Hybrid Renaissance introduces the idea that the Renaissance in Italy, elsewhere in Europe, and in the world beyond Europe is an example of cultural hybridization. The two key concepts used in this book are ?hybridization? and ?Renaissance?. Roughly speaking, hybridity refers to something new that emerges from the combination of diverse older elements. (The term ?hybridization? is preferable to ?hybridity? because it refers to a process rather than to a state, and also because it encourages the writer and the readers alike to think in terms of degree: where there is more or less, rather than presence versus absence.) The book begins with a discussion of the concept of cultural hybridization and a cluster of other concepts related to it. Then comes a geography of cultural hybridization focusing on three locales: courts, major cities (whether ports or capitals) and frontiers. The following seven chapters describe the hybridity of the Renaissance in different fields: architecture, painting and sculpture, languages, literature, music, philosophy and law and finally religion. The essay concludes with a brief account of attempts to resist hybridization or to purify cultures or domains from what was already hybridized.
Hybrid Renaissance introduces the idea that the Renaissance in Italy, elsewhere in Europe, and in the world beyond Europe is an example of cultural hybridization. The two key concepts used in this book are “hybridization” and “Renaissance”. Roughly speaking, hybridity refers to something new that emerges from the combination of diverse older elements. (The term “hybridization” is preferable to “hybridity” because it refers to a process rather than to a state, and also because it encourages the writer and the readers alike to think in terms of degree: where there is more or less, rather than presence versus absence.) The book begins with a discussion of the concept of cultural hybridization and a cluster of other concepts related to it. Then comes a geography of cultural hybridization focusing on three locales: courts, major cities (whether ports or capitals) and frontiers. The following seven chapters describe the hybridity of the Renaissance in different fields: architecture, painting and sculpture, languages, literature, music, philosophy and law and finally religion. The essay concludes with a brief account of attempts to resist hybridization or to purify cultures or domains from what was already hybridized.
In the first book-length study explicitly to connect the postcolonial trope of hybridity to Renaissance literature, Gary Schmidt examines how sixteenth- and seventeenth-century English authors, artists, explorers and statesmen exercised a concerted effort to frame questions of cultural and artistic heterogeneity. This book is unique in its exploration of how 'hybrid' literary genres emerge at particular historical moments as vehicles for negotiating other kinds of hybridity, including but not limited to cultural and political hybridity. In particular, Schmidt addresses three distinct manifestations of 'hybridity' in English literature and iconography during this period. The first category comprises literal hybrid creatures such as satyrs, centaurs, giants, and changelings; the second is cultural hybrids reflecting the mixed status of the nation; and the third is generic hybrids such as the Shakespearean 'problem play,' the volatile verse satires of Nashe, Hall and Marston, and the tragicomedies of Beaumont and Fletcher. In Renaissance Hybrids, Schmidt demonstrates 'postmodern' considerations not to be unique to our own critical milieu. Rather, they can fruitfully elucidate cultural and literary developments in the English Renaissance, forging a valuable link in the history of ideas and practices, and revealing a new dimension in the relation of early modern studies to the concerns of the present.
Three basic forces dominated sixteenth-century religious life. Two polarized groups, Protestant and Catholic reformers, were shaped by theological debates, over the nature of the church, salvation, prayer, and other issues. These debates articulated critical, group-defining oppositions. Bystanders to the Catholic-Protestant competition were a third force. Their reactions to reformers were violent, opportunistic, hesitant, ambiguous, or serendipitous, much the way social historians have described common people in the Reformation for the last fifty years. But in an ecology of three forces, hesitations and compromises were natural, not just among ordinary people, but also, if more subtly, among reformers and theologians. In this volume, Christopher Ocker offers a constructive and nuanced alternative to the received understanding of the Reformation. Combining the methods of intellectual, cultural, and social history, his book demonstrates how the Reformation became a hybrid movement produced by a binary of Catholic and Protestant self-definitions, by bystanders to religious debate, and by the hesitations and compromises made by all three groups during the religious controversy.
Hybrid Hate is the first book to study the conflation of antisemitism and anti-Black racism. As objects of racism, Jews and Blacks have been linked together for centuries as peoples apart from the general run of humanity. In this book, Tudor Parfitt investigates the development of antisemitism, anti-Black racism, and race theory in the West from the Renaissance to the Second World War. Parfitt explains how Jews were often perceived as Black in medieval Europe, and the conflation of Jews and Blacks continued throughout the period of the Enlightenment. With the discovery of a community of Black Jews in Loango in West Africa in 1777, and later of Black Jews in India, the Middle East, and other parts of Africa, the notion of multiracial Jews was born. Over the following centuries, the figure of the hybrid Black Jew was drawn into the maelstrom of evolving theories about race hierarchies and taxonomies. Parfitt analyses how Jews and Blacks were increasingly conflated in a racist discourse from the mid-nineteenth century to the period of the Third Reich, as the two fundamental prejudices of the West were combined. Hybrid Hate offers a new interpretation of the rise of antisemitism and anti-Black racism in Europe, and casts light on contemporary racist discourses in the United States and Europe.
