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Dissertations / Theses on the topic 'Hybridity'
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1
Park, Yaeyoung. "Finding Unfound_Graphic Hybridity." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3854.
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Hybridity is the result when visual form, color or tools interact. While not every combination of multiple elements result in success, I believe creativity, intuition and serendipity determines the successful hybridity. This is the documentation of my journey to develop a personal definition of successful hybridity in graphic design.
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Winterstein, Xavier Joseph. "Painting Samoan hybridity – le Va." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18771.
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I have always struggled to come to terms of my position between worlds. Growing up involved constant friction between my Samoan heritage and Western upbringing; resulting in a bitterness towards an unknown Samoan culture. These feelings were to be confronted directly as I was asked by my parents to undertake the role of Matai – a Samoan chief. This research paper looks at cultural hybridity and how visual dialogue aids in resolving an internal feud of clashing cultures. The Samoan term ‘Va’ is associated with one’s position and connection, and the paintings produced alongside this investigation become steps towards a resolution by forming an understanding of my position as a hybrid. In the case of this research paper, traditional style oil painting on canvas becomes my mode of choice to portray this communication. The series of paintings created through this research project embodies my connection with Samoan spirituality. The connection is conceived as stories of a sacred world being familiarized through re-enactment and re-evaluation against the present world – my reality. As this journey unfolds, the question is raised: how can the process of painting account for and help mediate the various positions of my subjectivity and the pressure of initiation into the Matai system? Critical analysis of works produced by artists Odd Nerdrum, Kehinde Wiley and Greg Semu aid in finding an answer by investigating hybridity from a contemporary perspective. The resulting research evidences a visual mode of hybrid language that has the power to speak the unspoken; the given, the Va.
3
Goebel, Zane. "Enregistering Ethnicity and Hybridity in Indonesia." School of Letters, Nagoya University, 2008. http://hdl.handle.net/2237/10572.
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Hall, Lauren. "Relationality, hybridity, awareness : being with AIBO." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31618.
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I have been exploring relationships with technologies and the robotic dog AIBO for over a year. A documentation of my experiences culminated in my AIBO Research Journal, which is an outcome of autoethnographic methodology. For a portion of the year, I worked with five participants who observed and recorded their interactions with technologies and AIBO. My own developing relationship with AIBO and observations prompted questions about potential curriculum design. Other research has shown that many people give animalized and anthropomorphized robots greater moral standing than other technologies. I asked whether the cyborgenic qualities of AIBO, in that it is dog and machine-like, could stimulate perceptions of raised moral standing, not only towards the robot, but towards other technologies as well. My concern arises out of the need for humans to become aware of their relationships with technologies and the effects of these relationships on ourselves, others, and environments.
I used design-based research methodology to construct an environment in which participants engaged with technologies and AIBO and used phenomenological reflection to observe effects of the interactions. These observations were collected in journals, audio and video recordings, and interviews. With this data and a range of other sources, an ethnographic picture was generated that gives a sense of the ways people interact with technologies and AIBO.
My research offers an account of human-technology and human-robot relationships, but also tests curriculum design that emphasizes awareness of ourselves, nonhuman animals, and environments. Donna Haraway and Bruno Latour, among others, emphasize a view of relations that promotes thoughtful ways of understanding relationality, otherness, and being. Theories on hybridity, cyborgs, and companion species are major guides for this work. I found that people have many different ways of relating with technologies and AIBO, which suggests the ambiguity and interconnectedness of human-technology and human-robot relationships.<br>Education, Faculty of<br>Curriculum and Pedagogy (EDCP), Department of<br>Graduate
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Canpolat, Seda. "Hybridity in British Muslim women's writing." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/29994/.
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A key paradigm in postcolonial studies, Homi Bhabha’s notion of cultural hybridity has become the dominant model for understanding migrant identity formation. However, its assumed universality and widespread currency are problematic because this concept is not equally applicable or relevant to all migrants. This dissertation focuses on the representation of cultural hybridity in contemporary British Muslim women’s writing, which is well-suited to pointing out the limitations and biases of Bhabha’s celebratory concept of hybridity. Because of its mostly religious, dark-skinned, female and working-Class protagonists, British Muslim women’s texts expose the secular, white, male and middle-class biases on which Bhabha’s idealised subject is predicated. Accordingly, the major literary texts under scrutiny are Leila Aboulela’s novels The Translator (1999) and Minaret (2005), Monica Ali’s Brick Lane (2003) and Fadia Faqir’s My Name Is Salma (2007). By means of an intersectional approach the thesis identifies, one by one, the biases inherent in Bhabha’s vision of hybridity, particularly as it has been appropriated within the field of postcolonial studies. Each of the four chapters addresses one subject position that the heroines inhabit: that is, religion, gender, race and class. Embedded within wider contemporary debates on religion, gender theory, postracialism and class mobility, each chapter illuminates the ways in which these subject positions complicate British Muslim women’s cultural self-fashioning and our understanding of hybridity. The original contribution of this gendered Islamic critique of hybridity is twofold: first of all, it shows that hybridity is not the only model of migrant identity formation. With reference to the value and belief system of Muslim cultures, the dissertation introduces competing Islamic epistemes of cultural self-fashioning. Secondly, it shows that, where hybridity is the preferred cultural choice of British Muslim women, their various female hybridities are the product of gendered reworkings and appropriations of male-centred postcolonial and Islamic paradigms.
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Marsden, Simon Joseph. "Strange combinations : reconsidering hybridity through Victorian fiction." Thesis, Lancaster University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431743.
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Earle, Philippa Helen. "Monism and hybridity in Milton's literary forms." Thesis, University of Exeter, 2018. http://hdl.handle.net/10871/33661.
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A prevailing scholarly view holds that John Milton’s monism (his belief that matter and spirit are inseparable) is a reaction to seventeenth-century determinism. My thesis, however, posits that Milton’s monism in fact emerges from his exploration of literary form. Chapter one traces the classical roots of the philosophy and its compatibility with Genesis. It posits the comprehensiveness of monist philosophy and highlights the vitalist (or animate) implications of ancient monist theories for literary form. Spoken or written words, Democritus suggests, correspond to the material building blocks or “elements” of the universe: the construction of literary form is analogous to the creation of the cosmos. Indeed, Lucretius’ letter-atom analogy suggests that the process of creating literary form is essentially identical to the atomic method underlying the composition of other material forms in the universe. Greek atomist thought, the chapter proposes, finds a striking parallel in Jewish mystical beliefs about creation. It is with the letters of the divine name that the Lord was said to have created the universe. I argue that, for Milton, Aristotle is most influential in expressing a vitalist conception of literary form, for in his philosophy, soul generates voice, which manifests itself in writing. Milton acknowledges the association between words and atoms, between letters and primordial substance, and between voice, or breath, and spirit in his monist materialism; after all, in Genesis, God creates by utterance. Examining the relation of vitalism to Aristotelian poetics, I suggest the relevance of the concept to Milton’s hybrid literary forms. Then, analysing the material nature of voice in Milton’s works, I posit in chapter two that Milton’s polemical pamphlets underscore the sense of spirit in writing that we find in the poetry. That literary forms can be perceived to embody soul because they evoke voice is evident also from Milton’s Art of Logic (1672). I suggest in chapter three that Logic is saturated with materialism because the Aristotelian sources on which Milton’s Ramist logic is based express material monism. Milton’s Logic and Areopagitica (1644) provide further evidence of his thinking about the vital potential of literary form through the logical construction of texts, a continued interest, I argue, which ultimately engenders his mature monism. Milton use of dream narratives in Paradise Lost, I propose, suggests that reality varies materially by degrees. The parts that reality comprises become more distinct after the Fall, when Milton’s dream narratives, and his cosmology, changes. Before the Fall, the poet imagines that Earth orbits the sun, and that the sun orbits heaven at the centre of the cosmos, a formation, I explain, that has striking resemblance to modern knowledge of the solar system. With careful attention to the dreams of Paradise Lost, I have determined that monism, for Milton, encompasses the workings of intellect, and in the final chapter, I argue that this principle is central to understanding Paradise Regained. The Son’s method of survival in the wilderness becomes the means by which paradise (the spiritual reality) is regained. Understanding his own nature permits the Son of God physiologically to sustain himself through dreaming; the intellectual achievement alters the material nature of his body so that he is sustained by spiritual food. Monism is at the very heart of Paradise Regained. It is a monist methodology of literary form which enables the poet across his oeuvre truly to represent the nature of reality.
