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This study examines heritage language use and identity construction of two Korean-American bilingual adolescents who have acquired a high level of proficiency in the heritage language. An analysis of the interview narratives showed that the high level of their heritage language proficiency played a crucial role in understanding the heritage culture and its people, developing a strong sense of self, and building social relationships with members of the heritage language and mainstream communities. In addition, it was found that their ethnic identities were co-constructed and reshaped over time not only by their individual choices but also by various sociocultural factors — the environment, their surroundings, and their relationships with others. However, although both participants agreed that their heritage language and culture were fundamental parts of their identities, the forces and processes that shaped each participant’s identities were different. One participant developed his dual identities by maintaining cultural boundaries and group differentiation whereas the other participant tried to combine two cultural characteristics in creating a new self, having invested in dual identities — Korean and American — which she would assume in the private and public spheres of her life, respectively. The findings shed light on the complex process of bilingual adolescents’ identity construction.

This contribution attempts to show that Christopher Di Omen’s writings are cultural objects imbued with hybridity. Indeed, codified by an inter-artistic partnership, Di Omen’s books are often illustrated by the painters Borg and Lapointe. Then, the pictorial rewriting implemented by the pictorial illustration process allows to identify and demarcate the configurations of intermedial dynamics that start from the imbrication of arts towards a dialogue, even a trilogue or a polylogue, between literary genres, spaces-times mobilized and discourse’s categories imbricated within the text. Thus, the literary text, leaning on the text-painting relationship, goes beyond the orthodox scriptural framework to be part and structure of a postmodern avant-garde movement, depending on a generalized dialogism. Through intermedial and dialogical theories, we demonstrate that Di Omen’s books deriving from an aesthetic dynamics heightened supplemented by generic, chronotopic and linguistic crossbreeding possibilities, corollary a plural hybridity.

ABSTRACT: On the literary scene, Algerian novels are increasingly asserting themselves through their value, and their aesthetic renewal. Thus, contemporary Algerian novel production preserves its ancestral heritage while renewing its scriptural forms. Our aim is to interrogate the manifestation of this contemporary aesthetic renewal, through Lynda Chouiten's novel 'Une Valse'. This article takes a critical look at the notion of generic hybridity, linguistic hybridization, and narrative polyphony. It seeks to highlight, through a structural and semiotic approach, the set of processes that have enabled the proliferation of genres, languages, and discourses in our corpus. RÉSUMÉ : Sur l’Olympia littéraire, le roman algérien s’impose de plus en plus de par sa valeur et son renouveau esthétique. Ainsi, la production romanesque algérienne contemporaine préserve son héritage ancestral tout en renouvelant les formes scripturales. Notre dessein est d’interroger la manifestation de ce renouveau esthétique contemporain, à travers le roman Une Valse de Lynda Chouiten. Cet article porte un regard critique envers la notion de l’hybridité générique, le métissage linguistique ainsi que la polyphonie narrative. Il s’agit de mettre en évidence, à travers une approche structurale et sémiotique, l’ensemble des procédés ayant permis la profusion des genres, des langues et des discours dans notre corpus

The article discusses Lynda-Nawel Tebbani's book L’éloge de la perte and her unique approach to Algerian literature in French. Tebbani uses a hybrid language and an inter-artistic approach that infuses her text with Andalusian music. The book evokes a melancholic aesthetic and a poetics of three main cities: Paris, Algiers, and Constantine. The article aims to unveil this poetic of the city, linked to Andalusian music, that imbues the book with its originality and Algerianness, and the singular voice of the diaspora. The interdisciplinary and analytical approach draws on geocriticism, psychoanalysis, and Gaston Bachelard's poetics of space.

Born in New York, salsa was the main tool to express feelings shared by millions of emigrants from Latin America, who lived in contact with both cultures. The commercialisation process of salsa began in the mid-seventies: thanks to the fusion of Latin elements with more globalised sounds, salsa gained international recognition. This article traces this history to try and identify the dynamics that led to the transformation of the genre: from a Latin American cultural and political symbol, to a musical genre increasingly linked to the complexities of consumption and modern globalisation.

Florence Marryat was a prolific author, as well as being renowned for both her involvement with spiritualism and her parallel career as an actress. In 1854, she married Thomas Ross Church, an officer in the British Army, with whom she travelled through India for six years. On coming back to England, she began her successful writing career. She specialized in popular (and lucrative) sensation novels, but she also capitalized on her residence in India by penning a travel memoir: Gup. Sketches of Anglo-Indian Life and Character, eventually released as a volume in 1868. By engaging in a close reading of the text, this paper sets out to demonstrate that, in crafting her account, Marryat concocted an imaginary, “sensational” depiction of India and its people, to please and entertain her readership, while serving her own social and political agendas.

Language maps, which reflect linguistic pluralism, multilingualism and the spread of languages across countries and empires were part of an evolving human history. Historically, language came under the impact of geography, political conflicts and colonization. Due to these factors, languages penetrate borders or ended up in isolation or even in extinction. In this context, the paper investigates selected language maps of many African, Asian, European and South American countries in order to underline the connections between language, politics, immigration, war and other related elements. The paper argues that current language maps in some geographical regions are similar to the political maps of the nineteenth and early twentieth centuries because colonial languages continued to exist in these countries even after the departure of the colonizers. Further, the paper explores the spread of a variety of languages and their penetration in some countries, which constituted a great part of the European Union, in order to examine the impact of geo-politics on the changing status of language maps in Europe.

