Theory of Cultural Hybridity

This essay compares language and its role in cultural negotiation, focusing on Wole Soyinka's Aké: Jahre der Kindheit and Emine Özdama's Die Brücke vom Goldenen Horn. By examining how language shapes multilingualism in these narratives and influences cultural identities, this comparative analysis presents the ways in which linguistic diversity reflects deeper cultural negotiations. Through the characters' interactions with language, readers are drawn into the complexities of communication as a space for both negotiation and conflict, particularly as characters navigate the expectations of different cultural and linguistic communities. Furthermore, this analysis explores how characters manage language differences and the broader societal attitudes toward multilingualism. By examining these renowned works from authors of distinct cultural backgrounds and experiences, this paper sheds light on the intricate connection between culture, identity, and language.

Why did translation matter for early modern translators themselves? Approaching Ottoman court translator and religious convert to Islam, Ali Ufkî's (né Wojciech Bobowski, ca. 1610-1677) intellectual endeavors, this article explores the multilayered relationship among translation, commensurability, and transmission of cultural knowledge by focusing on the translating subject. It argues that translation was an epistemic posture taken on by translators operating in complex cultural landscapes to navigate their self-assertion within the contours of cultural mediation in late seventeenth-century Istanbul. In so doing, it suggests reading translations beyond imperial logics and their concomitant historiographical terms.

Nilalayon ng pag-aaral na ito ang isang pagsusuri at/o pagsasalansang tipolohikal ukol sa ilang pelikulang direktang tumuon sa danas at naratibo ng mga manggagawa, mangingibig, at/o manggagawang mangingibig—partikular na ang mga pelikulang idinirehe ni Olivia M. Lamasan. Sa paglago ng anomang larang katulad ng media studies, mahalaga rin ang pagsipat ng tipolohiya at/o pagsasaklasipika batay sa uri ng mga ipinamamayaning paksa. Ito ay upang matukoy ang pinagmumulan at/o pinaghuhugutang idea at inspirasyon ng mga kumatha at higit sa lahat, ang pananalamin sa realidad ng lipunan sa panahon kung kailan ito kinatha. Nakasandig ang panunuring ito hindi lamang sa tradisyonal na pagbubuod ng mga kinathang pelikula, ngunit refleksibo rin uugatin ang kayariang panlipunan nito sa kasalukuyang direksiyon ng edukasyon at nakapangyayaring pagpapahalaga sa mga Pilipinong sining. Ang mga pelikulang Pilipino, lalo pa’t kung malaya at mapagpalaya ay maituturing na isang ekstensiyon at salamin ng mga communal ethos ng sambayanan at kalinangang Pilipino.

Jose, Mary Dorothy, Atoy Navarro, at Jerome Ong, mga pat. 2023. Kulturang Popular na Asyano.  Manila: Department of Social Sciences, University of the Philippines Manila.

Tampok sa akdang ito ang ilang halimbawa ng kulturang popular na Asyano at ang kaugnayan/paglaganap nito sa Pilipinas, katulad ng anime mula sa Japan at ang paglaganap nito sa daigdig kasama ang Pilipinas; simula at paglaganap ng Hallyu (o Korean wave) sa bansa; pagsusuri sa BL (Boys’ Love) series mula sa Thailand; at representasyon sa itinuturing na unang feminista sa Indonesia na si Raden Adjeng Kartini sa dalawang pelikulang Indones na mapapanood sa Netflix.

If you do not understand White Supremacy (Racism)-what it is, and how it works-everything else that you understand, will only confuse you. Neely Fuller (1969) Frances Cress Welsing was born Frances Luella Cress, March 18, 1935, in Chicago, Illinois. Welsing continued in her family tradition of obtaining an education and eventually received her B.S. from Antioch College in 1957 and her M.D. from Howard University College of Medicine in 1962. She worked in several capacities during her academic and professional career. Some of these positions include being an assistant professor of pediatrics at Howard University College of Medicine from 1968-75, serving as staff physician at the Department of Human Services from 1967-1991, and operating her own private practice in Washington, DC. She was also involved with professional organizations in her field such as the National Medical Association, the American Medical Association, and the American Psychiatric Association. While these descriptions and titles are important to understanding who and what Frances Cress Welsing was as a professional, it is her role as social and psychological theorist that brought her national and international recognition. Her life's work, dedicated to the systematic study of white supremacy and its impact on the thinking and behaviors of both white and black people, is a contribution that leaves an intellectual legacy that cannot be ignored.

Ang pag-aaral na ginawa nina Zhang at Wang (2018), kung saan kanilang tinalakay ang mga teknolohiyang pang-konstruksyon na lumalabas na potensyal na magkaroon ng malaking epekto sa kalidad ng mga materyales sa paggawa ng bahay. Sa kanilang pagaaral, sinuri nila ang mga bagong teknolohiya tulad ng 3D printing ng mga bahay, paggamit ng advanced na komposisyonal na materyales, at mga sistema ng smart construction management. Natuklasan nila na ang mga teknolohiyang ito ay maaaring magdulot ng mga oportunidad para sa mas mabilis, mas mura, at mas environmentally friendly na konstruksyon ng bahay, ngunit kinilala rin nila ang ilang mga hamon tulad ng kakulangan sa regulasyon at kakayahan sa pagtutugma ng mga bagong teknolohiya sa tradisyonal na mga proseso sa konstruksyon. Sa kabuuan, ang kanilang pag-aaral ay nagbibigay ng pananaw sa potensyal na epekto ng mga bagong teknolohiya sa kalidad ng mga materyales sa industriya ng konstruksyon.

