Hybridity

Last year, at this conference, I discussed how distinctions between nature and culture, and humans and animals, can arise from the technical processes of food production (see "Food as an object of cultural technical study "). Drawing on the work of cultural techniques (e.g. Siegert 2015; Vismann 2013) and Levi-Strauss' The Raw and the Cooked (1970), I argued that the relationship between humans and food is primary to how the human understands itself and forms part of the ground of human ontological systems. I'd like to take this argument further today, to a system-level perspective of food production and beyond, to a posthuman future where food no longer resembles what we know it as today, and because of this, where the human as such arguably ceases to exist, as the ground upon which it has defined self and species is transcended. I'm responding both to fictional future food visions and aspirations towards technical solutions to our current food-related crises.

The dislocated, deterritorialized discourse produced by repatriates from formerly European colonies has remained overlooked in academic scholarship. One such group is the Eurasian “Indo” community that has its roots in the former Dutch East Indies, today’s Indonesia. This article focuses on Tjalie Robinson, the intellectual leader of this community from the 1950s to the mid-1970s. The son of a Dutch father and a British-Javanese mother, Robinson became the leading voice of the diasporic Indo community in the Netherlands and later also in the United States. His engagement resulted in the foundation of the Indo magazine Tong Tong and the annual Pasar Malam Besar, what was to become the world’s biggest Eurasian festival. Robinson played an essential role in the cultural awareness and self-pride of the eventually global Indo community through his elaboration of a hybrid and transnational identity concept. By placing his focus “tussen twee werelden” (in-between two worlds) and identifying “mixties-schap” (mestizaje) as the essential characteristic of Indo identity, Robinson anticipated debates on hybridity, transnationalism, and creolism that only much later would draw attention from scholars in the field of postcolonial studies. This article highlights Robinson’s pioneering role in framing a deterritorialized hybrid alternative to nationalist essentialism in the postcolonial era.

Book (in French) published in 2003 at the occasion of the first exhibition staging exclusively biomedia art works at the national art center Le Lieu Unique in Nantes/France. Hauser Jens (ed.): L'Art Biotech. Nantes/Trézélan, 2003.

The publication has not been available anymore since 2008; this PDF is made accessible with the agreement and the kind support of the Filigranes publishing house, until an augmented new edition will be be available. Great thanks to Filigranes and Patrick Le Bescont! https://www.filigranes.com

We live in a globalized world in which a person in Burkina Faso can identify with Star Wars heroes, and in which a New York trader drinks the same Starbucks coffee as his Taiwanese counterpart. How are individuals socialized in Rome, Bombay, and Tokyo? To answer this question, a unique investigation has been carried out using two scales of analysis usually tackled separately by global studies: the scale of the cosmopolitan world and its global narratives, imaginaries, iconographies; as well as the scale of everyday life and socialization to otherness. This two-fold perspective constitutes the innovative approach of this volume that endeavors to address an operationalization of the cosmopolitan perspective and reacts to current debates and new research findings.
This book was first published in 2016 as Pluriel et commun. Sociologie d’un monde cosmopolite by Les Presses de Sciences Po.
Vincenzo Cicchelli is Associate Professor of Sociology at Université Paris Descartes and Research Fellow at GEMASS, Université Paris Sorbonne/CNRS. At Brill, he is the co-editorin-chief of Youth and Globalization (with Sylvie Octobre), the series co-editor of Youth in a Globalizing World (with Sylvie Octobre), and the series co-editor of Doing Global Studies (with Stéphane Dufoix). He has published (with Sylvie Octobre) Aesthetico-Cultural Cosmopolitanism and French Youth. The Taste of the World (Palgrave, 2018).

