Relevant bibliographies by topics / Homi Bhabha’s, The Location of Culture

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Academic literature on the topic 'Homi Bhabha’s, The Location of Culture'

Author: Grafiati
Published: 19 February 2023

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Journal articles on the topic "Homi Bhabha’s, The Location of Culture"

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Rose, Gillian. "The Interstitial Perspective: A Review Essay on Homi Bhabha's The Location of Culture." Environment and Planning D: Society and Space 13, no. 3 (June 1995): 365–73. http://dx.doi.org/10.1068/d130365.

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In this essay the work of Homi Bhabha is discussed. The complexity of Bhabha's writing might be seen as symptomatic of the critically ineffectual obsession with textuality that many geographers have recently criticised. However, I argue that there are a number of reasons for Bhabha's convoluted textual style. I suggest that he is performing a subject position symptomatic of the contradictions of post/colonial discourse, contradictions he is also at the same time analysing. This performance has implications for geographers' current discussions of situated knowledge and self-reflection. It also has implications for the thcorisation of space, because Bhabha argues that the politics of subjectivity arc also the politics of spatiality. The essay ends with a discussion of the relation between Bhabha's politics of subjectivity and the politics of material corporeality.
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Tion, Lucian. "The Postcolonial Self and the Other in Béla Tarr’s Werckmeister Harmonies." Acta Universitatis Sapientiae, Film and Media Studies 14, no. 1 (December 1, 2017): 31–49. http://dx.doi.org/10.1515/ausfm-2017-0002.

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Abstract This work sets off to offer a polemical response to postcolonialist theories advanced by Homi Bhabha in his seminal work The Location of Culture, particularly to Bhabha’s famous notions of ambivalence and mimicry purportedly used as methods of struggle against colonialism. Reading Béla Tarr’s film Werckmeister Harmonies (Werckmeister harmóniák, 2000) as an allegory for the colonization of a former colonial agent in the guise of an ambiguously framed post-imperial Hungary now on the eve of Soviet invasion, I turn Bhabha’s notions on their heads, and thus de-stereotype the simplistic hierarchy that sees the colonial agent dominate the colonized subject in a top-down approach. To achieve this, I bring into play Kuan-Hsing Chen’s notion of deimperialization as well as the psychoanalysis of Octave Mannoni in order to show that rather than being a straightforward misreading of the Other by an uninformed Self, the relationship between colonized and colonizer appears more like a failed attempt at acquiring the most basic knowledge of the psychological functioning of the Self on both sides of the colonized/colonizer divide.
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Montes Garcés, Elizabeth. "Los olvidados en Cien años de soledad." Estudios de Literatura Colombiana, no. 10 (November 2, 2011): 59–68. http://dx.doi.org/10.17533/udea.elc.10495.

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Resumen: Este ensayo demuestra que en Cien años de soledad la caracterización de personajes marginales como los indígenas guajiros y Rebeca Buendía subvierte las premisas bajo las cuales se construye la nación según los conceptos de Homi Bhabha en The Location of Culture.Descriptores: García Márquez, Gabriel; Cien años de soledad; Cultura Wayúu; Guajira. Abstract: This essay demonstrates that in One Hundred Years of Solitude characterization of marginalized figures such as Rebeca Buendía and the Guajiro Indians undermines the rules under which the nation is constructed according to the theoretical concepts explained by Homi Bhabha in The Location of Culture. Key words: García Márquez, Gabriel; Cien años de soledad; Wayúu Culture; Guajira.
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Young, Robert J. C. "The Dislocations of Cultural Translation." PMLA/Publications of the Modern Language Association of America 132, no. 1 (January 2017): 186–97. http://dx.doi.org/10.1632/pmla.2017.132.1.186.