This research is a contribution to the study of diasporic Hinduism. It draws on historical documentation and ethnographic fieldwork, focusing on the evolution of the cult of deity Mardévirin/Maduraivīraṉ, between South India where it originates and Mauritius Island, one of nineteenth-century plantation societies where it was transplanted following indenture.

My research is an attempt to write a cultural history around the cult of Mardévirin. I first locate the latter’s origins in precolonial South India, in order to map out important themes - such as political symbolism, moral ambiguity and antinomian religiosity - that are mirrored and subverted on Mauritius Island.

In the second part of the thesis, I argue that the colonial period was fertile ground for Mardévirin’s growing popularity, as the god’s legendary narrative and worship echoed the indentured plantation’s world and social reality. Under the influence of Indian religious nationalisms and the arrival of Mauritian independence, Mardévirin worship lost ground, the deity’s figure failing to fit in with the religious sensitivities of a new nascent, “global” order.

Finally, mainly through fieldwork, I have inquired about what subsists of Mardévirin in today’s Mauritius. I found that although the worship is now marginal and residual, Mardévirin is still remembered as a symbol of subaltern religious identity. Globally, this research insists, through the figure of Mardévirin, on the importance that guardian deity worship played in the liminal religious life that connected South India and colonial Mauritius Island. It also highlights the way the religious economy was radically transformed by postcolonial modernity.

Shenzhen, the first Special Economic Zone established in 1979 in southern China, has transformed from a global electronics manufacturing hub and counterfeiting capital into a UNESCO City of Design within the span of four decades. This article examines three digital-imaging practices that emanate from the city to explore the city's multiple connections to globalization from above and globalization from below. The first is the 2004 narrative film The World, directed by Jia Zhang-ke (often known as a Sixth-Generation Chinese auteur) and based in part on lead actress Zhao Tao's experience working in Shenzhen's Window of the World theme park. The second is Shenzhen-based company Transsion's design of smart phones for the African market, which have roots in the city's Shanzhai (i.e. "knockoff") mobile phone sector. The third is large-scale light shows around the city in 2018-2019 that turn the facades of high-rises into electronic screens, featuring LED-light imageries generated by algorithms. Utilizing digital media to illuminate Shenzhen as a networked place in the world, these relational place-making practices simultaneously engage with and reveal the contradictions of transparency as a normative ideal upheld by global tech giants and Euro-American governments. Together, they provide a distinctive window to discern China's cultural and political dilemmas in the 21st century.

Navarro, Atoy. 2023. Thai Boys’ Love Series: Pagpapatatag o Paghamon sa mga Esteryotipikal na Representasyon ng Pagkalalaking Thai?  Nasa Kulturang Popular na Asyano, mga pat. Mary Dorothy Jose, Atoy Navarro, at Jerome Ong, 94-150.  Manila: Department of Social Sciences, University of the Philippines Manila.

Sa artikulong ito, susuriin ang ilang piling Thai boys’ love (BL) series o Thai series wai bilang ambag sa nagsasala-salabat na mga larangan ng Araling Pangkasarian at Araling Kalalakihan, Araling Kabanwahan at Araling Pilipino-Thai, at Araling Pangmidya.  May tatlong bahagi ang artikulong ito.  Ilalatag sa unang bahagi ang mga teorya ng Hegemonikong Maskulinidad at Inklusibong Maskulinidad bilang mga balangkas pangkaisipan sa pag-unawa sa mga pagpapakahulugan sa pagkalalaki.  Kasunod nito, ibubuod ang salaysay ng mga Thai series wai na SOTUS: The Series (2016-2017), Theory of Love (2019), Dark Blue Kiss (2019), at 2gether: The Series (2020).  At sa huling bahagi, susuriin ang mga representasyon ng pagkalalaking Thai sa mga naturang Thai series wai.

Pyun, Kyunghee. “Hybrid Dandyism: European Woolen Fabric in East Asia.” Fashion, Identity, Power in Modern Asia, edited by Kyunghee Pyun and Aida Yuen Wong (New York: Palgrave Macmillan, 2018), 285-306.