“Vincenzo Cicchelli has written a new and much needed book. He explores people’s experiences of a shared and plural world, and the tangible, ordinary mechanisms of global society that are shaping the cultural imaginaries and the lives of individuals today. Plural and Shared is a major contribution to understanding the cultural shifts of our time and how cosmopolitanism may be understood in this context.”
– David Held, Professor of Sociology, Durham University

“Timely and important, […] a well-written and meticulously researched monograph that stands as a major contribution to the growing body of literature on cosmopolitanism. It is a ‘must read’ for anyone wanting to understand the historic and modern forces shaping our increasingly globalizing and cosmopolitan world.”
– Elijah Anderson, Professor of Sociology, Yale University

“Cicchelli has written a thought-provoking book about an important and timely topic: how can we come to terms with the cosmopolitan world, which we share but which is inherently plural, composed of different cultures and outlooks on life? To address that conundrum, the book lays foundations for a cosmopolitan sociology and shows how it can be applied to examining the cultural, subjective and experiential dimensions of global society. It is a must read for all interested in global studies and cosmopolitanism.”
– Pertti Alasuutari, Professor of Sociology, University of Tampere

The focus of this comparative, pan-Iberian study is on the negotiation of identity and hybrid cultural production in early twenty-first-century Spain and Portugal. I identify here two subgenres of indie and electronic music scenes and analyze how the handful of musicians that comprise these burgeoning movements are fighting to keep their respective national cultural traditions alive in the face of iTunes, mp3s, and P2P filesharing that have universalized a certain form of pop music which cuts across languages and cultures. The hybrid musicians I interviewed for this project combine flamenco or fado with a variety of indie sounds: rock, pop, power pop, hip hop, trip hop, post punk, spaghetti western, shoegaze, or experimental electronic. The end result is a musical production which simultaneously attempts to voice their nationality as well as their generation. They are the torchbearers of tradition for an Iberian generation raised on The Velvet Underground, David Bowie, The Clash, The Replacements, Nirvana, and The Strokes. Their music references these and other global indie bands alongside those of twentieth century Iberian urban folk icons--Bambino, Camarón de la Isla, Enrique Morente, Amália Rodrigues, Alfredo Marceneiro, and Carlos do Carmo. I have developed a framework with which to contextualize and conceptualize the various issues addressed by these bands: authenticity, globalization, nostalgia, cultural capital, national-gender identity, and the economic crisis plaguing contemporary Europe.

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such.

Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Müller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

Security challenges arising from hybrid threats and hybrid warfare, HT&HW, are today high on the security agenda not only in Sweden but across the globe. Despite the attention and the growing body of studies on the subject, there is a lack of research bringing attention to how these challenges can be addressed. This article contributes to such an approach by sharing the findings of a project that brings together practitioners and scholarly perspectives on this subject spanning the threats themselves as well as the tools and means to counter them. The article outlines the Western response to hybrid threats and hybrid warfare. It is argued that there is no single response to HT&HW, nor to building resilience. HT&HW needs to be addressed through a comprehensive, all-inclusive approach. Finally, the article outlines how we address these challenges in practice.

The Popularization of Belly Dance in Toronto, Canada (1950-1990): Hybridization and Uneven Exchange Anne Vermeyden Advisors: University of Guelph, 2016 Dr. Femi Kolapo and Dr. Renée Worringer Belly dance was first performed publicly in Toronto during the late nineteenth century. While immigrants to Canada from the Middle East faced discrimination, white audiences could not get enough of stereotypical portrayals of danse du ventre. Hollywood further popularized the Orientalist image of the belly dancer, and beginning in the 1950s, star Middle Eastern dancers like Samia Gamal and Nejla Ateş were making appearances on Toronto stages. By the 1960s, American, Middle Eastern, and Canadian dancers were performing belly dance in Toronto’s hotel nightclubs and restaurants. During belly dance’s peak popularity in the 1970s and 1980s, multiple venues were running two belly dance shows a night, six days a week, and belly dance classes were so popular they were often waitlisted. Why and how did ...

The paper discusses the theme of wandering in the novel by French author André Dhôtel. The protagonist of Le Mont Damion, Fabien Gort, is not a typical vagrant, as he is a member of an intellectual and quite rich family. However, because of his strong absent-mindedness and strangeness, Fabien is unable to find a place in social structures. People’s hostility leads him to many wanderings and unexpected encounters which influence his existence. The novel seems to be also a generic wandering, as it possesses some features of picaresque novel, adventure novel, initiation story and fairytale fantasy.