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The title The Location of Culture suggests that the book's author, Homi K. Bhabha, places an overriding importance on a culture's spatial and geographic situation. Lest Bhabha's readers get too fixated on culture's site and locality, however, the title's emphasis on place is soon qualified by an epigraph from the book's most-cited author, Frantz Fanon, that emphasizes temporality: “The architecture of this work is rooted in the temporal. Every human problem must be considered from the standpoint of time” (qtd. in Bhabha xiv). So, while culture must be located, the architecture of The Location of Culture is rooted in the temporal. The place and time of its moments of production are affirmed throughout its essays with a wealth of contemporary references and opening comments like “In Britain, in the 1980s …” (27). No book of theory is more self-consciously embedded in its own space and time. The Location of Culture, published in 1994, is a very English book, written from within the political, cultural, and intellectual world of the London of the 1980s and early 1990s, in which migrant activists from the Caribbean and South Asia such as Bhabha, Salman Rushdie, and Stuart Hall were challenging the verities of a long-established, socialist, masculinist, English intellectual and political culture. The brilliant innovation of The Location of Culture was to create a new language, a new articulation and understanding of minority positions—which is why the response to it has been so overwhelming, from academics, artists, and many others. The work that went into The Location of Culture was intimately related to Bhabha's own milieu and time: the book is the product of his decennium mirabile in London.
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Adejunmobi, Moradewun. "Native Books and the “English Book”." PMLA/Publications of the Modern Language Association of America 132, no. 1 (January 2017): 135–41. http://dx.doi.org/10.1632/pmla.2017.132.1.135.

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Those of us working in the american academy have so internalized the grammar of postcolonial theory that we now take for granted interstices, hybridity, slippage, and liminality, among other terms commonplace in the discourse of postcolonialism. Beyond the terms themselves, we have taken to heart, absorbed, and extended the lessons from Homi K. Bhabha's The Location of Culture. Those lessons furnished a stimulative template for analyzing particular power asymmetries. Nevertheless, scholars have not referred as widely as we might expect to Bhabha's work in general and The Location of Culture in particular, especially in some fields for which postcolonial theory was supposed to be a natural fit, such as African literary studies. The index of African Literature: An Anthology of Criticism and Theory, a 764-page compendium assembling many of the most important interventions in African literature from the 1970s to the early twenty-first century, is an instructive example: it lists only three entries for Bhabha (Olaniyan and Quayson). Given that postcolonial theory and African literary studies share an interest and a language (the aftermath of British colonialism and English) in their research agendas, we might also ponder the frequency with which postcolonial theory in the vein of Bhabha, Gayatri Chakravorty Spivak, and Edward Said has elicited critique from scholars working with African literary texts and in African studies writ large. Individual persuasion is at work in these critiques but so also undoubtedly are positionality and location. We should read the critiques, then, not for their universal resonance, but for an understanding of debates unfolding in specific locations around the world, as well as in relation to the subject positions of individual scholars and their ideological proclivities.
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Daiya, Kavita. "The World after Empire; or, Whither Postcoloniality?" PMLA/Publications of the Modern Language Association of America 132, no. 1 (January 2017): 149–55. http://dx.doi.org/10.1632/pmla.2017.132.1.149.

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At the MLA'S annual convention in 2015, a roundtable i had organized, remembering The Location of Culture: circulations, Interventions, and Futurity, gathered scholars from across literary periods and fields to reflect on the legacies of Homi Bhabha's seminal work. As new disciplinary shifts in literary studies witness the reinvention of postcolonial literatures as global anglophone literatures, one of the questions that roundtable asked was, Whither postcoloniality? Returning to The Location of Culture—one of the most influential texts in the fields of postcolonial studies and critical theory—can perhaps illuminate how postcolonial critique resonates anew for the literature of our world after empire.
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Bahri, Deepika. "Hybridity, Redux." PMLA/Publications of the Modern Language Association of America 132, no. 1 (January 2017): 142–48. http://dx.doi.org/10.1632/pmla.2017.132.1.142.

