in ritual ceremonies."Young Artists: Saya Woolfalk, Timothy McCahill, W Magazine November 1, 2008 The garments she designs to be worn in her video works filmed in her installations are often fusions of her various influences, attesting to her views of cultural hybridity. In an interview for Huffington Post, she described her attitude towards cultural hybridity: "Although cultures do have important political utility, the idea that cultures develop in vacuums is false. Cultures really build on each other.
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English World- wide, 39(1): 25. Other terms are used or have been suggested, such as Englibrew, and Yeshivish (hybrid English used in yeshivas, Jewish religious schools).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Swenglish is a colloquial term referring to the English language heavily influenced by Swedish in terms of vocabulary, grammar, or pronunciation.Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 1-33.
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It was not until 1475 that Manduul Khan was finally crowned as the new khan. Manduul is the earliest Mongol chief known to have actually headed the Chakhar myriarchy.Uradyn Erden Bulag-Nationalism and hybridity in Mongolia, p. 73.
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London: SAGE. reports that the media imperialism thesis has been widely abandoned from the study of mediated cross- border communication. Today, the more advanced concepts of hybridization and glocalisationKraidy, M. (2005). Hybridity or the cultural logic of globalization.
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Musical Migrations: Transnationalism and Cultural Hybridity in Latin/o America, Volume I. Palgrave Macmillan, 2003.Ed Morales. The Latin Beat: The Rhythms and Roots of Latin Music, from Bossa Nova to Salsa and Beyond. Da Capo Press, 2003.
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She started using the name "Lily Kwok" in their household. When the Woodmans returned to England in 1953, Lily Kwok went with them.Yun-Hua Tsiao, Women in British Chinese Writings: Subjectivity, Identity, and Hybridity (Chartridge Books Oxford 2014): 67.
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Toward New Journalism(s): Affective News, Hybridity, and Liminal Spaces. Journalism Studies, published online March 2014. Papacharissi, Z. (2015). The unbearable lightness of information and the impossible gravitas of knowledge: Big Data and the makings of a Digital Orality.
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The term Heblish was recorded earliest, in 1979, with Hebrish (1989) and Hebglish (1993) appearing later. Other less common terms are Hinglish (recorded from 1982) and Henglish (1983).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Haida Manga is committed to hybridity as a positive force that opens a third space for critical engagement. It offers an empowering and playful way of viewing and engaging with social issues as it seeks participation, dialogue, reflection, and action.
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Colloquially Nepalese English is known as Nenglish (a term first recorded in 1999), or, less commonly, as Nepanglish (2000) or Neplish (2002).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 28-29.
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Arablish (from Arabic and English) is slang for code-switching between the two languages or macaronically using features of one in the other. The term is first recorded in 1984.Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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"Loving the Alien." The Wire 96 (February 1992): 30–32. this association has been somewhat controversial, since Butler incorporates multi-ethnic and multi-species communities that insist on "hybridity beyond the point of discomfort".Kilgore, De Witt Douglas and Ranu Samantrai.
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The earliest of these is Indlish (recorded from 1962), and others include Indiglish (1974), Indenglish (1979), Indglish (1984), Indish (1984), Inglish (1985) and Indianlish (2007).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 26.
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Danglish is a form of speech or writing that combines elements of Danish and English. The word Danglish is a portmanteau of Danish and English and has been in use since 1990.Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Ruby Onyinyechi Amanze (born 1982) is a Brooklyn-based Nigerian-British artist noted for drawings and works on paper which focus on cultural hybridity or "post-colonial non-nationalism." In addition to being an artist, she has also worked as a teacher and curator.
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Turklish (or Türkilizce), a portmanteau of "Turkish" and "English", refers to the language contact phenomenon that occurs primarily where native Turkish speakers frequently communicate in English. The term is first recorded in 1994.Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Fledglings protagonist is a genetically manipulated creature who combines Ina and human DNA. Her hybridity is perceived as a threat by Ina speciecists, who insist that the separation of Ina and human is essential to maintain the purity of the Ina species. As Ali Brox argues, Shori's existence "opens up a space of cultural uncertainty and instability" that forces Ina families such as the Silks, who suffer the delusion that there is a "pure" and "superior" Ina race, to admit they were once weak, oppressed, and killed by humans. These Ina are hostile towards Shori and interpret her hybridity as a sign of degeneracy.
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An artist, writer, and activist, Okano works in various media, including painting, sculpture, site-specific installation, performance, mixed media, and text. She often incorporates found materials and natural detritus in her work, such as stones, living spores and fungus, leaves, and branches. She explores environmental and ecological themes, as well as race, sexuality, and gender. A recurrent theme for Okano is that of cultural and linguistic hybridity. Literary critic Eva Darias-Beautell has observed that “Okano’s disconcerting writing and artwork have invariably revolved around the unresolved condition of cultural hybridity, often betraying the traps as well as the possibilities of the search for modes of expression that fall outside normativity.
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Specifically, Butler's stories feature gene manipulation, interbreeding, miscegenation, symbiosis, mutation, alien contact, rape, contamination, and other forms of hybridity as the means to correct the sociobiological causes of hierarchical violence.Ferreira, Maria Aline. "Symbiotic Bodies and Evolutionary Tropes in the Work of Octavia Butler." Science Fiction Studies 37.
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Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 14. As the prominence and influence of the English language in Hungary increases, Hunglish has also come to refer to the indirect effect of English on the modern-day Hungarian language.
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The term Finglish was coined by professor Martti Nisonen in the 1920s in Hancock, Michigan, to describe a mixture of Finnish and English he encountered in America. The word is first recorded in English in 1943.Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Bangladeshi English, Banglish, Benglish or Anglo-Bangla (similar and related to British English) is a Bangladeshi variety of English heavily influenced by Bengali. The term Benglish is recorded from 1972, and Banglish slightly later, in 1975.Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Many internet platforms and voice commands on Google also recognise Hinglish. Other macaronic hybrids such as Manglish (Malayalam and English), Kanglish (Kannada and English), Tenglish (Telugu and English), and Tanglish or Tamglish (Tamil and English) exist in South India.Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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"Rebellion and Tradition in Ana Castillo's So Far from God and Sylvia López-Medina's Cantora". MELUS. Vol. 25 No. 2 (Summer 2000) 93–94. Two other themes that are tightly interwoven with the theme of religion are spirituality and culture. In the novel spiritual hybridity is presented particularly.
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Some of these features are shared with other varieties of Southeast Asian English; but others make Brunei English a distinct variety. Colloquial portmanteau words for Brunei English are Brulish (recorded from 2003) and Brunglish (recorded from 2007).Lambert, J. (2018). A multitude of ‘lishes’: The nomenclature of hybridity.
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He pioneered the branch of postcolonial criticism called colonial discourse analysis. Another important theorist of colonial discourse is Harvard University professor Homi K. Bhabha, (born 1949). He has developed a number of the field's neologisms and key concepts, such as hybridity, third- space, mimicry, difference, and ambivalence.Huddart, David.
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See pp. 50-51 in Zuckermann, Ghil'ad (2009), "Hybridity versus Revivability: Multiple Causation, Forms and Patterns", Journal of Language Contact, Varia 2, pp. 40-67. Colloquial varieties of Arabic are more analytic than the standard language, having lost all noun declensions, and in many cases also featuring simplified conjugation.
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The nature of this hybridity, however, is not altogether agreed upon by scholars. Some emphasize Wollstonecraft's fusion of the travelogue with the autobiography or memoir (a word used by Wollstonecraft in the book's advertisement),Myers, 166; Swaab, 16. while others see it as a travelogue cum epistolary novel.Swaab, 17.
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Butler's stories feature mixed communities founded by African protagonists and populated by diverse, if similar-minded individuals. Members may be humans of African, European, or Asian descent, extraterrestrial (such as the N'Tlic in Bloodchild), from a different species (such as the vampiric Ina in Fledgling), and cross-species (such as the human- Oankali Akin and Jodahs in the Xenogenesis trilogy). In some stories, the community's hybridity results in a flexible view of sexuality and gender (for instance, the polyamorous extended families in Fledgling). Thus, Butler creates bonds between groups that are generally considered to be separate and unrelated, and suggests hybridity as "the potential root of good family and blessed community life".
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In this theory, being Chicana entails hybridity, contradictions, tolerance for ambiguity and plurality, nothing is rejected or excluded from histories and legacies of oppression. Further, this theory of embodiment calls for synthesizing all aspects of identity and creating new meanings, not simply balancing or coming together of different aspects of identity.
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"Tayeb Salih and Conrad", Comparative Literature Studies 22.1 (1985): 156–71. Jstor. Web. 1 December 2010. Both novels explore cultural hybridity, cross- colonial experiences, and Orientalism. The novel is also set in the same village, Wad Hamid, as many of Salih's other works, including The Wedding of Zein, Bandarshah, and others.
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The African heritage and hybridity of Creoles resulted in their destructive tendencies. 4\. Lastly Malaise Créole could be considered as a concept which was deployed by political and socio-cultural groups in an attempt to homogenise the very diverse Creole community in order to mobilise them towards a common political goal.
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This book presents a discursive and narrative analysis of speakers' own accounts of the challenges and advantages of living in several languages at individual, family and societal levels, which gives weight to ideas on hybridity and postmodern multiplicity. Norton, B. (2013). Identity and language learning: Extending the conversation. Bristol: Multilingual Matters.
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Another reason for the use of cover versions is to minimise the production costs. The practice is also done for business reasons of filling up albums and re-capitalizing on songs with a proven record.Chu, Y.W. & Leung, E. (2013). Remapping Hong Kong popular music: covers, localisation and the waning hybridity of Cantopop.
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Schiller, 1979, p. 91, 93 Soon after its creation in 1848, Broca joined the Société de Biologie.Schiller, 1979, p. 112. He also joined and in 1865 became the president of the Societe de Chirurgie (Surgery).Ashok, Samantha S., "The History of Race in Anthropology: Paul Broca and the Question of Human Hybridity" (2017).
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Runglish, Rusinglish, Ruglish, Russlish, etc., (, rusinglish / runglish), refer to English heavily influenced by the Russian language, a phenomenon not uncommon among Russian speakers with English as a second language, spoken in the post-Soviet States.Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 14, 17.
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Kanglish (Kannada: ಕಂಗ್ಲಿಷ್) is a macaronic language of Kannada and English. The name is a portmanteau of the names of the two languages and was first recorded earliest in 1993. Other less common terms are Kannalish (recorded from 2000), Kannadlish (2006) and Kanlish (2009).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Lisa Alvarado (2018) in Aarhus, Denmark Lisa Alvarado (born 1982) is an American Xicana visual artist and harmonium player.Beckwith, Naomi and Roelstraete, Dieter (2015). "The Freedom Principle: Experiments in Art and Music, 1965 to Now". p. 40. Museum of Contemporary Art, Chicago and University Of Chicago Press. Hybridity, in-betweenness, and multiplicity are central to Alvarado’s work.
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Boston: Pitman This problem is similarly emphasized from the perspective of agency theory. The so-called 'multiple principal problem' combines various collective action problems that can occur with hybridity. Free-riding or duplication in steering and monitoring procedures can result in high costs. Similarly, directive ambiguity or lobbying of the corporations by individual stakeholders can induce inefficiency.
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Clouds Live Where was a performance in which Johnson wanted to show the connection between people and land. She wore moccasins, a “man's” coat with a fox hide underneath that covered her features. She was described as some type of hybrid, undercover agent. The border in her performance was rigid; she showed hybridity by her constant motion and maneuverability.
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Hybridity or the cultural logic of globalization. Delhi: Dorling Kindersley. The latter can be illustrated by the global spread of hip hop culture: Originated in the USA during the 1970s, it has ever since then been integrated into local contexts throughout the world with distinct local adaptions in many diverse countries (see Hip hop by nationality).
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Ovid, alludes to two didactic poems, Lucretius' De Rerum Natura and Ovid's own Ars Amatoria III. In the Cyllarus-Hylonome interlude he explores hybridity itself illustrating the relationships and "possible combinations of a number of conceptual opposites: natura and cultus, human and animal, male and female, love and war, and the contrasting values of lyric- elegiac and epic poetry".
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Tanglish () is mixings of the Tamil and English languages. The name is a portmanteau of the names of the two languages and has been variously composed. The earliest form is Tamilish (dating from 1972), then Tinglish (1974), Tamglish (1991), Tamlish (1993), Thanglish (1997), and Tanglish (1999).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Experimental theatre in the Arab world emerged in the post-colonial era as a fusion of Western theatrical traditions with local performance cultures such as music and dance. It is characterized by hybridity as it transposes Arabic traditional performances that were usually seen in public squares and marketplaces to theatre buildings.Amine, K. (2006). "Theatre in the Arab World: A Difficult Birth".
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Lyatoshinsky presents himself as a demonstrative traditionalist, master of the symphonic writing and tradition of thematic development. At the same time, he considers structural and expressive forms of decay, deformation, mannerism, nihilism, sickness and convalescence. The Symphony establishes the connections with Lyatoshinsky's keen interest in stylistic hybridity expressed through the use of the classical form, motivic development, atonality and primitivism of folk song.
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Scientific controversies and the struggle for symbolic powerMediating social change: Irony, hybridity and corporate censorship Jensen is an Associate Education Fellow at Durrell Wildlife Conservation Trust, he has advised and contributed to the EU-Zoos-XXI project at Durrell Wildlife Park. As a researcher, Jensen has contributed to recent (2013, 2015, and 2016) global survey projects, including evaluation of "Biodiversity Is Us".
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Lowriding is a part of Chicano culture. The 1964 Chevrolet Impala has been described as "the automobile of choice among Chicano lowriders." Since the Chicano Movement, Chicano has been reclaimed by Mexican-Americans to denote an identity that is in opposition to Anglo-American culture while being neither fully "American" or "Mexican." Chicano culture embodies the "in-between" nature of cultural hybridity.
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English World-wide, 39(1): 31-32. DOI: 10.1075/eww.38.3.04lam A variant form is Denglish, recorded since 2006.Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity. English World-wide, 39(1): 31-32. DOI: 10.1075/eww.38.3.04lam The term is used in Denmark to refer to the increasingly strong influx of English or pseudo-English vocabulary into Danish.
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Hinglish, a portmanteau of Hindi and English, is the macaronic hybrid use of English and South Asian languages from across the Indian subcontinent, involving code-switching or translanguaging between these languages whereby they are freely interchanged within a sentence or between sentences. Alt URL The word Hinglish was first recorded in 1967.Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Homi K. Bhabha (; born 1 November 1949) is an Indian English scholar and critical theorist. He is the Anne F. Rothenberg Professor of the Humanities at Harvard University. He is one of the most important figures in contemporary post-colonial studies, and has developed a number of the field's neologisms and key concepts, such as hybridity, mimicry, difference, and ambivalence.Huddart, David.