This article analyses the relationship between humans and animals, and more importantly between humans and their animality. Concretely, this project proposes an ecocritical reading of fin de siècle gothic fiction, as it provides insight on the ideological foundation of humanity’s anthropocentric relation towards the environment. Through the analysis of the gothic hybrid monster, it is possible to grasp society’s interpretation and assimilation of Darwin’s revolutionary discoveries. However, not all gothic writers assimilated the apparent artificiality of humanity’s superiority in the same way. Thus, I hereby argue that rejection and fear is not the only response to the monstrous hybrid in fin de siècle gothic fiction. On the contrary, there are also critical voices who understood this new Darwinian human-hybrid identity as an opportunity to renew human relations towards nature. Therefore, I analyse the constructions of and reactions to the hybrid monster in Bram Stoker’s Dracula and Richard Marsh’s The Beetle against Vernon Lee’s Prince Alberic and the Snake Lady. By doing so, I aim at revealing and ultimately challenging the main dualism that sustains the hierarchical organization of the species: the privileging of culture over nature and reason over animality. The gothic genre is indeed characterised by the blurring of boundaries. Consequently, it reveals the human as irrational, the monster as natural and culture as repression, suggesting the need for the reconstruction of human identity and its place in the world.

RESUMEN: Este estudio se propone investigar las distintas formas de construcción de identidades posthumanas a partir del elemento arquetípico de la metamorfosis y del híbrido humano-animal. Estas nuevas figuraciones rescatan una perspectiva acerca de lo animal procedente de un imaginario premoderno para deconstruir las categorías que han definido el sujeto humano a partir de la modernidad europea. En algunos textos publicados en los últimos veinte años, la mezcla entre especies plantea un nuevo concepto de identidad: por un lado, se examina cómo el devenir-animal se acompaña a la emancipación de la figura femenina y a la deconstrucción de la idea de familia patriarcal; por el otro, se exploran las conjunciones entre el híbrido humano-animal y el cyborg. ABSTRACT: This article aims to study the different ways of shaping posthuman identities, which originates from archetypical metamorphoses and human-animal hybrids. This new imaginary rescues a premodern perspective about the animal, in order to dismantle the boundaries that have defined the human subject since the European modern age. In some books published in the past twenty years, the interspecies encounter outlines a new identity concept. Firstly, the article examines how the becoming-animal concept merges with the feminine subject’s emancipation, as well as with the deconstruction of the patriarchal family structure; secondly, it explores the conjunctions between human-animal hybrids and cyborgs.

Résumé : Auteur discret, sinon secret, Sergio Pitol (1933-2018) fut durant de nombreuses années un auteur invisible dans le champ des lettres mexicaines, sans doute à cause de son nomadisme constant à la suite d’un premier voyage à Caracas (1953) puis à New York (1956-1957), prélude à un voyage séminal vers l’Italie de ses aïeux (1961), qui devait déboucher à son tour sur un séjour de plus de 27 ans à l’étranger. L’article porte donc sur le cas exemplaire de Sergio Pitol dans le champ des lettres mexicaines, puisque l’écrivain, lauréat du Prix Cervantès en 2005, a poussé jusqu’aux limites une pratique vitale fondée sur l’extraterritorialité (d’abord comme voyageur, puis comme diplomate) et une pratique littéraire fondée sur le franchissement des frontières, le croisement des langues et des genres (comme traducteur, pour avoir traduit plus de 80 ouvrages de cinq langues différentes vers l’espagnol, et aussi comme écrivain, habile à franchir les frontières et à hybrider les formes, entre conte et nouvelle, essai et fiction, réalité et songe). Resumen : Autor discreto, cuando no secreto, Sergio Pitol (1933-2018) fue durante un largo periodo un autor casi invisible en el campo de las letras mexicanas, tal vez debido a su nomadismo, a raíz de su primer viaje a Caracas (1953) y después a Nueva York (1956-1957), preludios a un viaje seminal a la Italia de sus antepasados (1961), que había de desembocar a su vez en una estancia de más de 27 años en el extranjero. El artículo versa en el caso ejemplar que es el de Sergio Pitol en el ámbito de las letras mexicanas, por ser el escritor, merecedor del Premio Cervantes en 2005, un autor que ha extremado hasta los límites, tanto una práctica vital basada en la extraterritorialidad (primero como viajero, luego como diplomático) como una práctica literaria marcada por el cruce de fronteras, idiomas y géneros (como traductor, por haber traducido más de 80 libros, en cinco idiomas, al español, y también como escritor, ducho en el arte de cruzar fronteras e hibridar formas, entre cuento y novela, ensayo y ficción, realidad y sueño). Abstract : As a discreet, if not a secret author, Sergio Pitol (1933-2018) was for a long time an almost invisible author in the field of Mexican literature, maybe due to his nomadism, since his first trip to Caracas (1953) and to New York after that (1956-1957), preludes to a seed travel to the Italy of his ancestors (1961), which was to lead in turn to a more than 27 years abroad. The article is about the model constituted by Sergio Pitol in the field of Mexican literature, for he was a writer who owned the Cervantes Prize in 2005, who took to the extreme both his life practice based on extraterritoriality (as a traveler first, then as a diplomat), and his writing practice, marked by the use of crossing borders, languages or genres (as a translator, since he translated more than 80 books, from five different languages to Spanish, and also as a writer, gifted in the art of crossing borders and hybridizing forms, between short story and novel, essay and fiction, reality and dream).

