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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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Subekti, Mega. "IDENTITAS BUDAYA HIBRID DALAM TIGA CERPEN PENGARANG AFRIKA DALAM BUKU KUMPULAN CERPEN L’EUROPE VUE D’AFRQUE (Identity of Hybrid Culture in Three Short Stories of African Authors in the Book of the Short Story Collection “L’Europe Vue D’afrque”)." METASASTRA: Jurnal Penelitian Sastra 9, no. 2 (January 5, 2017): 225. http://dx.doi.org/10.26610/metasastra.2016.v9i2.225-238.
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Tulisan ini ditujukan untuk mengungkapkan identitas budaya hibrid yang ditampilkan dalam tiga cerpen yang ditulis oleh pengarang Afrikadalam buku kumpulan cerpen L’Europe Vue D’Afrique (Eropa dilihat Afrika). Tiga cerpen itu berjudul ”Femme de Gouverneur” (LFG) karya Ken Bugul, “La Bibliothèque d’Ernst” (LBE) karya Patrice Nganang, dan “Âllo” karya Aziz Chouaki. Identitas budaya hibrid itu tercermin melalui pandangan Eropasentris para tokoh utama dan mimikriyang mereka lakukan sebagai individu hibrid (Afrika-Eropa). Homi Bhabha (1994) dalam The Location of Culture, mengungkapkan bahwa konsep mimikri tidak berarti sepenuhnya meniru karena terkandung juga unsur mengejek (mockery). Oleh karena itu, budaya hibrid yang muncul itu dapatdianggap sebagai senjata untuk meresistensi pengaruh budaya Eropa pada diri mereka, juga untuk mengkritik pengaruh budaya Eropa yang selama ini telah dianggap baik oleh masyarakat Afrika.Abstract: This paper aims to describe the hybrid cultural identity shown in three short stories, which were written by African authors in the book of the short story collection “L’Europe Vue D’Afrique”. The three short stories are Ken Bugul’s La Femme de Gouverneur (LFG), Patrice Nganang’s La Bibliothèque d’Ernst (LBE) , and Aziz Chouaki’s Allo. The hybrid cultural identity is reflected through the Eurocentric perspective and mimicry of the main character as individual hybrid (African-European). Homi Bhabha (1994) in “The Location of Culture” describes that the concept of mimicry not only mimics something but also contains mockery. Therefore, the hybrid culture represented in the short stories can be considered a weapon to resist the influence of European culture on them and to criticize the influence of European culture, which has been considered superior by the African society.
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Chrisman, Laura. "Local Sentences in the Chapter of the Postcolonial World." Diaspora: A Journal of Transnational Studies 7, no. 1 (March 1998): 87–112. http://dx.doi.org/10.3138/diaspora.7.1.87.
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These comments, from Peter Hulme’s introduction, strike a keynote for this essay collection as a whole. Although some of its contributors align themselves with those very postmodern arguments from which Hulme marks his distance, they all share his concern with scaling down postcolonial cultural analysis and theorization to focus on particular cultural, historical, and geographical cases. This provides a striking contrast with the earlier stages of the “industry,” as inaugurated by Edward Said’s Orientalism (1978), which was concerned with mapping a phenomenon of massive historical and geographical proportions; or, alternatively, with Homi Bhabha’s projects in the mid-1980s (Location chap. 2-6), which took up the task of theorizing a generalized colonial subjectivity. It is not only the focus on “locality” which differentiates this collection from the earlier work of Said and Bhabha. This earlier stage of colonial dis-course/postcolonial theory privileged India and the Orient as objects of study (Said) or as the example from which psychoanalytic patterns could be derived (Bhabha). In this collection of twelve chapters, only one is devoted to India. The rest cover a striking regional range, including Spanish America, the Philippines, the Caribbean, West Africa, South Africa, France, the USA, and the UK. This diversity of regions ushers in a broadening of theoretical as well as physical terrain. Despite the volume’s title, “discourse” theory in a strongly Foucauldian sense is not prevalent in the contributions. And contrary to the title’s suggestion, colonialism serves more as an epistemological and political matrix than as a topic of analysis.
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Schloesser, Stephen. "Accommodation as a Rhetorical Principle." Journal of Jesuit Studies 1, no. 3 (April 1, 2014): 347–72. http://dx.doi.org/10.1163/22141332-00103001.