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In the east and south east, it has been influenced by West Country and West Midland dialects while in north east Wales and parts of the North Wales coast, it has been influenced by Merseyside English. A colloquial portmanteau word for Welsh English is Wenglish. It has been in use since 1985.Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Her studies on Sicily were subsequently expanded with an extensive project on the cultural hybridity and transculturality of Sicilian island literature, which led to the publication of the interdisciplinary, trilingual volume of L'Europa che comincia e finisce: la Sicilia (2006).Dagmar Reichardt (Ed.), L'Europa che comincia e finisce: la Sicilia. Approcci transculturali alla letteratura siciliana. Beiträge zur transkulturellen Annäherung an die sizilianische Literatur.
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Tenglish (), refers to various mixings of the Telugu and English languages. The name is a portmanteau of the names of the two languages and has been variously composed. The earliest form is Telugish (dating from 1972), then Teluglish (2000), Tinglish (2003), Telenglish (2010), and Telugish and Telish (both 2014).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Konglish (; ), more formally- Korean-style English (; ) is a style of English used by Korean speakers. The name is a portmanteau of the names of the two languages and was first recorded earliest in 1975. Other less common terms are Korlish (recorded from 1988), Korenglish (1992), Korglish (2000) and Kinglish (2000).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Djibril Diop Mambéty's earliest film, a short entitled Contras'city (1968), highlighted the contrasts of cosmopolitanism and unrestrained ostentation in Dakar's baroque architecture against the modest, everyday lives of the Senegalese. Mambéty's recurrent theme of hybridity—the blending of elements from precolonial Africa and the colonial West in a neocolonial African context--is already evident in Contras'city, which is considered Africa's first comedy film.
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Speak Clearly So We Can Understand, Sarah Bowen Gallery, Brooklyn, NY Run for Your Lives, DiverseWorks, Houston, TX Prevailing Climate, Sara Meltzer Gallery, NYC 2005 Detoured, Lawndale Art Center, Houston, TX Small Acts of Public Service, Vargas Museum, Manila, Philippines Roth explores ideas of immigration, hybridity, and displacement through the reinvention of banal objects, site- responsive installations, and projects that recontextualize the familiar.
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In eschatology Christians are called to be both in the world but not of the world. In Christology Jesus Christ is a cyborg with his divine/human natures. Finally, in theological anthropology the hybridity of human nature is seen in the concept of the imago of God itself. Humans are both formed "from the dust," and stamped with the divine image.Gen.
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In hybridogenetic reproduction, gametes of the hybrid lineage normally contain complete genomes of only one parental species, in this case usually P. ridibundus, (the other is eliminated from the genome prior to meiosis). Matings between hybrids and P. lessonae restore hybridity in the subsequent generation. The Pelophylax hybridogenetic complex is unusual in that both male and female hybrids occur. Although Prof.
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The sophisticated conception and design of this hypermedia work brings together a variety of discourses from art, science, mathematics, philosophy, and even mythology to create a weave of texts." In Contemporary Women's Writing, Sally Evans wrote of The Ballad of Sand and Harry Soot, "...Sand as a figure of cyberfemininity is frequently described in ways that trouble the clear boundaries between the organic and electronic selves ... Significantly, Sand’s hybridity also makes her excessive, a self beyond the neat categorizations of human or machine. She is a point of articulation between organic and inorganic matter, and her contact with Harry Soot serves to entangle further human qualities such as frailty and emotion with the supposedly infallible electronic world."Evans, Sally. "The Patchwork Girl’s Daughters: Cyberfemininity, Hybridity, and Excess in the Poetry of Stephanie Strickland and Mez Breeze.
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In 1999, he joined Andrew Hugill and Leigh Landy as part of the Music, Technology and Innovation Research Group, now MTIRC, at De Montfort University where he helped initiate the Music, Technology and Innovation, and Music, Technology and Performance degrees. He has written a number of academic papers and articles on contemporary electronic music that in particular cover postdigital theory, new modes of performance and hybridity.
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The word Franglais was first attested in French in 1959, but it was popularised by the academic, novelist, and critic René Étiemble in his denunciation of the overuse of English words in French, Parlez-vous franglais? published in 1964.Le petit Robert Earlier than the French term was the English label Frenglish first recorded in 1937.Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Jackson: UP of Mississippi, 2011; Anne E. Boyd, "Tourism, Imperialism, and Hybridity in the Reconstruction South: Woolson's Rodman the Keeper: Southern Sketches." Southern Literary Journal 43.2 (Spring 2011): 12-31; and Neill Matheson, "Constance Fenimore Woolson's Anthropology of Desire." Legacy 26.1 (2009): 48-68. In recent decades, critical work on Woolson has blossomed and teaching of Woolson at the high school and university levels has increased.
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IN: Gardiner, Masculinity Studies and Feminist Theory: New Directions. New York, NY: Columbia UP; 2002. pp. 261–89 #The Precision of Persimmons: Hybridity, Grafting and the Case of Li- Young Lee By: Yao, Steven G.; Lit: Literature Interpretation Theory, 2001 Apr; 12 (1): 1-23. #To Witness the Invisible: A Talk with Li-Young Lee By: Marshall, Tod; Kenyon Review, 2000 Winter; 22 (1): 129-47.
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In his 1859 work, On the Phenomenon of Hybridity in the Genus Homo, he argued that it was reasonable to view humanity as composed of independent racial groups - such as Australian, Caucasian, Mongolian, Malayan, Ethiopian, and American. He saw each racial group as its own species, connected to a geographic location. All together, these different species were part of the single genus homo.Broca, 1864, p.
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Nevertheless, during the mid-2010s, a so-called 'spatial turn' in childhood and education studies saw increasing cross-fertilisation between these fields and the take-up of children's geographers' work by sociologists and others. Therefore, the prospects for cross-disciplinary scholarship around hybridity, spatiality and a 'new wave' remain very promising – perhaps most evident in a recent volume by Julie Seymour, Abigail Hackett and Lisa Procter.
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A hybrid organization is an organization that mixes elements, value systems and action logics (e.g. social impact and profit generation) of various sectors of society, i.e. the public sector, the private sector and the voluntary sector. A more general notion of hybridity can be found in Hybrid institutions and governance According to previous research hybrids between public and private spheres consist of following features: # Shared ownership.
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Another 38% of EU citizens state that they have sufficient skills in English to have a conversation, so the total reach of English in the EU is 51%.Europeans and their Languages (2006) European English is known by a number of colloquial portmanteau words including: Eurolish (first recorded in 1979), Eurish (1993) and Eurlish (2006).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Lima syndrome, whereby the captors develop an attachment to their hostages, applies where research bodies lose sight of their role in contributing to society and becoming preoccupied with esoteric academic debates. This example shows that an implied relationship between success and strong hybridity does not apply in all contexts. Indeed, weak and informally institutionalised hybrids may be necessary to retain legitimacy in some cases.
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Kyveli Makri (Greek : Κυβέλη Μακρή) born in Athens, Greece is a ceramic artist. She creates contemporary hand-built ceramics using clay, wood, plexiglass and recycled metals reflecting her attention to form, concept and contemporary hybridity. Her minimalistic use of design and mixed media techniques break the barriers of the present time and filter her creations with a touch of nostalgia, playfulness and artistic dialogues.
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"Mestizaje placed greater emphasis [than the casta system] on commonality and hybridity to engineer order and unity... [it] operated within the context of the nation-state and sought to derive meaning from Latin America's own internal experiences rather than the dictates and necessities of empire... ultimately [it] embraced racial mixture."Vinson, Ben III. Before Mestizaje. New York: Cambridge University Press 2018, pp. 61-2.
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Niranjana, p. 113.Ronald Michael Radano, Philip Vilas Bohlman, Music and the Racial Imagination, Chicago: University of Chicago, 2000, , p. 333.Shalini Puri, The Caribbean Postcolonial: Social Equality, Post-Nationalism, and Cultural Hybridity, New York: Palgrave Macmillan, 2004, , p. 196. In 2016 Drupatee signed an exclusive digital distribution agreement with Fox Fuse, making her entire music catalog available digitally worldwide for the first time.
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The novels uses a broad spectrum of languages, including African American vernacular, Yiddish, superstandard language, louise-ese, math, rhyme, singing. Christine's skillful navigation among this broad array of languages points to her cultural hybridity. She is capable of code- switching and interchanging, and communicating with all these languages and their users. Language is very much associated with social standing, intelligence, geographical climates, socioeconomic status, and race.
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As with the mixing of other language pairs, the results of Poglish speech (oral or written) may sometimes be confusing, amusing, or embarrassing. Several portmanteau words have been formed, blending the words "Polish" and "English". Polglish (from as early as 1975) was followed by Pinglish (1984), Polilish (1997), Ponglish (2002), and Poglish (2006).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Chang's best known work is The Frontiers of Love. Her work has more recently been read in terms of postmodernity and hybridity. Although critical work on Chang has increased since the republication of Frontiers, critics have preferred to examine her Asian-themed works; her "white" novels are only recently getting attention. While at Barnard College, Chang published her poem, Mood in Modern Poetry Association's Poetry.
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Salvia divinorum produces few viable seeds even when it does flower—no seeds have ever been observed on plants in the wild. For an unknown reason, pollen fertility is also comparatively reduced. There is no active pollen tube inhibition within the style, but some event or process after the pollen tube reaches the ovary is aberrant. The likeliest explanations are inbreeding depression or hybridity.
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Kate Beynon (born 9 September 1970, in Hong Kong) is an Australian contemporary artist based in Melbourne. Her work addresses ideas of transcultural life, feminism, and notions of hybridity in today’s world.Katrina Raymond and Emily Smith, An-Li: A Chinese Ghost Tale. (Tarrawarra Museum of Art, 2015) She is known for her depictions of the Chinese heroine Li Ji, who is situated in a modern context.
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Dorothy Larcher died in 1952, at a nursing home in Stroud. She had lived and worked in partnership with Phyllis Barron for almost thirty years.Bridget Elliott, "Art Deco Hybridity, Interior Design, and Sexuality between the Wars: Two Double Acts: Phyllis Barron and Dorothy Larcher/Eyre de Lanux and Evelyn Wyld" in L. Doan and J. Garrity, eds., Sapphic Modernities: Sexuality, Women and Modern Culture (Springer 2006): 109-128.
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This anxiety has led to the creation of a narrative full of detailed language, which incorporates the complexities and paradoxes of indigenous cultural origins. Essentially, the indigenous, the colonial, and the modern coexist equally in the legends.Francis Jaeger, 2006, p. 161 Jaeger's analysis emphasizes that Leyendas de Guatemala promotes a dialogue between the separate indigenous and European cultural influences in Guatemala, instead of furthering the notion of cultural hybridity or mestizaje.
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Hybridity refers to modern Guatemalan identity as a mixture of Mayan and European cultures. Before the publication of Leyendas, the subject of a hybrid identity was mostly presented in a negative light. Even many years later with books such as Maladrón (1967), they [persons of mixed blood] were portrayed as vile, thieving characters. However, with Leyendas, Asturias wanted to reevaluate these subjects, who have previously been marginalized or even invisible.
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Hybridity refers to human and nonhuman actants working together to co-orient a claim. Imbrication refers to the emerging structures created by discourse in the organization over time that become an unquestioned part of what we call the organization. Finally, ventriloquism is the study of how interacts (both human and non-human) position and are positioned by the need to act via different values, principles, interests, norms, experiences, and other structures.
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Phuthi is a Bantu language, clearly within the southeastern Zone S (cf. Guthrie 1967–1971). But within southern Africa Phuthi is viewed ambivalently as being either a Nguni or a Sotho–Tswana language, given the very high level of hybridity displayed in all subsystems of the grammar (lexicon, phonetics, phonology, morphology, syntax). But Phuthi is genetically—along with Zulu, Hlubi, Xhosa, northern and southern Ndebele, and Swati—certainly a Nguni language.
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Nolan has noted that many of his films are heavily influenced by film noir, and he is particularly known for exploring various ways of "manipulating story time and the viewer's experience of it." He has continuously experimented with metafictional elements, temporal shifts, elliptical cutting, solipsistic perspectives, nonlinear storytelling, labyrinthine plots, genre hybridity, and the merging of style and form.Fischer, p. 37. alt=A staircase in a square format.
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The Los Angeles School of Urbanism is an academic movement which emerged during the mid-1980s, loosely based at UCLA and the University of Southern California, which centers urban analysis on Los Angeles, California. The Los Angeles School redirects urban study away from notions of concentric zones and an ecological approach, used by the Chicago School during the 1920s, towards social polarization and fragmentation, hybridity of culture and auto-driven sprawl.
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On cultural hybridity Werbner has argued, with particular reference to the Satanic Verses affair and other global cultural conflicts, for the need to recognise the key distinction first coined by Bakhtin between intentional and organic hybridity, in order to understand the Muslim diasporic offence while avoiding futile debates about cultural reification. In relation to the ‘failure’ of multiculturalism debate she advocates analysing multiculturalism from below, and not merely as a top-down policy. Since 2000, Werbner has studied the women's movement and the Manual Workers Union in Botswana. Her ethnography, which won an Honorable Mention in 2015 in the Elliot P. Skinner Award from the AAA Association of Africanist Anthropology, analyses the legal mobilisation and struggle for dignity and a living wage of manual public sector workers, both men and women, and traces the evolution of a rooted, working class identity and culture in Botswana, which is both local and cosmopolitan, through cultural performance.
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Urdish (or Urglish), a portmanteau of Urdu and English, is the macaronic hybrid use of English and Urdu in Pakistan, involving code-switching between these languages whereby they are freely interchanged within a sentence or between sentences. The term Urdish is first recorded in 1989. Other less common colloquial portmanteau words for Urdish include (chronologically): Urglish (recorded from 1995), Urdlish (1997) and Urduish (1998).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Ruby Onyinyechi Amanze's graphite, ink and pigment drawings, often combined with photo transfers, are populated by hybrid creatures that exist in multi-geographic spaces,floating in the white space of their paper substrate. She is greatly influenced by Nigerian artists and the Nigerian history of drawing. Her mixed-media drawings center on the concept of displacement and cultural hybridity. Drawing has become her primary medium, with Amanze describing it as "constantly reinventing itself".
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In addition, Latin rap in Puerto Rico has had a substantial impact on the genres (rap, and Latin rap) and relate a certain message to their respective audiences. Puerto Rican rap emerged as a form of cultural and social protest within the Puerto Rican context.Giovannetti, Jorge L. "Popular Music and Culture in Puerto Rico: Jamaican and Rap Music as Cross-Cultural Symbols." In "Musical Migrations: Transnationalism and Cultural Hybridity in the Americas", ed.