Although East Asia is known for its production of fine silk fabrics and also as a major exporter of luxurious textiles, it gradually consumed European fabrics in the nineteenth and early twentieth century. Rachel Silberstein, Seiko Sugimoto, and other costume historians have shown that some parts of Asian society welcomed the new imported textiles and eventually succeeded in setting up domestic production of them for a mass market.
Using remaining costume and textile objects in the late nineteenth century, this paper will introduce types of European woolen fabrics. Imported woolen fabrics in Japan, predominantly British in the beginning, is gradually replaced with those produced in Australia and other parts of the world in the early twentieth century. Nonetheless, the British woolen fabrics and suits would retain a prestige for a long period. Literary descriptions, news articles, advertising images, and fashion magazines are primary sources along with surviving uniforms and dresses.
Manufacturing of woolen fabrics in Japan and Korea from the 1920s to the 1940s displays how a foreign luxury became a necessity in a war-obsessed colonial government. Along with a mass production of cotton, production of woolen fabrics became part of an essential military enterprise and a monopoly of the Empire of Japan.  The chapter will discuss how a group of intellectuals having studied abroad and social elites with positions of public service in East Asia adopted the fashionable styling of woolen clothing, and why this trend of hybrid dandyism continued after WWII in Korea and Japan.

Life and works of rizal Activity 2: The First Filipino by Juan Ma. Guerrero Ang teksto na "Ang Unang Filipino" ay naglalaman ng mga pangunahing pangyayari at mga tao sa kasaysayan ng Pilipinas. Sa simula, binanggit si Rizal, na kilala bilang unang Filipino. Bago pa siya, may mga katutubong tao sa Suluan na sumama kay Magellan patungo sa "Encantadong Isla" ng Humunu. Sila ay magiliw at matapat, armado ng mga mahahabang kutsilyo, pamalo, kalasag, at sibat na dekorado ng ginto. Sila rin ay may mga gintong pulseras at hikaw. Sumang-ayon si Humabon, ang hari ng

bilang pangunahing tagapagtaguyod ng Pilipinolohiya, larangan hinggil sa kaisipan, kultura at lipunang Pilipino, nagretiro si Prop. Covar sa Pamantasan noong 1999 pagkaraan ng apatnapung taong paglilingkod dito. Sa loob ng panahong ito, naging tagapayo siya para sa 27 disertasyon at 21 tesis sa ilang gradwadong programa sa loob at maging sa labas ng Pamantasan. Kabilang sa maraming pagkilala sa kanyang gawaing akademiko ang Gawad Lope K.

In 1972, the Philippines was placed under Martial Law by then president Ferdinand Marcos. His regime spanned almost twenty-years where Marcos, aside from gaining control of all three branches of the government, also seized control over broadcast television, radio stations, and broadsheets. (Pinlac, 2007; Santos & Pinlac, 2007). This prompted the censorship of anti-government ideology and the control over the production and distribution of media and cinema in the country. Ferdinand Marcos recognized the power of film and media; which is why he helped propagate local cinema and boosted the benefits of film workers and at the same time, distributed the control over the media to his relatives, cronies, and close friends.
The first full-length animated film called, Tadhana (Destiny), was a supposed historical feature based on the alternative national history co-written by the president himself. The film was produced by his daughter and directed by the comic artist, Severino “Nonoy” Marcelo who was more known for his political commentary in the form of comic strips. ‘hat was initially intended as part of the president’s propaganda of a New Society, depicted anti-imperialist and progressive themes.
The paper will examine how the full-length feature animation Tadhana was able to express their discontent within the spaces of an oppressive dictatorship using Alice Guillermo’s Semiotic Planes. The paper also intends to introduce animation as a part of the protest art movement, observing how animators and animation remain pivotal in dissent and social change.

The monograph Haunting without Ghosts, written by Juliana Martínez, conceptualizes and exemplifies the narrative form and aesthetics of 'spectral realism' in the Colombian arts. The book traverses literary, cinematic and artistic works from the last two decades, presenting the formal tools for expressing narratives of an armed conflict of disclaimed loss and truncated mourning. In short, it analyzes works that do not take ghosts literally but as a perceptual form of expression.

With English functioning as the global lingua franca of the modern world, actively employed to discuss, describe and promote all there is under the heaven, the paper focuses on the linguistic mechanisms of English "renationalization", that is its adaptation to other cultures, originally external to it, which it might be called to describe. Since the goal of this paper is to illustrate that the secondary cultural orientation of language follows certain general principles and the linguistic mechanisms are the same regardless of the culture being described, we left the culture factor as the only variable (Russian vs. Transoxanian region), restricting the empirical data to texts similar in genre and addressee (culturological research for relatively wide readership) and temporal parameters (time of creation). The selected empirical data was then analysed on the phono-graphical, lexical and architectonic levels in relation to the way they are affected by the text's secondary cultural orientation. The conducted comparison of two independent researches dedicated to the Russian and Transoxanian region's cultures revealed some striking similarities, which are by no means coincidental. Rather the results summed up in the present paper confirm our hypothesis that a language adaptation to the task of describing an external culture is based on certain strategies; at that both the scope of these strategies and the factors affecting their choice are universal and show no dependence on the culture being described.

