Journal articles: 'Hybridity of Culture'

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Kompridis, Nikolas. "Normativizing Hybridity/Neutralizing Culture." Political Theory 33, no. 3 (June 2005): 318–43. http://dx.doi.org/10.1177/0090591705274867.

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Viviani, Yolanda, and Robby Satria Mandala. "HYBRIDITY POTRAYED BY MAJOR CHARACTERS IN THE NOVEL “CRAZY RICH ASIAN” BY KEVIN KWAN." JURNAL BASIS 8, no. 1 (April 20, 2021): 85. http://dx.doi.org/10.33884/basisupb.v8i1.2958.

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This research was conducted to figure out kinds of hybridity that major characters did in the novel “Crazy Rich Asian” by Kevin Kwan. This study was analyzed by using postcolonial approach with theory of hybridity by Homi K. Bhabha. According to Bhabha, hybridity is the mixing of two or more different culture and create a new culture that has both culture characteristic. It can be said that hybridity is the result of cross culture that appears in society due to cross cultural interaction that happened for a long time. Descriptive qualitative method was used in this research to analyse social problems happened in the novel. Based on the analysis that had been conducted, there were two kinds of hybridity found out in the novel “Crazy Rich Asian”. They are ethic hybridity and lifestyle hybridity. The ethic hybridity was found in Rachel and Eddie’s mindset. Their mindset were more like American than other characters. Lifestyle hybridity was found in Astrid lifestyle which more like westerner than her husband.

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Petersson, Caroline. "In Things we Trust: Hybridity and the Borders of Categorization in Archaeology." Current Swedish Archaeology 19, no. 1 (June 10, 2021): 197–81. http://dx.doi.org/10.37718/csa.2011.11.

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The aim of the article is to question essentialist con- structions of archaeological cultures with the help of Homi K. Bhabha’s concept of hybridity. Using house urns found in central and northern Europe as a case study, Bhabha’s hybridity concept is presented and discussed as an alternative to traditional archaeolog- ical concepts of cultural interpretation. Hybridity, which is also a key concept in postcolonial theory, offers an alternative key to the interpretation of cul- ture and suggests that no culture should be seen as static and homogeneous. The common understanding of house urns is therefore informed and challenged by the concept of hybridity, its alternative construction of culture and alternative ways to understand arte- facts. Inspired by the concept of hybridity, I argue that house urns deserve much broader interpretations than as mere manifestations of cultural difference or cultural belonging.

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Dr. Waheed Ahmad Khan, Salman Hamid Khan, and Dr. Shaukat Ali. "Cultural Hybridity as Perpetuation of Americanization: A Study of the Selected Novels of Mohsin Hamid and Kamila Shamsie." sjesr 3, no. 4 (December 25, 2020): 35–42. http://dx.doi.org/10.36902/sjesr-vol3-iss4-2020(35-42).

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Cultural hybridity has prevailed by penetrating its roots in the globalized world. It has influenced the identity of people especially migrants of various countries. Identity in the case of cultural hybridity leads to conflict. Migrants wish to grow by absorbing influences from their own 'roots' but new 'routes' also inspire them. Homi K. Bhabha is of the view that migrants' cultural world changes after crossing the borders; they have an experience of living in an alien culture and thus learn new ideas. He criticizes the idea of a fixed identity which is developed by the migrants' native culture. Bhabha argues that identity is 'hybrid'; it is always in a state of flux because it is constantly in motion, pursuing unpredictable routes. However, Aijaz Ahmad believes that the identity of people does not develop independently. He does not consider cultural hybridity as synonymous with cultural differentials. Bhabha's celebration of hybridity ignores unequal relations of cultural power. He also ignores cultural and historical specifics in his theorization of hybridity. The study is qualitative and is based on interpretive analysis of the novels The Reluctant Fundamentalist and The Burnt Shadows which celebrate hybridity in cultures. The study unveils unequal relations of cultural power in hybridity.

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Hasanthi, D. R. "The Mimic Man in Kiran Desai’s The Inheritance of Loss." Shanlax International Journal of English 9, no. 2 (March 1, 2021): 48–57. http://dx.doi.org/10.34293/english.v9i2.3737.

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Spread over continents, countries and cultures, Kiran Desai’s The Inheritance of Loss (2006) takes us on a tour de force into the realms of multiculturalism and hybridity in Indian culture. It focuses on the changing face of India, amidst East - West encounter, globalization and glocalization. The novel as a postcolonial text puts forth, the authority politics of cultural imperialism, even after the independence of India. This paper appraises the novel using Homi. K. Bhabha’s theory of mimicry, hybridity and ambivalence. It concentrates on the mimic man of the novel Judge Jemubhai Patel. This paper focuses on the hybridization of culture along with the making of reformed hybrids who are in a constant conflict with their identity, language and culture on account of the praxis between the culture of the colonized and the colonizer during and after colonization of the colonized. This paper recommends proper mapping of mimicry and hybridity with indigenous culture, values and ethics. It advocates sowing and stringing in cultural amalgamation and westernization in indigenous Indian culture and ethos for a better life and better Indian society.

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Bahri, Deepika. "Hybridity, Redux." PMLA/Publications of the Modern Language Association of America 132, no. 1 (January 2017): 142–48. http://dx.doi.org/10.1632/pmla.2017.132.1.142.

