(695–785), known in Arabic as Thūfīl ibn Thūmā, from Edessa in present-day Turkey (near Ḥarrān, known for its enduring tradition of Greek science and philosophy, Hermeticism and astral religion). See Pingree 2001: 13–20; Dykes and Gramaglia 2017. 38 For hybrids of classical (pre-Islamic) Indian and
The 3-dimensional (3D) animated cartoon entitled Hanuman Chansamon is a presentation of the Ramakian in popular culture style. Cultural hybridity and dynamics make this cartoon appealing for closer investigation. The analysis reveals that hybrid features in Hanuman Chansamon can be categorized into two groups--“omnipresent hybrid feature” and “fractional hybrid feature.” Omnipresent hybrid features are those that can be perceived throughout the show while fractional hybrid features exist in some specific components. The sole yet prominent omnipresent hybrid feature is the blend of traditional story and modern presentation technology. Fractional hybrid features are the co-existence of old-new cultural elements as well as local-global cultural elements which can be found in several components including the overture, dialogues, motifs, characters, and settings. Dynamic features in Hanuman Chansamon include new meaning and emphasis, new behavioral traits of some characters, change in language form from verse to prose, and adaptive eulogy to teachers (bòtwâaykhruu). The commercial purpose and the production policies of this animated cartoon are two significant factors leading to the emergence of cultural hybridity and dynamic features.
tradition as well.
Among the most important Yogācāra philosophers is Dignāga, founder of the Yogācāra-Sautrāntika school. The name of this hybrid school has an odd sound to it, given that Yogācāra is idealist while Sautrāntika espouses representationalist realism. But Dignāga’s aim was not to reconcile
–69. Mélanges chinois et bouddhiques 20. Brussels: Institut belge des hautes études chinoises.
Edgerton, Franklin. 1953. Buddhist Hybrid Sanskrit Grammar and Dictionary . 2 vols. New Haven: Yale University Press.
Goepper, Roger, and Jaroslav Poncar
) says that pulse physiognomy is a hybrid of pulse diagnosis and human physiognomy. He believed that it was an aberration in medical practice and should not be used by doctors because its conceptualisation of the pulse was purely numerological and divinatory, and therefore not sufficiently clinical. 603
a mere hybrid blending of Marx and Kant. 4 Further Dialogues with the West The problems linked to different frameworks of reference are by no means limited to Li Zehou’s elaborations on Kant and Marx, but also have to be kept in mind whenever we aim to compare his theory to any of those belonging to
This article discusses the construction of Chinese-American identity in Maxine Hong Kingston’s The Woman Warrior. Kingston’s book reveals the role of storytelling in the construction of ethnic (and gendered) identity as the author narrates her personal experiences through the reconstruction of myths, legends, and ‘talk stories’ she inherited from her mother. The method Kingston uses to make sense of these stories is that of translation. Translation refers to a performance of ethnic and gendered identity in Kingston’s narrative. Here the complex identity known as Chinese-American is not an accumulation of discrete, distinct cultures, ‘Chinese and American’. As a result of translating between these different positions, Chinese-American in Kingston’s The Woman Warrior designates a new identity, one that exposes the fictions of any closed categories, either Chinese or American. This process of self-definition is represented in terms of Kingston’s rewriting of stories of her ethnic culture in an attempt to reclaim them as her own and to make their meaning relevant to her American context. This Chinese-American identity as a product of discursive practice transcends the monolithic conception of Chinese and American cultures. It is in Kingston’s struggle to find her own voice that she tentatively combines the two cultures and reconciles herself with her mother.
The present study explores the patterns of language use and the influence of English on the shop names in the linguistic landscape of Si Yan market, a local commercial neighborhood in Bangkok, Thailand with respect to script, lexicon and syntax. Using photographs and interviews with the business owners as sources of data, analysis of the language in shop names showed that a combination of Thai script, lexicon and syntax were found most often, followed by shop names with a mix of Thai and English script, lexicon and/or syntax. Shop names written with English script, lexicon and syntax were a distant third. Shop names written in English script with Thai lexicon or syntax were not found in the area. The interviews with the business owners revealed that most of the creators of the shop names with a combination of Thai and English script, lexicon or syntax were not aware of the presence of English in the shop names. This study suggests that English lexical borrowing and the hybridization of language provide evidence not only of the globalization of English but also of the subconscious nature of the pervasive influence of English on Thai.
In this paper I examine the Orientalist discourse of the silent movie The Sheik and its contribution to the cultural construction of the Western empire. I argue that despite the orientalizing representation of the Arab “other,” this discourse fails to complete its mission and hence problematizes the cultural identity of the sheik. The movie focuses on the sheik as a villainous Arab whose identity, as the film develops, is revealed to be of European origin. This hybridity problematizes the colonial identitarian discourse, reflects cultural anxieties intrinsic to the West and disrupts the colonial dream of conquering and dominating the “other.”