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Woolfalk has created the world of the Empathics within her work. The Empathics are a fictional race of women who are able to alter their genetic make-up and fuse with plants. With each body of work, Woolfalk continues to build the narrative of these women's lives, and questions the utopian possibilities of cultural hybridity. “Because I’m mixed race, I have this idea that to leave the conversation ambiguous is interesting,” she says.
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It is, therefore, a relevant component of social order and deeply connected to other dimensions of social inequality. Social and economic changes and socio-political interventions thus become central topics in childhood sociology. The analysis of these issues has increased awareness of the generational inequality of societies. The Hybridity of Childhood: This discussion is more critical (though not dismissive) of the social constructionist approaches that have dominated the sociology of childhood since the 1990s.
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Music Educators Journal, vol.101, no. 3, pp.77-84. Music scholars have noted that Hebert "believes music education will become more relevant and effective when it attends more completely to 'creative agency via technology and musical hybridity'," and that "Music learned in school should have some connection to the music the student engages with outside of school and that musicianship should be understood as an ‘embodied practice situated in sociocultural contexts’."Jeananne Nichols (2011).
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Nouns in Russian inflect for at least six cases, most of them descended from Proto-Indo-European cases, whose functions English translates using other strategies like prepositions, verbal voice, word order, and possessive ' instead. Modern Hebrew is much more analytic than Classical Hebrew "both with nouns and with verbs".See pp. 50-51 in Zuckermann, Ghil'ad (2009), "Hybridity versus Revivability: Multiple Causation, Forms and Patterns", Journal of Language Contact, Varia 2, pp. 40-67.
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Kun calls this a cross-border continuum, in that Mexican immigration to the United States is circular rather than one-way. Mexican immigrants themselves were also very reluctant to give up their culture and assimilate into the United States. In "No Hay Manera," Akwid raps about refusing to assimilate, and reconnecting with their Mexican roots. Overall, Akwid's music is representative of the cultural hybridity occurring in Los Angeles in the late 20th century.
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Half-caste in Malaysia referred to Eurasians and other people of mixed descents. They were also commonly referred to as hybrids, and in certain sociological literature the term hybridity is common. With Malaysia experiencing a wave of immigrations from China, the Middle East, India, and southeast Asia, and a wave of different colonial powers (Portuguese, Dutch, English), many other terms have been used for half-castes. Some of these include cap-ceng, half- breed, mesticos.
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Dillon, Andrew; Gushrowski, Barbara A. (2000). "Genres and the web: Is the personal home page the first uniquely digital genre?" Journal of the American Society for Information Science, 51(2), pp. 202-205. Additionally recent work in new media genre theory has explored how new communication technologies allows for forms of “genre hybridity.” Spinuzzi, for example, explores what can happen when multiple related genres are remediated into a single new media artifact.
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According to Parkes, "all that is written was first spoken so we acknowledge the value of oral influences in our editorial approach". He also states; "I'm interested in hybridity and the work it creates.""Creative Salon", Renaissance One. flipped eye publishing's most famous release is now Warsan Shire's Teaching My Mother How To Give Birth, which has gained significant traction in sales since the author collaborated with Beyoncé on the visual album Lemonade.
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His writing shows a deep interest in contemporary cultural issues, especially issues of identity, family connections, and cultural hybridity. Adam's work has been translated into French, Swedish, German, Polish, Malay, Mandarin and Russian, and is published internationally, most notably in Poetry Magazine. He has also served as editor of the Contemporary Asian Australian Poets anthology. Aitken's next collection will be a "poetic treatment of the current social politics" of a particular village in France.
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Conroy Sanderson is the collaborative name of the contemporary artists Neil Conroy and Lesley Sanderson, who have worked together since 1998. Their practice examines identity and hybridity, creating critical dialogues looking at ideas surrounding race, gender, culture, nationality and identity. Though the artists use self-portraits in their work, their identity is often hidden or disguised. They used mixed media, photography, drawing and video in their art works, often combined to form installations.
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Phyllis Barron lived and worked with her partner Dorothy Larcher for almost thirty years, until Larcher's death in 1952.Bridget Elliot, "Art Deco Hybridity, Interior Design, and Sexuality between the Wars: Two Double Acts: Phyllis Barron and Dorothy Larcher/Eyre de Lanux and Evelyn Wyld" in L. Doan and J. Garrity, eds., Sapphic Modernities: Sexuality, Women and Modern Culture (Springer 2006): 109-128. They decorated their home with their own fabrics, and wore printed dresses of their own design.
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Phyllis Barron lived and worked with her partner Dorothy Larcher for almost thirty years, until Larcher's death in 1952.Bridget Elliot, "Art Deco Hybridity, Interior Design, and Sexuality between the Wars: Two Double Acts: Phyllis Barron and Dorothy Larcher/Eyre de Lanux and Evelyn Wyld" in L. Doan and J. Garrity, eds., Sapphic Modernities: Sexuality, Women and Modern Culture (Springer 2006): 109-128. They decorated their home with their own fabrics, and wore printed dresses of their own design.
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The history of art in the San Francisco Bay Area includes major contributions to contemporary art, including Abstract Expressionism. The area is known for its cross-disciplinary artists like Bruce Conner, Bruce Nauman, and Peter Voulkos as well as a large number of non-profit alternative art spaces including New Langton Arts, Intersection for the Arts, and Southern Exposure. San Francisco Bay Area Visual Arts has undergone many permutations paralleling innovation and hybridity in literature and theater.
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These human-hating Ina, therefore, commit the equivalent of a hate-crime by destroying all of Shori's family, fueled by an ideology of racial purity and superiority that is not much different than that of Nazis or the Ku Klux Klan. As Ali Brox explains, Shori's hybridity becomes the focus of their hatred because it exposes the falsity of their claims to purity and reminds them of their past abject condition at the hands of humans.
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In some cases, the word refers to the use of the Latin alphabet to write languages that use a difference script, especially common on computer platforms that only allow Latin input such as online chat, social networks, emails and SMS. The practice of forming new words in this way has become increasingly popular since the 1990s and one scholarly article lists 510 such terms, known as "lishes".Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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"La Morte amoureuse" plays with the boundaries between life and death. For example, as Clarimonde is a vampire, she is a creature of hybridity: one that comes from life and from death, neither fully monster nor human. It is through her hybrid nature that she is capable of traveling between the realms of life and death. Her reason for returning from the dead is love and her relationship with Romuald has been compared to the Platonic myth of Aristophanes.
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Samir edited, since 1990, books on Ecofeminism, Postcolonialism, Postmodernism, Complexity, Hybridity and The Other. He edited Postmodern Bengali Poetry (2001) and Postmodern Bengali Short Stories (2002) which included writings from Bangladesh as well as entire India. Earlier only upper-caste writers from West Bengal used to have pride of place in such collections. Samir changed it all; he invited poems and short stories from all strata of, not only West Bengal, but entire India and Bangladesh.
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Jenifer K Wofford is an American contemporary artist and art educator based in San Francisco, California, United States. Known for her contributions to Filipino-American visual art, Wofford's work often addresses hybridity, authenticity and global culture, frequently from an ironic, humorous perspective. Wofford collaborates with artists Reanne Estrada and Eliza Barrios as the artist group Mail Order Brides/M.O.B. She is also the curator of Galleon Trade, an international art exchange between California, Mexico and the Philippines.
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Oxford Companion to Irish Literature, pp. 461–62. Like Diarmaid Ó Súilleabháin, he "challenged the critical orthodoxy by openly proclaiming that their standards could not be those of the Gaeltacht and by demanding a creative freedom that would acknowledge hybridity and reject the strictures of the linguistic purists." Eoghan Ó Tuairisc was an inaugural member of Aosdána, when it was founded in 1981, and the first of its members to die.Brady, Anne M. and Brian Cleeve.
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Alain Locke and Charles S. Johnson rejected cultural separatism and endorsed a hybridity derived from the marriage of black experience and Euro-American aesthetic forms. In filmmaking. during the early 20th Century, it was very rare to see African Americans playing movie cast members, and if they were, they were generally portrayed to represent the Old South and/or were criminals. During the middle of the century, the film industry began opening up more opportunities to African Americans.
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Although identifying herself as African, Liberian, and Grebo, she has also been shaped by Western influences. She acknowledges and accepts her hybridity of cultures as part of her identity while still calling herself a "a strong Africanist, believing in the values I was taught as an African Child." Her poetry's attitude shifts between critical, bemused, revelatory, celebratory, and mournful, as she discusses both her American and Liberian lives. Jabbeh Wesley constantly makes the reader aware of her exile.
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This element of what contemporary cultural studies would term > hybridity makes Kobylians'ka's novel stand out among the works of Ukrainian > Modernists tackling folkloric themes.Vitaly Chernetsky, review of On Sunday > Morning She Gathered Herbs, trans. Mary Skrypnyk (Canadian Institute of > Ukrainian Studies Press, 2001), The Slavic and East European Journal 46 > (Autumn, 2002): 609. Simultaneously, some of her poetic and prose works in the abstract-symbolic style were published in various local magazines such as Svit and Ukrainian Hut.
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Carpentier's fascination with the notion of hybridity, and the associated cultural distortion is inevitably a reflection of his own search for a cultural identity. During his time in Paris, there was a profound public interest in the Americas. Although well versed in the French surrealist tradition and possessing a deep mastery of the French language, Carpentier never fully identified himself as a French writer. Instead, he preferred to define himself as a Spanish American writing in French.
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Frances Aparicio is the author of Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures (). She is also the co-author of Musical Migrations: Transnationalism and Cultural Hybridity in Latin/o America, Volume I and Tropicalizations: Transcultural Representations of Latinidad (Re- Encounters with Colonialism). She is the editor of several books including Latino Voices. She has been a professor at Northwestern University and University of Illinois at Chicago, where she directed the Latina/Latino Studies Program.
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Wikus begins mutating into a Prawn, starting with his left arm injured after the fuel exposure. He is immediately taken to the brutal MNU lab, where researchers discover his chimeric DNA grants him the ability to operate Prawn weaponry, that is biologically restricted for them. Wanting to capture this human/alien hybridity before Wikus fully transforms, Smit orders Wikus's body to be vivisected and harvested for its profitable properties. Wikus, however, overpowers the lab personnel and escapes.
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A collaboration with poet Fred Wah, High( ~~bridi~~ ) Tea was a performance that took place at the Nice Café in Vancouver's Mount Pleasant neighbourhood on November 17, 2000. The work was conceived and developed at Banff Centre for the Arts in 1998 by Wah and Okano. Both artists were in residence at Banff at the same time, working on separate projects about hybridized languages. They learned they shared an interest in issues around contamination, cultural hybridity, and race.
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Fernando Valerio-Holguin (born September 11, 1956), is a college professor at Colorado State University. He holds a Ph.D. in Hispanic Literature and has conducted research on the Caribbean Diaspora, slavery narrative, and post- modern hybridity among music, film, and literature. He has published two poetry books, four books filled with short stories, along with many published essays on the topics of Caribbean culture, literature,"The Three Graces of Ana Lydia Vega". The Lascaux Review, Nov 5, 2013.
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Each of the three Kuduro generations lasted nearly a decade. Kuduro also endured various tempo fluctuations over time as well as the presence or absence of vocals and the distortion or clarity of sound. Kuduro’s hybridity directly reflects its technological evolution; the music was codified in its constitutive technology. For example, contemporarily, kuduro vocals are rendered with relative low fidelity. This is a trace of the genre’s early technological limitations as early 1990s Angola studios lacked the necessary technology to record vocals.
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Studies of colonial history often paint a narrative that is predicated on two myths. The first would be the Spanish establishment of trade networks and the second would be the passive victimization of those affected by colonialism. What the post-1500s archaeology of the Philippines manages to do is redefine those narratives. The pervasive narratives that paint the Spanish as a singular force with no resistance are fictional in nature, as pericolonial responses by the Ifugao and the hybridity seen in Manila depict.
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They followed the views of Samuel George Morton, Josiah C. Nott, George Gliddon, and Louis Agassiz; and maintained that Adam was the progenitor of the Caucasian race, while the other races descended from Preadamite ancestry. James Cowles Prichard, English Quaker ethnologist and defender of biblical monogenism. James Cowles Prichard argued against polygenism, wishing to support the account drawn from the Book of Genesis of a single human origin. In particular he argued that humans were one species, using the interfertility criterion of hybridity.
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Brenda Louie (born 1953) is a California-based Chinese American artist known for her large, painterly abstractions and multimedia installations that explore a variety of subject matter, including migration, cultural hybridity, and Eastern philosophy. Louie has also been a longtime professor of studio art at California State University Sacramento, and has taught painting and drawing at California State University, Stanislaus, American River College, Sacramento, University of California, Davis, San Francisco Art Institute, and Stanford University. Brenda Louie, Sacramento Metropolitan Arts Commission, 2015.
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He explores this sensation as a collective reality of the black diaspora that historical silencing and marginalization violently imposed. As a multidisciplinary artist, he draws from various musical practices— jazz improvisation and repetition— and material processes that allow him to expand and diversify his approach on a subject matter that he explores years on end. Mathieu consistently refers Haitian visual cultures of religious hybridity such as in The Poto-Mitan movement, ecology, nature as it appears in other movements like Saint Soleil.
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Hall continually engages the hybridity and complexity of identity and its relationship to sociopolitical and sociocultural phenomena. He comments that, similar to Miles Davis’s trumpet, it is the seemingly most mundane portions of everyday life that can affect the person we become and more broadly provide an accurate barometer of social change. Society is infinitely changing, and must be closely analyzed in order to pinpoint exactly what catalyses such change, as the cause can be the most subtle.The Stuart Hall Project. Dir.
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For centuries classical ballet has been seen as an elitist art form and has rarely been identified as a form of dance ordinarily performed by African Americans or other minorities. In 1984, Frederic Franklin restaged the traditional European Giselle for the Dance Theatre of Harlem. To many, this restaging was seen as inappropriate and inferior to those based on the 1841 original choreographers, Jean Coralli and Jules Perrot.Gaiser, “Caught Dancing: Hybridity, Stability, and Subversion in Dance Theatre if Harlem’s Creole “Giselle,” 269.
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Itanglese, which is also known as Anglitaliano or (in the United Kingdom) Britalian, refers to multiple hybrid types of language based on Italian and English. There are numerous portmanteau terms that have been used to describe and label this phenomenon, the earliest of which is Itanglish, first documented in 1973. Other forms include Italglish (from 1985), Itaglish (1986), Itlish (1993), Itinglish (1997), Italish (1988), Italgish (2000) and Italianglish (2011).Lambert, James. 2018. A multitude of ‘lishes’: The nomenclature of hybridity.