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The ensuing remarks on Homi Bhabha's collection of essays The Location of Culture are framed by the following questions: Under what discursive conditions does a text arrive? How do conditions beyond the text determine its reception and circulation? And why is Bhabha routinely associated more with ambivalence, interstice, and liminality than with the ways in which they illuminate problems of race, the archive, history, or the affective bodily subject of history? To focus these ruminations, I will discuss the intervention, impact, and afterlife of The Location of Culture through the concept of hybridity, arguably one of the greatest hits of postcolonial studies and one closely associated with the work of Bhabha. Informed by Mikhail Bakhtin's propositions about hybridity in linguistic utterance; by Sigmund Freud's theories of ambivalence; by Walter Benjamin's discussions of history, event, and language; by Jacques Lacan's discourses on ego, language, and subjectivity; by Michel Foucault's investigations of history, knowledge, and power; and by Jacques Derrida's theories of différance, Bhabha's formulations have gained currency well beyond the humanities. Appropriations of hybridity in globalization discourse, however, often do not honor Bhabha's poststructural politics or its rooting in a complex history of ideas even as the critics of hybridity fail to recognize its inception in archival moments and particular enunciative contexts. Bhabha's work not only poses questions to history in a mode characteristic of deconstruction, it also commences in history in a clearly postcolonial modality. I want to review missed appointments with pressing questions of history and race in the global reception of Bhabha's concept of hybridity, an approach that constitutes an implicit plea for the recognition and reanimation of these questions in contemporary uses of the term hybridity in the discourse of globalization.

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Shah, Dr Manisha. "Cultural Hybridity: A Postcolonial Concept." SMART MOVES JOURNAL IJELLH 4, no. 12 (December 30, 2016): 7. http://dx.doi.org/10.24113/ijellh.v4i12.1783.

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In the present era of globalization and multiculturalism, contemporary literary scenario has been transformed as the texts have crossed the borders of nation and culture. Culture links a human being with the community and the community with the nation. To examine the issue of national or cultural identity of a Postcolonial immigrant in West is in a way a process to strip away the traditional conventional concept of culture and to view it from a globalized perspective. The diaspora writers deal with the lives of immigrants, who are in minority in the host nation hence considered subaltern. Each nation has its unique culture and tradition: on one hand the immigrants have to succumb to the traditions of the culture of the host nation and on the other as they are rooted in the home land they try to preserve certain practices and traditions of the homeland culture. It is quite necessary to understand the concept of ‘cultural hybridity’ from Postcolonial perspective to embrace the concept of national identity of diasporic people.

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Inkiriwang, Alfred, and Riani E. Inkiriwang Winter. "CULTURAL HYBRIDITY TOWARDS AN UPWARD MOBILITY: IMPLICATIONS OF THE AMERICAN MEDIA AND AMERICAN CORPORATE CULTURE IN INDONESIA." Rubikon : Journal of Transnational American Studies 1, no. 2 (September 1, 2014): 1. http://dx.doi.org/10.22146/rubikon.v1i2.34210.

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Hybridity has been defined in many terms. Subsequently, cultural hybridity is associated with different meanings, as seen from a spectrum of theoretical and disciplinary perspectives. In the realm of Transnational American Studies in Indonesia, the hybridization of American Media and American Corporate Culture into those domains in Indonesia would be an observable transnational cultural phenomenon. American corporate culture has a hegemonic dominance in the world as it has in Indonesia. Similarly, in the current global media culture, American media’s influence has brought with it its culture to places throughout the world including Indonesia. In the current discourses hybridity has “long left behind the negative implications and connotations of inferiority” and it presents currently the intercultural exchange of transnational and global mobility. This article explores American and Indonesian cultural hybridity as a notion of upward mobility in the domain of media culture and corporate culture in Indonesia.

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Jaber, Salsabeel Jamal Said. "The Dynamics of Hybridity in Diana Abu Jaber's The Language of Baklava and Life Without a Recipe." International Journal of Linguistics, Literature and Translation 4, no. 6 (June 29, 2021): 07–11. http://dx.doi.org/10.32996/ijllt.2021.4.6.2.

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This study explores the portrayal of hybridity in Diana Abu Jaber's two memoirs, The Language of Baklava (2005) and Life without a Recipe (2016). Many researchers have dealt with the cultural issues that are portrayed in Diana Abu Jaber's novels, especially Crescent (2003) and Arabian Jazz (1993). This study is distinguished from previous studies by focusing on the cultural aspects that are portrayed in Abu Jaber's two memoirs. The main concern of this study is to shed light on Diana Abu Jaber's contributions to the exploration of the concept of hybridity in her memoirs from many aspects, such as the hybridity of identity and culture. Furthermore, it highlights the basic differences between the memoirs in portraying the influences of the mixed culture and identity in Diana Abu Jaber's life. On the other hand, this study tries to explore the influences of mixed parentage of the writer on her writing of the two novels and her depiction of hybridity in identity, culture and language. Her American mother and her Jordanian father are the main motivation for Abu Jaber to focus on the mixture between Arab- American cultures in her writing.

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Waworuntu, Michelle Intan Goh Rumengan, and Tomi Arianto. "HIBRIDITY OF THE CHACRACTERS IN MY SON THE FANATIC STORY BY HANIEF KURESHI." JURNAL BASIS 6, no. 2 (October 26, 2019): 197. http://dx.doi.org/10.33884/basisupb.v6i2.1432.

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This study aimed to reveal the forms of hybridity as a result of the existence of postcolonial cultural contact with the construction of a colonial form. Researchers revealed the hybridity represented by the characters Parvez and Ali in My Son the Fanatic Short Story by Hanief Kureshi. This study used the Postcolonialism approach in the hybridity concept of Homi K Bhabha. According to. Bhabha (1994) Hybridity is a cross between two different cultures in a tangent interaction. In this case, hybridity is not only seen as a fusion of culture but also cultural products placed in social and historical space under postcolonialism which are part of the imposition of colonial power relations. The qualitative descriptive method was used in this study because of its essence in descriptive text analysis in predetermined literary works. The results of this study indicated that there are two forms of hybridity representation in this study. First, the character of mimicry in the sense of ambiguity and contradictory character as a discourse of cultural devotion due to the colonial construction that was formed. Mimicry is represented by the character Parvez in the story. Second, the ambivalence represented by his son named Ali. Ali was aware of the colonial discriminatory against culture so he resisted the construction but on the other hand, he did not know what identity he should hold.