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The ensuing remarks on Homi Bhabha's collection of essays The Location of Culture are framed by the following questions: Under what discursive conditions does a text arrive? How do conditions beyond the text determine its reception and circulation? And why is Bhabha routinely associated more with ambivalence, interstice, and liminality than with the ways in which they illuminate problems of race, the archive, history, or the affective bodily subject of history? To focus these ruminations, I will discuss the intervention, impact, and afterlife of The Location of Culture through the concept of hybridity, arguably one of the greatest hits of postcolonial studies and one closely associated with the work of Bhabha. Informed by Mikhail Bakhtin's propositions about hybridity in linguistic utterance; by Sigmund Freud's theories of ambivalence; by Walter Benjamin's discussions of history, event, and language; by Jacques Lacan's discourses on ego, language, and subjectivity; by Michel Foucault's investigations of history, knowledge, and power; and by Jacques Derrida's theories of différance, Bhabha's formulations have gained currency well beyond the humanities. Appropriations of hybridity in globalization discourse, however, often do not honor Bhabha's poststructural politics or its rooting in a complex history of ideas even as the critics of hybridity fail to recognize its inception in archival moments and particular enunciative contexts. Bhabha's work not only poses questions to history in a mode characteristic of deconstruction, it also commences in history in a clearly postcolonial modality. I want to review missed appointments with pressing questions of history and race in the global reception of Bhabha's concept of hybridity, an approach that constitutes an implicit plea for the recognition and reanimation of these questions in contemporary uses of the term hybridity in the discourse of globalization.
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Shai Ginsburg. "Signs and Wonders: Fetishism and Hybridity in Homi Bhabha's The Location of Culture." CR: The New Centennial Review 9, no. 3 (2009): 229–50. http://dx.doi.org/10.1353/ncr.0.0082.

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Clothier, Ian M. "Created Identities: Hybrid Cultures and the Internet." Convergence: The International Journal of Research into New Media Technologies 11, no. 4 (November 2005): 44–59. http://dx.doi.org/10.1177//1354856505061053.

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Homi K. Bhabha has written that authorised power in a hybrid culture ‘does not depend on the persistence of tradition; it is resourced by the power of tradition to be reinscribed through conditions of contingency and contradictoriness’ (Homi K. Bhabha, The Location of Culture, London: Routledge, 1994, p. 2). This view of culture is one aligned with concepts of flux and transition. Hybrid cultural identity is created as time progresses, in part based on contingency. The boundaries of hybrid cultures are negotiated and able to absorb diverse cultural influences: borders are active sites of intersection and overlap, which support the creation of in-between identities. Hybrid cultures are antagonistic to standing authority and cultural hegemony - hybridisation engenders diversity and heterogeneity, once framed as bastardisation. Heterogeneity and multiplicity are here underlined as important aspects of hybrid cultures. Heterogeneity, multiplicity and rupture are three aspects of Deleuze and Guattari’s rhizome that have been identified by Stefan Wray as similarly characteristic of the internet. This makes the internet an entirely suitable place to manufacture a hybrid cultural identity, with a cultural profile akin to that reported in mainstream news media. This paper maps out the above points with reference to the online/internet project the District of Leistavia welcomes you created by the author.
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Embabi, Doaa. "Translating the Self in Edward Said’s Out of Place: A Memoir." Anglica. An International Journal of English Studies, no. 26/1 (September 11, 2017): 149–64. http://dx.doi.org/10.7311/0860-5734.26.1.10.

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This paper examines the link between the notion of ‘cultural translation,’ initially introduced by Homi Bhabha in The Location of Culture (1994), and autobiographical writing by a translingual writer: Edward Said’s memoir, Out of Place (1999). As an ArabAmerican intellectual, Said culminates his writing career with a memoir, in which he represents the educational years of his life. Said shows through the narrative that the interplay between Arabic and English language and cultures strongly infl uenced the formation of his identity. Thus, this paper explores reading his memoir as an attempt at ‘cultural translation’ according to which difference is not necessarily trapped in binary oppositions of self/other; East/West; home/foreign land – to name only a few. Difference in this context rather opens a possibility for more fluid boundaries allowing for negotiation and change.
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Dissertations / Theses on the topic "Homi Bhabha’s, The Location of Culture"

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Mohammad, Harunthmarin Nur Qistin. "Culture, Tradition and the Series of Bruneian Folklore." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/365267.