This study examined the supernatural characters in the selected Filipino horror films from 2004-2009 and how their character traits, appearance, wants and desires enhanced the development of the plot through their actions. It explored as well different Filipino cultural practices portrayed in the films. Using the New Criticism Approach, the films were viewed several times to familiarize the researchers with the scenes, observe the supernatural characters’ description, and re-mark key statements to further substantiate the analysis done in the paper. The study found out that there are seven different supernatural characters present in the films. They are the ghosts, aswang, tiyanak, engkanto, demonyo, manananggal, and mangkukulam. The ghosts generally appeared with pale faces and dark smudges around their eyes. Although some engkantos looked connatural with the ghosts because of the similarity of their looks, they had reasons possessing pretty faces to lure the human characters. The tiyanaks, contrary to typical child demon, grew from babies to young children. They were kids aged nine to ten years old and they played outside in broad day light. The aswangs, on the other hand, remained in their human forms with sharp teeth. Unlike the archetypal aswang, the aswang in the movies acted on revenge for having been scorned at. The demons were greatly feared since they bring death to anyone they meet. The manananggal, who could sew his torso and the lower part of his body, refused to kill innocent people. Instead, he became a vigilante protecting the innocent and attacking and killing the bad folks. Two different characteristics of mangkukulam were portrayed in the films; the first type is a good mangkukulam who sought change and does not practice evil sorcery while the second type practiced black magic. The evil mangkukulams were typically the same. The study revealed that the supernatural characters’ desires and their actions propelled the plot. The main characters and protagonists oppose the forces of these supernatural characters mainly for survival and instinct. It has also been found out that the films reflect the strong affinity of the Filipinos towards superstitious beliefs.

The complex relationship between people and places has increasingly become a subject of scholarly inquiry with the rapid growth of globalizing processes since the 1990s. Place attachment and memories are central to coming to terms with one's fate, especially for people displaced from their homelands by economic or ecological crises and political conflicts. Music plays an important role in coping with insuing inequalities and feelings of powerlessness. For example, politically engaged bands often build on musical styles and genres located in specific listening traditions to musically challenge an unjust judicial system by subverting auditory spaces. This article focuses on Los Jornaleros del Norte, a California-based band that assumes power in a socio-acoustic space by "Chanting Down the Walls" of detention centers and prisons where migrants from Mexico and Central America are incarcerated, awaiting their deportation.

In Kenyan urban locations where speakers of a myriad of different languages and cultures converge, young people have experienced ambivalence, ambiguity, and contradictions regarding language, culture, and identity that they can ascribe to themselves, both as unifying factors at the national level, as well as marking their identity as urban youth. In an attempt to bridge the ethnic divide, and the divide between what they perceive to be traditional values and the urban, modernized values, Kenyan urban youth have developed a “hybrid” language called “Sheng”. This language has opened up avenues for renegotiating their identity and cultures, moving them beyond unitary, fixed identities and binaries of traditional versus urban, and local versus global. Thus, this paper uses the post-colonial notions of hybridity and the third space to interrogate ways in which these youth have challenged the established codes of their identities, and negotiated their ambivalences in a third, hybridized s...

This research paper will discuss the manifestation of popular culture in the works of young Filipino novelists. It will focus on the novels of three young Filipino novelists in the Philippines. The three Filipino novels are Peksman (Mamatay Ka Man) Nagsisinungaling Ako (at Iba Pang Kuwentong Kasinungalingan na Di Dapat Paniwalaan) by Eros S. Atalia, published in 2007; Lumbay ng Dila by Genevieve L. Asenjo, published in 2010 and Sa Kasunod ng 909 by Edgar Calabia Samar, published in 2012. These three novels were prizewinners and received citations in the Philippines. All of the authors of these three novels became fellows of the International Writing Program (IWP) of the University of Iowa. The primary objectives of this research paper are: to explore the manifestations of popular culture in the selected three novels from the Philippines as works and practices of intellectual and incredibly artistic activity of young Filipino novelists and to build a new understanding and reading of ...

This article explores the relationship between ‘glocalisation’ and the formation of national identity in Christine S. Bellen's picturebook retellings of four Philippine fairy tales from the Mga Kwento ni Lola Basyang [Tales of Grandmother Basyang] series by Severino Reyes. ‘Glocalisation’ is an effect of globalisation and exists in the dialectic between global phenomenon and local culture, resulting in a dynamic glocal identity. The choice to explore glocal phenomenon in Bellen's picture books comes from the likelihood of these being some of the child's first experiences of glocal literature as well as the fact that the tales carry on a tradition of appropriation and re-creation. Bellen's retellings shift the fairy tales from post-colonial texts to glocal texts and, by grounding global signs on local significance, give voice to the glocal Filipino child.