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Lee, Yu Lim, Minji Jung, Robert Jeyakumar Nathan, and Jae-Eun Chung. "Cross-National Study on the Perception of the Korean Wave and Cultural Hybridity in Indonesia and Malaysia Using Discourse on Social Media." Sustainability 12, no. 15 (July 28, 2020): 6072. http://dx.doi.org/10.3390/su12156072.

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In the era of globalization, due to the prevalent cultural exchange between countries, inflows of foreign cultural products can enrich local culture by hybridizing local and global culture together. Although there have been numerous studies on cultural hybridity using qualitative interviews with recipients of foreign cultural products in single countries, cross-national studies that examine the national characteristics that facilitate or impede cultural hybridity remain scarce. The purpose of the present study is to identify the factors that promote or hinder cultural hybridity between the Korean Wave and Muslim culture by probing the similarities and differences in social media data on Korean cultural products between Indonesia and Malaysia using a semantic network analysis. The results of the study uncovered the three factors that promote cultural hybridity (‘Asian identity’, policies emphasizing ‘unity in ethnic diversity’, and ‘local consumers xenocentrism’) and the two hindering elements (‘a conservative nature of religion’ and ‘discrimination between ethnic groups’). Theoretical contributions and practical implications are also provided for promoting cultural hybridity.

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Ruberto, Laura E., and Joseph Sciorra. "Migration and material culture: legacy, ethnicity, hybridity." Diasporas, no. 32 (December 31, 2018): 125–29. http://dx.doi.org/10.4000/diasporas.2475.

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Kaya, Ayhan. "Hybridity and its Discontents: Politics, Science, Culture." Nations and Nationalism 10, no. 3 (July 2004): 376–77. http://dx.doi.org/10.1111/j.1354-5078.2004.172_2.x.

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Crossley, Laura. "Gangstagrass: Hybridity and popular culture in Justified." Journal of Popular Television 2, no. 1 (April 1, 2014): 57–75. http://dx.doi.org/10.1386/jptv.2.1.57_1.

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Holland, Alison. "Hybridity and its discontents: politics, science, culture." Feminist Review 70, no. 1 (2002): 166–67. http://dx.doi.org/10.1057/palgrave/fr/9400011.

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Azizi, Haikal Hibatul, and C. Dewi Hartati. "Culture Hybridity in Padi Lapa Temple, Jakarta." Bambuti 1, no. 2 (May 24, 2019): 39–48. http://dx.doi.org/10.53744/bambuti.v1i2.5.

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Abstract. Padi Lapa temple is located in west Jakarta. It is different with the other temple. The peak time for this temple is Thursday night. Thursday night is considered sacred time for people who often come here. In this temple there is a special offering place for Wali Songo which is only open on Thursday night. There is one statue that is above the altar, the statue is a statue of the grandson of Sunan Gunung Jati, Prabu Siliwangi, who is depicted as a tiger. The offerings is like Kejawen such as lisong, seven forms of flowers and incense. Special rituals were preserved. It can be seen that the tumpengan is seen on Eid al-Fitr, Eid al-Adha and the Prophet's birthday which are usually equated with the night of one sura. In the evening, a heirloom object that is placed or donated to the temple is sanctified by a pilgrim who studies or has sufficient Islamic knowledge.

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Pansters, Wil G. "Authenticity, hybridity, and difference." Focaal 2005, no. 45 (June 1, 2005): 71–93. http://dx.doi.org/10.3167/092012905780909324.

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This article studies the transformation of the debate about national culture in twentieth-century Mexico by looking at the complex relationship between discourses of authenticity and mestizaje. The article firstly demonstrates how in the first half of the twentieth century, Mexican national identity was constructed out of a state-led program of mestizaje, thereby supposedly giving rise to a new and authentic identity, the mestizo (nation). Secondly, it is argued that the authentication project around mestizaje is riddled with paradoxes that require explanation. Thirdly, the article studies the political dimension of the authenticity discourse and demonstrates how the homogenizing and unifying forces that spring from the process of authentication played an important role in buttressing an authoritarian regime. Fourthly, the article looks at two recent developments: indigenous cultural politics and transnationalism. Here it is shown how discourses of difference, pluralism, and transnationalism are challenging the central tenets of Mexican post-revolutionary national culture and the boundaries of the national Self.

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Мірончук Т. А. and Одарчук Н. А. "ПОНЯТТЯ ГІБРИДНОСТІ В СУЧАСНОМУ УКРАЇНОМОВНОМУ ІНФОРМАЦІЙНОМУ ПРОСТОРІ: МОВОЗНАВЧИЙ АСПЕКТ." International Journal of Innovative Technologies in Social Science, no. 1(13) (January 31, 2019): 15–20. http://dx.doi.org/10.31435/rsglobal_ijitss/31012019/6324.

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The paper addresses the notions of hybridity («гібридність») and discusses social preconditions that account for its recurrence in the Ukrainian culture. The issue is explored via social, political, scientific, and cultural spheres, which make lingual context for the external semantics of the notion of hybridity. The internal semantics of the notion is studied through its dictionary definitions. As a result, there are revealed denotative and connotative semes that are indicative of and associated with the notion “hybridity” in the Ukrainian culture.

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Utami, Mediana, and Muria Endah Sokowati. "Konstruksi Identitas Global Dan Lokal Dalam Majalah Gogirl!: Sebuah Hibriditas (Analisis Semiotik Majalah Gogirl! Edisi 101 Bulan Juni Tahun 2013)." Jurnal Komunikasi 15, no. 2 (April 30, 2021): 91–108. http://dx.doi.org/10.20885/komunikasi.vol15.iss2.art2.