Discovery of the optimal best possibility of location for facilities is the central problem associated in logistics management. The optimal places for the distribution centres (DCs) can be based on the selected attributes that are crucial to locate the best possible locations to increase the speed of the facility service and thus reduce the overall transport cost and time and to provide best service. The major task is to identifying and locating the required number of DCs and its optimum locations are considered as the important goals for the design of any logistics network. The number of DCs will clearly depends upon many factors like population, capacity of the facility, type of facility etc. but locating the optimum locations of DCs will reduce the overall cost. But, for solving such a wide problem space, the powerful tools are the soft computing based approaches and that are well suited and find a meaningful solution in finite time. In this work, we are going to find the optimum locations of DCs for logistics using various soft computing methods. .

Most of the critical peace literature has put 'a local turn' as an important aspect of a paradigm shift in liberal peacebuilding, both in academic and practice-oriented terms. Although most of the made criticism is valid, it is still being disputed by Western academics with their epistemologies, ontologies and methodologies. The voice of researchers who live in post-conflict or conflict-affected societies is still very much restricted by structural, institutional or personal constraints. Consequently, by drawing mostly from the experience of local researchers in the Balkans, the paper analyses the main causes for the limited impact of local researchers in the liberal peace debates, and proposes several steps that could lead to their stronger involvement in this discussion. We are doing something we don't understand fully, and the best we can do is admit we don't understand it, and that we also don't have time to understand it. 1

""An unexpected gem. An innovative book which explores the everyday lived reality of Muslim minorities in Hong Kong. The contemporary focus is framed by a fascinating history of South Asian Muslims which reaches back into the early 19th century. This beautifully wrought study sheds a great deal of light on a range of issues impacting Muslim minorities: from the extent of hybridity—adapting basketball spaces to cricket—to the challenge of eating halal in a culinary culture where pork is ubiquitous! Young Muslims in Hong Kong face racism and their inability to access Chinese language schools has huge implications for employment and social mobility. However, Islam is respected and they are not seen through a security lens. In all, a hopeful study." —Philip Lewis, author of Islamic Britain and Young British and Muslim

"There has long been a need for a book-length account of Muslims in Hong Kong; this readable and informative book admirably fills this void. Anyone interested in how Muslims make their lives and practice their faith in the Chinese city of Hong Kong should definitely read it." —Gordon Mathews, author of Ghetto at the Center of the World: Chungking Mansions, Hong Kong

"In this insightful and fascinating book, O'Connor walks us through the bustling streets of Hong Kong where space, civility, hope and freedom are created every day by the territory's diverse Muslims. It provides a rare glimpse into an imperfect, but perhaps 'good enough' cosmopolitanism, lived in the schools, homes, shops and lives of ordinary people. Amidst the worry and panic about young Muslims in diaspora as either problems or victims, this is a refreshing and much-needed account of the valuable ways a global city deals with difference. An essential text for scholars and students of youth, diversity and contemporary multiculturalism." —Anita Harris, author of Young People and Everyday Multiculturalism

More than a quarter of a million Muslims live and work in Hong Kong. Among them are descendants of families who have been in the city for generations, recent immigrants from around the world, and growing numbers of migrant workers. Islam in Hong Kong explores the lives of Muslims as ethnic and religious minorities in this unique postcolonial Chinese city. Drawing on interviews with Muslims of different origins, O’Connor builds a detailed picture of daily life through topical chapters on language, space, religious education, daily prayers, maintaining a halal diet in a Chinese environment, racism, and other subjects. Although the picture that emerges is complex and ambiguous, one striking conclusion is that Muslims in Hong Kong generally find acceptance as a community and do not consider themselves to be victimised because of their religion."