Since its debut on China Central Television (CCTV), Shejian shang de Zhongguo (舌尖上的 中国, known as 'A Bite of China', hereinafter Shejian) has met with great fanfare, home and abroad, and become a celebrated geographical brand name of Chinese culinary culture. Shejian marks a distinctive attribute of China's contemporary food media, which deploys glamourized food images, from ordinary staple food to lavish celebratory meals, to reify social prosperity and personal happiness. This article aims to demonstrate how despite its state-sponsored production and distribution, Shejian is more than an ideological artefact. The cultural phenomenon has thrived at the intersection of China's media convergence and participatory culture. On the one side, Shejian's unprecedented success and influence should be attributed to CCTV's convergence strategies against the backdrop of media reforms. On the other, audience participation and recreation on the Internet have invigorated the formation and spread of the Shejian phenomenon while problematizing the official interpretation and ideological construction of the documentary. Shejian's savvy viewers and cynical imitators poach the florid documentary script to write their versions of reality, albeit disguised with profanity and laughter. How the widespread egao practices play with the establishment culture and how such online expressions are tolerated by the authorities shed new light on China's Internet culture and censorship. Keywords A Bite of China, food media, convergence culture, digital poaching, egao Since its debut on China Central Television (CCTV) in May 2012, the food documentary series Shejian shang de Zhongguo (舌尖上的中国, known as 'A Bite of China',

As a global discourse and not merely a postcolonial phenomenon, the genres of Third cinema and Parallel cinema have been explored by Satyajit Ray, Tapan Sinha, Mrinal Sen and others to understand the struggle of lower and middle classes of Bengal. Melodrama characterizes the division between socio-political hierarchies and has been an important film form. With the new Nehruvian regime, migration of Bengali refugees from Bangladesh, massive industrialization and deindustrialization, Calcutta became a hotbed of political and social changes in the late 20th century. Howrah was the booming industrial center in the northeast because of the Hooghly industrial belt. The gap between affluent and the lower-income groups broadened. Increasingly the vicious capitalists who controlled the city disregarded the distinguished, educated middle-class bhadralok. Subalterns like women and lower classes got exploited. As much as the generation of great men were proud of their past, they lost significance in the modern and industrialized Calcutta. Through third cinema and parallel cinema the socially inferior found representation in media while melodrama recognised the changing values and aesthetics in Bengal.

Psalm-singing was an emotional experience for early modern Scottish Protestants. This article explores the affective dimension of this practice. It identifies the experiences Scots had when they sang the metrical psalms, investigates why psalm-singing stimulated these emotional episodes, and situates the activity's role within the broader framework of Scottish Protestant introspective piety. The paper initially argues that many Scottish Protestants enjoyed psalm-singing. Particularly, listening to and singing the words and melodies of the psalms stimulated desired emotional experiences. The article's second part establishes that some Scottish Protestants approached psalm-singing as a form of prayer. Consequently, psalm-singing expressed lyrically and melodically the emotions – the speech of the soul to God in prayer – of the singer. The paper concludes that because psalm-singing evoked and expressed religious emotions, it constituted a core practice in Scottish Protestant pi...

Makikita sa mga pelikulang ito ang kwento ng dalawang magiting na Heneral na ipinagtaguyod ang kanilang pagmamahal at pagmamalasakit sa Pilipinas pero sinuklian lamang ito ng pagtataksil ng kanilang sariling mamayan na nagdulot sa kanilang kamatayan. Susuriin muna natin ang mga pelikulang mga ito bago natin ihalintulad sa iba pang pangyayari na ginanap sa kasaysayan ng Pilipinas. Ang Pelikulang "Heneral Luna" Isa itong pelikulang dinirekta ni Jerrold Tarog na ipinalabas noong Setyembre 9, 2015. Dinipikta ng pelikulang ito ang pangyayari sa buhay ni Heneral Luna noong 1898 sa pakikibaglaban niya para sa kalayaan ng mga Pilipino mula sa mga mananakop na Amerikano.

By focusing on creative appropriation and cultural hybridity in premodern Northern art, this interdisciplinary chapter offers a critical reflection on the development of the canon in the history of research in art and classical archeology. Taking the praxeological model of the CRC 1391 Different Aesthetics as a starting point, we will explore how selected works of Roman architecture and early modern painting demonstrate their cultural synthesis, firmly anchored in the social structure of their place of origin, as
well as how they negotiate this synthesis by genuinely artistic means.

This study of Geoffrey Chaucer’s The Canterbury Tales reads his pilgrims as the hybrids of medieval borderline community, created by social mobility. Thus, drawing on Bhabha’s postcolonial concepts of hybridity, in–betweenness, third space and mimicry, this book argues that Chaucer’s The Canterbury Tales depicts a variety of medieval hybrid identities. The hierarchical medieval society is well–known for its feudal structure and strict estate divisions; namely, the clergy, the nobility, and the commoners. The medieval frame of mind, ruled by religion, believed that this hierarchy in society was ordered by God for the welfare of the community. Yet, the radical economic, social and political changes of the late fourteenth century, namely the Hundred Years War, the Black Death of 1348, 1361 and 1369, and the Peasants’ Revolt of 1381, shattered this rigid construction of the medieval world. These drastic happenings resulted in the weakening of feudalism and a large-scale social mobility. The social mobility, in due time, produced a “middle–grouping”, which emerged out of upwardly and downwardly mobile medieval people. The members of the “middle–grouping” could not be fitted into any of the three estates and lived in the territories, in a Bhabhanian third space, constituted by three estates. The social climbers of the “middle–grouping” also imitated the noble way of life: their attire, customs and manners, and even their discourse to be accepted into the sphere of the nobility. That is to say, the medieval people of the “middle–grouping” turned into hybrids and mimics along with the mixture of values and norms deriving from their former and present status. Chaucer’s The Canterbury Tales presents those people of “middle–grouping” who develop their alternative identities on the borders of the acknowledged identities of the three medieval estates. Accordingly, Chapter I discusses the Knight as a medieval hybrid owing to the changes within his own estate, the nobility, and his consequent downward mobility putting him in-between the realms and required values of his old and new status. In Chapter II, similar to the Knight, yet moving from the nobility to the clergy, the Monk and the Prioress are examined as noble hybrids due to downward mobility. Finally, Chapter III analyses the Franklin and the Miller as the hybrids and mimics of upward mobility, who challenge the social order and ask for their own order by claiming gentility.