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This research focuses on describe the position of local and global identities in hybridity. In explain the construction of local and global identities on Gogirl!, the author used semiotics of Roland Barthes. Hybridity is a resistance of local culture to global domination. Magazine assimilated the elements of global culture, devoid eliminated or defend the local elements. In this case, there are certain hybridity mechanisms that has been done, namely the use of hodgepodge language, a blend of English and bahasa Indonesia; the usage of western elements as inspiration; and maintaining the spirit of localism. The hibridity of GoGirls! is a form of negotiation to provide opportunity on the present of local identity. As an inferior subject, local identity becomes an active subject in expressing its identity at the global level through hybridity.

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Brantlinger, Patrick, and Robert J. C. Young. "Colonial Desire: Hybridity in Theory, Culture and Race." American Historical Review 101, no. 5 (December 1996): 1519. http://dx.doi.org/10.2307/2170185.

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Sidaway, James Derrick. "Colonial desire: Hybridity in theory, culture and race." Journal of Rural Studies 12, no. 3 (July 1996): 327–28. http://dx.doi.org/10.1016/0743-0167(96)82240-6.

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Balázs, Imre József. "Surrealist Hybrids – Contemporary Hybrids Árpád Mezei and the Late Surrealist Theories of Hybridity." Acta Universitatis Sapientiae, Philologica 9, no. 1 (September 26, 2017): 49–56. http://dx.doi.org/10.1515/ausp-2017-0004.

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Abstract Árpád Mezei (1902-1998) was a Hungarian art theoretician and psychologist. In the 1940s he was co-founder of the Európai Iskola (European School), the most important assembly of progressive Hungarian artists and art theoreticians of the period. His readings in art theory and his friendship with the Surrealist painter and writer Marcel Jean (who lived in Budapest in the period between 1938 and 1945) had a strong impact on his intellectual profile: he co-authored with Marcel Jean three volumes that became important for the understanding of the international Surrealist movement. The paper analyses Mezei’s concepts and tries to reconstruct his interpretative framework where several aspects of culture including mythology, history, literature, art and history of architecture communicate with each other, and hybridity is one of the key concepts. Being used to describe contemporary shifts in culture and identity by authors like Peter Burke, hybridity is of great interest to contemporary culture. The paper points out possible links between late Surrealist theories of hybridity and contemporary culture.

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Chan, Selina Ching. "Tea cafés and the Hong Kong identity: Food culture and hybridity." China Information 33, no. 3 (May 11, 2018): 311–28. http://dx.doi.org/10.1177/0920203x18773409.

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This article examines the meanings of caa caan teng (茶餐廳, local cafés) in Hong Kong and the implications of such cafés on the Hong Kong identity. It argues that the local café is a representation of Hong Kong culture because it reflects Hong Kong’s political, economic, and social developmental paths and mirrors the everyday life of its people. I investigate how the interaction of different immigrant cultures in Hong Kong has resulted in the invention of hybrid foods at the local café. These foods demonstrate hybridity as the transgression of boundaries through the negotiation of cultural differences among migrants, as well as those between migrants and colonialists. I argue that hybridity in local cafés reflects the power relations among the locals in Hong Kong, between locals and colonialists, and between locals and the new authorities in Beijing. Hybridity found in local cafés symbolizes the Hong Kong identity, as an entanglement between the multiplicity of Chinese ethnicities and the colonial modernity as characterized by flexibility, efficiency, choice, and diversity. These features differentiate the Hong Kong people from the colonialists and the mainlanders, thus constructing their identity and subjectivity, as former colonial subjects now living in the ‘periphery’ of the motherland.

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McLeod, Ken. "Visual Kei: Hybridity and Gender in Japanese Popular Culture." YOUNG 21, no. 4 (November 2013): 309–25. http://dx.doi.org/10.1177/1103308813506145.

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Marini, Lisa, Jane Andrew, and Sandra van der Laan. "Accountability practices in microfinance: cultural translation and the role of intermediaries." Accounting, Auditing & Accountability Journal 31, no. 7 (September 17, 2018): 1904–31. http://dx.doi.org/10.1108/aaaj-07-2017-3028.

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Purpose The purpose of this paper is to explore how accountability practices are affected and potentially transformed when mediated by translation. Adopting a postcolonial lens, the authors consider the ways in which translation functions and how intermediaries act as cultural translators in the context of microfinance. Design/methodology/approach The authors take a qualitative approach to a case study of a microfinance organization based in South Africa. Fieldwork allowed for the collection of data by means of direct observations, interviews, documents and a fieldwork diary. Findings The study demonstrates the presence of spaces of hybridity that co-exist within the same organizational context (Bhabha, 1994). Two spaces of hybridity are highlighted, in which translation processes were possible because of the proximity between borrowers and fieldworkers. The first space of hybridity was found locally and here translation shaped an accountability that aimed at leveraging local cultures and favoring cultural framing. The second space of hybridity was characterized by the interaction between oral and written cultures and the translation of responsibilities and expectations was predominantly unidirectional, prioritizing accountability practices consistent with organizational requirements. Originality/value This research offers in-depth insights into the links between intermediation, translation and accountability practices. It differs from prior research in considering intermediaries as active translators of accountability practices who act in-between cultures. The authors contend that the translation process reinscribes culture allowing dominant accountability practices to prevail and local cultural traditions to merely contextualize accountability practices.

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Sverbilova, T. "DISCOURSE OF TRANSCULTURATION AND CULTURAL HYBRIDITY AS COMPARATIVE LITERATURE SUBJECT." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 35 (2019): 318–36. http://dx.doi.org/10.17721/2075-437x.2019.35.31.