The study focuses on the perception of hybridity as a reality in the literary and translation space. It identifies the hybridity of authorship (inspiration by another author, the blurring of boundaries, the overlapping of the identities of the author, the translator, the inspired author and his translator); the hybridity of the original (which can be intrinsically inspired by another text or which appropriates this text); the hybridity of language and expression (which challenges the identity of space and suggests differing perception expectations in different cultural spaces). This hybridity dictates certain translation measures, strategies and interventions to the translator. On the applied level the paper is based on the prose by P. Esterhazy, and especially on his work Egy nő (One Woman) (Slovak translation by R. Deakova entitled Jedna žena [2011]). The second dimension is represented by a book by Dora Kapralova, a Czech writer living in Berlin, Zimní kniha o lásce (A Winter Book about Love) (2014), which admits to being deeply inspired by Esterhazy’s book Egy nő. Therefore, its translation into Hungarian presents a unique challenge. What translation strategies will be applied?

This article deals with Benjamin Zephaniah’s poetry and it focuses on its polyphonic quality, its ironic language, and its similarity to Édouard Glissant’s ‘Poetics of Relation’. One of the most striking feature of the black British poet is his irony, which functions as an effective revolutionary act as it subtly reveals hypocrisies and prejudices. Benjamin Zephaniah’s subversive use of language is aimed at opening the boundaries of the literary canon and of the very idea of Britishness, in the same way as postcolonial authors do. Being himself a ‘product’ of cultural hybridisation, Benjamin Zephaniah creates a syncretic network of intermingled voices and personae, a sort of polyphony in Bakhtinian terms. Therefore, his poetics bears resemblance to Édouard Glissant’s idea of ‘creolisation’, according to which every identity is in fact a mixture, which is ‘happily’ and inevitably changing through a relationship with the Other.

The research paper aims to give an accurate account of how Kirpal Singh/Kip in The English Patient by Michael Ondaatje copies the socio-cultural and linguistic norms of the Europeans (colonizers) unlike Kipling’s Kim who emulates the Eastern people (colonized) and their culture. They are examples of going through a long drawn process of growing up, looking into the mirror of mimicry. Kip joins the English army as a grown up, learns the need to show affinity to the new culture by way of imitation, adopting their ways to weave a comfort zone. Being different could be an assaulting fact for both sides, Kip is quick to realize that. But his childish view of looking down upon his native culture is the irony of mimicry. It wipes out the original being to rewrite a new identity. Kip leaves the small community sprouted accidentally in the Italian monastery, showing traces of a stricken conscience. Kim, by the virtue of living in close company of Indians, adopts their habits and manners without any qualm, in a most unconscious manner. He never worries to look or sound his original self which he has not experienced for long. Thus, a kind of reverse mimicry is his fate and character when we look at him as an outsider living as an Indian native. The ambivalence of their characters, presented by both, is an interesting aspect of mimicry. In the paper, we have used the views of postcolonial and cultural literary theorists on mimicry, deliberating upon how with the effect of both the processes, Kip and Kim, consciously or unconsciously, get their national identity peeled off, affixing new hybrid identity.

Diaspora is the first step towards an encounter with the other, forcing a re-negotiation of one’s cultural identity. This quest for the self, known as diasporic consciousness, is thought to be disruptive, having the power to de-essentialize national narratives. While diaspora does shake the core of individuals, this paper differentiates diasporic from hybrid consciousness as two distinct discourses of self. Maintaining a diasporic consciousness means to sustain the idea of a physical ‘home’ that has been forever lost. The constant desire to ‘return’ underscores an unconditional alliance to the homeland and its diasporic footprint. Consequently, the diasporic experience does not necessarily produce transgressive forms of cultural identification. On the contrary, those who dwell on diasporic consciousness reify national discourses abroad. The language of nationalism remains intact, and ‘native’ and ‘other’ constitute themselves through a dialectic but mutually exclusive relationship with devastating consequences for those who cannot cope with the binary. The alternative to diasporic consciousness is Bakhtinian heteroglossia, for it exposes national discourses as ‘epic,’ and de-territorializes ‘home’ to find it in language. Hybrid narratives of self connect diverse memories, images, and experiences into individual stories of identity that ultimately transform official discourses of national, gender, religious, and racial identifications.

Transnational mobilities enforce new social groups, bringing out the multidimensional problematic of identities. They all have the Human being as common factor. It is so for afropeanism, the concept of hybrid nationality promoted by the franco-cameronian writer Léonora Miano. She is specialised in defining afrodescendants and subsaharians born or living in Europe. Most of the time, these afrodescendants and subsaharians face integration problems and the question of their identity, dreaming of a community where race would no longer have the right to exist. Our analysis will shed light on realism and utopia as salient features of the author’s imaginary.