This paper attempts to explore the notions that the two Caribbean poets namely, Derek Walcott and Edward Kamau Brathwaite endorse on Caribbean history in their poems. Though both of these poets hold almost the same notion regarding history but their approach is totally different from one another. Coming from a 'hybrid' race, Walcott is aware of the history and he acknowledges it and therefore, he writes in 'mulatto of style'; whereas Brathwaite is enraged by it and attempts to sublimate it to erect a history of the new world. It is Walcott’s view to rise above the delusion and hatred and engulf the world of literature with creativity. On the other hand, Brathwaite holds the grudge which helps him not to forget and forgive the past experience but to transform that very experience into something positive which may help the Caribbean to transform their frustration into something creative and to help the Caribbean to overcome the present struggle against the legacy of colonization. Following discourse analysis, this paper seeks to identify if it is possible to rewrite and re-‘right’ the Caribbean history which has been lost in the route and analyze Walcott and Brathwaite’s attitude towards that very history which has been implemented through their poetry.

IntroductionThey bear upon them the traces of the particular cultures, traditions, languages and histories by which they were shaped. The difference is that they are not and will never be unified in the old sense, because they are irrevocably the product of several interlocking histories and cultures, belong at one and the same time to several "homes" (Hall "Cultural Identity" 222)Caribbean identity is important because it expresses the ethos of the people. To establish such identity, it is a difficult subject because there are multiple historical contributing elements. The Caribbean has many cultural roots. After the European had exterminated the indigenous population, they settled the Caribbean with people around the world and forced them to labor. Thus, people of the Caribbean have extensive backgrounds, making "identity" a problematic topic. Indeed, oppression and slavery marked the Caribbean history, which caused a long-lasting trauma in the mind o...

Since the 1990s, change management has received considerable attention as the new paradigm for the management of organisational transformations as well as behavioural and motivational changes within both for-profit and non-profit organisations. As such, constant changes have also become the new “normality” in education and social service organisations. It is inherent to organisations to be confronted permanently and simultaneously with different ‘rationalities’ of their stakeholders. As hybrid organisations, they have to mediate between the logics of governmental, market-based, and societal structures (Brandsen et al., 2005). This is also crucial in the light of the various challenges related to the integration of digital technologies into almost all areas of education and social services and the development of new virtual business cultures within those organisations. Against this background, this paper will discuss the questions of how the process of digital change management must be designed, implemented, and sustainably developed in educational and social service organisations, of what principles of leading such changes could be relied on, and of what leadership the change agents in such a process require specific qualities and competencies. Digital change and innovation continuously include organisational learning, the re-placement of old management practices with more human-centred management activities, the development of new digital literacy skills and leadership competencies, the facilitation of personnel development to mobilise the staff to enact changes in their behaviour, values, and attitudes in volatile environments and uncertain times (Arnold, 2019). Eventually, the paper leads to a discussion and reflection of a sustainable framework for digital change management at the level of the individual change agents, change programs and initiatives, and the organisation itself.

This article seeks to draw links between intersectionality and queer studies as epistemological strands by examining their common methodological tasks and by tracing some similar difficulties of translating theory into research methods. Intersectionality is the systematic study of the ways in which differences such as race, gender, sexuality, class, ethnicity and other sociopolitical and cultural identities interrelate. Queer theory, when applied as a distinct methodological approach to the study of gender and sexuality, has sought to denaturalise categories of analysis and make normativity visible. By examining existing research projects framed as 'queer' alongside ones that use intersectionality, I consider the importance of positionality in research accounts. I revisit Judith Halberstam's (1998) 'Female Masculinity' and Gloria Anzaldua's (1987) 'Borderlands' and discuss the tension between the act of naming and the critical strategical adoption of categorical thinking. Finally, I suggest hybridity as one possible complementary methodological approach to those of intersectionality and queer studies. Hybridity can facilitate an understanding of shifting textual and material borders and can operate as a creative and political mode of destabilising not only complex social locations, but also research frameworks.
Keywords: intersectionality, hybridity, queer studies