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Theories of hybrid culture and transculturalism are analyzed from the point of view of comparative literature. In the modern world the transformation of multiculturalism and globalism towards transculture is an inevitable consequence of the complicated processes of cultural interaction in all countries of the world. Transculturalism is an alternative to multiculturalism as a product of globalism and has different rhetoric of the Other. The transcultural concept, put forward by F. Ortiz as an alternative to the asymmetric concept of acculturation in the area of cultural contacts, provided opportunities for describing the complex processes of cultural interaction in the era of globalization. Transculture is based on the cultural polyphony, in which there should not be a complete synthesis, where the cultures retain some opacity. The concept of transculturality can be used as a basis for a modern comparative analysis of literature. At the same time, key issues of interaction of cultures in post-Soviet discourse are not solved. Therefore, the study of methodologies of post-Soviet studies is important not only as theoretical problem, but also as a problem of general cultural significance. Therefore, the Caribbean philosophy, which is being built as a significant element of contemporary comparativism in the field of interaction between cultures, directly concerns the problems of choosing ways of further postcolonial development of postSoviet cultures. Transculturalism proposes the principle of hybridity instead of the archaic principle of the purity of national culture, declaring the change in attitude to national languages, cultural traditions and the very concept of nation-state, giving way to the processes of transnationalization and polyglossia associated with the principle of the networked cosmopolitanism. This is a new relationship between languages and cultures. Ultimately, this new andmagological interaction between the Own and the Other. It is a search for a new unity of the various Others.

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Marciniak, Katarzyna. "Post-socialist hybrids." European Journal of Cultural Studies 12, no. 2 (May 2009): 173–90. http://dx.doi.org/10.1177/1367549409102424.

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Focusing on the architectural and media design of the New European landscape of Poland, this article introduces the concept of `post-socialist hybridity' as a metaphor to capture the contradictions and ambivalences that have emerged in the post-Berlin Wall period. This hybridity is connected to Poland's spectral nationality: that is, the way in which socialism, although officially dead, continues to haunt the nation. As post-socialist transformations take place, they produce hybridized cultures of local specificities, involving a material and emotional architecture that mixes 'old', enduring socialist realities with the welcomed arrival of western goods, images and new models of desirable identities. This desire for instant westernization, globalization and refashioning of culture persists alongside the need to reassert Polishness and an ultranational ethos promoted most strongly through TV channels and radio programs belonging to conservative Catholic groups. To analyze these clashes, Kamil Turowski's photo-document `Streets of Crocodiles: Post-Socialist Globalization' is used, as well as radio and digital culture.

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Jevremović, Ivana. "Hybridity in and beyond architecture: Liminal conditions." SAJ - Serbian Architectural Journal 9, no. 3 (2017): 239–62. http://dx.doi.org/10.5937/saj1703239j.

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The focus of this research is on hybrids and hybridity, with the emphasis on their liminal character - programme and formal non-finiteness. This paper presents a part of an ongoing doctoral research concerning theoretical frame for discussion and defining hybridity in architectural theory and practice. It deliberates hybridity through the social and humanistic discourse as well as theory of architecture in the context of both culture and architecture. The research describes hybrid as a condition, which can be observed through the concept of liminality and constant transformations, as opposed to finiteness of any kind. In this context, the aim of this paper is to locate and discuss hybridity in the contemporary architectural discourse, on the basis of etymological and connotative characteristics established through the architectural theory and other relevant disciplines in the field of social and humanistic sciences.

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Shamim Akhter. "Towards Cultural Clash and Hybridity, An Analysis of Bapsi Sidhwa’s An American Brat." sjesr 3, no. 3 (September 29, 2020): 22–34. http://dx.doi.org/10.36902/sjesr-vol3-iss3-2020(22-34).

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Culture is a way of life that takes into its jurisdiction to all experiences of life and social associations. Culture receives variations over time. Similarly, the culture of the Sub-continent is altered with the arrival of the English here. That is why the Literature of this area is called Post-colonial literature. Cross-Culturalism is also a part of post-colonial theory. Its chief aim is to analyze the morphological organization which takes to the origination of the conception. Culturalism indicates the tractability of the self to absorb in the transmission and understanding of spoken and written indications and to react accurately and suitably. The ‘cross’ in cross-culturalism designates the crossing of the remotest barriers from one make to another. It also reveals the constant growth of borders. People migrate to other countries, lead life by absorbing the culture of that country but they experience problems regarding language and their own culture. The undertaken research aims to reveal the cross-cultural experiences keeping in view Sidhwa’s (1994) ‘An American Brat’. Sidhwa (1994), explores the differences of cultures that existed between East and West by introducing the character of Feroza. Feroza belongs to Pakistan and goes to America. She finds the culture of America different from the culture of her native country. The undertaken research is an attempt to reveal the description of cultural differences and hybridity through the character of Feroza.

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HAENNI, SABINE. "‘A Community of Consumers’: Legitimate Hybridity, German American Theatre, and the American Public." Theatre Research International 28, no. 3 (October 2003): 267–88. http://dx.doi.org/10.1017/s0307883303001135.

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German American theatre in late nineteenth- and early twentieth-century New York City became a model for both a national American theatre and other diasporic theatres in the US. This theatre aspired to an autonomous, class-free, universal culture, which was seen as the legacy of a German Enlightenment tradition epitomized by Schiller's national(izing) theatre. German Americans were thus exceptionally positioned to claim the ideology of a universal culture as a national characteristic. At the same time, however, the theatre was structured by market demands and the need to appeal to a diverse German American constituency. This oscillation between idealistic and commercial culture made the German American theatre attractive. In the end, the theatre not only helped legitimize New York City's cultural periphery, but became a model when a new American ‘national’ culture, the national theatre, was being imagined, which ultimately illustrates the importance of the concept of legitimacy for hybrid public cultures.

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Westwood, R. I., and P. S. Kirkbride. "International strategies of corporate culture change: emulation, consumption and hybridity." Journal of Organizational Change Management 11, no. 6 (December 1998): 554–77. http://dx.doi.org/10.1108/09534819810242770.

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Hirschmann, D. "Beyond hybridity: Culture and ethnicity in the Mauritius Revenue Authority." African Affairs 110, no. 440 (June 14, 2011): 417–37. http://dx.doi.org/10.1093/afraf/adr026.