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Radojkovich, Leanne. "The literary benefits of linguistic and cultural hybridity." AUT University, 2010. http://hdl.handle.net/10292/868.
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The objective of this exegesis is to show how linguistic and cultural hybridity create a unique prose style, and how my stories sit within that style. I will use Grace Paley and Lucia Berlin to demonstrate the distinctive narrative techniques. These include the use of sensuous details (instead of descriptions) to make place and character palpable; dialogue that convincingly evokes living speech; plots which emanate from the characters, rather than the other way round; and open-ended resolutions, as in real life. I will then show how I use these narrative techniques in my collection Happiness and other stories.
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Cigdem, Turasan Ferruh. "Othering And Hybridity In Joseph Conrad'." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615593/index.pdf.
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This thesis studies Joseph Conrad&rsquo<br>s Almayer&rsquo<br>s Folly in terms of two theoretical
concepts<br>othering and hybridity. The first theoretical concept, othering, is analysed from
various perspectives for three main reasons: 1) The question of &ldquo<br>Who is other to whom?&rdquo<br>cannot be answered thoroughly because there is a continuous power struggle between
the European and the non-European characters. 2) The theme of othering in the novel
is based on a view of humanity and its conflicts that is radically ambivalent, and thus
cannot be analyzed from one perspective only. 3) Conrad&rsquo<br>s world view which is
reflected in the novel is not limited to one group of people, but tends to be universal.
The second theoretical concept, hybridity, is analyzed under three subtitles:
ambivalence, mimicry and hybridity.
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Ching-Yi, Chen. "Musical hybridity : Guoyue and Chinese orchestra in Taiwan." Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.575746.
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Guoyue. literally "national music", is a hybrid musical genre that originated from mainland China mixing different types of Chinese traditional music. Transmitted to Taiwan in the 1950s, guoyue today manifests considerable creativity and diversity by drawing on expressions of Chinese cultural heritage and Taiwaneseness, while simultaneously ranging in style from traditional to modem through the influence of systemic modernisation, Westernisation and globalisation. Significant changes to politics, society and economics in Taiwan that began in the second half of the 1980s and continue to affect the Taiwanese population pose ongoing challenges to guoyue, such that its musical practices are undergoing negotiation and reconstruction within the context of Taiwan. Moreover, frequent cross-cultural inlluence and exchange have Icd those in the RIIOYlIe system to gradually incorporate aspects of diverse musical cultures and to produce a new musical form, crossover tkuajiei. through diversified and complex systems of cross-cultural and cross-genre interaction. This thesis consists of an introduction and four major chapters. Chapter two assesses the development of guoyue and the Chinese orchestra iguoyue tuani in mainland China. looking at such issues as hybridisation and political and social transformation. Chapter three explores changes in the development of guoyue in contemporary Taiwan with regard to issues of political transformation. This chapter also discusses how musicians in Taiwan utilise guoyue as an expression in shaping their sense or national identity and vice versa. An ethnographic analysis of the current music making of Chinese orchestras in Taiwan is presented in chapter four. linally, I consider the effects of Taiwan's current govemrnental policy through the concept of transculturation, and offer a transnational perspective through the di fferent situations of guoyue in Singapore and Malaysia. Overall, the research shows that the developments of guoyue and Chinese orchestra have continually changed according to political. social and cultural impacts. This research reveals how an ethnomusicological framework can be used to understand the development of guoyue and how those within guoyue cope with the connected and cross-border musical hybridities that characterise the present situation in postcolonial Taiwan.
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Kelly, Brigid Maria. "Belly dancing in New Zealand: identity, hybridity, transculture." Thesis, University of Canterbury. School of Culture, Literature and Society, 2008. http://hdl.handle.net/10092/2536.
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This thesis explores ways in which some New Zealanders draw on and negotiate both belly dancing and local cultural norms to construct multiple local and global identities. Drawing upon discourse analysis, post-structuralist and post-colonial theory, it argues that belly dancing outside its cultures of origin has become globalised, with its own synthetic culture arising from complex networks of activities, objects and texts focused around the act of belly dancing. This is demonstrated through analysis of New Zealand newspaper accounts, interviews, focus group discussion, the Oasis Dance Camp belly dance event in Tongariro and the work of fusion belly dance troupe Kiwi Iwi in Christchurch. Bringing New Zealand into the field of belly dance study can offer deeper insights into the processes of globalisation and hybridity, and offers possibilities for examination of the variety of ways in which belly dance is practiced around the world.
The thesis fills a gap in the literature about ‘Western’ understandings and uses of the dance, which has thus far heavily emphasised the United States and notions of performing as an ‘exotic Other’. It also shifts away from a sole focus on representation to analyse participants’ experiences of belly dance as dance, rather than only as performative play. The talk of the belly dancers involved in this research demonstrates the complex and contradictory ways in which they articulate ideas about New Zealand identities and cultural conventions. Some of their reflections on belly dancing appear to reflect consciousness of and dis-ease around issues of indigeneity and multiculturalism in wider New Zealand society. Participants in this study also talk about how they explore and perform ideas about femininity, which includes both acceptance and rejection of belly dancing as innately feminine. Looking at New Zealand identities through belly dance, and vice-versa, highlights developing, nuanced and multiple articulations of self and other in a globalised world.
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趙穎璿 and Wing-suen Chiu. "Representations and problematics of hybridity in Amitav Ghosh." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/192982.
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Hybridity has been a privileged theory in post-colonial writings. It is considered as a source of empowerment that resists oppositional binarism and monolithic discourses that characterize dominant Western historical representations. Amitav Ghosh’s In An Antique Land and his ongoing Ibis Trilogy are historiographic projects that instantiate, both textually and formally, the employment of hybridity in resistance of cultural and political suppression. However, Ghosh at the same time interrogates the discourse of hybridity by highlighting its problematics. Such ambivalent stance creates a paradox that the author leaves open as a site for critical debates. Employing the strength of hybridity, Ghosh rewrites history and challenges the critiques that disapprove the theory for its lack of ethics and suggests that the theory of hybridity can fulfill our ethical imperatives by excavating forgotten voices of the past.<br>published_or_final_version<br>English Studies<br>Master<br>Master of Arts
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Kantara, Argyro. "Hybridity as challenge in televised election campaign interviews." Thesis, Cardiff University, 2017. http://orca.cf.ac.uk/108665/.
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This thesis contributes to on-going discussions amongst academics on broadcast political discourse with respect to the multiplicity and transformation of institutional roles and relations in political news interviews. The thesis has as a starting point the way hybridity in broadcast talk challenges “traditional” standards and participants’ identities in political news interviews. Adopting a conversation analytic perspective, it examines how these modified standards and identities shape political news interviews at a micro and a macro level. At a micro level, this thesis investigates episodes of adversarial talk in one-on-one 2012 Greek election campaign interviews, in terms of the turn-taking system and power relations between participants. Doing so, it points to changes in political news interviews (a sub-genre of which is the election campaign interview). In particular, the thesis explores and discusses how, through their hybrid (antagonistic) practices, Greek politicians and journalists transform the televised election campaign news interview into an antagonistic arena where the winner is the one who shows that s/he plays the game of televised news interview in a fair way. At a macro level this thesis contributes with empirical, micro-analytic evidence to wider debates related to politics and media communication by discussing the significance of both participants’ hybrid practices regarding: 1) how (mainstream) populism as political style, becomes manifest and 2) the epistemology of TV journalism in relation to its knowledge producing practices. It is argued that the collaboratively produced hybrid practices identified promote antagonistic politics as the norm and legitimise mainstream politicians’ populist performances.