https://brill.com/display/title/32081

To date, the nascent consequential notion of 'multiple modernities' has been predominately grounded in historical research with the purpose of validating the theory. Yet, the notion of multiple modernities represents a radical transformation in the way modernity and, indeed, the contemporary world is viewed. As such, the central aim of this volume is to explore the implications and hidden understanding of the multiple modernitites research project beyond historical analysis in order to investigate its wide ranging omnipresent implications as they exist in communication and in the social order of societal membership in contemporary societies.
This volume collects new research about multiple modernities and globalization. Int shows the new turn of sociological theory in the contemporary scene with respect to multiple modernities, multi-centrism, transglobality, hybridization and multiculturalism, and explores it as a new area of societal communication - one that takes effect in the sectors of a global society as a 'society of societies'.
The studies in this book converge to demonstrate that the route of Western modernization, its cultural program and iths institutional structure, does not follow the pathway of modernization that we have that far observed in the emerged new area. Rather, the continuation of the multiple modernities research program is given a new design, researching the social structure and dynamic of postmodern societies, their exchange and the the debate about the flow of free resources.

https://brill.com/display/title/32081

Mélusine, as the founding mother of the house of Lusignan, has a peculiar origin story. Cursed by her fairy mother at a young age, she is forced to transform her body into a half-serpent guise every Saturday. When that monstrous bodily transformation is discovered by her own husband, Raymondin, and subsequently known by her court, the half-fairy woman flies into the sky completely transformed into a flying serpent. While her bodily transformation seems definitive, her wailing and crying into the sky is described by the narrator, and perceived by the internal audience, as the voice of a woman. The connection between body and selfhood through the representation of emotions in the story of Mélusine resonates with a contemporary audience: while the body of Mélusine changes, her humanity remains untouched, allowing her to cry human-like tears into the sky of her lands. The transformation of her body does not seem to affect the existence of her selfhood, but only the social perception of it.
This paper argues that the metamorphoses of Mélusine’s  body and the representation of her human-like emotional expression through wailing and tears confirms the existence of a stable, yet malleable, selfhood in the character. The previously deemed human self of Mélusine is only affected in the eyes of the society that surrounds her thanks to the visible transformation of her body, as it directly alters the (self)narrative created around her. Mélusine is, in essence, still herself, although her body has changed. Through the analysis of the changing body of Mélusine in the original romance by Jean d’Arras and the other versions of it, this paper will try and shed light on the reasons of this interest in her humanity and her selfhood through an analysis of the correlation between body, self, and emotion.

This article investigates the entanglement of knowledge regarding vegetable gardening in early colonial Bengal through the prism of the yearly vegetable exhibitions organized in Calcutta by the Agricultural and Horticultural Society of India (AHSI, founded in 1820). The European members of the society thought that there were not enough vegetables grown in Bengal and that the commonly eaten vegetables were nutritionally inadequate. In order to 'improve' local vegetable cultivation, the society held a yearly exhibition in which Bengali gardeners received prizes for growing new vegetables, such as cauliflower and cabbage. To supply these exhibitions, the society ordered large shipments of seeds and then distributed them to malis (Bengali gardeners) around Calcutta. In the 1830s they extended this practice to their satellite societies across India. The end result was an increase in the cultivation of these vegetables, and eventually their absorption into local cuisine. Yet, Bengali gardeners continued to bring other vegetables to the exhibitions which were not from the AHSI seed. Eventually, the society's officers reacted to these unsolicited contributions by including awards for them. However, many members were anxious and unsure about these changes, constantly trying to make the vegetable exhibitions mimic the vegetable market at Covent Garden in London. In order to contain the changing exhibitions, they reiterated a divide between 'native' and 'foreign' vegetables by holding separate exhibitions for each. As such, this article reformulates the idea of mimicry, focusing more strongly on British ambivalence and anxiety as they tried to reiterate colonial boundaries with mixed success.