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Shim, Doobo. "Hybridity and the rise of Korean popular culture in Asia." Media, Culture & Society 28, no. 1 (January 2006): 25–44. http://dx.doi.org/10.1177/0163443706059278.

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Flew, Terry, Mark Ryan, and Chunmeizi Su. "Culture, Communication and Hybridity: The Case ofThe Rap of China." Journal of Multicultural Discourses 14, no. 2 (April 3, 2019): 93–106. http://dx.doi.org/10.1080/17447143.2019.1621322.

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Essadek, Fatima. "A Hybrid New World... or Not?" Critical Survey 31, no. 3 (September 1, 2019): 1–14. http://dx.doi.org/10.3167/cs.2019.310302.

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During the last three decades, early modern scholarship has drawn heavily on twentieth-century theorisation to analyse the socio-cultural conditions in the sixteenth and seventeenth centuries. An example of such scholarly endeavours is the attempt to appropriate the concept of hybridity to explain the constitution of cultural identity. This article re-evaluates this critical trend by reviewing the model of hybridity in relation to early modern cultures; it simultaneously proposes the existence of another cultural pattern that is here labelled ‘cultural transformation’. The article also contends that hybridisation is more manifest in the domain of material culture: the ethno-cultural characteristics of early modern communities made them more receptive towards accepting and integrating material objects but less welcoming towards assimilating beliefs, values or cultural practices from other nations.

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Peng, Li Hsun, Chia Hsin Hsueh, and Jeng Jia Lou. "Analytical Research on Sign and Symbol of Two Avant-Garde Women Designers’ Works." Applied Mechanics and Materials 311 (February 2013): 269–74. http://dx.doi.org/10.4028/www.scientific.net/amm.311.269.

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We live in a visually intensive society. Visual symbols are one of the most important keys to communication in the design field. Usually, the symbolic meaning of artwork is closely related to its historical background, culture, socio-political environment and economic constructions. This study aimed to investigate two women designers in the Avant-Garde era, which applied cultural hybridity to their art works and managed to stand out in their field, which was dominated by male designers. We will take Clarice Cliff and Sonia Delaunay as the core cases to analyze and collaborate. As we know, these two women designers are two important fashion designers that represent different styles in design history. Their works glorify symbol in the rhythmic relations of its simultaneous contrasts. In addition, both of their styles were influenced by the merge of divergent cultures. Thus, the primary design of this study focuses on hybridity in symbol and sign. We tend to understand how cultural elements have inspired these two designers’ fashion works in visual communication. The reason why we take these two women designers as the main analytic subjects is because of their uniqueness, which represents one interpretation of the awareness of Avant-Garde production. By using Bricolage and Phenomenography as the main methodologies, and the use of Third Space Identity and Hybridity as our research theories, through an analysis of papers and cases, we hope to explore the symbolism and meaning represented by these two designers from design and culture perspectives.

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ELIMAM, ABDOU, and PAUL CHILTON. "The paradoxical hybridity of words." Language and Cognition 10, no. 2 (November 2, 2017): 208–33. http://dx.doi.org/10.1017/langcog.2017.20.

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abstractWords can be matched with the concept of sign (correspondence of a signifier to a signified) as long as they act as symbol-words endowed with some semantic self-sufficiency. But in discourse, they lose their wholeness as symbol-words and metamorphose into wording-symbols. They, suddenly, appear as mere signifier entities with a more or less loose allusion to their status as cultural symbols. In discourse, words are no longer signs but tools covering ephemeral collections of neurosemes: the link of the sign breaks as soon as discourse takes over. The referential potential is no longer the schematic meaning issued from culture, but the universe of discourse under construction. This is why any attempt to account for meaning in language must integrate the neural process of meaning creation. It is now established that meaning is not the result of language activity but the result of cognition. However, what language does, via discourse, is to make this meaning communicable. For all these reasons, the task of linguistics should be to investigate the relationship between cognition and linguistic output in order to shed light on all the cognitive traces left within the surface strings. The role of morphosyntax thus has to be re-evaluated in this light.

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SHIRAISHI, Masaki. "Bushidō as a Hybrid: Hybridity and Transculturation in the Bushido Discourse." Asian Studies 6, no. 2 (June 29, 2018): 51–70. http://dx.doi.org/10.4312/as.2018.6.2.51-70.

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This paper examines the discourse on bushido in the late Meiji period. My aim is to shed light on bushido’s hybridity by using the concept of transculturation. Transculturation conceptualizes encounters between different cultures as a process of mutual construction. The bushido theorists that are discussed in this paper are in some sense transculturators, struggling between Japan and the West, the particular and the universal, and tradition and modernity. One of the common theoretical strategies for solving this problem attempted to valorize bushido and was mostly dependent on establishing equivalence with similar traditions in Western culture, such as chivalry or gentlemanship. Nitobe’s famous book on bushido went beyond this type of strategy. He not only accounted for things in Japanese cultural tradition by using Western logic, but also reinterpreted Western concepts in light of Japanese cultural traditions. This makes Nitobe a more perfect example of a transculturator than others. The ultra-nationalist discourse on bushido by Inoue Tetsujiro shows another curious aspect of bushido’s hybridity. Bushido became at once purified and hybridized through the distinction he made between superficial formality and the essential spirit. Thus, the discursive strategies of bushido theorists are closely related to bushido’s hybridity.

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Sunarto, Sunarto, Irfanda Rizki Harmono Sejati, and Udi Utomo. "Mimicry and Hybridity of “Congrock Musik 17” in Semarang." Harmonia: Journal of Arts Research and Education 20, no. 1 (June 9, 2020): 29–38. http://dx.doi.org/10.15294/harmonia.v20i1.24563.