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Khan, F. "Negotiating British-Muslim identity : hybridity, exclusion and resistance." Thesis, University of Liverpool, 2016. http://livrepository.liverpool.ac.uk/3001177/.
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Since the events of 11 September 2001 Islam and Muslims have been the subject of intense scrutiny and open to pervasive institutional construction, both on a domestic and global level. Such constructions implicate the identities of British-Muslims, the ummah and Muslim countries. The all-encompassing nature of this institutional construction, most notably within the media, mainstream political discourses and State security measures has left little space for British-Muslims to publically express their beliefs, feeling and perceptions in an arena untainted by dominant discourse. This project strives to fill this void by rooting the research in the experiences of British-Muslim youth as narrated by themselves and their peers. This primary research study used a combined method of both focus groups and semi-structured interviews to examine the young British-Muslim views on three interrelated research questions: firstly, ‘To assess the impacts of counter-terrorism legislation and security measures on British-Muslims post 9/11’; secondly, ‘To examine how British-Muslim identities have been institutionally represented since 9/11’; and, thirdly, ‘To analyse the micro-level strategies deployed by young British-Muslims to maintain and de-stigmatise identities which have been rendered suspect.’
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Kim, Yeji. "Hybridity in Flute Music of Four Contemporary Composers." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351532629.
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Steyn, Shaan. "Urban hybridity: an alternative development strategy for Woodstock." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/19005.
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Includes bibliographical references.<br>At the beginning of this year, my initial concept lay in understanding the influence of hybridisation on contemporary urban society and how this, in turn, affects and changes places within the city. I find this subject interesting as I personally feel influenced by the hybridisation of global and local conditions. As technology advances, knowledge is progressively more accessible, global trends become local realities, and how we identify with our local surroundings is changing. Youth culture generally tends to be more accepting toward change and trends, and is therefore noticeably affected by it.' As I see changes in myself and my peers, I am interested to understand how these changes subsequently affect my fields of interest: the city and architecture.
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Munzing, Helen Margaret. "Phillis Wheatley and the politics of textual hybridity." Thesis, University of Winchester, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394054.
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Phillis Wheatley famously became the first black woman to publish a book of poems when Poems on Various Subjects, Religious and Moral appeared in London in 1773. For literary scholars the publication ofthis book has made her a key figure of black vernacular traditions and discussions of racial identity throughout the twentieth century. This thesis examines a variety of Wheatley's texts published in England and New England in the early to mid-1770s. It also considers the different historical contexts in which these texts were published and how they have influenced their production. In chapter two the publication history of Poems, the text upon which twentiethcentury literary critics have primarily focused, is considered. It is argued that Poems was primarily produced for the consumption of a London rather than a New England audience and that the text is explicable only through the London context. Chapter three provides a discussion of Wheatley's identity within the context of New England religious debate in the early 1770s. It is argued that as a result of the growth of heterogeneous religious styles, New Englanders were preoccupied with the issue of identifying and displaying a converted identity. Wheatley's early broadsides were part of the local printers' response to this need, and became a commercial vehicle through which the conversion of the New England consumer could be displayed. Chapter four goes on to discuss several of Wheatley's texts published in New England newspapers and magazines during the war years with England. It is argued that the representation of Wheatley in the early years of the Revolution reflected the developments in slavery discourses as the rebellion against England progressed. In chapter five it is concluded that there are in fact many different Phillis Wheatleys, each having a distinct identity as a result of the myriad of influences in each particular market. It is argued therefore that Wheatley's racial representation was formed out of the social and economic contradictions within eighteenth-century society and a variety of mediating factors. The implications of these [mdings for critical practices of studying identity are discussed.
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Terpenning, Steven Tyler Spinner. "Choral Music, Hybridity, and Postcolonial Consciousness in Ghana." Thesis, University of Colorado at Boulder, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271023.
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<p> Ghanaian choral music emerged from the colonial experience through a process of musical hybridity and became relevant in the post-independent state of Ghana. This dissertation begins by exploring how two distinct musical forms developed from within the Methodist and Presbyterian missions in the nineteenth and early twentieth centuries. These musical forms utilized both European hymn harmony and local musical features. The institutional histories and structures of these missions explain the significance of this hybridity and distinct characteristics of the forms. These local-language choral works spread through these institutions despite the attempts of people in leadership positions to keep local culture separate from Christian schools and churches. The fourth chapter explores the broader social impact of the choral tradition that emerged from the Presbyterian mission, and its implications for the national independence movement through the history of one choral work composed by 1929 by Ephraim Amu. Then, based on a case study of the Ghana Broadcasting Corporation and its workplace choir, I examine how intellectual leaders such as Kwabena Nketia have, in the context of the post-independent state of Ghana, promoted choral music as an aspect of national development and unity. Ethnographic work at the GBC reveals the sometimes contentious negotiations that are involved in this process. This dissertation is based on both ethnographic and archival research conducted during three research trips to Ghana from 2012 to 2015. This research reveals how Ghanaians have challenged colonial ideology through composing and performing choral music. Peircian semiotics and postcolonial theory provides a framework for exploring how the hybridity of choral music in Ghana has contributed to the development of postcolonial consciousness there.</p>
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Cortez, José Manuel, and José Manuel Cortez. "Atopic Peripheries: Rhetoric, Hybridity, and Latin American Resistance." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625384.
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This dissertation is about the category of hybridity in the discourse of Latinamericanism. In particular, it undertakes a critical interrogation of mestizaje as the grounds for the thought of politics in Latinamericanist critical thought. It advances a set of analyses centered on my claim that mestizaje was never the felicitious grounding of politics it was once thought to be. And given that perhaps the most widely circulated and cited form of Latinamericanist thought today, decoloniality, is premised upon the terms and conditions of mestizaje, this is indeed a timely subject for critical reflection.
The central argument of Atopic Peripheries is that Latin American rhetorical and cultural criticism has fundamentally misread the narrative of race across Latin America, and as such, has developed an understanding of the concept of politics that subverts itself. It is widely presupposed that the originary event of colonialism—the clash of Amerindian and European groups in the 15th century and the process of cultural and racial miscegenation that unfolded from this clash—obtains in an identity that is inherently resistant to what Walter Mignolo, for example, has identified as the matrix of modernity/coloniality. This process of cultural, racial, and conceptual mixture, or hybridization, is often identified by writers and critics as mestizaje, an exceptionally unique form of Latin American hybridity. The figure of the mestizo, and the process of mestizaje, is the figure of this mixture between incommensurate ethno-racial groups and the source material for a politics of counter-hegemony.
This project attempts to develop a preliminary response to the thinking of politics at the limits of identity. In chapter 1, I suggest that the question of non-Western difference has come to feature prominently across the field of comparative rhetoric, where it is often presupposed that an irreducible difference separates Western from non-Western rhetorical and cultural production. It is from this presupposition that critics have established a politics of comparative inquiry, whereby restituting the pure consciousness of a non-Western subaltern subject is understood to subvert the hegemony of Western thought. I examine the recent turn toward Latin America to argue that this presupposition serves as a constitutive topos—that the object of Latin America is invented rhetorically in the very act of comparison—and that this presupposition obtains in an impasse that the field has yet to think through. I draw upon recent work in Latin American studies to argue for a rearticulated notion of subalternity as a methodological approach for dealing with this impasse. In chapter 2, I return more explicitly to the question of hybridity by arguing that the way critics think the site of the US-Mexico border as the grounds of an identity of resistance produces the very same problems concerning mestizaje that I briefly outlined above. In chapter 3, I continue my reading of mestizaje through Emma Perez’s The Decolonial Imaginary. I conclude with a reading of Guillermo Gómez-Peña’s performance art as a posthegemonic thought of politics at the limits of the category of identity.
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Rodriguez-, Pereira Victor. "Change, Monstrosity, and Hybridity in Medieval Iberian Literature." Thesis, Indiana University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10937457.