This thesis intends to disentangle the various understandings of hybridity in peace-building, while pointing out the weaknesses of its claims. Instead of considering it as an alternative to liberal peace-building, this work regards hybridity as a logical consequence of it, the same emperor in yet another set of new clothes (Richmond & Franks, 2008). Some of the criticism follows from within the discipline itself, drawing attention to the self-contradictory nature of some claims made by supporters of hybridity as well as the prevalence of established hierarchies and binaries. Another part of the critique targets the limited understanding of hybridity in peacebuilding at its source of post-colonial studies. Last, but not least it attempts to enhance the understanding of hybridity through the intersectional studies aiming at collapsing dominance structures and embracing plurality while realizing that this might as well signals the final stage in the gradual retreat of (liberal) peace-building. The question the thesis would ultimately wish to put, and maybe answer, is whether there is anywhere to go if hybridity fails? Would a response to fundamental criticism and different understandings of hybridity in peacebuilding mean an absolute end to external claims for any form of pre-eminence and whether the recognition of this finality would and should lead to the abandonment of peace-building interventions (in a form that we know them at least)? Albeit the last question seems to be easy to answer, emerging new pragmatist thinking might suggests otherwise (Chandler, 2016). Being an entirely conceptual work, this thesis resorts itself to an analysis of the discourse around hybridity in peacebuilding as well as the possible consequences of its failure.

Antoine Volodine and Christian Garcin both make a distinctive use of shamanism in fictional novels. By multiplying shaman characters and intertwining the shamanistic principles and the narrative, they develop a poetic of instability noticeable through various hybridization processes notably strengthened by the intrusion of supernatural elements. The analysis of three motives in which this game of unstable balance is particularly mirrored – identity, History and fiction – shall turn our attention to the role of shamanism as a vector of fictional dynamism.

The works of Marguerite Duras show visible hybridity, broadly understood as a mixture of genres, correspondence of the arts, or intertextuality. Her texts reflect, par excellence, this tendency because they keep departing from classical forms. Consequently, the same text can be interpreted as a novel, screenplay, or film. This transgression seemingly results from the versatility of changing artistic interests of Duras, who, while writing, was fascinated by film-making and all possibilities of experimentation. The transgression is confirmed by a kind of polyphony of voices in her works, which makes them both extremely suggestive and open. A prime example of this technique is Le Navire Night. According to the concept of poetical-novelistic or cinematic writing, it can be seen as a ‘hybrid’ work. Therefore, Le Navire Night is sometimes read as a poem as understood by Henri Meschonnic, referring to the creativity of the author, especially in the field of language

In this entry I offer some prefatory discursive remarks
about identity; then, owing to the dominance of psychological
theories, a brief overview of some of its
salient themes will be adumbrated; this will be followed
by a discussion on identity formation and maintenance both
in political philosophy and philosophy of education.

In a society characterized by ever-changing identity- and boundary-redefinition, the confines among different kinds of art are shifting consistently. Painting, photography, and cinema often surface in post-modern literature directly or indirectly. In particular, intertextual connections, generated by the intertwining of cinema and literature in literary works, lead to the creation of new text types which can hardly be classified according to traditional genre taxonomies. This essay aims to investigate some hybridization processes, triggered by the presence of cinema in literary texts, through the analysis of two novels which claim a direct connection with cinema: Paradis Conjugal d'Alice Ferney (2008) et Le Garçon incassable de Florence Seyvos (2013).

Instead of asking how globalization can help us understand Ireland today, this article starts from the premise that Ireland may be useful for an understanding of globalization. Always at a crossroads culturally and through its huge migration overseas, contemporary Ireland is seen as the epitome of a globalization success story. The article examines the constant (relcreation of Irish identity and its complex (re)constitution in the era of globalization. It concludes that if an Ireland did not already exist, globalization theory would have to invent it.