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Keroncong, a slow and crooning music, serves as the art and culture that reflects Indonesian identities. This music style still exists today, particularly in Semarang that is widely known as an urban area. The resistance of such music is actualized with the process of mimicry and hybridity of keroncong and rock music, causing pros and cons that lead to a crisis. The performed mimicry and hybridity is a negotiation in identity construction that takes place in ambivalent behavior as a strategy to survive from the crisis. Building an identity of Congrock (keroncong and rock) is carried out to explore the mediation form in the third space, enabling the outlining of the position of Congrock identity in Semarang. A case study, an art research method, and historical reading were employed to interpret the existing phenomenon. The result indicated that the Congrock identity was the result of mimicry and hybridity that was formed due to the hegemony in Indonesia. Mimicry and hybridity had become the most important point because they took place in an urban area, such as Semarang. The integration of local and global cultures in Congrock generated a new identity in society as the third space and created a gray zone in Congrock, i.e., the area between the form of imitation and cross-cultural music integration. The position of Congrock in Semarang became a symbol of freedom in negotiating locality while partially articulating modernity.

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Huber, Sandra. "Villains, Ghosts, and Roses, or, How to Speak with the Dead." Open Cultural Studies 3, no. 1 (February 1, 2019): 15–25. http://dx.doi.org/10.1515/culture-2019-0002.

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Abstract If narratives that uphold secular humanism have led to an “unparalleled catastrophe” as Sylvia Wynter notes in an interview with Katherine McKittrick, then it is time to unwrite them. In this essay, I examine the dead as a category that exceeds metaphysical classifications of subject and object and provides alternate possibilities of communication and hybridity. To do so, I call on work by Claire Colebrook, Jacques Derrida, John Durham Peters, Eve Tuck, and Unica Zürn, among others, with the cultural work and words of Sylvia Wynter as a guide and galvanising force. Here, I repopulate the life/death seam with gorgons, witches, fates, and revenge stories. If ghosts are seen simply as other beings, albeit taboo ones like bacteria, or require alternate cultural narratives like villains, or exist both in the symbolic sphere of the mystical and the so-called natural world like roses, what kinds of methodologies can be opened? What do the dead have to say and how do we listen?

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Kenzo, Mabiala Justin-Robert. "Religion, hybridity, and the construction of reality in postcolonial Africa." Exchange 33, no. 3 (2004): 244–68. http://dx.doi.org/10.1163/157254304774249907.

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AbstractThat Africans are incurably religious has been one of the pillars on which current knowledge on Africa and the Africans is built. However, the accuracy of the claim is questionable on a number of fronts. The paper suggests that the real significance of the question is that it raises the issue of cultural determinism and indeterminism. Taking our cue from the postmodern and postcolonial criticism, we argue that cultures (or religions) are not ready-made packages that are passed on from one generation to another. Rather, cultures are transmitted through processes that can be described in terms of interactivity, negotiability, indeterminacy, fragmentation, and conflict. More importantly, humans are active participants in these processes. Based on this view of culture, the paper argues that the religious identity of Africans is a matter of constructed hybridity. Our reading of Ben Okri's Famished Road further demonstrates that Africans are neither incurably religious nor incurably irreligious. Instead, they skillfully and creatively construct their identity borrowing insights from resources that are both endogenous and exogeneous to Africa and their own tribal contexts.

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Madueke, Sylvia Ijeoma. "On Translating Postcolonial African Writing: French Translation of Chimamanda Adichie’s Half of a Yellow Sun." TranscUlturAl: A Journal of Translation and Cultural Studies 11, no. 1 (August 6, 2019): 49–66. http://dx.doi.org/10.21992/tc29446.

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Like many postcolonial African novels written in English, Half of a Yellow Sun (2006) written by Nigerian writer Chimamanda Ngozi Adichie presents many instances of literary hybridity. This paper focuses on these occurrences of hybridity and examines their translation from English into French. The paper considers various manifestations of hybridity in the novel and compares them with the novel’s French translation to illuminate translation strategies while analyzing the implications of key translation choices. This paper emphasizes that the translator made a significant effort to employ ethnocentric strategies to preserve the resonances of the author’s culture, especially instances of vernacular language inherent in the original text. The paper also notes seemingly arbitrary choices that exoticize and homogenize the translated text. Despite these instances, this paper concludes that the translation managed to maintain a balance between the source text and the target language.

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Deshmukh, Ajay S., and Rajdeep R. Deshmukh. "Looming Diasporic In-Betweenness: A Critical Study of Hybridity and Culture in Agha Shahid Ali’s Poetic World." SMART MOVES JOURNAL IJELLH 9, no. 7 (July 29, 2021): 1–11. http://dx.doi.org/10.24113/ijellh.v9i7.11113.

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Hybridity is an outcome of consistent movement and interaction of two different aspects of human existence. The forces of nature when confluence each other cause hybrid existence bringing the traces of both into it. It may by and large cohabit the space and time, race and culture, philosophy and religion etc. It encompasses the divergent modes of existence, thinking patterns, behavioral norms, socio-cultural ethos, political and administrative ambience. Diasporic Hybridity is pertinent discourse. It is cause of anxiety in the early stage of migrant experience whereas settling base of later stage of existence of diasporic community. Present paper is an attempt to trace the threads of looming diasporic in-betweenness as reflected in the poetry of Agha Shahid Ali.

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Nurse, Keith. "GLOBALIZATION AND TRINIDAD CARNIVAL: DIASPORA, HYBRIDITY AND IDENTITY IN GLOBAL CULTURE." Cultural Studies 13, no. 4 (October 1999): 661–90. http://dx.doi.org/10.1080/095023899335095.

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Dean, Carolyn, and Dana Leibsohn. "Hybridity and Its Discontents: Considering Visual Culture in Colonial Spanish America*." Colonial Latin American Review 12, no. 1 (June 2003): 5–35. http://dx.doi.org/10.1080/10609160302341.

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Kanozia, Rubal, and Garima Ganghariya. "Cultural proximity and hybridity: popularity of Korean pop culture in India." Media Asia 48, no. 3 (March 22, 2021): 219–28. http://dx.doi.org/10.1080/01296612.2021.1902079.