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<p> Monstrosity and transformation were intrinsically connected topics during premodern times. From Ovid’s <i>Metamorphoses</i> (<i> circa</i> 8 CE) to Isidore of Seville’s <i>Etymologies</i> (560–636 CE), intellectuals of all fields of knowledge explored the possibility of human physical transformation, and its consequences. This dissertation will approach hybrid monstrosity in imaginative literature of medieval Iberia on the basis of its textual and formal representations, but also as the repository of cultural significance and ideologies that characterize a particular time and place. My study focuses on five medieval Spanish texts: the <i>Libro del cavallero Zifar</i> (<i>Book of the Knight Zifar</i>, c. 1300) often considered one of the first chivalric novels written in Spain; the <i>Libro de buen amor</i> (<i>Book of Good Love</i>, c. 1330–1343) a satirical and parodic poem fully grounded in both learned and popular culture; the <i>Amadís de Gaula</i> (<i> Amadís of Gaul</i>) (1508) and its sequel, <i>Las sergas de Esplandián</i> (<i>The Adventures of Esplandián </i>) (1510); and the <i>Alborayque</i> (<i>circa</i> 1454–74), an anti-Jewish illustrated pamphlet published in Castile at the end of the fifteenth century. My dissertation unpacks the concepts of monstrosity and transformation present in medieval European culture, and the ways these are displayed in a variety of texts in order to reinforce or undermine religious, gender, and ethnic anxieties. In addition, my research traces the shifts in attitudes akin to processes of transformation in monstrous beings between the thirteenth and sixteenth centuries. It will be clear that during the fourteenth century monstrosity and change were connected to religious identity, while during the fifteenth and sixteenth centuries the texts studied embody the political agenda aimed at unifying the Peninsula through the idea of the <i>Reconquista</i> (the Christian retaking of Muslim lands), and the cultural and social struggles between the different cultural and religious communities.</p><p>
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Gideonse, Theodore Karwoski. "Hybridity as cultural capital on the US/Mexican border." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p1447321.
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Thesis (M.A.)--University of California, San Diego, 2007.<br>Title from first page of PDF file (viewed January 14, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 51-54).
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Ho, Charmaine Clarabelle. "Cultural hybridity and visual representations of the immigrant journey." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/26883.
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This study explores the visual representations of the immigrant journey from assimilation to community to hybridity. A sample of Asian-American and Asian-Australian picture books and graphic novels Hannah Is My Name: A Young Immigrant’s Story (written and illustrated by Belle Yang), The Arrival (written and illustrated by Shaun Tan), and American Born Chinese (written and illustrated by Gene Luen Yang), were examined for an understanding of visual representations of the cultural hybrid identity of Asian immigrants to inform classroom practice. This literary analysis is framed by five areas of scholarship: the power of picture books for young readers; Asian-American literary theory; perspectives on multicultural literature; the move from multicultural literary theory to postcolonial theory; and in particular Bhabha’s postcolonial theory of cultural hybridity. The analysis concludes that the immigrant journey moves from assimilation to community to resistance, resulting in the most current representation of the Asian immigrant as negotiating a culturally hybrid identity.
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Brown, Keith Hennessey. "Deleuzean hybridity in the films of Leone and Argento." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7867.
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In this comparatively brief chapter I begin by introducing my central research proposition. I then introduce my corpus of films and establish their significance both in their own right and as somewhat representative examples of a broader area of cinema. Following this I introduce my corpus of theory. Throughout, I seek to position my research within its wider context, identifying precedents for the approach I will take, alongside the originality of the thesis as a whole. My central contention in this thesis is that the films made by the Italian directors Sergio Leone and Dario Argento between the mid-1960s and the early 1980s are distinctive instances of a Deleuzean hybrid cinema. Gilles Deleuze suggests that we can identify two main, contrasting forms of cinema. These are the cinema of the movement-image and the cinema of the timeimage. As a philosopher of difference, Deleuze tends to present the two cinemas as alternatives. This is enhanced by their most important respective manifestations. The movement-image is associated with classical Hollywood genre cinema, the time-image with modern European art cinema. Accordingly, a Deleuzean approach leads to two contradictory hypotheses on the nature of Leone and Argento’s films. On the one hand, that they are genre works (westerns, gangster, thrillers and horror films) suggests they are movement-image. On the other hand, that they are post-Second World War continental European films suggests they are time-image. My contention is that we can resolve this apparent contradiction by considering the films as including combinations of movement-images and time-images. This entails reading Deleuze’s theory somewhat against the grain, by suggesting the existence of a continuum between the two image regimes. Crucially, however, there are a number of precedents for using Deleuze’s ideas to investigate hybrid cinemas, with these also demonstrating the value of modifying or extending his theories. In addition, I would suggest that we can deploy notions of hybrid cinema as a means of exploring the career trajectories of certain directors, by considering the proportions and types of movement-image and time-image apparent over their filmographies. My main corpus of films comprises fourteen works by Italian directors Sergio Leone (1929-1989) and Dario Argento (1940-). The Leone films span the period 1964 to 1984 and are all westerns with the exception of his final film, which belongs to the gangster/crime genre. The Argento films span the period 1970 to 1982 and are all giallo thrillers or fantasy-horror films, with some overlap between these genres. The Leone films are A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, The Bad and The Ugly (1966), Once Upon a Time in the West (1968), Duck You Sucker (1971), My Name is Nobody (1973) and Once Upon a Time in America (1984). The Argento films are The Bird with the Crystal Plumage (1970), The Cat o’ Nine Tails (1971), Four Flies on Grey Velvet (1971), Deep Red (1975), Suspiria (1977), Inferno (1980) and Tenebrae (1982). The exclusion of Argento’s later films allows for a clearer and closer comparison to be made with Leone’s films, my contention being that the two directors were doing similar things in their respective genres during this time period. Argento also broke into filmmaking through collaborating with Leone upon Once Upon a Time in the West.
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Fielding, Rosalind Jane. "Embodying dialogue : hybridity and identity in Japanese Shakespeare productions." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8656/.
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This thesis examines and re-evaluates the contemporary performance of Shakespeare in Japan, taking the impact of social and political developments into account. The first part discusses the changing status of Shakespeare in Japan and corresponding representations of the theatrical past onstage. Two different responses to The Merchant of Venice are used to demonstrate this change, one from a British director and one from a Japanese one. The second chapter expands on this changing status to discuss the ways recent productions have responded to social issues and anxieties, particularly to perceived issues amongst the younger generations. The remainder of the thesis analyses the later stages of Ninagawa Yukio’s career and his Shakespeare productions with his two companies, Saitama Next Theatre and Saitama Gold Theatre. This thesis concludes that through the depiction of hybridity, contemporary performances of Shakespeare are part of an ongoing dialogue between Japanese and British theatre, and through the detailed study of never or rarely examined productions defamiliarises the existing narrative of intercultural Shakespeare in Japan.
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Riley, James Whitcomb. "The theater of innovation : developing skills to perform hybridity." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/115648.
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Thesis: S.M. in Management Research, Massachusetts Institute of Technology, Sloan School of Management, February 2018.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 29-32).<br>Multivocal identities have often been thought to provide social actors with more resources and opportunities over time than other "limited," singular identities. However, less is known about how organizations actually accomplish embodying multiple identities. By looking inside a hybrid organization, this paper uses ethnographic data to document how an organization successfully sustains its hybridity despite challenges associated with making multiple identity claims. The paper analyzes how the organization socializes individuals to perform its particular hybrid organizational identity. A common practice known as demonstrations served as an integrative practice-based mechanism enabling actors confronted by distinct social worlds, and norms, to enact otherwise competing roles and framings of their work so that their performances did not convey incompetence or betrayal of alternative normative expectations. The findings show that to successfully perform the organization's hybrid identity, the actors developed a transferable skill set, which enabled them to credibly deliver on their manifold roles as academic researchers, social hacktivists, and commercial product designers.<br>by James Whitcomb Riley.<br>S.M. in Management Research
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Sjöberg, Johannes E. "Ethnofiction : genre hybridity in theory and practice-based research." Thesis, University of Manchester, 2009. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:68172.