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This project is the first scholarly study on The Series of Bruneian Folklore and its significance as a legacy for the culture of Brunei. It is also the first English translation of selected tales in the Series. The broad trajectory of this thesis examines the survival of Brunei’s powerful oral narrative heritage which existed for 500 years as a vital part of traditional Bruneian society, and which still survives in the form of published children’s literature. Amidst modern culture, however, it is considered an outdated object of the past; this explains its deteriorating presence as a formative cultural force in the Brunei of today. This dissertation transforms this perception of the Series and recognizes it as the embodiment of an important cultural and historical heritage. The main theoretical foundation is Homi Bhabha’s, The Location of Culture (1994) and the main literary framework is the Gothic mode: together they both serve as an overarching framework for analysis in each chapter. International literary perspectives are employed to achieve a cross-cultural examination of the Series, addressing this published expression of Brunei’s complex narrative heritage within the context of recent literary discourse. As a product of hybrid cultural influences and historical practices, published in a contemporary time frame, the Series has been approached with reference to Western literary concepts and modes of critique, including Postcolonialism, Feminism and the Gothic, addressing its importance as the reflection of a unique narrative heritage.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities, Languages and Social science
Arts, Education and Law
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Books on the topic "Homi Bhabha’s, The Location of Culture"

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Marín-Aguilera, Beatriz, and Stefan Hanß. In-Between Textiles, 1400–1800. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463729086.

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In-Between Textiles is a decentred study of how textiles shaped, disrupted, and transformed subjectivities in the age of the first globalisation. The volume presents a radically cross-disciplinary approach that brings together world-leading anthropologists, archaeologists, art historians, conservators, curators, historians, scientists, and weavers to reflect on the power of textiles to reshape increasingly contested identities on a global scale between 1400 and 1800. Contributors posit the concept of “in-between textiles,” building upon Homi Bhabha’s notion of in-betweenness as the actual material ground of the negotiation of cultural practices and meanings; a site identified as the battleground over strategies of selfhood and the production of identity signs troubled by colonialism and consumerism across the world. In-Between Textiles establishes cutting-edge conversations between textile studies, critical cultural theory, and material culture studies to examine how textiles created and challenged experiences of subjectivity, relatedness, and dis/location that transformed social fabrics around the globe.
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Fay, Stephen, and Liam Haydon. Analysis of Homi K. Bhabha's the Location of Culture. Macat International Limited, 2017.

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Book chapters on the topic "Homi Bhabha’s, The Location of Culture"

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Langemeyer, Peter. "Bhabha, Homi K.: The Location of Culture." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_1586-1.

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Schachtner, Christina. "Narrative Production of Culture." In The Narrative Subject, 249–65. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51189-0_7.

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Abstract In the abstract to chapter 2, the reference was added for authors mentioned explicitly in the text. To round off the work, the network actors’ narratives are discussed against the background of an increase in cross-border encounters as expedited by transnational digital technologies, for example. The “translational turn” is taken as a starting point for inferring the future challenges to a form of narrative which should be in a position to create narrative spaces. Cultural theorist Homi K. Bhabha designates such narrative locations as the “Third Space” (The location of culture. London: Routledge (1994)).
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Sieber, Cornelia. "Der ›dritte Raum des Aussprechens‹ – Hybridität – Minderheitendifferenz Homi K. Bhabha: »The Location of Culture«." In Schlüsselwerke der Postcolonial Studies, 97–108. Wiesbaden: VS Verlag für Sozialwissenschaften, 2012. http://dx.doi.org/10.1007/978-3-531-93453-2_7.

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Kerner, Ina. "Homi K. Bhabha: The Location of Culture, Routledge: London/New York 1994, 285 S. (dt. Die Verortung der Kultur, Stauffenburg: Tübingen: 2000, 408 S.)." In Klassiker der Sozialwissenschaften, 392–95. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-13213-2_91.

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Stępień, Mateusz. "Exploring New Avenues for Studying the Legal Culture: Drawing on Homi Bhabha’s Theorization of “Culture”." In Law and Culture, 9–33. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81193-8_2.

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"Signs of Our Times: A Discussion of Homi Bhabha’s The Location of Culture." In Learning Places, 119–49. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822383598-007.

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"The Place of Metaphor in a Metonymic World: On Homi Bhabha’s “Democracy De-Realized”." In Art and Visibility in Migratory Culture, 37–52. Brill | Rodopi, 2011. http://dx.doi.org/10.1163/9789042032644_004.

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DuPlessis, Robert S. "“A Few Shreds of Rough Linen” and “a Certain Degree of Elegance”." In In-Between Textiles, 1400–1800. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463729086_ch04.