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Chen Qiufan (; born 1981), also known as Stanley Chan, is a Chinese science fiction writer, columnist, and scriptwriter. His first novel was The Waste Tide, which "combines realism with allegory to present the hybridity of humans and machines". Chen Qiufan's short fiction works have won three Galaxy Awards for Chinese Science Fiction, twelve Nebula Awards for Science Fiction and Fantasy in Chinese. "The Fish of Lijiang" received the Best Short Form Award for the 2012 Science Fiction & Fantasy Translation Awards.
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He wrote seven unpublished plays. Three plays that he wrote include Bior, Ontos, and Macalla and he wrote a collection of short stories, Muintir. Like Eoghan Ó Tuairisc, he "challenged the critical orthodoxy by openly proclaiming that their standards could not be those of the Gaeltacht and by demanding a creative freedom that would acknowledge hybridity and reject the strictures of the linguistic purists." He and Máirtín Ó Cadhain were considered the two most innovative Irish language authors to emerge in the 1960s.
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Strong, Melissa J. "The Limits of Newness: Hybridity in Octavia E. Butler's Fledgling." FEMSPEC: An Interdisciplinary Feminist Journal Dedicated to Critical and Creative Work in the Realms of Science Fiction, Fantasy, Magical Realism, Surrealism, Myth, Folklore, and Other Supernatural Genres 11.1 (2011): 27-43. Instead, they create close-knit Ina-human communities where they cohabitate with selected humans in symbiotic relationships. In fact, as Pramrod Nayar notes, Butler creates an alternate history where humans and Ina have always coexisted in "non-hierarchic, interdependent and unified ecosystems".
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Diaspora is often confused with exodus. Diasporas are minority groups that have a sense of connection with a larger community outside of the borders they currently inhabit, and through diasporic media create a sense of a larger identity and community, whether imagined or real. In scholarly work about diaspora in communication studies, the view of nation and culture as interchangeable terms is no longer prevalent. Stuart Hall theorized of hybridity, which he distinguished from "old style pluralism", "nomadic voyaging of the postmodern", and "global homogenization".
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Margaret Lanzetta (born 1 April, 1957) is an American artist using abstract, culturally-significant pattern to explore postmodern conditions of fragmentation, migration, and cultural hybridity. Lanzetta engages with a variety of mediums including painting, silkscreen, digital photography, and ceramics. Lanzetta’s works are represented in the public collections of the Museum of Modern Art, New York; the British Museum and the Victoria and Albert Museum, London; the Yale University Art Gallery; the Harvard Art Museums; the New York Public Library Print Collection; and the Hallmark Art Collection.
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Paul Weiner is an American contemporary artist known for his paintings, sculptures, and drawings originating from topics of American symbolism, cultural hybridity, place, politics, and violence. He lives and works in Denver, Colorado. Weiner's works have been included in non-profit and university museums such as Mana Contemporary, HF Johnson Gallery of Art at Carthage College, Leeds Arts University, and York St John University as well as a variety of international gallery exhibitions in Australia, Belgium, Germany, the United Kingdom, and the United States.
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David Bell and Barbara M. Kennedy. London: Routledge, 2000. 291-324. Anyanwu's hybridity, her capability to represent multiple simultaneous identities, allows her to survive, to have agency, and to remain true to herself and her history in the midst of excruciating oppression and change. Stacy Alaimo further argues that Butler uses the "utterly embodied" Anyanwu not just to counteract Doro's "horrific Cartesian subjectivity" but to actually transgress the dichotomy between mind and body, as Anyanwu is capable of "reading" other bodies with her own.
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Mercer was commissioned to contribute "New Practices, New Identities: Hybridity and Globalization," the closing chapter in the epic series The Image of the Black in Western Art, Volume V, The Twentieth Century (Harvard University Press, 2014). In 2006, he won the inaugural Clark Prize for excellence in art writing. Alongside his work as a writer, Mercer also has a distinguished international career as an academic, teaching first at Middlesex University and, more recently, as Professor of History of Art and African American Studies at Yale.
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Alicia Paz is an artist based in London, working internationally. Born in Mexico City, Paz graduated from UC Berkeley, École nationale supérieure des Beaux-Arts of Paris, Goldsmiths College and Royal College of Art London. Over several years, Alicia Paz has focused on the tension between artifice/ illusion and the veracity of actual processes involved in painting, exposing the duplicitous nature of representation. Through her work, she explores notions of hybridity, assemblage, and metamorphosis, focusing particularly on the female figure: the self is experienced and presented as multiple, fluid, paradoxical.
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Bould, Mark. "The Ships Landed Long Ago: Afrofuturism and Black SF", Science Fiction Studies 34.2 (July 2007): 177–186. . Some critics, however, have noted that while Butler's protagonists are of African descent, the communities they create are multi- ethnic and, sometimes, multi-species. As De Witt Douglas Kilgore and Ranu Samantrai explain in their 2010 memorial to Butler, while Butler does offer "an afro-centric sensibility at the core of narratives", her "insistence on hybridity beyond the point of discomfort" exceeds the tenets of both black cultural nationalism and of "white-dominated" liberal pluralism.
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In the 1990s his style of art changed to fantasy and incorporated symbolism in order to share his dreams of a better world. Le fleuve de délice (The River of Delight), Je suis unique dans mon genre (I Am One of a Kind), Ignorance, or Love, the Source of Life, perfectly echo his beliefs. These paintings are significant in displaying the transformation of style that Bodo developed from the 1990s, and onward. They display the way Bodo alters human figures into creating a figure of hybridity between nature and humans.
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Giovannetti, Jorge L. "Popular Music and Culture in Puerto Rico: Jamaican and Rap Music as Cross- Cultural Symbols", in Musical Migrations: Transnationalism and Cultural Hybridity in the Americas, ed. Frances R. Aparicio and Cándida F. Jáquez, 81–98. The official symbols of Puerto Rico are the reinita mora or Puerto Rican spindalis (a type of bird), the flor de maga (a type of flower), and the ceiba or kapok (a type of tree). The unofficial animal and a symbol of Puerto Rican pride is the coquí, a small frog.
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The Roslin institute was initially formed to take advantage of the strong biomedical department at Edinburgh University, and over 50 PhD students from the University were involved in the Dolly project. Such hybrid arrangements are increasingly important, “the hybridity that these institutes represent” subverts views of a linear relationship between science and policy and demonstrates the required “intellectual pluralism and flexibility” in public science systems . Again, the neoliberal context is evident here, with state-funded entities having to engage with the private sector and demonstrate economic worthiness to maintain legitimacy.
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Gazeebow Unit was formed in 2005 by young white rappers from a suburban community, calling themselves Mike $hanx, Alpabit, and M to the C.Sandra Clarke. "Hip-hop in a Post-insular Community: Hybridity, Local Language, and Authenticity in an Online Newfoundland Rap Group". Article in Journal of English Linguistics 37(3):241-261 · August 2009 They performed and recorded a number of satirical raps, including "Trikes & Bikes", "Mugsy" and "The Anthem". The group did not perform their music live at the time; instead they began distributing them online.
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Among his influence, he is well known for popularizing rock music. The popularization of Korean pop music has come from many sources including, YouTube and other video streaming sources. With the growth of social media, it has helped with the expansion of K-pop globally. The dominant explanation of the global K-pop phenomenon is the "hybridity" view that advances a liberal argument about Chinese, Japanese, and Indian cultures as a grand Asian Culture (AC) that may countervail the dominant West Culture (WC) as a whole (Chua, 2004).
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She died on May 5, 1948 having been in poor health. Day was the first African-American who turned her lens on her own family and social world, "Negro-White" families, in order to scientifically measure and record the hybridity of mixed race families by using the language of what she referred to as "blood-quantum" that illustrates the fraction of racial types. Her research challenged the perception of inferiority of non-whites. She attempted to eliminate racial preconception and discrimination and advocated social equality for all African-Americans.
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The notion of hybridity is a theme that runs through many of Djibril Diop Mambéty films. Like many of his contemporaries, Djibril Diop Mambéty used the cinematic medium to comment on political and social conditions in Africa. As critiques of neocolonialism, like those of Ousmane Sembène and Souleymane Cissé, Mambéty's films can similarly be understood in the context of Third Cinema. Yet, his often unconventional, surrealist, fast-paced, non-linear style distinguishes Mambéty from other prominent filmmakers of Francophone African Cinema who employed more traditional didactic, social realist narratives.
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Malden, MA: Blackwell Publishing, 2006, p. 49. In his book, Gilroy makes the peoples who suffered from the Atlantic slave trade the emblem of his new concept of diasporic peoples. This new concept breaks with the traditional diasporic model based on the idea that diasporic people are separated by a communal source or origin, offering a second model that privileges hybridity. Gilroy's theme of Double Consciousness involves Black Atlantic striving to be both European and Black through their relationship to the land of their birth and their ethnic political constituency being absolutely transformed.
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However, according to linguist Ghil'ad Zuckermann, the members of this group in particular, and the Hebrew revival in general, did not succeed in uprooting Yiddish patterns (as well as the patterns of other European languages Jewish immigrants spoke) within what he calls "Israeli", i.e. Modern Hebrew. Zuckermann believes that "Israeli does include numerous Hebrew elements resulting from a conscious revival but also numerous pervasive linguistic features deriving from a subconscious survival of the revivalists’ mother tongues, e.g. Yiddish."Zuckermann, Ghil'ad (2009), Hybridity versus Revivability: Multiple Causation, Forms and Patterns.
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In the 1960s he was a member of East L.A. Surf group Mickey & The Invaders playing organ. The band which was previously called Mickey & The Cavaliers, was led by Mike James Aversa aka Mickey.Oye Como Va!: Hybridity and Identity in Latino Popular Music Deborah Pacini Hernandez Page 38 Chapter 3 West Coast Mexican Americans and Rpck 'n' RollYou found that Eastside Sound Saturday, June 30, 2012 Eastside bands - Mickey & The Invaders/Dyna Might He left the band in the mid 1960s to join the VIPs, a Chicano band.
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At her funeral she was resurrected and claimed that she had gone to hell, purgatory, heaven, and was sent back to earth by God in order to pray for everyone. Due to this she was called a Saint, and was named ‘La Loca Santa’ because of the bewildering behavior following her resurrection. Several Literary Scholars have written about the character of La Loca. Delgadillo, in Forms of Chicana Feminist Resistance: Hybrid Spirituality in Ana Castillo’s So Far from God, focused on self-discovery being achieved by spiritual hybridity.
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At the age of 8 she immigrated with her family to Catalonia, Spain. El Hachmi studied Arab literature at the University of Barcelona and currently resides in Granollers. She began writing when she was twelve years old and has continued ever since, first as entertainment, and later as a means to express concerns or to reflect and re-create her own reality, in the (at least) two cultures to which she belongs.CRAMERI, Kathryn (2014): “Hybridity and Catalonia Linguistic Borders: the Case of Najat El Hachmi”, in Flocel SABATÉ (ed.) Hybrid Identities.
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In addition to research with the Arizona Tewa, Kroskrity has also worked with the Western Mono communities of central California since 1980. In stark contrast to the Arizona Tewa, linguistic purism was absent in the Western Mono communities. Kroskrity identifies three precolonial language ideologies: syncretism, the valorization of linguistic borrowings and hybridity; variationism, that dialectal variation is seen as the natural outcome of family and individual differences; and utilitarianism, the idea of language as tool or technology. These ideologies have most likely contributed to language shift toward English.
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Furthermore, in the same way that the transgender movement deconstructed the gender binary, Ferrer proposed that a parallel step should be taken with the relational style binary. Ferrer coined the term nougamy as a way to refer to a diverse array of relational options beyond the mono/poly binary. He also outlined a critical pluralist stance that eschews universal hierarchies among monogamy, nonmonogamy, and nougamy, as well as provides tools for critical discernment to assess relational styles.Ferrer, “Beyond the Non/Monogamy system: Fluidity, Hybridity, and Transcendence in Intimate Relationships.” Psychology and Sexuality, 9(1), 3-20, 2018.
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As Gates points out, because her body is a sign of Ina-human miscegenation "[s]he is called at various times a dog, a dirty little nigger bitch, a murdering black mongrel bitch, and more". Butler's narrative, however, shows that Shori's hybridity is, in fact, an evolutionary advantage. First, it allows her to be awake during the day, which permits her to survive multiple attacks on herself and her symbionts. Second, it makes her venom very powerful, which makes her scent extremely attractive to male Ina and also allows her to collect symbionts easily, making her kind more adaptable than the average Ina.
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He points to a myriad of examples of television networks who have managed to dominate their domestic markets and that domestic programs generally top the ratings. He also doubts the concept that cultural agents are passive receivers of information. He states that movement between cultural/geographical areas always involves translation, mutation, adaptation, and the creation of hybridity. Other key critiques are that the term is not defined well, and employs further terms that are not defined well, and therefore lacks explanatory power, that cultural imperialism is hard to measure, and that the theory of a legacy of colonialism is not always true.
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Its inauguration took place during the 54th Venice Biennale in the library of the Palazzo Loredan, the historic seat of the Institute of the Sciences, Letters and Art. The official opening in Belgium was held at the beginning of 2012. Since that day, OpUnDi has not only found a home in La Biomista in Genk, it has also branched out to Detroit and Havana and is constantly searching for opportunities for new platforms in the rest of the world. ; The Accident The Accident is a biennial magazine published by Koen Vanmechelen which explores the main themes underlying his art: biocultural diversity and hybridity.
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In Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial (2014), Joseph looks at disdain and apprehension in the nation, as well as positive affects and possibilities, of racial representation. Looking at representations of mixed race women, she creates the typology "new millennium mulatta" and "exceptional multiracial" to describe modern day stereotypical appearances of multiracials. She traces the tragic mulatto stereotype to its 21st-century iteration as both the New Millennium Mulatta and the Exceptional Multiracial. The stereotypes strip representations of Black-White mixed women from performing hybridity, or what Joseph calls multiracial Blackness.
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New York: New York University Press. pp. 73–82. . Hybridity is considered by Jackson to be an important point within complex subjectivity, as it "is the mixing that brings forth new forms from previously identified categories." Anthropologist and Feminist scholars have started to integrate the notion of the subject at the center of social theories, which Jackson states is complex because it discusses a notion of subjectivity that signifies society is moving away from what can be appropriately called the objective truth. This new idea of complex subjectivity is relational and these relations can provide the possibilities for similarities and differences to emerge.
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Lindy Hop combined a number of dances popular in the United States in the 1920s and earlier, many of which developed in African American communities. Just as jazz music emerged as a dominant art form that could absorb and integrate other forms of music, Lindy Hop could absorb and integrate other forms of dance. This hybridity is characteristic of vernacular dances, in which forms and steps are adapted and developed to suit the social and cultural needs of its participants in everyday spaces. Therefore, Lindy Hop was not originally the creative or economic project of formal dance academies or institutions.