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The thesis and the two films form a practice PhD in drama exploring ethnofiction - an experimental ethnographic filmmaking approach pioneered by visual anthropologist Jean Rouch. In the mid-1950's Rouch started to experiment with fiction and 'projective improvisation' in ethnographic films such as Jaguar (1957-1967), Moi, unnoir (1957) and La pyramide humaine (1959). Film critics would call these films 'ethnofictions'. After agreeing a story outline, the camera simply follows the subjects' improvisations of their own, and others', lived experiences. The aim is to show aspects of ethnographic research otherwise hard to represent. A key question of the doctoral research has been whether a nuanced understanding of foreign cultures can be created and mediated by combining ethnographic research methods with the processes of dramatic work. Even though Rouch made ethnofictions as part of his ethnographic research, he infused the genre with elements of surrealism and poetry, and often opposed anyone trying to establish theories about his films. Defying Rouch's view on this matter, this thesis explores ethnofiction as an ethnographic filmmaking method by drawing on the experiences from fieldwork and filmmaking among transgendered Brazilians living in São Paulo. The fieldwork resulted in a feature-length ethnofiction and an ethnographic documentary short: Transfiction focuses on identity and discrimination in the daily lives of Brazilian travestis and transsexuals. Informed by transgendered artists, prostitutes, healthworkers and political activists, Fabia Mirassos projected her life through the role of Meg, a transsexual hairdresser confronting intolerance and re-living memories of abuse. Savana 'Bibi' Meirelles plays Zilda who makes her living as one of the many transgendered sex workers in São Paulo, as she struggles to find her way out of prostitution. Drama Queens is an ethnographic documentary short and contains four scenes from the over 200 hours of rushes that were recorded during the fieldwork. The scenes are from São Paulo's annual Pride Parade and present Bibi, Fabia and Phedra who were the main informants of the research conducted at the theatre Os Satyros in central São Paulo.
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Mavroudi, Elizabeth. "Palestinian 'identities' in Athens : negotiating hybridity, politicisation and citizenship." Thesis, Durham University, 2005. http://etheses.dur.ac.uk/1793/.
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Okpanum, Ijeoma Jacklyn. "Hybridity in contemporary commercial organizations : implications for employee trust." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7759/.
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This study advances the concept of organizational hybridity (OH). By doing so, it takes into account the individual level of analysis often neglected in organizational theory. More specifically, it aims to understand the implications of organizational hybridity for employees’ trust in contemporary commercial organizations. Informed and guided by current literature, this study argues that the current literature on organizational hybridity fails to adequately address the consequences of hybridity for employees' behaviour. The empirical study was conducted in 2014 using data collected via semi-structured interviews and document analysis. The study was based on a comparison of two case studies in Nigeria: Alter Securities Limited and Barak Petroleum Limited. A total of forty (40) interviews were conducted; twenty (20) from each organization. The data were analysed using thematic analysis. The main findings are that organizational hybridity in this study produced tensions that resulted in negative behavioural responses and employees’ distrust in the commercial hybrid organizations. However, employees’ identification with non-market orientated institutional logics such as family, philanthropic and religious logics is seen to facilitate their commitment, honesty, and trust in the organizations. Nevertheless, caution is required here as religious logics may also lead to an acceptance of unethical behaviour by employees. Overall, this study contributes to the literature on organizational hybridity by extending on Battilana and Lee’s (2014) framework, which highlights governance, leadership, organizational culture and intra-organizational relationships as core organizational attributes in the context of which issues may arise in commercial hybrid organizations. Furthermore, it addresses a gap in Besharov and Smith’s (2014) hybrid typology framework by providing an alternative line of argument focused on understanding how tensions manifest within commercial hybrid organizations. The key recommendations of this research underscore the need for commercial hybrid organizations to invest in mechanisms for improving employees’ trust so as to reap the benefits associated with trust. This could be achieved by involving employees in the decision-making process and clearly communicating the organizations’ values, so as to minimise the misinterpretation of the embodied institutional logics by employees.
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Bin, Khairani Mohd Zahuri. "Contemporary art, craft and hybridity : Malaysian encounters and responses." Thesis, Sheffield Hallam University, 2011. http://shura.shu.ac.uk/19907/.
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This practice-based research examines the importance of expanding the Malaysian visual culture heritage in light of the enormous impact of hybridity on art and craft in Malaysia. The research addresses the question of the impact of hybridity on art and visual culture by focusing on production of artworks from indigenous Malaysian craft - traditional fabrics Pua Kumbu and Batik, and the Sarawakian layer cakes. The main objectives of this research are to understand the problems, consequences and effects of hybridity on art and visual culture and to produce artefacts that explicitly illuminate a new understanding of the dynamic that obtains between hybridity, contemporary art and craft traditions in the Malaysian context. Questions pertaining to the affects of hybridity and globalisation towards Malaysian politics, economy and social aspects were addressed in the artworks as a key aspect of this research. Furthermore, development of the Malaysian art scene in relation with hybridity will be discussed in the light of contemporary art progression historically. Analysis of the theory of hybridity, connections between hybridity in art via the works of international and local artists, will put forward to clarify theses areas. This will include exploration of the issue of national identity. This research will engage in the production of artefacts in the context of a varied studio practice, developing and employing throughout the course of the research materials and techniques deemed appropriate in the production of artefacts that embody the quality of 'local' cultural forms in dialogue with, or resistant to, forms associated with an exogenous, 'global' culture. The artwork production opens up the phenomenon of the current process of hybridity and the issue of Malaysia's national identity. This research will adopt descriptive, heuristic and comparative methods within an overarching practice-led methodology. The building, implementation and evaluation of methodology together which include exhibitions and audience are the key components of this research. Critical review of the production of artworks is seen to be an integral part of the research methodology; this process will encourage and sustain multi-disciplinary approaches to the research question. This research has revealed the connection between hybridity and the advancement of the Malaysia contemporary art movement that has been undergoing transformation through the process of modernisation. Above all, as a Malaysian artist working in the United Kingdom, my practice differs from the normal practice of Malaysian artists who translate "Malay" culture into art work in that it offers a critical view on political, economical and social issues in Malaysia.
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Llewellyn, Elizabeth. "Crossover : boundaries, hybridity, and the problem of opposing cultures." Thesis, University of Southampton, 2010. https://eprints.soton.ac.uk/169873/.
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Classical crossover is a term regularly used but not yet adequately defined. This thesis attempts to redress this imbalance through a study of the relationships between high and low musical cultures. Starting from the separation of highbrow and lowbrow, the concepts of genre and musical taste are considered in relation to their connections to social hierarchies, leading to an analysis of what happens when they hybridise. Sociological scholarship, cultural criticism and contemporary musicology are combined to offer insights into ways in which we can control music, and ways in which music can control us, with particular emphasis on the field of classical crossover. Case studies reflecting issues of aesthetic preference, celebrity and image, promotion and marketing, and expanding demographic access feature as part of a broader examination of the benefits and drawbacks of cross-cultural collaborations. This thesis clearly shows that generic affinity no longer defines either audience identity or social status, and that musicology's ideas of public reception, informed by social theory, are no longer relevant. It proposes that crossover indicates music that crosses boundaries of public reception, and that these boundaries can be unconsciously or deliberately manipulated. It recognises a need to keep pace with social change, and a need to reevaluate the separation of classical, popular, and non-Western cultures, both in musicology and in other humanities disciplines.
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Hornsby, Michael. "Globalisation processes and minority languages : linguistic hybridity in Brittany." Thesis, University of Southampton, 2009. https://eprints.soton.ac.uk/344489/.
