检索结果

您正在查看 1 - 10 之于 12 检索项 :

  • All: "hybridity" x
  • Cultural History x

„Spiel, Satz und Match“

Zur kollaborativen Spezifik von Dating-Apps

Teresa Opper

Realität können daher einmal mehr nicht als Gegensätze, sondern ihre Verbindung als „hybrid spaces“ ( Farman 2012 : 15) bzw. hybrid ecologies – „[which] bridge the physical-digital divide“ (Crabtree/Rodden 2008: 481) – betrachtet werden. Für die App-Mitglieder gilt: „Social interaction is enhanced by

Erika Linz

): „ Tagging vs. Ontologien “, in: Heinz Lothar Grob / Gottfried Vossen (Hrsg.), Entwicklungen im Web 2.0 aus technischer, ökonomischer und sozialer Sicht , 3 – 12 . Hybrid 51, https://www.econstor.eu/dspace/bitstream/10419/46587/1/584626150.pdf , 04.04.2017. Strohmaier Markus et al. ( 2012

Tristan Thielmann

Landschaftsfotografien, textlichen Instruktionen, Straßenkarten und inskribierten Richtungszeichen – zusammengefügt und vereinheitlicht durch das Medium eines Buches (vgl. Abb. 7.1 ). Damit ist die Operabilität dieses Mediums durch ein Hybrid von vier navigatorischen Praktiken gekennzeichnet: a) der virtuellen Stop

Witnessing the Ruins of Apartheid

The Women’s Jail (Johannesburg) as a Site of Encounter

Marie Kruger

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

Writing out of Ruins

Stories of District Six, Food and Home

Shaun Viljoen

; 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

Shaun Viljoen

” 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

'His Pen and Ink Are a Powerful Mirror'

Andalusi, Judaeo-Arabic, and Other Near Eastern Studies in Honor of Ross Brann

丛编:

编者 Adam Bursi, S.J. Pearce and Hamza Zafer

'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.

丛编:

编者 Marc Hersant and Catherine Ramond

Comme la destinataire des Mémoires du cardinal de Retz, l’époque classique « aime les portraits ». Ils abondent dans les jeux mondains, les récits historiques, les Mémoires, les lettres. Ils occupent également une place importante dans les fictions narratives de la période, et notamment dans les romans. L’ouvrage collectif Les Portraits dans les récits factuels et fictionnels de l’époque classique, édité par Marc Hersant et Catherine Ramond, propose une confrontation systématique de ces deux pratiques d’écriture, une analyse de leurs similitudes et de leurs différences. Sous un angle peu étudié jusqu’à présent, il couvre un large champ de l’écriture du portrait, à partir de nombreux exemples allant de Brantôme à Stendhal.

Like the recipient of the Cardinal de Retz’ Memoirs, the early modern period “loves portraits”. They can be found in social games, historical narratives, Memoirs, and letters. They also occupy an important place in narrative fiction of that period, especially in novels. The collective volume Les Portraits dans les récits factuels et fictionnels de l’époque classique, edited by Marc Hersant and Catherine Ramond, proposes a systematic confrontation of these two writing practices, and analyzes their similarities and differences. From a hitherto little studied angle, the book covers a wide range of examples of portrait writing, from Brantôme to Stendhal.

Lucie Kaempfer

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

Wilson Chacko Jacob

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