Размер шрифта: Фон:

UDC 78
LBC 85.31 + 76.0
DOI: 10.30628/1994-9529-2018-14.4-88-122

The European Association
of Cultural Researchers e.V. (ERICarts Network)
Cologne, Germany
ORCID: 0000-0002-5589-3841
e-mail: elkahome@gmx.net



Abstract. Such terms as ‘hybrid poet,’ ‘hybrid time’ or ‘hybrid worlds’ find themselves increasingly at the center of public debates about artists, media, art events and culture in the 21st century. Transculturality, crossover and mixture are the other keywords in this context.
The article poses the question about which terms, concepts and methods we have in cultural studies, so that we can observe and analyze cultural processes in global modernity. How can we plausibly describe the movements and conflations in the transcultural fields of culture without ignoring important experiences, sensitivities and competences related to such a life? Frequently the traditional concepts of culture become insufficient in themselves. The concept of hybridization has been developed as an answer to this question. What is presented here is not “either-or” thinking, but rather an “either-and-or” model.
The term “hybridization” as an analytical term focuses our research on where we are dealing with differences. This is the first specific feature of the paradigm of hybridity. The term hybridization also refers to the relationship of disparate elements, i.e. the term explicitly focuses on the relationship, on the encounter of the previously divorced. This is its second characteristic trait. Finally—and this is the third characteristic feature—it shifts attention from the objects themselves to the processes and their conditions.
The central coordinates for the new concept formation are music, minorities, and audiovisual media. The hybridity concept possesses not only a theoretical but also a cultural-political orientation.

Keywords: hybrid, differences, globalization, media, everyday culture, transculturality, music, intercultural dialogue, minorities, culture, politics.