By 1850 British women had settled in the Red River colony, a British outpost in what became the province of Manitoba, Canada, and where the Hudson’s Bay Company established fur trading posts. Through an analysis of documents concerning two unconnected lawsuits involving Countryborn women, it is possible to glean some understanding of how British women became agents of colonialism. Company authorities envisaged that White women would establish households predicated on Victorian patriarchal ideology that defined separate spheres for men and women. This article maps how White women stereotyped non‐White women as ‘Other,’ manipulated their symbolic role as mothers of the English nation, and used rumour to maintain a segregated settlement. It also explores the agency of these White women as they sought to establish a place for themselves through their struggles with one another, with First Nations and Countryborn women, as well as with the White men who ruled the colony.

The concept of cultural hybridity seems ordinary now due to the daily usages of the term in a global context, but it covers a lengthy scholarly discourse. In the Winter Semester 2020/21, the discussion of Pnina Werbner's article on the dialectics of hybridity during a Research Area 6 meeting captivated the members' interest. What novel ideas does hybridity bring to different cultural environments, and how? Possible answers were that cultural shifts between the local and the global are involved, as well as encounters and reformulation of identities. The concept helps reflect on the interaction processes between identities and cultures by considering the emergence of new realities. The interdisciplinary and international conference "Cultural Identities in a Global World: Reframing Cultural Hybridity," from 23 to 25 June, aimed to shed light on the dynamics and social practices engaging hybridity as a tool of cultural analysis and formation. The experimental format of the laboratory conference aimed to inspire a reformulation of this concept and to bind everyday reality with academic knowledge during the keynote lecture, the two workshops, the eight panels, and the final laboratory-debate. The conference started with a digital World Café through the platform Padlet.com. On the page created for the event, four questions were formulated to break the ice and present the participants. The questions respectively asked for a short introduction (name, university, faculty, degree), how hybridity relates to their scholarly work, how it relates to their daily life and, finally, the meaning of hybridity in a short sentence or word. To answer these questions the participants accessed the page and used the function of leaving a comment. This World Café showed the international, interdisciplinary and polyphonic aspects of hybridity in academic knowledge and everyday life among the participants. KULT_online. Review Journal for the Study of Culture 64/2021 journals.ub.uni-giessen.de/kult-online-2-The first panels of the first day were Negotiation of Gender in the Digital Era and Digitalisation of Culture. Both were held simultaneously, as both discussed the importance of the digital in rethinking concepts such as gender and culture. NEELLY FAS-SAD (Goethe University Frankfurt) opened the session Negotiation of Gender in the Digital Era chaired by LAURA POPA (Justus Liebig University Giessen), by focusing on the global spread of the image of the child-woman in digital pop-culture across Europe and Asia. In her poster presentation, "The Myth of the Child-Woman in Visual Media Concepts," Fas-sad analyzed how Lolita's sexualized aesthetics contribute to the hypersexualization of young girls, child pornography, and sexual violence against children on the Internet and social media platforms. In order to reclaim women's bodies, the new aesthetic of an asexualized, subversive Gothic Lolita was introduced. Following the same interest in gender aesthetics, ATHIRA B.K. (Jawaharlal Nehru University) discussed a novel bridehood imaginary emerging in India since the 1990s in her talk "Weddings and Digital Circuits: The Case of an Emergent Bridehood in India." As opposed to arguing that there is openness to hybrid cultural influences due to globalization, the results of her analysis of a series of Instagram wedding images during the COVID-19 crisis indicate that this newly formed aesthetic is not much negotiated and still bound to social, political, and religious hierarchies according to local contexts. A stronger negotiation of gender in the digital sphere has been proposed by AIDEN JAMES COSCIENZA (Temple University) in "Gender Hybridity, Cultural Hybridity, and Transcultural Audiences." He demonstrated how fans of media texts circulated on the Internet can selfdiscover and self-produce hybrid gender identities as a consequence of perceiving gender in the 21st century as a borderless territory related to global encounters. The panel Digitalisation of Culture was chaired by CLARA VERRI

The eastern Mediterranean island of Cyprus has long been a cultural thoroughfare. It was the starting, stopping, and midway hot spot for many ancient seafaring cultures-the Myceneans, the Minoans, the Phoenicians, the Greeks, the Romans-and more modern