A number of important legal and institutional experiments have been undertaken at the Extraordinary Chambers in the Courts of Cambodia (ECCC), a UN-backed tribunal established to try some of the most egregious crimes of the Pol Pot era. The ECCC is the first UN-supported hybrid criminal tribunal to mandate a majority of national judges and to divide key legal and administrative offices and funding mechanisms into distinct national and international sides. It also draws more heavily than any prior internationalized mass crimes process from the civil law tradition, including expansive roles for investigating judges and an ambitious mechanism permitting certain survivors to join the proceedings as civil parties. These experimental features — most of which were accepted reluctantly by the United Nations during difficult negotiations with the Cambodian government — have sometimes compromised the ECCC’s capacity to conduct fair, expeditious proceedings and carry out its administrative fun...

"This paper explores the dialectics of authenticity and hybridity – two concepts that tend to be theoretically conceived in terms of mutual exclusion, while fictional texts have for quite some time started to enact them as analogous and compatible ideas. With respect to two recent novels, Richard Powers' The Time of Our Singing and Jonathan Lethem's The Fortress of Solitude, I would like to show that hybridity these days can very well be employed to elicit an aura of authenticity, rather than conveying ironical distance, subversion or disruptive metafictional self-reflection.
Both novels stem from the realm of what has been called neo-realist fiction and both of them run counter to Jonathan Franzen's diagnosis of a contemporary literary market in which a naïve understanding of cultural identity rules supreme. After all, Powers and Lethem are white authors which capitalize on the subject of race. While both novels trace issues of identity and identification which have their origin in the structures of racial ascriptions and self-fashionings, they give a markedly new and critical slant to the mechanisms of testimonial identity politics which Franzen demarcated, without falling back on long-standing postmodern techniques of ironic distancing and de-authentication.
"

The hybridity that is seen everywhere in symbolist poetry is not so much evidence of a temporary trend of the era following the interest in the crossing of species in nature as much as it is an attempt to confront the very nature of “art” itself. The time of the “quarrel of monsters” has passed, and the hybrids of contemporary poetry – competing for a place in the mythological scene that is symbolism – roam guiltless. And yet, beyond literary conventions, this mythological bestiary is anything but innocent and outdated; in fact, it embodies a genuine mythopoetic repertoire. For Mallarmé in particular, this hybrid bestiary reflects the illusive “Chimera” of poetry.

This paper considers Sergio Troncoso's _From This Wicked Patch of Dust_ as a resistance novel. I argue that Troncoso relies on form, language, and indigenous myths and symbols to resist dominant American linguistic authority and popular imagination and to embrace his mestizo and Chicano heritage. Yet, he does not call for a complete return to old Mexico, which is itself plagued by problems of androcentrism. Instead, he calls for a Chicano identity that is defined by hybridity, ambiguity and fluidity.

Hybridity conveys the idea of the interweaving of practices, norms and identities that defy any compartmentalisation into fundamentally bounded entities. This results from processes of hybridisation whereby actors cross boundaries that are prominent at a given time, like state vs. traditional. Boundaries help consolidate power, hierarchies, and orders. This article discusses the politics of hybridisation in the constitution of authority in post-colonies, using the example of chiefs and state officials in Mozambique. It argues that hybrid acts also form part of individual actors' efforts to consolidate power and constitute authority and that this coexists in a productive tension with boundary-making. © 2017 informa uK limited, trading as Taylor & Francis Group KEYWORDS hybridity boundary-making chiefs state formation sovereignty ARTICLE HISTORY

A troca de músicas pela Internet, o avanço da pirataria, o declínio das grandes gravadoras, o aumento no número de pequenos e bem-sucedidos selos, a proliferação da música eletrônica, a facilidade para se gravar decorrentes de novas tecnologias, todos estas são questões que fazem parte de um novo contexto na produção musical.

Open banking is a revolutionized technique of providing banking services to the customer through third party mediums without actually exposing the bank's sensitive data. It implements the RESTful services in form of APIs to encapsulate the data in a JSON format. Open banking coupled with voice enabled services would yield into an efficient method to allow customers to manage their banking tasks with much more ease and hands free manner. Thus this hybrid combination, resulting into Voice-enabled Personal Assistant, serves as a perfect solution to enable banking on the go. Nevertheless, it also proves to be a helpful product for senior citizens and visually impaired people in the banking sector.