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Twenty years after its publication, John O’Malley’s The First Jesuits (1993) can be located within a broader “postmodern” intellectual context that followed in the wake of 1989 and the consequent end of the Cold War. This context included both Stephen Toulmin’s Cosmopolis (1990), a revisionist account of the origins of “modernity,” and Homi K. Bhabha’s The Location of Culture (1994), a foundational work in post-colonial theorization of cultural hybridity. O’Malley’s thesis that early Jesuit ministries shared a common fundamental “rhetorical” dimension exemplifies Toulmin’s account of a sixteenth-century rhetorical preference for the particular, local, and timely. This rhetorical accommodation to the individual also informed the missionary strategies developed by Valignano and Ricci in the Far East. Ricci’s True Meaning of the Lord of Heaven (1603) can be read as a hybridizing cultural accommodation, a strategy with both promise and peril for self-identity. However, as the tumultuous (and eventually tragic) history of the Chinese Rites demonstrates, a Renaissance preference for the particular would encounter serious opposition during the seventeenth-century’s “quest for certainty” and corollary embrace of universals. Toulmin would argue, however, that this “Counter-Renaissance” repudiation of accommodation did not make the sixteenth-century project any less “modern.” Rather, he would see O’Malley’s first Jesuits as exemplars of modernity’s original form—a preference for the particular and openness to hybridity which Toulmin imagined being recovered in late-twentieth-century “postmodernity.”
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Yulistiyanti, Yulistiyanti, Agnes Widyaningrum, Endang Yuliani Rahayu, and Katharina Rustipa. "Hybridity in Jhumpa Lahiri's a Temporary Matter." IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature 10, no. 2 (January 1, 2023): 1837–48. http://dx.doi.org/10.24256/ideas.v10i2.3145.
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This study aims to reveal hybridity and liminality in Jhumpa Lahiri's short story entitled A Temporary Matter. This research is a qualitative research with a postcolonial approach. The theory used in this research is postcolonialism theory by Homi K. Bhabha. The methods applied in this study include data collection methods and data analysis methods. The data obtained were taken from the speech of the characters and the narrator in the short story A Temporary Matter. Bhabha in The Location of Culture (1994) discusses hybridity in society during the post-colonial era and is applied to diaspora literature. Hybridity is related to human culture and identity. Culture and identity are formed dynamically, they experience development, progress, and decline according to conditions and circumstances. Diaspora literature is produced from the writings of people living outside the country and/or writings that contain diaspora experiences. In the process of hybridity, there is a gap between the two cultures. The gap is called liminality in which there is repression of the (colonial) past that is not revealed. One of the writers included into the category of diaspora writers is Jhumpa Lahiri. In A Temporary Matter, she shows the hybridity experienced by the two main characters of Indian descent living in the United States. They were husband and wife; Shukumar and Shoba. They experienced cultural adaptation to cultures outside India. In their lives, cultural mixing occurs. This mixture is seen in the food, clothing, and language they use. Between these mixtures, several gaps fill the transition. This is found in the main character's utterances.
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Ambroży, Paulina, and Alicja Kozłowska. "Native American Gothic as Third Space: Stephen Graham Jones? The Only Good Indians." Polish Journal for American Studies, no. 16 (2022) (December 22, 2022): 115–34. http://dx.doi.org/10.7311/pjas.16/2022.09.
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The intention of the article is to examine Stephen Graham Jones’ most recent novel The Only Good Indians (2020) from combined ecogothic and postcolonial perspectives. The central concept informing the analyses is that of Third Space, as formulated by Homi Bhabha in The Location of Culture, and adapted by the spatial turn critic, Edward W. Soja in Thirdspace. Marking the onto-epistemological condition of in-betweenness, openness and ambivalent cultural identities, Third Space will be employed here to interrogate hybrid interspaces and generic dislocations in Jones’ new novel. As will be argued, Jones rewrites the Gothic slasher with a view of unsettling the inherited paradigms of thought, identity and representation. The writer reclaims the conventions and tropes of the genre, such as supernatural figures and events, the return of the repressed past, delayed revenge, and excessive acts of violence, and fuses them with the Native American settings, temporalities, tropes of spirituality and modes of storytelling. Jones’ novel, as we would like to propose, undermines any claims of a coherent identity and turns the Gothic mode into Third Space, characterized by an excess of ambiguous signification and revealing entangled ontological, ethnic, ecological and cross-cultural locations of horror.
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Howell, Philip. "Book Reviews : The location of culture. By K. Homi Bhabha. London: Routledge. 1994. xiii + 285 pp. £11.99 paper. ISBN 0 415 05406 0." Ecumene 3, no. 1 (January 1996): 113–17. http://dx.doi.org/10.1177/147447409600300117.
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Dewulf, Jeroen. "Framing a Deterritorialized, Hybrid Alternative to Nationalist Essentialism in the Postcolonial Era: Tjalie Robinson and the Diasporic Eurasian “Indo” Community." Diaspora: A Journal of Transnational Studies 16, no. 1-2 (March 2012): 1–28. http://dx.doi.org/10.3138/diaspora.16.1-2.1.