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Recent interest in the ‘disappearance’ of languages has been accompanied by increased revitalisation efforts in many minority language settings, often considered to be experiencing obsolescence due to pressures of globalisation and modernity. Many of these revival movements aim to ‘recreate’ an idealised (or ‘authentic’) form of the language in question, through reference to traditional or standardised language practices. Simultaneously, however, ‘unanticipated results of language management’ (Spolsky 2006: 87) have produced non‐traditional and hybrid linguistic forms which are very often contested by the community in which the language revival is taking place. Taking Breton as a case study, this thesis examines the phenomenon of ‘new’ or ‘neo’ speakers in Brittany at the start of the twenty‐first century and the implications their appearance has for the survival of the only Celtic language still extant in continental Europe. The tensions between traditional and neo‐speakers are examined in the context of the theoretical framework of critical sociolinguistics (Heller 2002). Current language practices in Brittany are analysed through the anthropological linguistic concept of language ideology, which is used to explain and critique seemingly contradictory linguistic behaviour in this particular setting of linguistic minoritisation. Parallels are also drawn with neo‐speakers of other minority languages, most particularly Scottish Gaelic. While both languages show increasing transformation and hybridisation due to the non‐traditional nature of their methods of transmission, they are not, of course, alone in the changes they are experiencing; indeed, they can act as good indicators of what the future holds for many minority languages over the course of the twenty‐first century.
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Richardson, Matthew. "Rhetorical hybridity : Ashbery, Bernstein and the poetics of citation /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486401895206864.
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Marchand, Iris. "Being Dogla : hybridity and ethnicity in post-colonial Suriname." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10578.
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This thesis explores hybridity and ethnicity in Nickerie, Western Suriname. It undertakes this exploration from the perspective of doglas, Surinamese people with mixed African and Asian parentage. In Suriname’s postcolonial process of nation-building, ethnicity has been essentialized, with doglas representing a category of anomaly, but also of uncertainty. What I have termed ‘dogla discourse’ refers to the opinions, experiences and negotiations among and about doglas in Nickerie that both shored up and destabilized Suriname’s ethnic essentialism. Dogla discourse fuses and confuses ethnic categories and boundaries in its insistent hybridity. The thesis shows that being dogla does not simply align with common tropes of ‘mixed-race’. I argue that in embracing conflicting paradigms of ethnicity, doglas in Nickerie both emphasized and undermined ethnic essentialism. This was expressed in idioms of kinship and sexual relations, in notions of the pure/impure dogla body, and in the relevance and irrelevance of ‘cultural spirituality’. Furthermore, dogla discourse problematized the role of ethnicity in the enduring struggles of how to define ‘the national’ in postcolonial states. Thus, the thesis presents an ethnographic contribution to studies of ‘mixed-race’ in contexts of postcolonial nation-building, and theoretically expands conceptualizations of ‘the hybrid’.
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Raynard, Mia. "Deconstructing Complexity: Configurations of Institutional Complexity and Structural Hybridity." SAGE Publications, 2016. http://dx.doi.org/10.1177/1476127016634639.
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This article unpacks the notion of institutional complexity and highlights the distinct sets of challenges confronting hybrid structural arrangements. The framework identifies three factors that contribute to the experience of complexity - namely, the extent to which the prescriptive demands of logics are incompatible, whether there is a settled or widely accepted prioritization of logics within the field, and the degree to which the jurisdictions of the logics overlap. The central thesis is that these "components" of complexity variously combine to produce four distinct institutional landscapes, each with differing implications for the challenges organizations face and for how they might respond. The article explores the situational relevance of an array of hybridizing responses and discusses their implications for organizational legitimacy and performance. It concludes by specifying the boundary conditions of the framework and highlighting fruitful directions for future scholarship.
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McWilliams, Sara E. "Disturbances: Figures of hybridity and the politics of representation /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/9411.
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Joseph-Salisbury, Remi Philip. "Black mixed-race men, hybridity, and post-racial resilience." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/15926/.
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Whilst much is said, little is known about the lives of Black mixed-race men. Inspired by Critical Race Theoretical approaches, this thesis centres the lives and accounts of Black mixed-race men in order to responds to gaps in academic literature and to rupture pathological discourses of mixedness. Drawing upon data collected from 28 interviews with Black mixed-race men, 14 in the UK and 14 in the US, this thesis draws upon theories of performativity and hybridity in order to develop a theorization of post-racial resilience. Through this concept, the thesis shows how Black mixed-race men, as raced and gendered subjects, speak back to, manipulate, fashion and refashion discourses. This identity work, it is argued, enables Black mixed-race men to refuse the fragmentation of their identities and the erasure of their lived experiences. The thesis not only considers how Black mixed-race men articulate their raced and gendered identities but how they live, display and negotiate these identities through racial symbolism, as they encounter racial microaggressions, and as they form and develop friendships. By drawing upon data from both sides of the Atlantic, this thesis demonstrates how post-racial resilience can be considered a transatlantic phenomenon in the lives of Black mixed-race men.
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Cotangco, Teeana. "A Global Hybridity: Snakehead Influence on Identity and Migration." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2157.
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Through introduction of Fujian Province as home to the largest migrant population in the world, this article aims to address the negotiation of intersections between local and global forces that form new spaces throughout the diaspora. The "third space," a term coined by Homi Bhabha, addresses the fluid identity of Chinese-Filipino individuals that both acknowledges the traditional notions of "Chinese" while being influenced by a history of colonization in the Spanish Philippines. I incorporate my own personal experience as an American-born Chinese-Filipino navigating new spaces, and also the experience of my family members through interviews.
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Lee, Ken-fang. "Yellow skin, white masks : translating cultures in Chinese American literature." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310669.
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Lim, Sharon W. Q. "Heritage, hybridity, and the global city-state : Singapore’s Peranakan museum." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/48450.
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This thesis will demonstrate how cultural policies in Singapore are informed by underlying political and socio-economic objectives. The topic addressed is the state’s use of material culture in the Peranakan Museum to meet the demands faced by the repositioning of Singapore as a global city-state without a natural hinterland. My study will make use of the tools offered by various disciplines, including anthropology, history and sociology. This will serve to address the themes of identity construction and nationhood from different angles, while applying these concerns to public policy. It is one of the main aims of this thesis to bring together interdisciplinary scholarship alongside my original research and personal experience at the Peranakan Museum. This thesis will be organized thematically into three chapters, followed by a brief conclusion. Chapter One will centre on two important, interrelated questions: What does the museum tell us about the past of the Peranakan? And how does the museum construct the idea of Peranakan at the present moment? Chapter Two focuses on the museum’s production of nostalgia, intended to anchor Singapore’s global citizens to the nation during times of change. This chapter will also discuss the regional and global uses of Peranakan culture for national branding purposes. Finally, Chapter Three explores why the state feels as if it needs to actively interfere in resolving tensions that have resulted from the reinvention of Singapore as a global city in the twenty-first century.<br>Arts, Faculty of<br>Asian Research, Institute of<br>Graduate
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Krishnamurti, Sailaja Vatsala. "Boundaries on fire, hybridity and the political economy of culture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ52798.pdf.
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Klinger, Susanne. "Translating world-view : representational hybridity in Anglophone Nigerian narrative fiction." Thesis, University of East Anglia, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.554287.
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Anglophone African writing is often compared to or contrasted with translation. One of the differences between the two is that in the former source and target language come into contact not only in the process of creating the text, but also in the reality portrayed in this text, as this reality itself constitutes an arena of past and ongoing translation. Translation is therefore not only the medium, but also often the object of representation in Anglophone African literature. The distinction between translation as medium and translation as object forms the backbone of this thesis. Rather than conceptualizing Anglophone African writing - and by extension the linguistic hybridity that is typical of these texts - as a form of self-translation on the part of the author, as has hitherto been the case, it approaches the issue of linguistic hybridity by making a distinction between (i) the self-translation of an embodied textual agent, (ii) other-translation in the form of narratorial intervention, and (iii) translation that functions merely as medium, without being attributable to a textual agent. A theoretical framework of linguistic hybridity is built up that integrates the relation between medium and object and thus enables us to investigate whether and how linguistic hybridity potentially has an impact on the mental representations the reader constructs when interacting with the text and, consequently, whether and how target-text shifts in linguistic hybridity can affect the text's meaning potential. In particular, it investigates how linguistic hybridity interrelates with the reader's construction of (i) the perspective from which the story events are perceived, (ii) the textual agents' cultural identity and (iii) the narrator's attitude towards the narrated cultures. If target-text shifts in linguistic hybridity affect the target-text reader's mental representations of the text, it follows that these shifts potentially also have an impact on the world-view the target-text reader constructs for the implied author and the world-view she constructs for herself.