This article looks at two sorts of conceptual work in Cristina Rocha’s John of God: The Globalization of Brazilian Faith Healing (2017): theoretical appliqué and comparative contextualization. The first involves using an ad hoc set of concepts to set out series of partial interpretations. Despite not offering one unified interpretation, this approach has the advantages of respecting the complexity of the case and indicating a range of relevant interpretative pathways. The second involves the standard work, in the study of religion, of placing the religious movement or other object of study in relation to its religious landscape, influences and competitors, by comparing and contrasting beliefs and practices. Though the book would be better if both of these dimensions of conceptual work had been pushed further, Rocha’s theoretical appliqué is worth considering for its value as a model for other work. The goal of this article is to highlight the value of theoretical appliqué and to suggest how it could be done effectively.

In this interview, Irish-Argentine writer Juan José Delaney reflects upon his writing. His own cultural affiliation with both the Irish and the Argentinian culture come to the fore in his answers. Thus, when asked about his background he replies: “I have always been nourished by both the Argentinian and the Irish cultures”. Juan José Delaney was born in Buenos Aires in 1954. He is a fiction writer and essayist and he holds the chair in Twentieth Century Argentinean Literature at the Universidad del Salvador (Buenos Aires), where he also coordinates the Irish Studies Program. As a fiction writer, he has published the collections Papeles del Desierto (1974-2004), and Tréboles del Sur (1994), which has been recently reedited (2014). His novel, Moira Sullivan (1999), like many of his short stories, depicts the life of the Irish in Argentina, a topic that he returns to in his most recent nouvelle, Memoria de Theophilus Flynn (2012), which connects Waterford with Buenos Aires. He is also the author of a dramatic comedy entitled La viuda de O’Malley and the biography Marco Denevi y la sacra ceremonia de la escritura (2006). During the course of the interview he discusses cultural and linguistic assimilation issues that were conspicuous in the context of Irish emigration to Argentina.

Adelina Gurrea’s “La Leyenda del Cama-cama,” a framed story in Cuentos de Juana tells how the relationship of the boy Ino-Dactu and the heron Mahamut eventually led to the existence of the cama-cama, a dwarf that is half-human and half-heron. By initially studying the main characters of the story subjected to analysis, this paper explores the idea of the nacion expressed in Gurrea’s cama-cama, interpreted as the conclusion of the implicit dungan contest between Ino-Dactu and Mahamut—with the former depicting the flitting Filipino [identity] that changes from time to time and the latter embodying the anxiety of foreign influence and perhaps the [passive] aggression of colonialism, fondly called benevolent assimilation. Like the spectre of comparisons, the human-heron hybrid, heirs of Ino-Dactu and Mahamut born during the Philippine pre-colonial period, continues to haunt and to shape the neocolonial present’s nation—as institutions of the country remain possessed by the modern cama-cama.

La primera novela de Zadie Smith, White Teeth (2000), ha sido considerada como ejemplo del multiculturalismo y de la pluralidad que caracterizan hoy en día a la ciudad de Londres. Este artículo estudia los modos en los que los personajes de White Teeth negocian un sentido de pertenencia e identidad y establecen y/o transgreden fronteras espaciales dentro de dicha localización. Este trabajo analiza también la identidad híbrida de los personajes y el carácter maleable que tiene tal espacio multicultural a través del análisis de las relaciones inter- e intra-familiares que se representan en la novela. Abstract: Zadie Smith’s fi rst novel White Teeth (2000) has been analysed as an example of the diverse and multicultural society of the present-day city of London. This essay studies the way in which characters in White Teeth negotiate a sense of belonging and identity and how boundaries are established, and/or violated within that location. It also analyses the characters’ hybrid identities and the malleable aspect of that multicultural social space by focusing on the ways Smith depicts spatial confi gurations of inter and intra family life.

Abstract: This paper presents an analysis of three Chicano novels considered canonical, in which the concept of “hybridity” is discussed in relation with the individual: Rudolfo Anaya’s Bless Me Última, Tomás Rivera’s …Y No Se Lo Tragó La Tierra, and Rolando Hinojosa’s Los Amigos de Becky. The paper proposes an additional application of “hybridity”, key concept of Cultural and Postcolonial Studies, in the cultural context of the Chicano identity. The final aim is to prove, by means of the texts, the interaction between the individual and his/her context via their “hybridity” as a resulting phenomenon of a cultural multiplicity. Keywords: Chicano, novel, hybridity, individual, cultural context. Resumen: Este trabajo presenta un análisis de tres novelas de autores chicanos considerados canónicos, en el que se discute el concepto de ‘hibridación’ y su interacción con el individuo: Bless Me Última, de Rudolfo Anaya, …Y No Se Lo Tragó La Tierra, de Tomás Rivera y Los Amigos de Becky, de Rolando Hinojosa. Se propone una aplicación adicional de “hibridación”, concepto clave de los Estudios Culturales y Postcoloniales, en el contexto cultural de la identidad chicana. El objetivo es demostrar la interacción entre el individuo y su contexto a través de la “hibridación” como fenómeno de multiplicidad cultural. Palabras clave: Chicano, novela, hibridación, individuo, contexto cultural