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In her study of Transnational South Asians (2008), Susan Koshy highlights the systematic neglect by scholars of the perspectives and activities of such seemingly peripheral actors as diasporic subjects in the macro-narratives of nationalism and globalization. Such neglect was even more pronounced in the case of the “repatriates” from European colonies in Asia and Africa. The epistemological implications of the dislocated, de-territorialized discourse produced by repatriates from former European colonies remain largely overlooked. One of those groups that seem to have slipped between the pages of history is the diasporic Eurasian “Indo” community that has its roots in the former Dutch East Indies. In this article, I focus on Tjalie Robinson, the intellectual leader of this community from the 1950s to the mid-1970s. In recent decades, there has been a growing interest in what Homi Bhabha, in The Location of Culture (1994, 38), called “the conceptualization of an international culture, based not on the exoticism of multiculturalism or the diversity of cultures, but on the inscription and articulation of culture’s hybridity.” Long before Bhabha, Robinson had already published substantially on hybrid, transnational identity. As the son of a Dutch father and a British-Javanese mother, Robinson had made a name in Indonesia with his writings. He left Indonesia in 1954, and soon became the leading voice of the diasporic Indo community in the Netherlands and, later, also in the United States. His engagement resulted in the founding of the Indo magazine Tong Tong and the annual Pasar Malam, the world’s biggest Eurasian festival. With his writings, Robinson played an essential role in the cultural awareness and self-pride of the Indo community through the acceptance of their essentially hybrid and transnational identity.
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Peimanfard, Shima, and Mohsen Hanif. "Antoinette the Outsider: The Representation of Hybridity and Mimicry in Jean Rhys’s Wide Sargasso Sea." International Letters of Social and Humanistic Sciences 72 (August 2016): 15–20. http://dx.doi.org/10.18052/www.scipress.com/ilshs.72.15.
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This essay sets out to study the function of hybridity and mimicry in Jean Rhy’s acclaimed novel Wide Sargasso Sea drawing on Homi K. Bhabha’s theoretical framework in this regard. In this novel, Antoinette emerges as the “Other” who aims to prove herself to the “Centre”. Undergoing extreme sufferings, the heroine wistfully ponders mimicry as an impulse to break out of her mare’s nest and to establish herself within one culture. Indeed, unlike what Bhabha believes mimicry cannot upset the total authority of the “Centre”. Meanwhile, Antoinette used it as a result of her longings for the position of the “Centre” which she is unable to attain because of her hybrid existence. Countering Homi K. Bhabha’s central argument, this essay contends that Antoinette’s mimicry of Englishness fails to fend off the norms of the superior power, but partakes in celebrating the very ideals that Bhabah’s theory is trying to keep at bay.
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Petersson, Caroline. "In Things we Trust: Hybridity and the Borders of Categorization in Archaeology." Current Swedish Archaeology 19, no. 1 (June 10, 2021): 197–81. http://dx.doi.org/10.37718/csa.2011.11.
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The aim of the article is to question essentialist con- structions of archaeological cultures with the help of Homi K. Bhabha’s concept of hybridity. Using house urns found in central and northern Europe as a case study, Bhabha’s hybridity concept is presented and discussed as an alternative to traditional archaeolog- ical concepts of cultural interpretation. Hybridity, which is also a key concept in postcolonial theory, offers an alternative key to the interpretation of cul- ture and suggests that no culture should be seen as static and homogeneous. The common understanding of house urns is therefore informed and challenged by the concept of hybridity, its alternative construction of culture and alternative ways to understand arte- facts. Inspired by the concept of hybridity, I argue that house urns deserve much broader interpretations than as mere manifestations of cultural difference or cultural belonging.
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Ahmad, S. Anas. "The Aborigines and The Adivasis: Sharing a Common Voice; Analyzing Judith Wright’s Bora Ring and Shanmugam Chettiar’s We are the Adivasis." International Journal of English Literature and Social Sciences 7, no. 4 (2022): 100–103. http://dx.doi.org/10.22161/ijels.74.15.
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In this paper, we analyze Judith Wright’s poem, “Bora Ring”, and Shanmugam Chettiar’s poem, “We are the Adivasis”, under the light of postcolonial theory. By using Homi K. Bhabha’s concept of “mimicry,” we showcase the plight of indigenous communities like the Aborigines of Australia and the Adivasis of India, communities that fail to identify with the neo-colonial ‘mimic-identity’ and culture have been thereby relegated as the ‘other’. The plight of both communities shows stark similarities, as is evident in the analysis of the poems.
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Bhandari, Nagendra Bahadur. "Cultural Identity of the First-Generation Immigrants in Tan’s The Bonesetter’s Daughter and Lahiri’s The Namesake." SCHOLARS: Journal of Arts & Humanities 2 (August 31, 2020): 55–64. http://dx.doi.org/10.3126/sjah.v2i0.35013.