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Fuguet's work is characterized by a United States/Chilean hybridity, with constant cross-references to the popular cultures of the two nations. In 1996 he co-edited (with Sergio Gómez) the anthology McOndo, whose title combined McDonald's with Macondo, the fictional town created by Gabriel García Márquez. McOndo represented popular culture while largely rejecting the use of magical realism in contemporary Latin American fiction. Fuguet's other books are the short story collections Sobredosis and Cortos; the novels Mala onda, Por favor, rebobinar, Tinta roja and Las películas de mi vida; and the non-fiction collection Primera parte.
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A review of twenty-one studies found Black Hispanics to have poorer health compared to White Hispanics. The causes are still unknown, but researchers suggested that racial discrimination and segregation may contribute to racial health differences among the Hispanic population in the United States. Although Black Hispanics are often overlooked or dichotomized as either "black" or "Hispanic" in the United States of America, Black Hispanic writers often reflect upon their racialized experience in their works. The most commonly used term in literature to speak of this ambiguity and multilayered hybridity at the heart of Latino/Latina identity and culture is miscegenation.
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With hybrid institutions, such a distinction may be more difficult to draw, or perhaps not so necessary. If two existing organisations collaborate to form a joint department, bureau or agency, this new ‘tangible’ entity may meet the criteria of an organisation, but given its novelty and the specific conditions of its formation (being the result of an explicitly collaborative or ‘hybrid’ approach), it may be considered a hybrid institution. Treating ‘organisation’ and ‘institution’ synonymously is perhaps less problematic within the context of hybrid institutions. While institutionalism relaxes the distinction between organizations and institutions, it is customary to see hybridity in terms of organisations.
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The Heimatdienst in the region was led by , an author and publisher of the Ostdeutsche Nachrichten. The Heimatdienst exerted strong psychological pressure on Masurians to vote for Germany and threatened Polish forces with physical violence.The many faces of Clio: cross-cultural approaches to historiography, essays in honor of Georg G. Iggers, Edward Wang, Franz L. Fillafer "Border regions,hybridity and national identity-the cases of Alsace and Masuria" Stefan Berger, page 378, Berghahn Books, 2007 They appealed to Prussian history and loyalty to the Prussian state, disqualified Polish culture and warned of the Catholic religion and Poland's alleged economical backwardness.
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Furthermore, Western audiences tend to place emphasis on authenticity and individual expression in music, which the idol system can be seen as suppressing. According to Elaine W. Chun's research, even though hybridity appears more and more often in K-pop, and sometimes may even make fans admire K-pop stars more because it is fresh, new and interesting, it is hard to change those who believe in a perfect ideal for pure linguistic. This means that the original form of language is still difficult to alter. Artist names, song titles, and lyrics have exhibited a significant growth in the usage of English words.
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There has been considerable work on race and race mixture in various parts of Latin America in recent years. Including South America;Hale, Charles R., ‘Mestizaje, Hybridity and the Cultural Politics of Difference in Post-Revolutionary Central America,’Journal of Latin American Anthropology, vol. 2, no. 1 (1996) VenezuelaWinthrop Wright, Cafe ́Con Leche: Race, Class and National Image in Venezuela. Austin: University of Texas Press 1990 Brazil,Sueann Caulfield, ‘Interracial Courtship in the Rio de Janeiro Courts, 1918–1940,’ in Nancy P. Appelbaum, Anne S. Macpherson and Karin A. Rosemblatt (eds.) in Race and Nation in Modern Latin America.
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She has been on the board of editors of French Historical Studies, a consulting editor to Feminist Studies, and on the board of associate editors for Journal of Women's History. Her primary focus began with the histories of the French Empire in the post Industrial age. Since then, Smith's research interests concern issues of Cultural Hybridity in the Modern West, Gendering Disability, Women's and Gender History in Global Perspective, Europe in the Twentieth Century World, and Women in World History. Bonnie Smith was also the script writer for the Crash Course European History YouTube series, hosted by John Green.
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He further adds "the post-colonial novel, becomes a trope for an ideal hybridity by which the West celebrates not so much Indianness, whatever that infinitely complex thing is, but its own historical quest, its reinterpretation of itself". Some of these arguments form an integral part of what is called postcolonial theory. The very categorisation of IWE – as IWE or under post-colonial literature – is seen by some as limiting. Amitav Ghosh made his views on this very clear by refusing to accept the Eurasian Commonwealth Writers Prize for his book The Glass Palace in 2001 and withdrawing it from the subsequent stage.
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In 2006, Routledge published Anarchic Dance, an academic retrospective of Aggiss and Cowie's twenty-five-year collaboration, which they edited with Ian Bramley. It included essays by Aggiss, Cowie, Donald Hutera, Sondra Fraleigh, Sherril Dodds, Claudia Kappenberg, Marion Kant, Valeria A.Briginshaw, Deborah Levy and Carol Brown. The essays discussed Divas' work 'in terms of feminism, hybridity, Expressionism, the "grotesque", abstraction and narrative, linguistic play and (addressed) the multiple and playful textures that define it: sound, space, shape, language.'Lizzie le Quesne, review of Anarchic Dance, Ballet Tanz, April 2006 The book also included a DVD of their works.
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In 2010, she and writer Christian Hawkey founded the Office of Recuperative Strategies (OoRS). It is a research and pedagogical laboratory that promotes a concept of cultural sustainability and radical recuperation toward possible futures that invent new fields of vitality, desire, hybridity, activism, and dwelling. OoRS teaches semester long classes at Pratt Institute and conducts shorter workshops, walks, and urban inversions at a range of places and situations from the superfund site of The Gowanus Canal, to the elite institution such as Harvard University and The University of Amsterdam, to dystopian urban transit hubs such as Alexanderplatz and the Holland Tunnel.
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In hybrid plants, most miRNAs have non-additive expression (it might be higher or lower than the levels in the parents). This suggests that the small RNAs are involved in the growth, vigor and adaptation of hybrids. 'Heterosis without hybridity' effects on plant size have been demonstrated in genetically isogenic F1 triploid (autopolyploid) plants, where paternal genome excess F1 triploids display positive heterosis, whereas maternal genome excess F1s display negative heterosis effects. Such findings demonstrate that heterosis effects, with a genome dosage-dependent epigenetic basis, can be generated in F1 offspring that are genetically isogenic (i.e.
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Welcoming the contributions of contemporary artists for the first time, the arts program exhibition focused on hybridity, displacement within diasporic communities through photo and installation work. Ryner worked as the writer and researcher for exhibition interpretative texts for the project Mashup: The Birth of Modern Culture, Vancouver Art Gallery, Vancouver, Canada (2014- 2015).As the curatorial assistant and intern at SFU Galleries in the same year, she curated Walk: Through a Window: RAIN OR SHINE SATURDAYS consisting of sound walks that observed the soundscape of British Columbia’s coastal communities in Vancouver. The project brought together a variety of art practitioners and researchers.
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Her research and creative writing stands at the intersection of literature and visual arts, Jewish studies and Women's Studies. Focusing on the preservation and transmission of the collective memory and the Jewish heritage worldwide, Ringuet acts as a "cultural translator" of the diverse forms of Jewish civilization and identity. She has contributed to many art exhibition catalogues and translated literary works focusing on the cultural hybridity pervading contemporary artistic practices, and on the intergenerational transmission of trauma in the aftermath of the Second World War and the Holocaust. Her work is deeply inspired by psychoanalysis and the freudian heritage of Mitteleuropa.
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"George Bornstein, "Yeats and Romanticism," 27. In other words, O'Leary's influence on Yeats enables the poet to both inherit the literary legacy of the Romantics while carrying on the nationalistic vision of O'Leary. As a result, the romantic idealism found in Blake and Shelley is now transformed into a fundamentally Irish concept whereas Yeats's deep Irish heritage becomes Romantic in every sense of the word. "September 1913" thus illustrates that "Romantic Ireland is not dead after all; rather, it lives on in the remarkable voice uttering the poem, the voice of O'Leary's greatest disciple, fully of hybridity and passion at once.
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Cross-cultural studies is an adaptation of the term cross-cultural to describe a branch of literary and cultural studies dealing with works or writers associated with more than one culture. Practitioners of cross-cultural studies often use the term cross- culturalism to describe discourses involving cultural interactivity, or to promote (or disparage) various forms of cultural interactivity. Cross- culturalism is nearly synonymous with transculturation, a term coined by Cuban writer Fernando Ortiz in the 1940s to describe processes of cultural hybridity in Latin America. However, there are certain differences of emphasis reflecting the social science derivation of cross-culturalism.
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Saar began making altered books when she was pregnant with her first child in 1989. She exhibited at the Jan Baum Gallery in Los Angeles and the David Beitzel Gallery in New York the 1990s. Combining found objects, paint, and fabric, Saar’s work comments on themes of “hybridity, acceptance, and belonging.” Saar’s work is narrative, often inspired by literature or historical figures. She stated, “I like the idea of a painting sucking you in like when you really get sucked in by a good book…I use that kind of metaphor as a vehicle for doing my art.
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Sidney Wilfred Mintz (November 16, 1922 – December 27, 2015) was an American anthropologist best known for his studies of the Caribbean, creolization, and the anthropology of food. Mintz received his PhD at Columbia University in 1951 and conducted his primary fieldwork among sugar-cane workers in Puerto Rico. Later expanding his ethnographic research to Haiti and Jamaica, he produced historical and ethnographic studies of slavery and global capitalism, cultural hybridity, Caribbean peasants, and the political economy of food commodities. He taught for two decades at Yale University before helping to found the Anthropology Department at Johns Hopkins University, where he remained for the duration of his career.
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Sandra Cisneros (born December 20, 1954) is a Chicana writer. She is best known for her first novel The House on Mango Street (1983) and her subsequent short story collection Woman Hollering Creek and Other Stories (1991). Her work experiments with literary forms and investigates emerging subject positions, which Cisneros herself attributes to growing up in a context of cultural hybridity and economic inequality that endowed her with unique stories to tell. She is the recipient of numerous awards, including a National Endowment for the Arts Fellowship, was awarded one of 25 new Ford Foundation Art of Change fellowships in 2017, and is regarded as a key figure in Chicana literature.
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136-147 The Zimbabwe Association of Community based Theatres (ZATC), established six years after independence, promoted indigenous township theatre, with the aim of encouraging cultural equality. However, black and white theatre traditions remained confrontational throughout the 1980s. At the onset of the 1990s, the attempts by various cultural activists (such as Cont Mhlanga) to break racial divisions in the arts resulted in a "process of transculturalism and hybridity in post-independence Zimbabwean theatre; leading to production of plays that resonate with traditional forms of African theatre infused with elements of western drama…(producing) theatre works of outstanding cultural and artistic merit."Seda, O. S. (2004).
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As with many castes in India, there are numerous myths regarding the origins of the Bhumihar community. One legend claims that their ancestors were Brahmins who were set up to take the place of the Kshatriyas slain by Parashurama but some non-Bhumihars have implied that they are the mixed-race offspring of Brahmin men and Kshatriya women. Other legends state that they are the offspring of a union between Rajput men and Brahmin women, or that they derive from Brahman-Buddhists who lost their high position in Hindu society. The Bhumihars themselves dislike these narratives involving "hybridity" or "fallen status", and claim to be pure Brahmins.
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Shivani Gurunathan also used this conceptual tool to relate indenture worldwide and in Malaysia. Indeed, as a paradigm born of a history of migrations with a contract (the coolie trade) enriched with transcultural codes, coolitude is a categorization or methodology that is used to analyze or produce narratives in the fields of cultural, historic and memorial negotiations. It is also a construction which has developed into a dialogue between theories of hybridity, creoleness, indianness and creolization. Torabully's discourse has articulated poststructuralism, Foucauld, Lacan, Eco, Spivak, Bhabha, Barthes, Deleuze and Guattari, among others, in the intellectual and artistic construction of his pioneering discourse of indenture.
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Because diasporic cultural identity in the Caribbean and throughout the world is a mixture of all these different presences, Hall advocates a "conception of 'identity' which lives with and through, not despite, difference; by hybridity". According to Hall, black people living in diaspora are constantly reinventing themselves and their identities by mixing, hybridizing, and "creolizing" influences from Africa, Europe, and the rest of the world in their everyday lives and cultural practices. Therefore, there is no one-size-fits-all cultural identity for diasporic people, but rather a multiplicity of different cultural identities that share both important similarities and important differences, all of which should be respected.
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In the 19th and early 20th centuries government policies towards Indigenous Canadians were increasingly cruel. Across the continent, Indigenous children were forcibly removed to residential schools; on the Prairies, communities like the Dogrib, Cree and Blackfoot were confined to artificial reserves; settler attitudes towards the Dominion's original inhabitants curdled and hardened. Johnson's hybridity resulted in her critiques of some Canadian policies resulting in legalized and justified mistreatment of Indigenous people. For example, the final verse of her poem "A Cry From an Indian Wife" which reads: Furthermore, because of the Indian Act and faulty scientific blood quantum racial determinism, Johnson was often belittled with the term "halfbreed".
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For the 2007/08 season, Heike Hennig developed the cross-genre series oper unplugged (Opera unplugged) with music, dance, theater and new media at the Leipzig opera. At the season 2008/09 the cooperation with the baroque ensemble Lautten Compagney Berlin started. This hybridity of cross-genres, which results in the Tanzoper (dance opera) Rituale (Rituals) for George Frideric Handel at the Leipzig opera and the production Timeless at the Neues Museum of the Museum Island Berlin revealed new dimensions for the European contemporary opera. The highlight in 2010 was “Maria” by Heike Hennig, a dance oratorio for three singers, seven dancers, twelve musicians and one DJ on the stage.
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Dongola Limited Editions published 30 hand-numbered artist’s books named after the original novel by late Sudanese author Tayeb Salih. The bilingual edition presents the text in both English and Arabic with 10 original etchings created by Sudanese artist Mohammad Omar Khalil. A secondhand copy of the English novel published by Heinemann is also included. The etchings and two novels are nested in a hand-made box with a wooden interior and zinc exterior. Such materials are a nod to the hybridity of Season of Migration to the North, and a testament to the publishing house’s commitment to craftsmanship and exquisite production values as a vital part of its artistic process.