Abstract: This paper sets out to analyze the interstitial/liminal aspect of postcolonial literature as ciphered in the narratives of Nadine Gordimer and Bessie Head. A Question of Power and The Pickup both voice hybrid subjects in terms of race and gender, and thus represent the new epistemological space that this literature opens up. Focusing on the shifting identities of the female characters in these novels, we will establish a connection between the praxis of post-colonial writing as a continuous refocusing of cultural certainties and the relocation of the familiar in the uncanny. Resumen: Este artículo pretende analizar el aspecto liminal de la literatura postcolonial tal y como se refleja en la narrativa de Nadine Gordimer y Bessie Head. A Question of Power y The Pickup articulan la voz de individuos híbridos en cuanto a raza y género, y, de este modo, representan el nuevo espacio epistemológico que esta literatura abre. Al centrarnos en las identidades variables de los personajes femeninos de estas novelas, trataremos de establecer una conexion entre la praxis de la literatura postcolonial como un continuo reajuste de certezas culturales y la reubicación de lo familiar en lo extraño.

Abstract: In The God of Small Things, Arundhati Roy separates English from Englishspeakers. She reappropriates the language not only to portray complex characters and narrative themes, but also to create a postcolonial discourse that criticizes, questions and subverts the old dominance of the imperial colonizer. Mainly addressed to a western audience, the use of Inglish in this novel is a crucial factor to reveal the development of a hybrid conscience, reassert the Indian identity and make the reader feel displaced from their native tongue Keywords: English language, postcolonial, hybridity, Indian identity, discourse Título en español: El Inglish de Roy en The God of Small Things: Una lengua para la subversión, la reconciliación y la reafirrmación. Resumen: En The God of Small Things, Arundhati Roy distancia al hablante-nativo de inglés de su propia lengua. El inglés que utiliza no solo presenta personajes y temas complejos, sino que crea un discurso poscolonial que critica, cuestiona y socava el antiguo dominio del colonizador. Dirigida principalmente a un lector occidental, el Inglish de Roy en esta novela es determinante para representar el desarrollo de una conciencia hibrida, reafirrmar la identidad india y lograr que los hablantes nativos de inglés se sientan extraños con su propia lengua. Palabras clave: Inglés, poscolonial, mestizaje, identidad india, discurso

Agence Black Bafoussa (1996) offers a fictional representation of a poorly known social milieu, that of communities from sub-Saharan Africa living in Paris. Though the protagonists’ country of origin is imaginary, the reader easily identifies many allusions to Zaire and the end of the Mobutu regime. Therefore, in the first part, this essay situates the novel in the political context of a Zaire in crisis. Then, it examines the literary context in order to argue that the novel simultaneously integrates the categories of the French-speaking African novel and of the crime novel. This perspective opens up for an in-depth textual analysis which identifies the main characteristic of the work: the transformation of Paris into a postcolonial space marked by hybrid cultures with African origins. This essay pays particular attention to the character of the detective, Laurent Cardoso, an Angolan white, because he illustrates the complexity of the identities present in the novel.

Transnationalism is a current reality as globalisation has accelerated by the never before experienced boost in the development of technology, transport and telecommunications. The modern era is also characterised by migrations - voluntary and involuntary, but most of today’s transmigrants do not live the exilic lives once lived by migrants, longing for their homeland. Instead, they live in an in-between space – the host country and the homeland, where the mixing of cultures takes place. Although these zones have often been idolized in the recent literature, the lives of many transmigrants are characterised by feelings of loss, displacement and trauma. The present article attempts to map Bosnian-American author Aleksandar Hemon as a transnational diasporic writer by tracing the features of transnationalism in his life and his novel The Making of Zombie Wars. It will also position that several of the migrant characters in the novel are hybrid identities, battling the consequences of displacement, trauma and mobility, following the ideas of Homi Bhabha and Jopi Nyman. It will explore the processes as they occur in spaces in-between.

This article investigates the degree of coherence in a particular type of hybrid text, viz. the Patient Information Leaflet, which is a lay-oriented genre fusing original and derived textual elements. Having their source in the specialized genre named Summary of Product Characteristics, derived segments undergo various kinds and degrees of registerial simplification in the transfer to the Patient Information Leaflet. Given this complex textual genesis, the aim of the article is to investigate the nature and degree of coherence in the Patient Information Leaflet genre, and, more specifically, to investigate the degree of integration between derived and non-derived elements. Following Halliday/Hasan’s (1976) definition of the coherence concept, the article examines the genre’s contextual coherence in the form of registerial consistency and its text-internal coherence in the form of cohesiveness. For the investigation of cohesiveness, the analytical framework known as Cohesive Harmony Analysis (Hasan 1984, 1985) has been applied to a sample text from the genre, and likewise to a parallel lay-oriented, but non-hybrid text from the health column of a British quality newspaper, which serves as a control. While the investigation confirms already well-known problems with registerial consistency in the Patient Information Leaflet genre, the analytical results reflect a high degree of cohesiveness, and one that is even markedly higher than that of the non-hybrid control text. Further, the results reflect a high level of integration between derived and non-derived segments in the Patient Information Leaflet.