This dissertation examines Turkish print media published in Armenian script between 1850-1875 to shed light to a less explored aspect of the Ottoman-Armenian historiography. The Armeno-Turkish periodical press has been largely neglected in the study of Ottoman communal relations. This study aims to fill this gap, by examining Armeno-Turkish periodicals through the postcolonial concepts of 'hybridity' and 'third space' along with the theories of public sphere, such as 'public opinion' to understand what insights they can provide into the cultural hybridity of Ottoman Armenians. The research also investigates how Armeno-Turkish publications influenced public opinion and what insights they can offer into intercommunal encounters between Ottoman communities. The dissertation reveals that the Armeno-Turkish hybrid texts cannot be examined through unitary perceptions such as fixed identities, or binaries of Turkish versus Armenian, Muslim vs non-Muslim, national vs non-national. It also demonstrates that Armeno-Turkish print media was not an isolated minority media addressing a solely Armenian audience, since Turkish literati also followed these newspapers. Investigating the Armeno-Turkish print media also provides an insight into the perception of Tanzimat reforms by the Armenian intelligentsia and reveals that the Armenian commercial and intellectual bourgeoisie transmitted their opinions through Armeno-Turkish periodicals and generated public opinion.

This PhD thesis deals with the transformation of imported vessels of Roman origin in Germania Magna during the Roman Iron Age, 1-400 AD. The concept of transformation in this context refers to the various ways these objects were interpreted, physically altered ...

The concept of cultural hybridity seems ordinary now due to the daily usages of the term in a global context, but it covers a lengthy scholarly discourse. In the Winter Semester 2020/21, the discussion of Pnina Werbner's article on the dialectics of hybridity during a Research Area 6 meeting captivated the members' interest. What novel ideas does hybridity bring to different cultural environments, and how? Possible answers were that cultural shifts between the local and the global are involved, as well as encounters and reformulation of identities. The concept helps reflect on the interaction processes between identities and cultures by considering the emergence of new realities. The interdisciplinary and international conference "Cultural Identities in a Global World: Reframing Cultural Hybridity," from 23 to 25 June, aimed to shed light on the dynamics and social practices engaging hybridity as a tool of cultural analysis and formation. The experimental format of the laboratory conference aimed to inspire a reformulation of this concept and to bind everyday reality with academic knowledge during the keynote lecture, the two workshops, the eight panels, and the final laboratory-debate. The conference started with a digital World Café through the platform Padlet.com. On the page created for the event, four questions were formulated to break the ice and present the participants. The questions respectively asked for a short introduction (name, university, faculty, degree), how hybridity relates to their scholarly work, how it relates to their daily life and, finally, the meaning of hybridity in a short sentence or word. To answer these questions the participants accessed the page and used the function of leaving a comment. This World Café showed the international, interdisciplinary and polyphonic aspects of hybridity in academic knowledge and everyday life among the participants. KULT_online. Review Journal for the Study of Culture 64/2021 journals.ub.uni-giessen.de/kult-online-2-The first panels of the first day were Negotiation of Gender in the Digital Era and Digitalisation of Culture. Both were held simultaneously, as both discussed the importance of the digital in rethinking concepts such as gender and culture. NEELLY FAS-SAD (Goethe University Frankfurt) opened the session Negotiation of Gender in the Digital Era chaired by LAURA POPA (Justus Liebig University Giessen), by focusing on the global spread of the image of the child-woman in digital pop-culture across Europe and Asia. In her poster presentation, "The Myth of the Child-Woman in Visual Media Concepts," Fas-sad analyzed how Lolita's sexualized aesthetics contribute to the hypersexualization of young girls, child pornography, and sexual violence against children on the Internet and social media platforms. In order to reclaim women's bodies, the new aesthetic of an asexualized, subversive Gothic Lolita was introduced. Following the same interest in gender aesthetics, ATHIRA B.K. (Jawaharlal Nehru University) discussed a novel bridehood imaginary emerging in India since the 1990s in her talk "Weddings and Digital Circuits: The Case of an Emergent Bridehood in India." As opposed to arguing that there is openness to hybrid cultural influences due to globalization, the results of her analysis of a series of Instagram wedding images during the COVID-19 crisis indicate that this newly formed aesthetic is not much negotiated and still bound to social, political, and religious hierarchies according to local contexts. A stronger negotiation of gender in the digital sphere has been proposed by AIDEN JAMES COSCIENZA (Temple University) in "Gender Hybridity, Cultural Hybridity, and Transcultural Audiences." He demonstrated how fans of media texts circulated on the Internet can selfdiscover and self-produce hybrid gender identities as a consequence of perceiving gender in the 21st century as a borderless territory related to global encounters. The panel Digitalisation of Culture was chaired by CLARA VERRI

History Art is a powerful force that shaped the nationhood of a country and to show its identity to the whole world. This is very important in revisiting the past and be given tribute to. The paper analyzed the paintings of the different artists of SiningSaysay using the semiology of Ronald Barthes. SiningSaysay: Philippine History in Art is a collaboration project of the University of the Philippines, University of the Philippines Alumnae Association, and the Araneta Center. The twenty-nine (29) paintings can be viewed at the Gateway Gallery in Araneta City showcasing the various crucial chronicle historical events in the Philippines. The Signs in the main material icons of the masterpieces of SiningSaysay had been studied upon as well as the hidden discourses behind those Signs. Through the paintings, it had been found out how the artists used their masterpieces in the formation of Philippine nationhood.