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In a paper entitled "A Shtetl in Disguise: Israeli Bourekas Films and their Origins in Classical Yiddish Literature", Rami Kimchi claims that the portrayal of Israeli Mizrahi communities in these films bears a strong resemblance to the portrayal of the 19th century East European shtetl by classic Yiddish writers.A Shtetl in Disguise, Rami Kimchi Kimchi attributes the commercial success of these films to their "hybridity", i.e. they were Israeli/Mizrahi and Diasporic/Ashkenazi at one and the same time, thereby satisfying the political, sociological, and psychological needs of both Mizrahi and Ashkenazi audiences in Israel. He believes eleven films produced between 1964 and 1977 make up the corpus of the genre.
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Cwynar uses a variety of media, including photography, collage, book-making and installation, to explore the nature of photographic images and the power and limitations of the medium itself. Cwynar's background in literature and graphic design helps to create the fascinating hybridity of her pieces. Through the use of saved personal photographs and found images from both printed resources and the internet, Cwynar's work communicates not only about the final image of a photograph but also about the process of image making. Cwynar has been exhibiting work since 2009, when she was featured in her first group show at Gallery 1313 in Toronto called "Wayfaring: Towards Answering a Call".
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The species was originally discovered in Hale County, Alabama in 1873 by Julia Tutwiler, an Alabama prison reformer and educator. She found it in a ravine, now known as Havana Glen, about five miles from her home. At the time, the hybrid origin of A. × ebenoides was in question, and the existence of this fertile population was felt by Lucien Underwood, among others, to be a strong argument against the hybridity of the species. While A. × ebenoides, inclusive of A. tutwilerae, was eventually conceded to be a hybrid, the distinction between the fertile population at Havana Glen and the sterile individuals elsewhere was not entirely clear until 1953.
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Pauline Turner Strong is an American anthropologist specializing in literary, historical, ethnographic, media, and popular representations of Native Americans. Theoretically her work has considered colonial and postcolonial representation, identity and alterity, and hybridity. She has also researched intercultural captivity narratives, intercultural adoption practices, and the appropriation of Native American symbols and practices in U.S. sports and youth organizations. She received a B.A. in philosophy from Colorado College, and a Ph.D. in anthropology from the University of Chicago, where she studied with Raymond D. Fogelson and George W. Stocking, Jr.. She is professor of anthropology and women's and gender studies at the University of Texas, Austin, where she is also director of the Humanities Institute .
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Darwin's On the Origin of Species was published in 1859, and two years later Broca published On the Phenomenon of Hybridity. Soon after Darwin's publication, Broca accepted evolution as one of the main elements of a broader explanation for diversification of species: "I am one of those who do not think that Charles Darwin has discovered the true agents of organic evolution; on the other hand I am not one of those who fail to recognize the greatness of his work ... Vital competition ... is a law; the resultant selection is a fact; individual variation, another fact."Schiller, 1979, p. 225 He came to reject polygenism as applied to humans, conceding that all races were of single origin.
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Hybridity is the retention of an original identity and strong ties to an original country and tradition, but with the understanding that there is no unchanged, ideal nation of the past that they can return to. To be hybrid is to also adapt to a new culture and tradition without simply assimilating in it, but rather negotiating a place between the "original" and "new" cultures. In Communication studies, diaspora is discussed as the identity that unifies people across time and space, sometimes existing in physical spaces and other times existing in imagined 'non-spaces'. However, it has been argued that the concept of 'diaspora' implies ethnic homogeneity and essentializes identity to only ethnicity.
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The song samples brass and vocal samples from Banda El Recodo's rendition of the song "Te Lo Pido Por Favor" . Essentially, Kun argues that "No Hay Manera" is a sufficient representation of the idea that cultural and musical hybridity is a form of authenticity, and that immigrant communities express their diaspora in an active, not passive (observatory), fashion. Firstly, Kun addresses the three musical "layers" that are contained in No Hay Manera, each addressing a different slice in time and altogether forming an authentic expression and representation of a "congealed history". More specifically, the layers form a narrative of the Mexican migration to Los Angeles and the creation of new cultural identities along the way and in Los Angeles.
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She added that cultural racism stereotypes ethnic groups, treats cultures as fixed entities, and rejects ideas of cultural hybridity. Wren argued that nationalism, and the idea that there is a nation-state to which foreigners do not belong, is "essential" to cultural racism. She noted that "cultural racism relies on the closure of culture by territory and the idea that 'foreigners' should not share the 'national' resources, particularly if they are under threat of scarcity." The sociologist Ramón Grosfoguel noted that "cultural racism assumes that the metropolitan culture is different from ethnic minorities' culture" while simultaneously taking on the view that minorities fail to "understand the cultural norms" that are dominant in a given country.
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African Studies scholar Sheila Petty notes, "unlike other African filmmakers of the late 1960s and early 1970s whose films were structured around essentialist nationalist discourse focused on the binary opposition of African values versus cultural alienation, Mambéty sought to expose the diversity of real life". According to critics like Petty, his films were an expression of an African sensibility neither locked into narrow nationalism nor into colonial French culture. Instead of rejecting or elevating one as more or less authentically African, Mambéty confronted and engaged with postindependent Africa's complexities and contradictions. Montage sequences in his films that are overflowing with symbols and sounds of traditional and modern Africa, as well as contemporary European culture, depict hybridity.
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Yumi Janairo Roth is a Colorado-based visual artist who is known for her sculptures and site-responsive projects that explore themes of hybridity, immigration, and displacement. Working in diverse media, Roth's practice elevates the mundane, honors international craft techniques, and empowers the interloper to navigate unfamiliar places. Roth is an associate professor of Sculpture and Post-Studio Practice at the University of Colorado Boulder. Roth was born in Eugene, OR and raised in Chicago and Washington D.C. She earned a BFA in Visual Arts from the School of the Museum of Fine Arts, Boston in 1993; a BA in Anthropology from Tufts University in 1993; and an MFA in Metals from SUNY New Paltz in 1998.
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Elsewhere, Within Here is a collection of essays which examines the potentialities in the intervals between various spaces that interrupt boundaries and discursive dichotomies in productive ways. Trinh focuses on lived experience, social contexts, and embodied histories, in order to draw attention to the hybridities that exist at various boundary events and the illuminate dynamic similarities and interconnections in seemingly disparate spaces. Part I, "The Traveling Source." explores notions of home, migration, and belonging through an embodied experience of history, context, and ultimately hybridity. Part II, "Boundary Event: Between Refuse and Refuge," focuses on the politics of representation, multiple ways of knowing, and the possibilities that emerge through performance and other forms of creativity.
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The nature of race as a construct leads to racial ideals adopting additional or contrary meaning across different societies. Furthermore, the meaning societies associate with different racial groups evolves over time. Increased opportunities for interracial relationships and interaction are often attributed to what scholars Small and King-O’Riain would call tenants of globalization, which provide opportunities for racial learning and a less hegemonic understanding of unfamiliar racial groups. Small and King-O’Riain contend that globalization has opened new avenues for increasing hybridity and social acceptance of multiracial identities while recognizing that the nature of race as a construct means that these global conversations on racial ideals will ultimately manifest themselves differently across local contexts.
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" Afro-Chicanos/as, most of whom have origins in working class community interactions, have faced erasure from Chicano/a identity until recently. "Because so many people uncritically apply the 'one drop rule' in the U.S., our popular language ignores the complexity of racial hybridity," as described by Afro-Chicano poet Robert Quintana Hopkins. Black and Chicano/a communities have engaged in close political interactions "around civil rights struggles, union activism, and demographic changes," especially during the Black Power and Chicano Movement struggles for liberation in the 1960s and 1970s. There have also been tensions between Black and Chicano/a communities because of "increased competition for scarce resources," which has "too often positioned workers of different races in opposition to each other.
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The word was first used of paintings found on the walls of basements of ruins in Rome that were called at that time le Grotte ('the caves'). These 'caves' were in fact rooms and corridors of the Domus Aurea, the unfinished palace complex started by Nero after the Great Fire of Rome in CE 64, which had become overgrown and buried, until they were broken into again, mostly from above. Spreading from Italian to the other European languages, the term was long used largely interchangeably with arabesque and moresque for types of decorative patterns using curving foliage elements. Rémi Astruc has argued that although there is an immense variety of motifs and figures, the three main tropes of the grotesque are doubleness, hybridity and metamorphosis.
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Zhang wrote that the Russians were a tough "hard" people while the Chinese had a softer physique and more compassion, and miscegenation between the two would only benefit both.Bong, InYoung A "White Race" without Supremacy: Russians, Racial Hybridity, and Liminality in the Chinese Literature of Manchukuo pages 137–190 from Modern Chinese Literature and Culture, Volume 26, No. 1, Spring 2014 page 147. Zhang mentioned since 1918 about one million Russian women who had already married Chinese men and argued already the children born of these marriages had the strength and toughness of the Russians and the gentleness and kindness of the Chinese. Zhang wrote what he ultimately wanted was an "Asia for Asians", and believed his plans for miscegenation were the best way of achieving this.
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Unlike Classical Hebrew, Israeli Hebrew uses a few periphrastic verbal constructions in specific circumstances, such as slang or military language. Consider the following pairs/triplets, in which the first is/are an Israeli Hebrew analytic periphrasis and the last is a Classical Hebrew synthetic form:See p. 51 in Zuckermann, Ghil'ad (2009), "Hybridity versus Revivability: Multiple Causation, Forms and Patterns", Journal of Language Contact, Varia 2, pp. 40-67. (1) ‘’sam tseaká’’ “shouted” (which literally means “put a shout”) vis-à-vis ‘’tsaák’’ “shouted” (2) ‘’natán mabát’’ “looked” (which literally means “gave a look”) AND ‘’heíf mabát’’ “looked” (literally “flew/threw a look”; cf. the English expressions ‘’cast a glance’’, ‘’threw a look’’ and ‘’tossed a glance’’) vis-à-vis the Hebrew-descent ‘’hibít’’ “looked at”.
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Some women even reported that they had heard of pachucas hiding knives in their hair. Pachucas formed their own gangs, joined the male pachuco gangs, and carried weapons. This behavior was often said to have been a divergence from the expected feminine beauty and manners of the middle-class. Often, for parents of Mexican-American females, the pachucas “embodied not only a dissident femininity but a threatening, distinctly American identity as well.” For some young women, the characteristics of the style promoted a sense of social mobility and “cultural hybridity” that was expressed through “increased interracial/ethnic relations, bilingualism, and pachuco slang.” Pachucas and Chicanas were less referred to in the media, partly because they threatened the gender and sexuality norms that existed at the time.
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Other central elements that Kahlo derived from Aztec mythology were hybridity and dualism. Many of her paintings depict opposites: life and death, pre-modernity and modernity, Mexican and European, male and female. In addition to Aztec legends, Kahlo frequently depicted two central female figures from Mexican folklore in her paintings: La Llorona and La Malinche as interlinked to the hard situations, the suffering, misfortune or judgement, as being calamitous, wretched or being "de la chingada." For example, when she painted herself following her miscarriage in Detroit in Henry Ford Hospital (1932), she shows herself as weeping, with dishevelled hair and an exposed heart, which are all considered part of the appearance of La Llorona, a woman who murdered her children.
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Unlike Classical Hebrew, Israeli Hebrew is abundant with V+N compound verbs. Consider the following pairs in which the first is an Israeli Hebrew compound verb and the last is a Classical Hebrew synthetic form:See p. 51 in Zuckermann, Ghil'ad (2009), "Hybridity versus Revivability: Multiple Causation, Forms and Patterns", Journal of Language Contact, Varia 2, pp. 40-67. # שם צעקה sam tseaká “shouted” (which literally means “put a shout”) vis-à-vis צעק tsaák “shouted” # נתן מבט natán mabát “looked” (which literally means “gave a look”) or העיף מבט heíf mabát “looked” (literally “flew/threw a look”; cf. the English expressions cast a glance, threw a look and tossed a glance) vis-à-vis the Hebrew-descent הביט hibít “looked at”.
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Chen Wen-yu was particularly interested in the theory of seedless watermelons proposed by the Japanese researcher Hitoshi Kihara in 1951, according to which crossing a female tetraploid plant (itself the product of genetic manipulation) with diploid pollen creates a triploid plant that is sterile, but can produce seedless fruit if pollenized by a diploid plant. Sound as the theory was, in practice none of the seed companies in Japan could successfully cultivate the seedless variety on a commercial scale. After incessant experimentation, in 1962 Chen succeeded in the first seedless watermelon in the world. The subsequent boom for Taiwan's seedless watermelons generated an annual export value of more than NT$100 million, and led to a new era of hybridity and crossbreeding in fruit and vegetables.
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These and other debates increasingly put the Arena editors in a critical relationship to what remained of the Left, which had enthusiastically embraced the celebration of difference and hybridity as the post-structuralist revolution swept English-speaking humanities departments in the 1980s. Paradoxically, this also led to some on the Left failing to grasp Arena’s standpoint, representing it, too, as an expression of the post-structuralist wave. Increasingly, Arena’s arguments added up to a critique that was deep-cultural and/or ontological.See for example, As the USSR collapsed and capitalism was fully globalised, and as the environmental problem became compelling, it was becoming clear that a global system had developed to such a degree that its basic contradiction was of the possibility of meaningful life itself.
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Starting from 1996, Beynon’s work revolved around a fictional character named Li Ji. The character is a heroine adapted from Chinese mythology, who has been transformed to examine hybridity and race.Raymond and Smith, An-Li: A Chinese Ghost Tale The myth itself is an ancient Chinese story written by Gan Bao, who recorded extraordinary feats imitating historical writing under the “strange tales” genre. The original story revolves around a young Chinese girl who steps out of her traditional, cultural role and saves her village by slaying a giant python.Deborah Hart, Tales of the Unexpected (National Gallery of Australia, 2002) The art critic Maura Reilly states that through Li Ji, Beynon confronts issues about multiculturalism and immigration in contemporary Australian society.
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Through painting and the hybridization of art and craft she has introduced a dialogue with the past that has enlivened the contemporary world art scene. Her ceramic sculptures include monumental candelabras heavy with historical references suggesting the weight of ceramic styles on chaotic post-modern lighting and living. Her totems reference Greek Caryatids carried into a present rethinking of the weight women bear today.A large monstrous 9-foot tall piece, She-Wolf (2018), evokes Yeats’, The Second Coming with its ending …” And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born?” The Caryatid works “exemplify this penchant for hybridity, each one encapsulating several oppositions between masculine and feminine, playful and serious, contemporary and ancient, high culture and low”(Fullerton).