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Krige, Nadia. "Hybridity, the uncanny and the stranger : the contemporary transcultural novel." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1876.
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Thesis (MA (English))--University of Stellenbosch, 2009.<br>ENGLISH ABSTRACT: During the past century, for a variety of reasons, more people have been crossing
national and cultural borders than ever before. This, along with constantly developing
communication technology, has seen to it that clear-cut distinctions, divisions and
borders are no longer as easily definable as they once were. This process, now
commonly referred to as ‘globalisation,’ has led to a rising trend of ‘multiculturalism’
and ‘cultural hybridity,’ terms often connected with celebratory views of our
postmodern, postcolonial world as a colourful melting pot of cultures. However, what
these celebratory views conveniently avoid recognising, is that the increasing
occurrence of hybridity places a growing number of people in a painful space inbetween
identities where they are “neither just this/nor just that” (Dayal 47), “neither
the One… nor the Other… but something else besides” (Bhabha Commitment 41).
Perhaps in an effort to combat this ignorance, a new breed of authors – who have
experienced the rigours of migration first-hand – are giving voice to this pain-infused
space on the periphery of cultures and identities through a developing genre of
transcultural literature. This literature typically deals with issues of identity closely
related to globalisation and multiculturalism. In my thesis I will be looking at three
such novels: Jamal Mahjoub’s The Drift Latitudes, Kiran Desai’s Inheritance of Loss,
and Caryl Phillips’ A Distant Shore.
These authors move away from an idealistic, celebratory view of hybridity as the
effortless blending of cultures to a somewhat disenchanted approach to hybridity as a
complex negotiation of split subjectivity in an ever-fracturing world. All three novels
lend themselves to a psychoanalytic reading, with subjects who imagine themselves to
be unitary, but end up having to face their repressed fractured subjectivity in a
moment of crisis. The psychoanalytic model of the split between the conscious and
the unconscious, then, resonates well with the postcolonial model of the intrinsically
fractured hybrid identity. However, while psychoanalysis focuses on internal
processes, postcolonialism focuses on external processes.
Therefore, I will be making use of a blend of psychoanalytic and postcolonial
concepts to analyse and access discursive meanings in the texts. More specifically, I will use Homi Bhabha’s concept of ‘hybridity’, Freud’s concept of the ‘uncanny’, and
Zygmunt Bauman’s concept of ‘the stranger’ as distinctive, yet interconnected
conceptual lenses through which to view all three of these transcultural novels.<br>AFRIKAANSE OPSOMMING: In die afgelope eeu het meer mense as ooit vantevore, om ‘n verskeidenheid redes,
lands- en kultuurgrense oorgesteek. Tesame met die voortdurende vooruitgang van
kommunikasietegnologie, het dit tot gevolg dat afgebakende grense, skeidings en
verskille nie meer so maklik definieerbaar is as wat hulle eens was nie. Hierdie
proses, waarna in die algemeen verwys word as ‘globalisering’, het gelei tot die
groeiende neiging van ‘multikulturalisme’ en ‘kulturele hibriditeit’. Dit is
terminologie wat dikwels in verband gebring word met feestelike beskouings van ons
postmoderne, post-koloniale wêreld as ‘n kleurryke smeltkroes van kulture.
Wat hierdie feestelike beskouings egter gerieflikheidshalwe verkies om te ignoreer, is
die feit dat die toenemende voorkoms van hibriditeit ‘n groeiende aantal mense in ‘n
pynlike posisie tussen identiteite plaas waar hulle nòg vis nòg vlees (“neither just
this/nor just that” [Dayal 47]), nòg die Een… nòg die Ander is… maar eerder iets
anders buiten.. (“neither the One… nor the Other… but something else besides”
[Bhabha Commitment 41]).
Miskien in ‘n poging om hierdie onkunde die hoof te bied, is ‘n nuwe geslag skrywers
– wat die eise van migrasie eerstehands ervaar het – besig om met ‘n ontwikkelende
genre van transkulturele literatuur ‘n stem te gee aan hierdie pynlike ‘plek’ op die
periferie van kulture en identiteite. Hierdie literatuur handel tipies oor die kwessies
van identiteit wat nou verwant is aan globalisering en multikulturalisme.
In my tesis kyk ek na drie sulke romans: Jamal Mahjoub se The Drift Latitudes, Kiran
Desai se Inheritance os Loss en Caryl Phillips se A Distant Shore. Hierdie skrywers
beweeg weg van die idealistiese, feestelike beskouing van hibriditeit as die moeitelose
vermenging van kulture na ‘n meer realistiese uitbeelding van hibriditeit as ‘n
ingewikkelde vergestalting van verdeelde subjektiwiteite in ‘n verbrokkelende wêreld.
Al drie romans leen hulle tot die lees daarvan uit ‘n psigo-analitiese oogpunt, met
karakters wat hulself as eenvormig beskou, maar uiteindelik in ‘n krisis-oomblik te
staan kom voor die werklikheid van hul onderdrukte verbrokkelde subjektiwiteit. Die
psigo-analitiese model van die breuk tussen die bewuste en die onbewuste weerklink welluidend in die post-koloniale model van die intrinsiek verbrokkelde hibriede
identiteit.
Terwyl psigo-analise egter op interne prosesse toegespits is, fokus post-kolonialisme
op eksterne prosesse. Derhalwe gebruik ek ‘n vermenging van psigo-analitiese en
post-koloniale konsepte om uiteenlopende betekenisse in die onderskeie tekste te
analiseer en hulle toeganklik te maak. Meer spesifiek gebruik ek Homi Bhabha se
konsep van hibriditeit, Freud se konsep van die ‘geheimsinnige / onheilspellende’ en
Zygmunt Bauman se konsep van ‘die vreemdeling’ as kenmerkende, maar steeds
onderling verwante konseptuele lense waardeur aldrie transkulturele romans beskou
word.
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Alexiou, Kostas. "Organizational Legitimacy in Entrepreneurial Contexts: Hybridity, Crowdfunding, and Social Entrepreneurship." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1501420140224866.
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McArthur, Ian. "Mediating modernity Henry Black and narrated hybridity in Meiji Japan /." Connect to full text, 2002. http://hdl.handle.net/2123/518.
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Thesis (Ph. D.)--University of Sydney, 2002.<br>Title from title screen (viewed Apr. 28, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the School of European, Asian and Middle Eastern Languages and Studies, Faculty of Arts. Includes bibliography. Also available in print form.
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McArthur, Ian Douglas. "Mediating Modernity - Henry Black and Narrated Hybridity in Meiji Japan." Thesis, The University of Sydney, 2002. http://hdl.handle.net/2123/518.
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Henry Black was born in Adelaide in 1858, but arrived in Japan in 1864 after his father became editor of the Japan Herald. In the late 1870s, Henry Black addressed meetings of members of the Freedom and People�s Rights Movement. His talks were inspired by nineteenth-century theories of natural rights. That experience led to his becoming a professional storyteller (rakugoka) affiliated with the San�y� school of storytelling (San�yuha). Black�s storytelling (rakugo) in the 1880s and 1890s was an attempt by the San�y�ha to modernise rakugo. By adapting European sensation fiction, Black blended European and Japanese elements to create hybridised landscapes and characters as blueprints for audiences negotiating changes synonymous with modernity during the Meiji period. The narrations also portrayed the negative impacts of change wrought through emulation of nineteenth-century Britain�s Industrial Revolution. His 1894 adaptation of Oliver Twist or his 1885 adaptation of Mary Braddon�s Flower and Weed, for example, were early warnings about the evils of child labour and the exploitation of women in unregulated textile factories. Black�s kabuki performances parallel politically and artistically inspired attempts to reform kabuki by elevating its status as an art suitable for imperial and foreign patronage. The printing of his narrations in stenographic books (sokkibon) ensured that his ideas reached a wide audience. Because he was not an officially hired foreigner (yatoi), and his narrations have not entered the rakugo canon, Black has largely been forgotten. A study of his role as a mediator of modernity during the 1880s and 1890s shows that he was an agent in the transfer to a mass audience of European ideas associated with modernity, frequently ahead of intellectuals and mainstream literature. An examination of Black�s career helps broaden our knowledge of the role of foreigners and rakugo in shaping modern Japan.