This article first delineates the reasons why it is difficult to adapt Lovecraft’s fiction to the screen. It then analyses different types of adaptation, either straight or more loose, focusing in particular on the work of Stuart Gordon, one of the main adapters of Lovecraft with films ranging from parody (Herbert West Reanimator) to more serious adaptations which however depart in various ways (especially adding women characters and sex) from their source text (Dagon, The Dreams in the Witch House). Andrew Leman’s The Call of Cthulhu, a pastiche of early silent films, provides a good example of straight adaptation. It also proves rewarding to compare two different retellings of the same novel, The Case of Charles Dexter Ward, by two directors, Roger Corman (The Haunted Palace) and Dan O’Bannon (The Resurrected). Corman tends to associate Poesque Gothic and Lovecraft while O’Bannon uses film noir conventions, also setting the story in a contemporary context. Lastly this article analyses the presence of Lovecraftian themes and motifs in films that are not adaptations like Alien or the Quatermass trilogy. A case in point is John Carpenter’s apocalyptic trilogy that provides a convincing re-appropriation of Lovecraft’s fictional universe.

This article seeks to find possible forms of scenic creations originating from the crossing of technologies considered antagonistic, as is the case of the body on stage, the puppet and the projection mapping. The investigation intends to question historical scenic hierarchies, in such way as to allow the fusion between the three elements above referred through the perspective in which subtracting any of them from the theatrical doing is considered impossible. Such investigation will be developed through the analysis of R.O.O.M (Re-organization Of Material), a piece by the German company Meinhardt Krauss Feigl (Cinematographic Theatre).

Starting from the musical piece Qom Llalec (« Son of the Qom ») of Toba or Qom musician Romualdo Diarte (Formosa, Argentina), which became the first CD of indigenous music produced by the Culture Department of this province, we discuss the impact of recent cultural policies in the music of these peoples. The hypothesis is that this musical piece evidences the political strategy of the provincial government for legitimating the imaginary of a « multicultural identity » that revalorizes the Chaco Indians, responding in this way to demands of multiculturalism and patrimonialization of national and global policies. Nevertheless, the processes of hybridization, exoticization and invisibilization of the indigenous also reveal the tensions and inequalities that persist in the relationships among government, creoles and indigenous people, as well as the tactics of the latter to address them.

The article begins with sketching out narratives around indigenous medicine in South Africa and around its ostensible counterpart ‘modern’, Western medicine. As the former was officially tried to be kept in check by limiting it to its traditional roots, the dissection of the concept of tradition is necessary in order to understand if 'tradition' is really as static as is often assumed. The results clarify that the difference between 'traditional' South African knowledge and 'scientific' Western knowledge is rather a question of narrative than of actual facts. Comparing the legal situation of healers during colonialism and apartheid in South Africa brings to light that the ostensible difference between Western and traditional medicine is of a constructed nature rooted in the different legal treatment of these ways of healing. The second part of the essay assesses whether the prevailing epistemological superiority of Western medicine during colonialism and apartheid has vanished over time. Doing so requires taking a close look at who is able to produce knowledge, how it can be produced and secured. Knowledge production concepts such as hybridity and creolisation are closely examined, delineated and evaluated. This is necessary to critically discuss the ways in which 'traditional' knowledge is treated by the state and to what extent the existing forms of cooperation between the two medical approaches can be regarded as on eye-level.

Una de las consecuencias de la inmigración y del asentamiento permanente de los inmigrantes en los países del sur de Europa, es el aumento del número de matrimonios mixtos o bi-nacionales y la formación de familias transnacionales. Combinando el uso de metodologías cualitativas y cuantitativas, este artículo analiza los patrones de endogamia y exogamia (matrimonio dentro/fuera de un determinado grupo o categoría) de inmigrados africanos en Cataluña, centrando la atención en las uniones entre hombres senegaleses y gambianos y mujeres españolas: características socio-demográficas, situación de transnacionalidad, dinámicas intergeneracionales de cambio y retención socio-cultural y formación de identidades multi/trans-culturales. El trabajo sugiere que los factores sociales, situacionales y personales pueden ser más importantes que el origen cultural ‘per se’ a la hora de explicar los patrones de endogamia y exogamia y las dinámicas de convivencia y crianza de los hijos en las uniones mixtas, lo cual supone una crítica a las explicaciones extremadamente culturalistas. Por otro lado, las conclusiones apuntan a que las parejas mixtas y sus descendientes se manejan —en mayor o menor medida— en múltiples localizaciones y bagajes culturales, por lo que sería un error menospreciar o pretender que los vínculos multiculturales no existen o que no pueden ser revitalizados y funcionales. A lo largo del artículo se propone, pues, un análisis complejo de la interculturalidad, criticando una interpretación de los procesos de mestizaje y segregación como realidades contradictorias o exclusivas.