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In Brazil and the Caribbean, this chapter demonstrates, the multiple material practices deployed in enslaved textile-making moulded identities of both free and captive colonists. The enslaved occupied a singular position in what Homi Bhabha has termed “in-between” space, the liminal location of diasporic cultural innovation and subjectivity formation. Theories of hybridisation, which foreground subaltern strategies in contexts of grossly disparate power and resources, decode how enslaved people exploited fissures, inconsistencies, and distractions in hegemonic policies and procedures to adapt, resist, mimic, and mock dominant groups’ sartorial authority while establishing their own.
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Conference papers on the topic "Homi Bhabha’s, The Location of Culture"

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Vainovski-Mihai, Irina. "GIVING PRECEDENCE TO COMMON POINTS: THE LIMITS OF THE OTHERNESS IN FETHULLAH GÜLEN’S DIALOGIC METHODOLOGY FOR INTERFAITH ENCOUNTERS." In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/zvgs8407.

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This paper examines Fethullah Gülen’s teaching on interfaith encounters highlighting his dialogic methodology proposed for a globalised world in which Samuel Huntington’s idea of the ‘clash of civilisations’ (Clash of Civilizations and the Remaking of World Order, 1997) is still prominent. This idea, concludes Gülen, stems from the lack of trust in the religion of the “Other” and, rather often than not, from easily passing over the common points. According to Gülen, dialogue is not a superfluous endeavour, but an imperative (“Dialogue is a must”) and it should start by “Giving precedence to common points”. Gülen holds that the tendency toward factionalism exists within human nature. A meaningful and nonetheless necessary goal, he says, should be to make this tendency non-threatening and even beneficial. To fully appreciate the significance of Gülen’s accomplishments, one must understand the perspec- tive from which he approaches the subject of interfaith dialogue. Based on his thinking as noted above, the purpose of this paper is to set out in some detail the way in which this re- nowned Islamic thinker limits the “domain” of the Otherness (Homi Bhabha, The Location of Culture, 2004; Nation and Narration, 1990) to make dialogue possible through overcom- ing both Orientalism (Edward Said, Orientalism, 1978) and Occidentalism (Ian Buruma and Avishai Margalit, Occidentalism: the West in the Eyes of its Enemies, 2004). Challenging the discourse of conflict and focusing on common points may be an important strategy when mutual suspicions are still prevalent and when the field of postcolonial studies stand witness to conflicting processes of refraction (Patricia Crone, Medieval Islamic Political Thought, 2005; Amin Maalouf, Les Croisades vues par les Arabes, 1986). Those who act according to what they have seen are not as successful as those who act according to what they know. Those who act according to what they know are not as successful as those who act according to their conscience. (Gülen 2005:106) This article aims to explore Fethullah Gülen’s teaching on interfaith encounters highlight- ing his dialogic methodology proposed to a globalized world in which models and theories of clashes are still prominent. These theories, concludes Gülen, stem from the lack of trust in the religion of the “Other” and, rather often than not, from easily passing over the com- mon points. According to Gülen, dialogue is not a superfluous endeavour, but an imperative (“Dialogue is a must”) and it should start by “Giving precedence to common points”. Gülen holds that the tendency toward factionalism exists within human nature. A meaningful and nonetheless necessary goal, he says, should be to make this tendency non-threatening and even beneficial. To fully appreciate the significance of Gülen’s accomplishments and the challenges he is facing, one must understand the perspective from which he approaches the subject of interfaith dialogue. Based on the above-mentioned landmarks of his viewpoints regarding the representation constructs, the purpose of my paper is to investigate the way in which this renowned Islamic thinker limits the “domain” of the Otherness or dilutes many of the apparently instituted boundaries. My paper starts from the assumption that recognizing the Other on common grounds is a prerequisite of dialogue. The first section of the essay focuses on conceptual frameworks of defining the “relevant” alterity (Orientalism, Balkanism, Occidentalism) and theories of con- flict (models of clashes, competing meta-narratives). The second section looks into identity markers expressed or implied by Sufi thinkers (Al-Ghazali, Rumi, Nursi). The third section discusses Gülen’s awareness with the Other and, consequently (as detailed in the fourth sec- tion) his identification of common grounds for dialogue. To achieve the aim of my study, throughout all the four sections, Gülen will be presented in a textual exchange of ideas with other thinkers and authors.
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