Based on postcolonial and postmodern theories, this paper explores Hybridity as a Counter-Hegemonic Discourse in Elizabeth Nunez's Even in Paradise. While criticism has yet to study Nunez's work from a postcolonial perspective, Even in Paradise reveals two types of narrative discourse: " postmodern narrative " intertwined with " colonial narrative. " The narrative is " a perfect zigzag " journey into the past to comprehend the present. Nunez resists the traditional linear narrative by using a zigzag time and space to defy Western Culture and its controlling structures. Nunez also writes against the postcolonial condition with the attribution of a dominant position in the Caribbean and African culture. Finally, Nunez, a Caribbean writer, writes in English not only to answer back to the colonial discourse but also to challenge the oppressive discourse held by men vis-á-vis women. Using both tenacious and strong male and female characters while searching for space and identity, she redefines the status of women in a male-dominated world. What is common to many of today's postcolonial authors is their focus on the linguistic hybridity of the national space, the importance of which must be recognized as an asset to postcolonial spaces rather than viewed as a means of dividing the country for the welfare of the ruling few. Drawing from postcolonial theories, I explore Nunez's hybridity as a counter-hegemonic discourse as an example of third space that works to reclaim a space for the subaltern voice.

This article focuses on the broad spread of shanzhai culture in 2008, exploring the central question: what is it that brings such disparate phenomena together under one label? Shanzhai things have typically emerged from new spaces for participation in production beyond the control of formerly monopolistic authorities. But things are not necessarily shanzhai by birth, for it is also an identity affixed to things by consumers. The shanzhai identity's inherent ambiguity—almost the same but not quite—brings with it a dimension of disruption of authority (cf. Bhabha), but its political standpoints are elusive. Using insights from hybridity theory, this article characterizes shanzhai as a contemporary successor to what Lu Xun termed Grabism: the active reappropriation of economic and cultural authority for diverse local purposes, which have themselves been shaped and redefined by those same authorities.

The articles included in this special collection examine the implementation of varied conservation agendas, seeking to integrate the strengths of a political ecology framework with insights derived from Science and Technology Studies (STS). By taking an ethnographic approach to the study of conservation projects, they challenge the nature/culture divide so central to the Western philosophical tradition and draw attention to the ways in which nature and culture are co-constituted in and through practice.

Current critical theorizations within citizenship studies on the condition of migrants and refugees celebrate the nomadic dimension of the contemporary migrant/refugee figure and assign her the potential to disrupt hegemonic practices of capital and state-centric citizenship. However, such enthusiastic accounts need to exercise a sense of caution in conceptualizing the fragile and unstable condition of the migrant, and need to distinguish between various experiences of mobility, hybridity, and citizenship. Such a differentiation between these different lived experiences of citizenship echoes Aihwa Ong's critique of the ‘unified moralism attached to subaltern subjects [that] now also clings to diasporan ones, who are invariably assumed to be members of oppressed classes and therefore constitutionally opposed to capitalism and state power’. My analysis points to how class, race and language structure various experiences of mobility and citizenship and make tenuous easy celebrations of postcolonial hybridity within critical re-configurations of citizenship. I argue that practices of postcolonial mobility in the Franco-Maghrebian context have produced differentiated and unequal hybridities, and, consequently, asymmetrical experiences of citizenship. By distinguishing between various practices of mobility and hybridity, I indicate that postcolonial hybridity can also be employed to re-constitute the rigid boundaries of nation and citizenship.

This article critically considers the legacy of hybridity in African popular music studies and questions whether contemporary African engagements with diasporic popular musics like hip hop call for new interpretations of musical genre.  Through ethnographic research with hip hoppers in Senegal, I explore how practices of musical intertextuality reinscribe global connections as diasporic ones and challenge the conditions for musical hybridity. I argue for a consideration of the formal parameters of musical genre themselves as conscious and strategic social practice that situates human actors in local and global place.

Appert, Catherine M. 2016. "On Hybridity in African Popular Music." Ethnomusicology 60(2):279-99.