BSMath 4-3 Topic 2 Ang kasikatan ng Hallyu o Korean wave sa bansang Pilipinas ay hindi lamang limitado sa mga K-drama na tunay naman sikat na sikat. Ilan din sa mga inaabangan ng mga manonood ay ang mga bagong labas na musika ng iba't ibang K-pop group na binubuo ng ilang miyembro ng mga kalalakihan o kababaihan na tunay namang propesyunal na manananghal sa Korea. Ilan lamang sa mga grupong ito ay ang Red Velvet, Oneus, EXO, Seventeen, Momoland, iKon, Twice, Super Junior, 2NE1, Got7, at ang tanyag sa buong mundo na BTS. Kung ang BTS ay masasabing nangungunang male K-pop group sa kasalukuyan, sa hanay naman ng grupo ng mga kababaihan ay ang Blackpink. Opisyal na ipinakilala ang grupong Blackpink noong ika-29 ng Hunyo, taong 2016. Ito ay binubuo ng apat na miyembro na sina Lalisa Manoban o Lisa bilang lider ng grupo, si Jennie Kim na pagiging rapper ang naging papel sa grupo, si Park Chaeyong o Rosé bilang bokalista ng grupo, at ang panghuli ay si Kim Jisoo. Bagaman at may kanya-kanyang papel na ginagampanan, ang bawat isa sa kanila ay makikitang kayang gawin ang pagkanta, pagsayaw, at pagrarap. Ito ay dahil

Sumulat ng isang ekspositoryong sanaysay tungkol sa isang particular halimbawa o manipestasyon ng Kulturang Popular sa Pilipinas Ang kulturang popular ay isang malawakang salita na kung saan ay masasabi nating isang paraan ng mga tao para maramdaman ang kanilang pagtanggap sa nakakarami. Ang pag ayon sa kulturang

This article draws upon ethnographic accounts of female potters' movement and intermarriage into multi-ethnic Pueblo communities in the U.S. Southwest to illustrate how marriage networks created opportunities for innovation through the production, distribution, and consumption of boundary objects. These objects did not define boundaries but facilitated boundary crossing or bridging by potters. I argue that the concept of boundary objects is more useful than hybridity for understanding the processes of culture contact and material culture diffusion. Archaeological evidence for late twelfth through thirteenth century migrations from the Four Corners to the southern Colorado Plateau is used to make a case for a high degree of intermarriage and post-marital movement of women. Such patrilocality challenges normative views of post-marital residence, including those employed by early ceramic sociologists working in the same area of the Southwest and even at the same sites. The case that I discuss provides a contrast to other Southwest examples in which conformist transmission was more common, and helps to solve a paradox in explanations of the Southwest Pueblo Sprachbund. I conclude that the concept of boundary objects complements formal social network approaches in archaeology by bringing out the active role of objects in linking social actors.

BSM 4-3 "Ang wattpad bilang kulturang popular" Sa paglipas ng panahon patuloy na yumabong ang kulturang Pilipino pinalawig ito hindi lamang sa sentro ng bansa kung hindi pati sa mga karatig bayan nito. Ngunit sa kabila nito onti-unting natatabunan ng kulturang popular na tinatangkilik ngayon sa kasalukuyan ang kultura ng kasaysayan. Hindi nagawang

Manipestasyon ng kulturang popular Ang kulturang popular ay isa sa mga paraan ng mga nakararami upang maramdaman nila na tanggap sila sa lipunan sapagkat ang ideya nito ay umiikot sa pagsunod sa kung ano ang mas kilala na bagay o gawi. Ito ay kilala sa salitang uso pero mas pormal itong kilala bilang kulturang popular at ang

System 185• xvii • romec • zagreb 2010 • radovi • proceedings • akten r i m sk a v oj n a opr e m a u p o g r e bno m k on t e k s t u • w e a p on s a nd m il i ta ry e q u ip m e n t in a f u ne r a ry c on t e xt • m il i ta r i a a l s g r a bbe il a g e

The article examines the contacts between Elbe Germanic peoples and the Mediterranean world through the lens of prestige goods deposited in the graves of Germanic elites from the 3rd century to the 5th century. For the first phase, there is a group of burials discovered in the territories of central Germany which belong to the “Haßleben-Leuna-Gommern” group dating to the period between the second half of the third century and the first half of the fourth century. The grave goods included imported Roman objects including luxury products from the Mediterranean. As regards the fifth century, during which the new power structures became firmly established, the paper focuses on burials related to three different cultural groups of Germans from the Elbe area: Bohemia (Vinařice Group), Central Germany (Thuringii) and south-western Germany (Alamanni). The burials of high-status individuals belonging to these groups contained artefacts from the Mediterranean.