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Birlea, Oana-Maria. "Hybridity in Japanese Advertising Discourse." Acta Universitatis Sapientiae, Philologica 11, no. 2 (December 1, 2019): 55–71. http://dx.doi.org/10.2478/ausp-2019-0012.

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Abstract The purpose of this paper is to reveal the impact of cultural exchange on Japanese advertising discourse construction perpetuated through the idea of prestige. This phenomenon can be explained through the concept of mukokuseki (Jap. 無国籍) ‘lack of nationality’, a term which encompasses the idea of transculturality in Asia. In the context of globalization, erasing the identity or any sort of national mark enhances the absorption and integration of foreign elements and leads to reconsidering aesthetic communication. Japanese advertising discourse is based more on emotional reactions rather than cognitive ones, and this can be noticed through the extensive use of kawaii ‘cute’ symbolism. Considering that the idea encompassed by the concept of “cute” is present in any culture, and its effects are more or less the same, by freeing it from any cultural or societal restraints (mukokuseki), it becomes an intermediary space where traditional, national elements can overlap foreign ones without damaging the essence of the discourse, but on the contrary. Interculturality and inbetweenness manifests not only at the visual level but also at the linguistic level through hybrid language use: the coexistence of gairaigo (loan words) along wago (words deriving from Japanese) and kango (words deriving from Chinese). According to several studies, gairaigo and wasei-eigo (Japanglish, English words coined in Japan) create a special effect and often serve as euphemisms. Thus, we have selected three Japanese print adverts (displayed between 2000 and 2012) in order to explain the phenomenon by focusing on their sociolinguistic function and their impact on discourse construction. Advertising discourse has surpassed its primary economic function and has come to be a statement of the global world.

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Nahachewsky, Andriy. "Key Conceptual Threads in Ukrainian Canadian Ethnography." East/West: Journal of Ukrainian Studies 5, no. 1 (March 23, 2018): 91–114. http://dx.doi.org/10.21226/ewjus372.

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Ukrainian ethnography has been a large, diffuse field of activity in Canada, with several identifiable threads. The field’s significance has been primarily cumulative rather than evident in individual field-changing works. Robert Klymasz’s PhD dissertation (“Ukrainian Folklore in Canada,” 1971) on continuity and change in Ukrainian Canadian culture is the main exception. Some studies have dealt with traditional culture in Ukraine, but the mainstream of Ukrainian Canadian ethnography has focused on Ukrainian cultural activities documented in Canada itself. Within these Canadian materials, many scholars have allowed for, and even celebrated, the processes of adaptation, hybridity, and creativity in Ukrainian Canadian culture. Ukrainian Canadian ethnography has been strongly integrated with North American scholarship in general, but until recently it was poorly connected with folkloristics and ethnology in Ukraine. Canadian ethnography has potential to contribute to Ukraine’s ethnology and folkloristics through its nuanced elaboration of the importance of context and its documentation of processes of cultural change and hybridity, urban traditions, ethnic identity and revival, and multicultural relations.

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Ramin, Zohreh, and Monireh Arvin. "The Validity of Hybridity in Derek Walcott’s A Branch of the Blue Nile." Journal of Language Teaching and Research 9, no. 1 (January 1, 2018): 97. http://dx.doi.org/10.17507/jltr.0901.12.

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With A Branch of the Blue Nile (1983) Derek Walcott makes a strong statement for the validity of a hybrid West Indian culture. He portrays the relation between European, specifically English, as well as American and African culture as one that should not be marked by a hierarchy, placing the central culture and languages at the top and African or mixed cultures/languages at the bottom. Walcott’s strategy here is to show that the so–called standards, Shakespeare’s ‘classical’ plays and their language are already of a hybrid nature, and any attempt to characterise them as homogenous entities and preserve them as such may ultimately result in their inertness. What threatens a civilisation or culture, according to Walcott, is not some form of hybridity, but rather the closing off or preservation of artistic forms from other foreign influences because it makes these artistic forms incapable of interacting with the surrounding cultural environment. The authors of this paper while appreciating all the orchestrated bonus of the existing relevant criticisms on hybridity towards Walcott’s A Branch of the Blue Nile intend to examine the use of Bakhtinian notions with regard to language exemplifying Bakhtin’s view of linguistic interanimation and his insights into the “polyglotic” and “heteroglotic” nature of the play. The purpose of this article is to provide the readers with a quest for the formation of Caribbean identity, beyond dualism, through the vernacular. Walcott portrays the vernacular as being capable of voicing the ideas necessary to define one’s identity.

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Liu, Tingxuan. "Hybridization in Political Civilization in Samuel Selvon’s The Lonely Londoners and Moses Ascending." Theory and Practice in Language Studies 6, no. 5 (May 17, 2016): 1006. http://dx.doi.org/10.17507/tpls.0605.14.

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Samuel Selvon (1923-1994) is a great pioneer in Creole literature. His writing in the Moses trilogy is very representative because of his preoccupation with issues of identity and culture. The Lonely Londoners, published in 1956, and Moses Ascending, published in 1975, are two of them. These two books telling Creole immigrants’ story have been recognized as a great masterpiece in Caribbean literature, which have a far-reaching influence on postcolonial literature. This thesis attempts to employ Homi Bhabha’s theory of hybridity to illustrate the Creoles’ struggle against colonization and the construction of political hybridity. The thesis consists of three parts. Part One is Introduction, which presents a short introduction to the author Samuel Selvon, his two works, the theoretical framework. Part Two depicts the process of the Creoles’ struggle against colonization in political civilization. In the aspect of politics, the Creoles experience the process from unawareness of politics to pursuing their political dream. They attempt to construct their own political system on the basis of the British mode. Part Three is Conclusion. Based on the above analyses, the thesis draws the conclusion that different cultures can influence each other. The effective way to realize decolonization is the construction of political hybridity.

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Journal articles on the topic 'Hybridity of Culture'

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