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One-half of the "generic hybridity" of Letters Written in Sweden, Norway, and Denmark is the epistolary travel narrative.Myers, 169–70. Wollstonecraft's conception of this genre was shaped by eighteenth-century empirical and moral travel narratives, particularly Oliver Goldsmith's The Traveller, or a Prospect of Society (1764), Laurence Sterne's A Sentimental Journey Through France and Italy (1768), Samuel Johnson's A Journey to the Western Islands of Scotland (1775), James Boswell's Journal of a Tour to the Hebrides (1785), and Arthur Young's travel books.Myers, 173; Swaab, 17–18; Kelly, 177; Holmes, 17; Parks, 32. Maurice Quentin de La Tour, Rousseau,(1753) After reviewing twenty- four travel books for Joseph Johnson's periodical, the Analytical Review, Wollstonecraft was well-versed in the genre.
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Bollywood's increasing use of international settings such as Switzerland, London, Paris, New York, Mexico, Brazil and Singapore does not necessarily represent the people and cultures of those locales. Contrary to these spaces and geographies being filmed as they are, they are actually Indianised by adding Bollywood actors and Hindi speaking extras to them. While immersing in Bollywood films, viewers get to see their local experiences duplicated in different locations around the world. According to Shakuntala Rao, "Media representation can depict India's shifting relation with the world economy, but must retain its 'Indianness' in moments of dynamic hybridity"; "Indianness" (cultural identity) poses a problem with Bollywood's popularity among varied diaspora audiences, but gives its domestic audience a sense of uniqueness from other immigrant groups.
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However, its interior connections to its local region and its Japanese- infused landscape reveals the building's overall hybridity within an otherwise monolithic postwar architecture palette beginning to take hold around the United States for public and private buildings alike. Regents Hill includes several notable design features. Connecting the growing college to mainstream trends in European architecture, the principal residential wings of Barnard and McGregor Halls feature an open-air stair-and-balcony tower that joins them at the campus-facing corner, reminiscent of Dutch modernist Jan Duiker's Open Air School in Amsterdam. The wings, too, feature strip windows suggestive of modern machinery and are elevated above the ground level by small reinforced concrete columns, resembling the "pilotis" of Le Corbusier's architectural experiments of the 1920s.
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Initially Celtic rock replicated electric folk, but naturally replaced the element of English traditional music with its own folk music. It was rapidly evident in all areas of the Celtic nations and regions surrounding England (both Goidelic (Ireland, Scotland, Isle of Man) and Brythonic (Wales, Cornwall, and Brittany), saw the adoption and adaptation of the electric folk model.N. McLaughlin and Martin McLoone, ‘Hybridity and National Musics: The case of Irish rock music’ Popular Music, 9, (April, 2000), pp. 181–99. Through at least the first half of the 1970s, as Celtic rock held close to folk roots, with its repertoire drawing heavily on traditional Celtic fiddle and harp tunes and even traditional vocal styles, but making use of rock band levels of amplification and percussion it can be considered part of the electric folk movement.
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Although these works bear unmistakable political overtones of the time when they were created, they nonetheless had significant artistic values, and for this reason, some of the works remain popular decades after the Cultural Revolution. Some of the eight model revolutionary operas have been sent on tours around the world without much of its original political content. According to Liu Kang from Duke University: > During a 1996 North American tour, the China Central Ballet repeatedly > performed The Red Detachment of Women as its grand finale, which caused > postmodern audiences in Los Angeles and New York to marvel at the opera's > innovative multipositionality and hybridity, in which revolutionary > ideologies, exotic nativist music and dances of the Li ethnic minority on > Hainan Island, and high European styles and modalities coalesce in a neo- > Wagnerian Gesamtkunstwerk.Liu, Kang.
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Vanmechelen has several projects and foundations parallel to the CCP: The CosmoGolem, The Walking Egg, MOUTH, COMBAT, The Planetary Community Chicken (PCC), The Cosmopolitan Chicken Research Project (CC®P), and MECC, all of which he manages from his Open University of Diversity,. In 2017, Koen Vanmechelen moved his studio and foundation headquarters to LABIOMISTA, situated in a former public zoo in the Belgian city of Genk. The artist's work is an investigation of and an ode to the beautiful diversity and hybridity of life: Vanmechelen often collaborates with scientists and experts from different disciplines, such as Jean-Jacques Cassiman, Rik Pinxten and Marleen Temmerman. Vanmechelen's art work is as diverse and hybrid as the Cosmopolitan Chicken itself: a unique mix of paintings, drawings, photography, innovative 3D-techniques, video, installations and wooden sculptures.
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Stereograph designed by Paul Broca and manufactured by Mathieu > I am far from advancing these suppositions as demonstrated truths. I have > studied and analysed all documents within my reach; but I cannot be > responsible for facts not ascertained by myself, and which are too much in > opposition to generally received opinions to be admitted without strict > investigation... Until we obtain further particulars we can only reason upon > the known facts; but these, it must be admitted, are so numerous and so > authentic as to constitute if not a rigorous definitive demonstration, at > least a strong presumption of the doctrines of polygenists.Broca, 1964, pp. > 59–60 On the Phenomenon of Hybridity was published the same year as Darwin's presentation of the theory of evolution in the On the Origin of Species.
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Dutch Totok couple wearing Dutch traditional clothing on New Year's Day Totok is an Indonesian term of Javanese origin, used in Indonesia to refer to recent migrants of Arab, Chinese or European origins.Charles A. Coppel, "Diaspora and hybridity: Peranakan Chinese culture in Indonesia", in Routledge Handbook of the Chinese Diaspora, edited by Chee-Beng Tan, pp. 346-347 In the eighteenth and nineteenth centuries it was popularised among colonists in Batavia, who initially coined the term to describe the foreign born and new immigrants of "pure blood" – as opposed to people of mixed indigenous and foreign descent, such as the Peranakan Arabs, Chinese or Europeans (the latter being better known as the Indo people).Willems, Wim "Tjalie Robinson; Biografie van een Indo-schrijver" Chapter: Een Totok als vader (Publisher: Bert Bakker, 2008) p.
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According to Hamza, one day while he was on the street smoking marijuana, a sheikh approached him to talk about Islam and that is when he knew things were going to change. While Hamza visits his brother Suliman to cook Boricua Halal cooking (Puerto Rican Kosher cooking) the two brothers talk about their cultural hybridity and how they communicate through Arabic spanglish ebonics since they don't speak Arabic, English, or Spanish fluently. In a family gathering, Hamza and Suliman's mother Gladys expresses her hesitation about the religion since both brothers were brought up in a Catholic home and attended private Catholic school. Gladys reveals that Hamza's birth given name is Jason, and although she is still unsure about the religion Gladys has accepts the decision of her two sons.
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Retrieved on 05 April 2017. There is a marked contrast between the director's television works: from the pop design of the 60s in the series Ladies' Mail (Correio Feminino) (2013) to the classic rigor of the mini-series The Maias (Os Maias) (2001), the urban references of the working-class suburbs in the mini-series Suburbia (2012) to the playfulness of the soap My Little Plot of Land (Meu Pedacinho de Chão) (2014), the aesthetic research of the Sertão (backcountry) in Old River (Velho Chico) (2016) to the Brazilian fairytale of the mini-series Today is Maria's Day (Hoje É Dia de Maria) (2005) and the realistic universe of family tragedy in Two Brothers (Dois Irmãos) (2017).Carter, Eli Lee "Rereading Dom Casmurro - aesthetic hybridity in Capitu", University of Virginia, 2014.
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Panthaki stated in an interview with Sky News that he Produced the whole film with a budget equivalent to just "One shot of a Harry Potter Movie" and that he did it as an experiment to prove what could be done with just a strong concept, well developed story and good performances. The film released theatrically in the UK and was eventually acquired by Netflix. Panthaki was acknowledged for his hybridity with The Hollywood News quoting "Panthaki's new film Convenience defines him not only to be a leading man but a filmmaker who's curating excellent, ground-breaking films with sensible budgets, proving that the future the British film industry is very much alive". Following that, Raindance named Panthaki in their top ten 'Actor/Producers you should already know about' list, alongside George Clooney.
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In the next twelve years, she has continued to develop work that addressed the relationships between images and processes of memory. In 2004–2005, Softić organized a year-long series of events at the University of Richmond titled Art, Hybridity and Contemporary Cosmopolitanism, which brought to campus artists and scholars like Homi Bhabha, Coco Fusco, Zarina and works by artists Rina Banerjee, Ellen Galagher, Wangechi Mutu and Mona Hatoum. From 2007 to 2012, Softić worked on a series of large works on paper, Migrant Universe, her most extensive body of work to date; an expansive visual poem about immigrant's identity and worldview: exile, longing, translation, and memory. This work poses questions of cultural identity or cultural belonging on an intellectual level while suggesting actual internal experience of what Edward Said called "the contrapuntal reality [of an exile]".
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At the same time, there are a lot of contemporary art practices and forms in African regions and cities that are almost exclusively locally known. While meeting all three requirements of being contemporary, art, and African, they fail to fit into a certain type of art production that has been spreading on the international art market in the last 30 years. Exhibitions variously showed work by artists based in Africa; by artists using aesthetics typical to African traditions; by African artists living in the West but including aesthetics and topics related to their "roots"; traditional artworks related to customary practices such as rituals; and urban African art that reflects the modern experience of cultural pluralism and hybridity. Modernity as a colonial and postcolonial experience appears as an intrinsic and significant attribute in most conceptions of contemporary African art.
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The style of music is the hybrid of traditional Irish, Scottish Gaelic, Welsh and Breton musical forms with rock music.N. McLaughlin and Martin McLoone, ‘Hybridity and National Musics: The case of Irish rock music’ Popular Music, 9, (April, 2000), pp. 181-99. This has been achieved by the playing of traditional music, particularly ballads, jigs and reels with rock instrumentation; by the addition of traditional Celtic instruments, including the Celtic harp, tin whistle, uilleann pipes (or Irish Bagpipes), fiddle, bodhrán, accordion, concertina, melodeon, and bagpipes (highland) to conventional rock formats; by the use of lyrics in Celtic languages and by the use of traditional rhythms and cadences in otherwise conventional rock music.Johnston, Thomas F. 'The Social Context of Irish Folk Instruments ', International Review of the Aesthetics and Sociology of Music, 26 (1) (1995) pp. 35-59.
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After the Russian Civil War, a huge number of Russians settled in the Manchuria region of China. One Chinese scholar Zhang Jingsheng wrote essays in 1924 and 1925 in various Chinese journals praising the advantages of miscegenation between Russians and Chinese, saying that interracial sex would promote greater understandings between the two peoples, and produce children with the best advantages of both peoples.Bong, Inyoung A "White Race" without Supremacy: Russians, Racial Hybridity, and Liminality in the Chinese Literature of Manchukuo pages 137–190 from Modern Chinese Literature and Culture, Volume 26, No. 1, Spring 2014 page 147. Zhang argued that Russians were taller and had greater physical strength than the Han, but the Chinese were gentler and kinder than the Russians, and so intermarriage between the two peoples would ensure children with the advantages of both.
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Newcastle: Cambridge Scholars Press, p.178. In 2008 at Boston University, he taught a course on the topic of "Music Transculturation and Hybridity". Hebert's research on this topic builds on the scholarship of Bruno Nettl, Margaret Kartomi, Mark Slobin, Timothy Taylor, and Tina Ramnarine. He twice served as keynote speaker for conferences on Music and Globalization in Poland, and the resulting book Music Glocalization has been described as "highly original" and "the first comprehensive account of how the notion of ‘glocalization’ may be useful in rethinking nationality in music and the use of local musical traditions that serve as a means for global strategies." In the book, Hebert collaborated with Polish musicologist Mikolaj Rykowski to introduce theoretical models and the term ‘glocklization’, which combines the glocal concept with a Glock pistol, to indicate unbalanced forms of glocalization perceived as destructive to cultural heritage.
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The complexity and hybridity of the institutional set-up of carbon markers will be further increased if proposals to link carbon markets from different regions of the world come to fruition. Another proposal concerns the creation of a new, hybrid institution to better manage the overlaps between the UN Climate Regime and the WTO in areas such as border taxes on environmentally damaging goods, transfer of clean technologies, and trade liberalisation; institutionalising joint consideration of climate change and development. Currently these issues are addressed by the WTO Committee on Trade and Environment (CTE), however there are questions as to whether this is sufficient. Even the IPCC (which avoids prescriptive policy advice) has questioned whether the CTE is “an appropriate forum” for such discussions. Hybrid institutions then, have the potential to “bring together expertise, [...] and broaden dialogues to overcome negotiation deadlocks”.
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Place is often seen as central to creativity; in fact, "for some—regional artists, citizen journalists and environmental organizations for example—a sense of place is a particularly important aspect of representation, and the starting point of conversations." Locative media can propel such conversations in its function as a "poetic form of data visualization," as its output often traces how people move in, and by proxy, make sense of, urban environments. Given the dynamism and hybridity of cities and the networks which comprise them, locative media extends the internet landscape to physical environments where people forge social relations and actions which can be "mobile, plural, differentiated, adventurous, innovative, but also estranged, alienated, impersonalized." Moreover, in using locative technologies, users can expand how they communicate and assert themselves in their environment and, in doing so, explore this continuum of urban interactions.
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This component of the exhibition was based on hybridity, combining the works by MacLeod exhibited at Museum London with chosen pieces from the Vancouver Art Gallery's permanent collection, following the theme of a "Cock and Bull story". By only including work created by men in Artist’s Choice Cock and Bull, MacLeod surmises how different means of displaying artwork can draw attention to the ambiguity of working as a feminist within the realm of contemporary art. In Artist’s Choice Cock and Bull, the exhibition was reorganized from the traditional layout presented at Museum London, to one that plays even more on the idea of “Sex, Drugs, and Rock and Roll”. The exhibition held in Vancouver British Columbia contained three additional pieces by MacLeod that were not shown in London, Ontario. These pieces were Albert Walker (2014), Dragon (2014), and Presence (2013).
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The crosses between fern species made by Lowe and others had been almost completely sterile, and spores from the original Schuylkill plant were imperfectly formed and proved sterile, which formed part of Berkeley's argument for its hybridity. The Havana Glen population, in contrast, was too large and contained too many young plants to be sterile, and on these grounds, Lucien Underwood declared A. ebenoides to be an independent species and not a hybrid. W. R. Maxon, in 1900, replied to Underwood by arguing that it might be possible for a fertile fern hybrid to exist, and that the scattered distribution of A. ebenoides, always occurring near both of its parent species, and its intermediate morphology between them all suggested that it was a hybrid. He suggested that the matter might be investigated by "careful cultural experiments".
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As a term in contemporary history, postcolonialism occasionally is applied, temporally, to denote the immediate time after the period during which imperial powers retreated from their colonial territories. Such is believed to be an problematic application of the term, as the immediate, historical, political time is not included in the categories of critical identity- discourse, which deals with over-inclusive terms of cultural representation, which are abrogated and replaced by postcolonial criticism. As such, the terms postcolonial and postcolonialism denote aspects of the subject matter that indicate that the decolonized world is an intellectual space "of contradictions, of half-finished processes, of confusions, of hybridity, and of liminalities." As in most critical theory-based research, the lack of clarity in the definition of the subject matter coupled with an open claim to normativity makes criticism of postcolonial discourse problematic, reasserting its dogmatic or ideological status.