In recent years, archaeologists have used the terms hybrid and hybridity with increasing frequency to describe and interpret forms of material culture. Hybridity is a way of viewing culture and human action that addresses the issue of power differentials between peoples and cultures. This approach suggests that cultures are not discrete pure entities but rather are continuously transforming and recombining. The Archaeology of Hybrid Material Culture discusses this concept and its relationship to archaeological classification and the emergence of new ethnic group identities. This collection of essays provides readers with theoretical and concrete tools for investigating objects and architecture with discernible multiple influences. The twenty-one essays are organized into four parts: ceramic change in colonial Latin America and the Caribbean; ethnicity and material culture in pre-Hispanic and colonial Latin America; culture contact and transformation in technological style; and materiality and identity. The media examined include ceramics, stone and glass implements, textiles, bone, architecture, and mortuary and bioarchaeological artifacts from North, South, and Central America, Hawai‘i, the Caribbean, Europe, and Mesopotamia. Case studies include Bronze Age Britain, Iron Age and Roman Europe, Uruk-era Turkey, African diasporic communities in the Caribbean, pre-Spanish and Pueblo revolt era Southwest, Spanish colonial impacts in the American Southeast, Central America, and the Andes, ethnographic Amazonia, historic-era New England and the Plains, the Classic Maya, nineteenth-century Hawai‘i, and Upper Paleolithic Europe. The volume is carefully detailed with more than forty maps and figures and over twenty tables. The work presented in The Archaeology of Hybrid Material Culture comes from researchers whose questions and investigations recognized the role of multiple influences on the people and material they study. Case studies include experiments in bone working in middle Missouri; images and social relationships in prehistoric and Roman Europe; technological and material hybridity in colonial Peruvian textiles; ceramic change in colonial Latin America and the Caribbean; and flaked glass tools from the leprosarium at Kalawao, Moloka‘i. The essays provide examples and approaches that may serve as a guide for other researchers dealing with similar issues.
The Andean Hybrid Baroque is the first comprehensive study of the architecture and architectural sculpture of Southern Peru in the late colonial period (1660s-1820s), an enduring and polemical subject in Latin American art history. In the southern Andes during the last century and a half of colonial rule, when the Spanish crown was losing its grip on the Americas and Amerindian groups began organizing into activist and increasingly violent political movements, a style of architectural sculpture emerged that remains one of the most vigorous and creative outcomes of the meeting of two cultures. The Andean Hybrid Baroque (also known as "Mestizo Style"), was a flourishing school of carving distinguished by its virtuoso combination of European late Renaissance and Baroque forms with Andean sacred and profane symbolism, some of it originating in the pre-Hispanic era. The Andean Hybrid Baroque found its genesis and most comprehensive iconographical expression in the architecture of Catholic churches, chapels, cloisters, and conventual buildings. Drawing on hundreds of primary documents and on ethno-historical and anthropological literature that has rarely been applied to an art-historical subject, Gauvin Alexander Bailey provides the most substantial study of colonial Peruvian architecture in decades. The product of five years of photographic surveys in Peru, Bolivia, and Argentina, as well as research in governmental and ecclesiastical archives in Latin America and Europe, Bailey's richly illustrated study examines the construction history and decoration of forty-four churches. It offers a fundamentally new understanding of the chronology, regional variations, and diffusion of the Andean Hybrid Baroque style, as well as a fresh interpretation of its relationship to indigenous Andean culture. "Gauvin Alexander Bailey's The Andean Hybrid Baroque is a magnificent and ambitious study that not only covers an important geographic area of the southern Andes but also encompasses, in an informative and ordered style, a complex and dense constellation of pre-Hispanic and European cultural references in constant change." --Ramon Mujica Pinilla, Universidad de San Marcos, Lima, Peru "Gauvin Alexander Bailey's new book will surely become a textbook and standard resource for Andean art and architecture. With exciting insights into the colonial period in the southern Andes for the avid reader, and with original archival research for the inquisitive scholar, The Andean Hybrid Baroque challenges many of the facile suppositions about the indigenous and European cultural encounter and religious worldview. The author examines church facades in Peru and Bolivia, dating and scrutinizing the detailed carving work of native artists and combining that visual information with the testimony of colonial historians, inquisition records, and the images on textiles and queros (drinking cups). The result is an original and nuanced contribution to Andean scholarship." --Jaime Lara, University of Notre Dame
The period in which we live is marked by increasingly frequent and intense cultural encounters of all kinds. However we react to it, the global trend towards mixing or hybridization is impossible to miss, from curry and chips – recently voted the favourite dish in Britain – to Thai saunas, Zen Judaism, Nigerian Kung Fu, ‘Bollywood’ films or salsa or reggae music. Some people celebrate these phenomena, whilst others fear or condemn them. No wonder, then, that theorists such as Homi Bhabha, Stuart Hall, Paul Gilroy, and Ien Ang, have engaged with hybridity in their work and sought to untangle these complex events and reactions; or that a variety of disciplines now devote increasing attention to the works of these theorists and to the processes of cultural encounter, contact, interaction, exchange and hybridization. In this concise book, leading historian Peter Burke considers these fascinating and contested phenomena, ranging over theories, practices, processes and events in a manner that is as wide-ranging and vibrant as the topic at hand.
This collection of essays explores hybridity in early modern art through two primary lenses: hybrid media and hybrid time. The varied approaches in the volume to theories of hybridity reflect the increased presence in art historical scholarship of interdisciplinary frameworks that extend art historical inquiry beyond the single time or material. The essays engage with what happens when an object is considered beyond the point of origin or as a legend of information, the implications of the juxtaposition of disparate media, how the meaning of an object alters over time, and what the conspicuous use of out-of-date styles means for the patron, artist, and/or viewer. Essays examine both canonical and lesser-known works produced by European artists in Italy, northern Europe, and colonial Peru, ca. 1400–1600. The book will be of interest to art historians, visual culture historians, and early modern historians.