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McArthur, Ian Douglas. "Mediating Modernity - Henry Black and Narrated Hybridity in Meiji Japan." University of Sydney. School of European, Asian and Middle Eastern Languages and Studies, 2002. http://hdl.handle.net/2123/518.
Full textAbstract:
Henry Black was born in Adelaide in 1858, but arrived in Japan in 1864 after his father became editor of the Japan Herald. In the late 1870s, Henry Black addressed meetings of members of the Freedom and People�s Rights Movement. His talks were inspired by nineteenth-century theories of natural rights. That experience led to his becoming a professional storyteller (rakugoka) affiliated with the San�y� school of storytelling (San�yuha). Black�s storytelling (rakugo) in the 1880s and 1890s was an attempt by the San�y�ha to modernise rakugo. By adapting European sensation fiction, Black blended European and Japanese elements to create hybridised landscapes and characters as blueprints for audiences negotiating changes synonymous with modernity during the Meiji period. The narrations also portrayed the negative impacts of change wrought through emulation of nineteenth-century Britain�s Industrial Revolution. His 1894 adaptation of Oliver Twist or his 1885 adaptation of Mary Braddon�s Flower and Weed, for example, were early warnings about the evils of child labour and the exploitation of women in unregulated textile factories. Black�s kabuki performances parallel politically and artistically inspired attempts to reform kabuki by elevating its status as an art suitable for imperial and foreign patronage. The printing of his narrations in stenographic books (sokkibon) ensured that his ideas reached a wide audience. Because he was not an officially hired foreigner (yatoi), and his narrations have not entered the rakugo canon, Black has largely been forgotten. A study of his role as a mediator of modernity during the 1880s and 1890s shows that he was an agent in the transfer to a mass audience of European ideas associated with modernity, frequently ahead of intellectuals and mainstream literature. An examination of Black�s career helps broaden our knowledge of the role of foreigners and rakugo in shaping modern Japan.
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Durand-Rous, Caroline. "Le totem réinventé : exploration de l'identité et redéfinition de soi dans la fiction amérindienne contemporaine." Thesis, Perpignan, 2017. http://www.theses.fr/2017PERP0043/document.
Full textAbstract:
La quête de l'identité est au cœur des ouvrages de fiction écrits par les auteurs indiens d'Amérique du Nord au cours du XXe et du XXIe siècle. Les héros, voire anti-héros, de ces romans et de ces nouvelles tentent de reconquérir une dignité perdue et se trouvent confrontés à des épreuves, parfois absurdes, qu'ils surmontent tant bien que mal. Dans les descriptions souvent très crues du quotidien de la vie dans les réserves indiennes ou les réserves urbaines, surgit une part de magie qui s'immisce dans les situations les plus banales, habite les objets les plus inattendus, et transcende la fatalité des destins. Cette magie suscite des esprits tutélaires hybrides, entre monde occidental et traditions autochtones, qui déguisent leur présence pour fédérer les protagonistes en une sorte de clan moderne et revisité. Ce faisant, ils redonnent du sens aux errances existentielles des personnages. Ce procédé littéraire n'est pas sans rappeler le totémisme rituel, pratique animiste ancestrale que l'on croyait oubliée et qui a été largement documentée par les anthropologues dans le courant du XIXe siècle. Notre corpus se réduit à Louise Erdrich, David Treuer, Eden Robinson et Joseph Boyden qui imaginent de nouvelles figures totémiques pour aborder différemment la question identitaire. La présente thèse étudie comment cette réappropriation du totémisme par le biais de la réinvention littéraire engage un mouvement en trois temps qui permet de perpétuer, de régénérer et de (re)créer une certaine identité amérindienne<br>The quest for identity is a central topic of North American contemporary Native fiction which recurrently dwells on the ontological confusion experienced by Native and bicultural protagonists and the subsequent urge to come to terms with their distinctiveness. Indeed, in many novels and short-stories the heroes, or anti-heroes, attempt to recover their lost dignity for better or worse while overcoming obstacles and enduring ordeals that sometimes prove absurd. Meanwhile, an unexpected magic pervades the crude descriptions of modern day life on Canadian reserves and American reservations and intrudes in the most trivial situations eventually transcending fate and destiny. The hybrid tutelar spirits thus staged, symbolically referring as much to the Western world as to secular indigenous traditions, disguise their presence with the aim to bring together the estranged protagonists in a reshaped modern clan. By so doing, these supernatural forces endow the characters' physical and spiritual journeys with renewed meanings. Such a process directly alludes to ritualized totemism, an array of ancient animistic practices and beliefs thoroughly documented by 19th century anthropologists. Interestingly, many contemporary Native authors, among whom Louise Erdrich, David Treuer, Eden Robinson et Joseph Boyden, contrive new totems in order to address otherwise the identity issue. This thesis aims to demonstrate how their literary reinvention of totemism engages a threefold movement, to perpetuate, rejuvenate and (re)create a specific form of Native identity
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Lindh, Anna. "Split Identities, Hybridity and mimicry within the characters in White Teeth." Thesis, Halmstad University, School of Teacher Education (LUT), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-647.
Full textAbstract:
<p>The novel White teeth by Zadie Smith has been the object of my study in this essay. The aim of this study was to explore what the text communicated to the reader about hybridity and mimicry in the portrayal of some of the characters in the two families in White Teeth. The focus is on the male characters within the two families, as identity is created differently for men and women.</p>
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Banerjee, Suparna. "Emerging contemporary Bharatanatyam choreoscape in Britain : the city, hybridity and technoculture." Thesis, University of Roehampton, 2015. https://pure.roehampton.ac.uk/portal/en/studentthesis/emerging-contemporary-bharatanatyam-choreoscape-in-britain(96730b2d-768c-4d04-b9ee-d50e831c14be).html.
Full textAbstract:
The thesis investigates how Bharatanatyam dance practice is reconfigured through the specific cultural histories and novel practices of emerging dance artists in Britain. At the outset, I engage with how various dance labels are contested socially and culturally by diverse groups of people. In doing so, I intertwine the discussion with the politics of identity to illuminate how these dance artists negotiate their multiple identities, encompassing the issues related to race, ethnicity, gender and citizenship. Through a situated reading of postmodern and postcolonial praxes, I argue that these dance artists construct a permeating border by continually bringing new elements into their contemporary works, dismantling the purity/hybridity dyad. Additionally, I demonstrate how the theme of the ‘city’ is adopted as a performative device to portray kaleidoscopic patterns of cultural, historical and psychological climates of urban cities. While analysing non-proscenium choreographies, I demonstrate how an assembly of the senses overlap with various architectural places to create a complex web of history, cultural identity and memory to construct a ‘site’, which in turn, opens up rooms for discussing the previously ignored senses, including tactility, gustation and olfaction. Furthermore, I reveal how digital performance as a genre is increasingly celebrated by these dance artists, which decisively has challenged the bodily boundary and influenced the psycho-visual aesthetics of contemporariness. Drawing on interdisciplinary theoretical lenses, my readings of a range of danceworks and a mixed-method approach, I argue that contemporary Bharatanatyam practice is always in a state of flux due to the incessant mobility of people, ideas, cultures, histories and differential artistic subjectivities, and therefore it restricts any closure of meanings. In a nutshell, this thesis offers a new perspective on the disjuncture and reconfiguration of contemporary practice of Bharatanatyam dance in the 21st century British context, provoking new ways of seeing, interpreting and appreciating contemporary performance.
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Dalton, Karen Jeanne. "Kitsch and Southwest hybridity in the art of Ted De Grazia." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001924.
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