Promoted to the rank of operational concept in writing, the notion of "foreign professional" means in both fictional and critical work of Abdelkébir Khatibi (1938-2009) this cosmopolitan otherness that reduces identity disparities and cultural differences. Late Khatibi’s fictions, including Un été à Stockholm (1990) and Féerie d’un mutant (2005) represent an ontological extraneous out with all cultural and identity anchors and discourse representations. Op-erating in a global space, and private of a fixed identity and separated cultural roots, the characters of these two fictions embody the thought of foreignness and border crossing practice, at the linguistic and the cultural levels. This fact grows to reflect on what would be writing and deterritorialized identity.

The ever central position of Thomas Mofolo’s Chaka has often been justified by the novel’s cultural and thematic contents. This paper rather links this long standing reputation of the narrative to the stylistic and linguistic experimentations initiated by the author. Such experimentations have consisted in fusing languages and aesthetic canons of differing cultural zones.

In the age of mass migration and global travel, the claim of many to a global citizenship becomes a common reality. The multiculturalism of the postmodern European nation remains a beautiful slogan, which cannot always redress the loose ends of traumatic (post)colonial hi stories of cultural identity, still reminiscent of the traditional geographic divisions into haves and have-nots, developed, developing or underdeveloped. Political correctness alone cannot erase the memory of centuries of colonial antagonism and hurt, with their attending displacements of cultural identity, traditions and native civilisations. The agonistic intricacies of former colonial relations, which warped the construction of racial, national and cultural identity on both sides, continue to condition the redefinitions of national identity and culture in ex-imperial metropolises and their former territories and their reflection in postcolonial literature.

The aim of this article is to show the need to adopt a cultural approach in the translation of literary works, especially when these are the product of postcolonial authors. These works, coming from cultures that sometimes are very different from our western culture, tend to show a certain resistance to translation. A cultural approach requires, before translating the single sentence or word, a knowledge of the culture that has produced the text, of the history and literary heritage of that culture so as to better grasp intertextual references, as well as a reading of the other writings by the author whose text one has to translate. This article focuses on the incipit of the novel Midnight’s Children by Salman Rushdie, in particular on the phrase ‘once upon a time’ and its Italian translation suggesting a possibility that is slightly different from the one appearing in the Italian version of the book, yet, according to the author of this article, is more faithful to the Author’s intention. The alternative translation is motivated through an overview of Rushdie’s use of the English language and history, the assumed lack of historical sense in ancient India and the roots of such assumption, and historiography in India, as all these aspects are involved in the translation of this novel that is the product of a highly hybridized culture.

Regarded as on of the marks of modernity the tourist boom from 1960 and 1970 represents a true challenge to the portuguese society associated to the phenomen of detraditionalization that marked the last years of “Estado Novo”. Starting, therefore, from the analysis of the progressive industialization of tourism combined with the time compression and the imprisonement of the tourism areas, we propose to reflect, first about the rationalization and mercantilization and, secondly, about the imaginary mimicry that marks the last quarter of the twentieth century in Portugal. We also propose to talk about the imminente disintegration of the masss tourism model in Portugal where overlaps the tourist experience of post-modernity with the statement of a global multidimensional scenery which reveals a transitional field of different cultures and the hybridization as a constant.

In Lélia (1833), a formally hybrid and remarkably sustained exploration of pas-sion, faith, and skepticism, Sand challenges her own normative binary distinctions between urban excitement and pastoral calm. Through a consideration of the existential experience, the psychological effect, and the metaphysical meaning of living life too quickly, Lélia demonstrates that passions, when poorly extinguished, can reignite even in the calmest of settings, while the thirst for wisdom and the power of self-reflection can resurface in the midst of cosmopolitan courtesan life-style. The city thus represents more than the locus of urgency, contingency, and action; and the countryside serves as more than the haven for measured thought, retired activity, and deeper wisdom.

Old Spanish Days Fiesta is a tradition that was invented in 1924 by civic leaders in Santa Barbara, California to celebrate the periods of the Spanish settlement and the Mexican rule of California and to promote local tourism. This article will trace the historical narrative of the complex cultural and ethnic composition of Santa Barbara before interrogating the colonial and post-colonial histories of the Californian past that are so often romanticized during the events of the Santa Barbara Fiesta. Subsequent to the American appropriation of California, Anglo-American ideas of race and identity were imposed upon Latino Californians. This development led many Spanish-speaking Californians to cultivate a Spanish identity and de-emphasize their Mexican, Native American, or African ancestry as they attempted to maintain their land grants and social prominence under American rule. Official versions of Santa Barbara’s past promoted by Santa Barbara’s civic leaders and Old Spanish Days Fiesta literature tend to privilege romanticized historical interpretations that submerge and absorb California’s hybrid ethnic and cultural histories into an idealized Spanish colonial narrative. This article explores how many individual Santa Barbara Fiesteros choose to engage, negotiate, and/or subvert this simplified official civic narrative of Santa Barbara’s Spanish past through their own personal performances during the Fiesta. An analysis of how local festival participants envision their performance in the context of the festival allows outsiders to have a glimpse into how they create and embody their own personal and nuanced understandings of history during the Fiesta.

Latin-American Cultural Studies arise under the Britain and North-American model, but as substratum they enclose an extensive tradition of critical, historiographic and technical studies on culture, as well as a different and very complex cultural reality, which provide its own specificity. I dedicate this article to formulated theories in the vast space of Latin America that arise from the necessity to theorize its own reality.

