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intensely problematic. They have drawn attention to public history outside the academy, its vibrancy and ability to shape events. It is precisely the elements of modernity such as the nation-state and the mass media […] that have enabled this kind of ‘hybrid “memory-history”’ to flourish. 31 The Stone

In: Disasters of War

that render Constitution Hill a hybrid site for trauma and commerce, commemoration and politics. As we recognize “[the] palimpsests, [the] matrices for imagining and reimagining realities,” 6 we have to be willing to search for new modes of inhabiting, together, our contemporary landscape of ruins

In: Matatu

; tafel is Afrikaans for table; snoek is a local Cape barracuda-type fish that was a staple food for poorer folk till fish stocks became depleted in the twenty-first century; the snoek keite is the egg roe of the snoek fish. 3 This paper is a hybrid personal / critical account and is therefore

In: Matatu

” suggests, also a way of reasoning, of disputing. This hybrid, dynamic form manages to shift the listener’s/reader’s intellectual perspective and keeps us suspended between dispassionate attentiveness on the one hand and affective upwelling on the other—we are moved intellectually and emotionally by her

In: Matatu
Andalusi, Judaeo-Arabic, and Other Near Eastern Studies in Honor of Ross Brann
'His Pen and Ink are a Powerful Mirror' is a volume of collected essays in honor of Ross Brann, written by his students and friends on the occasion of his 70th birthday. The essays engage with a diverse range of Andalusi and Mediterranean literature, art, and history. Each essay begins from the organic hybridity of Andalusi literary and cultural history as its point of departure, introduce new texts, ideas, and objects into the disciplinary conversation or radically reassesses well-known ones, and represent the theoretical, methodological, and material impacts Brann has had and continues to have on the study of the literature and culture of Jews, Christians, and Muslims in al-Andalus.

Contributors include: Ali Humayn Akhtar, Esperanza Alfonso, Peter Cole, Jonathan Decter, Elisabeth Hollender, Uriah Kfir, S.J. Pearce, F.E. Peters, Arturo Prats, Cynthia Robinson, Tova Rosen, Aurora Salvatierra, Raymond P. Scheindlin, Jessica Streit, David Torollo.

by complex, self-reflexive, and transparent narrative constructions. The pivotal paradigms of postmodernity – such as hybridity, intertextuality, intermediality, simulacrum, simulation, virtuality, and the digital turn – resulted in a general distrust of any kind of media(cy). In postmodern theory

In: Self-reflection in Literature

context of these hybrid texts the question “where to start?” is even more complicated. Consequently, Vikram Seth reflects on the problem of beginning in his family memoir Two Lives : “Though I now know where to end this book, I did not first know where to begin it. There was too large a choice of

In: Self-reflection in Literature

articulated it with regard to sin or pain. The hybridity of the emotion of pleasure and the interdisciplinarity of the volume in fact lead to a reconsideration of the history of emotions discipline and its methods, to which very few of the contributors allude. The editors argue that this ‘is indicative of the

In: Emotions: History, Culture, Society

one. Without denying that a historical transformation had occurred or that some people, places, and processes had greater influence in directing change, El Shakry stages an encounter between formations of knowledge as already hybrid. In so doing, The Arabic Freud allows us to view interactions

In: Journal of Arabic Literature

hybrid language that resulted from the combination of Arabic, Persian, and Turkish languages. For example, Ahmet Midhat Efendi (1844-1912) complains that a minority that reads a hybrid language which is composed of Arabic, Persian, and Turkish rule a majority that does not understand this language. In

In: Journal of Arabic Literature