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Ideological diversionism was a cultural logic that led way for orthodox Marxist to foster a notions of ideological purity and normalization in Marxist culture. Hence, a great part of Western Marxism, from Jean-Paul Sartre's humanist existentialism and the Frankfurt School, to Antonio Gramsci and the debates of structuralism and post-structuralism in France, were banned from intellectual and academic circles within and out the University of Havana [10]. In the need to suppress "cultural" horizons of Marxist thinking, in favor of a "scientific mode" of dialectical materialism, ideological diversionism was by itself a cultural invention to suspend all possible cultural articulation of Marxism as such. In the Cuba of the 1970s, as one could see from journals such as Educación or Cuba Socialista, Marxism was understood as a hard science that little or nothing had to do with everyday hybridity of cultural forms and habits [11].
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The East–West dichotomy has been used in studying a range of topics, including management, economics and linguistics. Knowledge Creation and Management (2007) examines it as the difference in organizational learning between Western cultures and the Eastern world. It has been widely used in exploring the period of rapid economic growth that has been termed the "East-Asian miracle" in segments of East Asia, particularly the Asian Tigers, following World War II. Some sociologists, in line with the West as a model of modernity posited by Arnold J. Toynbee, have perceived the economic expansion as a sign of the "Westernization" of the region, but others look for explanation in cultural/racial characteristics of the East, embracing concepts of fixed Eastern cultural identity in a phenomenon described as "New Orientalism". Both approaches to the East–West dichotomy have been criticized for failing to take into account the historical hybridity of the regions.
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Lukas Avendano (right), muxe artist Amelio Robles In several pre-Columbian communities across Mexico, anthropologists and colonial accounts document acceptance of third-gender categories. Transvestitism was an accepted practice in the native cultures of Central (and South) America, including among the Aztecs and Mayans (as reflected in their mythologies). Spanish colonizers were hostile to it.Sigal (2003), p.10 The Zapotec people of Oaxaca have a third gender role for muxes, people who dress, behave and perform work otherwise associated with the other binary gender;Beverly Chiñas, Isthmus Zapotec attitudes toward sex and gender anomalies (1995), pp. 293-302, in Stephen O. Murray (ed.), Latin American Male HomosexualitiesM. Miano, Hombre, mujer y muxe’ en el Istmo de Tehuantepec, (2002, México: Plaza y Valdés) vestidas wear feminine clothes, while pintadas wear masculine clothes but also makeup and jewellery.Alfredo Mirandé, Behind the Mask: Gender Hybridity in a Zapotec Community (2017, ), p.
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In My Mother's Place (1990), Fung addresses his relationship with his mother and is made up of disclosures of what to reveal and what to hint at, eliminating details while refraining from committing to lies; being both "inside and outside" the frame of kinship. The queer figure of inside/outside evokes "the structures of alienation, splitting, and identification which together produce a self and an other, subject and an object, an unconscious and a conscious, an interiority and an exteriority ... but the figure inside/outside, which encapsulates the structure of language, repression, and subjectivity, also designates the structure of exclusion, oppression, and repudiation". Queer theorist José Esteban Muñoz writes about In My Mother's Place in his book Disidentifications: Queers of Color and the Performance of Politics. According to Muñoz, Fung's performances can be understood as "autoethnography" due to their employment of tactics like "postcolonial mimicry" and "hybridity".
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Mary (May McAvoy) and Jack, preparing for dress rehearsal: the first blackface scene Jack Robin's use of blackface in his Broadway stage act—a common practice at the time, which is now widely considered to be racist—is the primary focus of many Jazz Singer studies. Its crucial and unusual role is described by scholar Corin Willis: > In contrast to the racial jokes and innuendo brought out in its subsequent > persistence in early sound film, blackface imagery in The Jazz Singer is at > the core of the film's central theme, an expressive and artistic exploration > of the notion of duplicity and ethnic hybridity within American identity. Of > the more than seventy examples of blackface in early sound film 1927–53 that > I have viewed (including the nine blackface appearances Jolson subsequently > made), The Jazz Singer is unique in that it is the only film where blackface > is central to the narrative development and thematic expression.Willis > (2005), p. 127.
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Mambéty's feature-length debut, Touki Bouki (The Hyena's Journey) in 1973, which commentators consider his most dynamic representation of hybridity and social isolation and juxtaposition in Senegal, was made with a budget of $30,000, ironically partly funded by the Senegalese government. The film features lovers, Mory and Anta, who symbolically fantasize about fleeing Dakar for a romanticized France, representing the changing situation in Senegalese society and the transition to a new era. Of Mambéty's contribution to Senegalese film during this period, Sheila Petty, a scholar in African Studies notes, "unlike other African filmmakers of the late 1960s and early 1970s whose films were structured around essentialist nationalist discourse focused on the binary opposition of African values versus cultural alienation, Mambéty sought to expose the diversity of real life". Sembène's Xala (1975) is a black comedy which satirizes corruption in African politics with El Hadji's impotence symbolizing the failure by many to overcome greed.
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In the 2000s, several French directors made international productions, often in the action genre. These include Gérard Pirès (Riders, 2002), Pitof (Catwoman, 2004), Jean-François Richet (Assault on Precinct 13, 2005), Florent Emilio Siri (Hostage, 2005), Christophe Gans (Silent Hill, 2006), Mathieu Kassovitz (Babylon A.D., 2008), Louis Leterrier (The Transporter, 2002; Transporter 2, 2005; Olivier Megaton directed Transporter 3, 2008), Alexandre Aja (Mirrors, 2008), and Pierre Morel (Taken, 2009). Surveying the entire range of French filmmaking today, Tim Palmer calls contemporary cinema in France a kind of eco-system, in which commercial cinema co-exists with artistic radicalism, first-time directors (who make up about 40% of all France's directors each year) mingle with veterans, and there even occasionally emerges a fascinating pop-art hybridity, in which the features of intellectual and mass cinemas are interrelated (as in filmmakers like Valeria Bruni-Tedeschi, Olivier Assayas, Maïwenn, Sophie Fillières, Serge Bozon, and others).Palmer, Tim (2011).
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Some other theories propose a form of agrarian colonisation resulting from a shortage of land in Lower Mesopotamia or a migration of refugees after the Uruk region suffered ecological or political upheavals. These explanations are largely advanced to explain the sites of the Syro-Anatolian world, rather than as global theories. Other explanations avoid political and economic factors in order to focus on the Uruk expansion as a long term cultural phenomenon, using concepts of koine, acculturation, hybridity and cultural emulation to emphasise their differentiation according to the cultural regions and sites in question. P. Butterlin has proposed that the links tying southern Mesopotamia to its neighbours in this period should be seen as a 'world culture' rather than an economic 'world system', in which the Uruk region provided a model to its neighbours, each of which took up more adaptable elements in their own way and retained some local traits essentially unchanged.
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Scholars agree that Danticat manages her relationship with her Haitian history and her bicultural identity through her works by creating a new space within the political sphere. In Breath, Eyes, Memory, Danticat employs the "idea of mobile traditions" as a means of creating new space for Haitian identity in America, one that is neither a "happy hybridity" nor an "unproblematic creolization" of Flatbush Brooklyn (28) [ix]. Danticat's open reference to and acceptance of her Caribbean predecessors, especially through the "grand narratives of the dead iconic fathers of Haitian literature," creates a "new community [...] in luminal extra-national spaces" that "situates her narrative" in a place that is neither "absolute belonging" nor "postcolonial placelessness" (34) [ix]. Suggestive of the Haitian literary movement Indigenism, in which works sought to connect to the land of Haiti and the "plight of the peasant class" (55) [x], Sophie's complex reality in Breath, Eyes, Memory encapsulates the transnational experience (61) [x].
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". Red Bull Music Academy. Retrieved March 11, 2018. Both Macpherson's review and an article for Pitchfork by writer Meaghan Garvey suggested Future Brown had art school-level concepts behind it and criticized the album based on that. While Garvey acknowledged that Future Brown claimed themselves to be "a free-form, vibes-based passion project, steered by the unrestricted contributions of the featured collaborators as much as the producers’ whims," both reviews used the album's promotional material (particularly the music video for "Vernuculo"), the group members' previous experiences in the modern art community, and the fact that postinternet art magazine DIS Magazine was responsible for the cover art as evidence the LP was something more than that. Macpherson suggested the band intended to make a record promoting "cultural hybridity, to make, so says their press release, “connections between global street sounds”," and that "articles about them tend to reel off the names of these global genres in an awed tone – footwork, cumbia, reggaeton and grime, among them.
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Although the partnerships have been criticised, a common criticism both of the Type IIs and multilateral policy more generally is the “minimal degree of institutionalisation” seen. This serves to promote strong hybrid institutions as a potential solution to the low “implementation record of [...] multilateral partnerships”. One of the more successful partnerships, The Andean Biotrade Programme, demonstrates both genuine hybridity and strongly institutionalised outcomes. The governments of 5 Andean countries, rich donor states, local and international organisations, research institutions and local communities all came together to form a Regional Biodiversity Strategy. The Strategy contains agreements on biotrade, technological development for conservation and eco-finance, a “set of intersected [issues] that have been deadlocked at the governmental level by competing interests and power inequalities”. In the context of the Type II Partnerships, strong hybrid institutionalisation is indicative of, indeed a “precondition” for success. By the same token, weak, informal institutionalism which demonstrates only “cosmetic or symbolic” arrangements does not bear positive results.
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Referring back to the purpose of slaves—means of monetary and property exchange—Glissant asserts that the primary exchange value is in the ability to transport knowledge from one space or person to another—to establish a connection between what is known and unknown. Glissant's development of the notion of antillanité seeks to root Caribbean identity firmly within "the Other America" and springs from a critique of identity in previous schools of writing, specifically the work of Aimé Césaire, which looked to Africa for its principal source of identification. He is notable for his attempt to trace parallels between the history and culture of the Creole Caribbean and those of Latin America and the plantation culture of the American south, most obviously in his study of William Faulkner. Generally speaking, his thinking seeks to interrogate notions of centre, origin and linearity, embodied in his distinction between atavistic and composite cultures, which has influenced subsequent Martinican writers' trumpeting of hybridity as the bedrock of Caribbean identity and their "creolised" approach to textuality.
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Criticisms are well established of the implementation of the postcolonial vision of Nehru and Le Corbusier, and of the critical emphasis on its influence. Claims have been made that the focus on Corbusier's architect- centered discourse erases the plural authorship of the narrative of Chandigarh's development, arguing that it was, in fact, a hybridity of values and of "contested modernities" of Western and indigenous Indian origin and cultural exchanges rather than an uncontested administrative enterprise. Such criticism is consistent with claims that decolonisation in India has marked a shift from segregation based on race to segregation based on class, and that planned cities are truly "designed" ones which represent the values and interests of a westernised middle-class Indian elite which ignore the complexities of India's diverse ethnic and cultural landscape and enabled neocolonial hierarchies such as the imposition of the Hindi language on non- conforming castes. Furthermore, the early over-saturation of the minimalist International Style on building design in Chandigarh has attracted criticisms of effecting a "democratic, self-effacing banality", though this criticism is perhaps negligent of how this was necessary in galvanising higher standards of urban living throughout the country.
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Oxford: Blackwell, 2003 # Language purification – prescription of usage norms in order to preserve the "linguistic purity" of language, protect language from foreign influences, and guard against perceived language deviation from within # Language revival – the attempt to restore to common use a language which has few or no surviving native speakersLinguist Ghil'ad Zuckermann claims that any attempt to revive a no- longer spoken language is likely to end up with a hybrid - see Zuckermann, Ghil'ad, "Hybridity versus Revivability: Multiple Causation, Forms and Patterns". In Journal of Language Contact, Varia 2 (2009), 40-67. # Language reform – deliberate change in specific aspects of language or extralinguistic elements, such as grammar and orthography, in order to facilitate use # Language standardization – the attempt to garner prestige for a regional language or dialect, developing it as the chosen standard language of a region # Language spread – the attempt to increase the number of speakers of a language # Lexical modernization – word coining or adaptation # Terminology unification – development of unified terminologies, mainly in technical domains # Stylistic simplification – simplification of language usage in lexicon, grammar, and style. That includes changing the use of language in social and formal contexts.
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Patently Marxist and combining Philippine elite historiography, his analysis in Landlords and Capitalists implicitly accepted the theoretical line of semi-feudal and semi-colonial of the Philippine revolutionary left, demonstrating that the social structure and economic topography of the Philippines is exhibiting hybrid features of capitalism and feudalism. The hybridity of this socio-economic architecture in a context of a weak state formation often captive by robust traditional social forces (clans, families) has caused and sustained the inequitable distribution of economic and political power in the Philippine society (described by Walden Bello as an "immobile class structure that is one of the worst in Asia")Walden Bello et al., Anti-Developmentalist State: The Political Economy of Permanent Crisis in the Philippines (Quezon City: University of the Philippines Press, 2004) and the harnessing of democratic efforts towards patently conservative objectives such as obstructionist policies on land reform, inadequate social service, and anti-labor inclination among others. Rivera also faulted this unique feature for the continuing developmental morass that afflicts the Philippines, despite the fact that most of its neighbors in the Southeast Asian region have significantly achieved substantive development as newly industrialized economies.
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Natalia Skobeeva is a visual artist based in London,Belgium and Russia. Being of transnational background (born in Russia, based in the UK and Belgium, and earlier in Luxembourg, USA and Bulgaria), Skobeeva's work explores how the issues of the particular and universal are re-negotiated in the context of ambivalent (non)belonging by humanity in crises, mediated by technology. Skobeeva's practice is hybrid and experimental, and involves words writing, coding, 3D visualisations, immersive environments, moving image, sculpture, sound and performance. The work oscillates between personal and collective, closed and open-ended, conscious and subconscious, crosses the borders of all media and carries characteristics attributed to transnational art: multiplicity, liminality and hybridity Natalia Skobeeva holds MA from Royal College of Art, London, Postgrad Certificate from Central St Martins College of Art and Design, London and MA History from the State University, Russia. Skobeeva's latest solo shows include special project on the 4th Moscow Biennale of contemporary art, ‘Horrors of Archiving’ in Objectif Exhibitions, Antwerp, Belgium, ‘Carpets in St Petersburg, former Leningrad, former St Petersburg’ in the State Museum of Political History of Russia in St Petersburg, Camera Club London and Viewfinder gallery London, performance projects in Moscow, Istanbul, Berlin and London.
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