This paper examines hybrid subjectivity in the performances by and in the reception of musical artists utilizing the technology of interactive Internet media. It focuses on the career trajectories of the popular Filipino music performers Charice Pempengco and Arnel Pineda, taking into account how their transnational presence and dissemination through internet media communities affect perceptions of locality, nationality and race.

O trabalho que apresentamos baseia-se no pressuposto de que a diferenciação entre gêneros primários e gêneros secundários do discurso ainda constitui um dos pontos pouco esclarecidos entre nós da concepção bakhtiniana concernente aos gêneros do discurso. Temos, como objetivo, apontar para a elucidação dessa teorização a partir de conceituações presentes, por um lado, entre os psicólogos russos Luria (1986), Vigotski (2001) e Elkonin (1998), por outro, na Teoria da Enunciação (CULIOLI, 1997; VOGÜÉ, 1989). Apresentamos, de início, reflexões de alguns autores a respeito da diferenciação traçada pelo filósofo russo. Em seguida, a partir de algumas poucas sugestões presentes em sua obra, apontamos para possíveis esclarecimentos com base nos enfoques sócio-histórico e enunciativo. Esses aportes apontam para fenômenos de plasticidade e hibridização na constituição dos gêneros.I understand the differentiation between primary and secondary genres contains elements not completely clear concerning Bakhtine's conception of discourse genres. Therefore, after presenting the reflection of some authors about such a distinction, I have proposed an enlargement of the few suggestions present in the Russian philosopher's theory, taking into consideration the conceptions of Russian psychologists Luria (1986), Vigotski (2001) and Elkonin (1998). I have also brought some enlightenment from the Theory of Enunciation (CULIOLI, 1997; VOGÜÉ, 1989). Such different approaches point to phenomena of plasticity and hybridity in the constitution of genres.

A pesar de sus diferentes orígenes geográficos y culturales, el pensador ruso Mijaíl Bajtín2 y el movimiento zapatista en Chiapas poseen mucho en común. Ambos responden al incumplimiento de las promesas de revolución en sus respectivos países;3 ambos hablan de la sociedad en términos de "voces" díalógicamente relacionadas entre sí; y, más aún, ambos forman parte de una tendencia creciente a valorar "la hibridez" por sobre la pureza como manera de caracterizar la identidad cultural y otras formas de identidad.4 Incluso la mayor diferencia entre los postulados de Bajtín y los de los zapatistas, es decir, el énfasis que hacen estos últimos en la práctica política, los vincula. Por ejemplo, las demandas de los zapatistas en torno a los derechos humanos y a la autodeterminación de los pueblos ayudan a hacer explícitas las implicaciones políticas que subyacen al interior de los planteamientos teóricos de Bajtín.

Neste artigo, analisa-se o romance The famished road (1991) de Ben Okri, um autor nigeriano que vive e publica suas obras na Inglaterra. O objetivo é demonstrar que é uma obra híbrida entre concepções de mundo e formas de narrar diferentes, características de diversas tradições literárias e orais. A análise é baseada nos conceitos de hibridismo, tradução cultural e cosmopolitismo vernáculo de Bhabha (1990 e 2000), além de textos teóricos sobre a cultura iorubá e a literatura africana, como Soyinka (1990), Okpewho (1983) e Quayson (2002), entre outros. Também são apresentadas as especificidades dorealismo mágico africano, um modo narrativo que reúne, em si, estratégias e técnicas distintas, com a discussão de autores como Cooper (2004), Slemon (1988) e Walter (1993).This article analyzes The famished road (1991) by Ben Okri, a Nigerian author who lives and publishes his works in England. Its main goal is to demonstrate that it is a hybrid work among different worldviews and narrative forms, characteristic of diverse literary andoral traditions. The analysis is based on concepts of hybridity, cultural translation and vernacular cosmopolitanism by Bhabha (1990 and 2000), as well as on theoretical texts about Yoruba culture and African literature, such as Soyinka (1990), Okpewho (1983), andQuayson (2002), among others. Specificities of African magical realism, a narrative mode that combines distinct strategies and techniques, are also presented with the discussion of authors, such as Cooper (2004), Slemon (1988), and Walter (1993).

The paper examines the generic hybridity in Leslie Marmon Silko’s Storyteller (1981) as a tool for synchronizing the private and the public history, emphasizing a synecdochic relationship between the individual and the communal, as well as the necessity of the Western readers’ conceptual reorientation for appreciating that relationship. Through its shift towards oral discourse, Silko’s novel stretches the horizon of the Western genre, challenging its narrative, authorial and receptional conventions, as well as its epistemology of space and time. Infusing a sense of collectivity into the traditional Western concept of personal narrative, Silko draws upon Laguna sacred history, delineating the importance of storytelling in shaping and preserving the communal identity. Transgressing the border between the fictional and the real, the secular and the mythic, Storyteller also conveys the power of storytelling to transcend material boundaries of the real and shape them at the same time. The analysis pays special attention to permutations, as a stylistic device that converges postmodern techniques with oral storytelling in order to exhibit the variability of the oral discourse and translate it into written form.