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This article examines the problematic cultural identity of the first-generation immigrants in Amy Tan’s The Bonesetter’s Daughter (2001) and Jhumpa Lahiri’s The Namesake (2003). The immigrant characters problematize their cultural identity by oscillating in the cultural spaces of their home country and the host country. They tend to adopt new cultural identity of their host country while sustaining the old one of their home country. As a result, they negotiate their cultural identity in the shared cultural space which Homi K Bhabha terms as the third space. While analyzing the third space of cultural encounter, I refer to homeland culture as the first and the host land culture as the second cultural space of immigrants. Negotiating in the third space of the diaspora, the immigrants embody fluid and dynamic cultural identities that go beyond the binary of the host and home country. The process of the cultural negotiation of the immigrants is analyzed in the critical frame of Stuart Hall’s cultural identity and Homi Bhabha’s third space in this article.
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El Samad, Soha. "“Hamsun's Liminality”." Nordlit, no. 47 (December 10, 2020): 237–51. http://dx.doi.org/10.7557/13.5640.
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This study seeks to establish the extent to which In Wonderland is a cultural hybridity discourse and a writing-back to Euro-American travelogues. In this ‘different’ travelogue, Hamsun’s voice cuts through the borderlands of the Russian colonized Caucasus region to reveal contempt for acquired culture and a rejection of global uniform identities in a manner that accords with Homi Bhabha’s concept of ‘hybridity.’ While keeping in mind Hamsun’s undisputed parodic style, this postcolonial reading claims that mimicry, as applied by Hamsun, is a practical demonstration of Bhabha’s theory that reflects his propensity to destabilize the West’s monolithic stance as regards the Orient. It therefore reveals the manner in which his supposedly colonial discourse exposes the discriminatory nature of colonial dominance. Within this context, Hamsun has become a cultural hybrid who refuses to imitate conventional European travel narratives or follow in their differentiating paths. On the whole, the basic argument is that Hamsun’s travelogue which invariably asserts, subverts and removes boundaries, does not endorse Orientalism neither in its romantic nor in its subservient form.
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Salami, Ali, and Farnoosh Pirayesh. "From tradition to modernity." Anafora 6, no. 2 (2019): 347–66. http://dx.doi.org/10.29162/anafora.v6i2.3.
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The paper explores the liberating power of Bhabha’s concept of hybridity in Manju Kapur’s novel The Immigrant. By concentrating on Nina’s immigration to Canada, the novel addresses her early affliction due to the cultural clash between the East and West, tradition and modernity, her assimilation problems, as well as her gradual assimilation, her in-betweenness, transformation in her roles and identity, and survival in the host world. She opens a space in-between the home and host culture, mediates between them, and becomes the citizen of two worlds; she thus enters the third space, i.e. she stands in-between two cultures prioritizing neither the home nor the host culture but the middle ground and emerges as a hybrid who occupies the in-between space and develops a double vision. Using Homi Bhabha’s insights, this study seeks to demonstrate that being positioned in the third space, i.e. moving beyond the polarities and challenging the fixedness of identity and experiencing in-betweenness – being neither one nor the other, might pave the way for her liberation. The paper is to show that Nina is neither one nor the other, i.e. neither a traditional nor a modern woman but both, simultaneously transcending and reconciling the tradition and modernity.
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Sumra, Shahzadi, Mehroz Taseer, Muhammad Sufyan Afzal, and Khishar Sadaf. "Displeasures of Cultural Diversity and Diasporic Hybridity in Almost English by Charlotte Mendelson." International Journal of Applied Linguistics and English Literature 10, no. 3 (May 31, 2021): 20. http://dx.doi.org/10.7575/aiac.ijalel.v.10n.3p.20.
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The research explores the strands of cultural hybridity and diaspora compromise that Mendelson has introduced in her novel, Almost English (2013). The research has analyzed the diasporic community as victim of cultural diversity and ambivalence. It focuses on the significance of cultural choices to establish one’s identity; we see identity as a process of negotiation and of articulation of cultural differences. It explores the ways in which Mendelson addresses the hybrid world, a world in which no culture and identity is pure or essential. Homi K. Bhabha’s critical approaches serve as the theoretical framework of this research. His concepts of cultural hybridity, ambivalence, third space and mimicry are of prime interest for the study of this novel. This work highlights the appropriation of Bhabha’s concepts and their application in postcolonial context considering Almost English (2013), for which main motifs include: challenging fixity in one culture, awareness about other existing cultures, and a contestation of view which privileges one culture above other, skirmish realities which finally produce multiple meanings, and values and identities. Finally, the research demonstrates that diasporic communities face displeasures of identity and language while living in a hybrid world. A world where third space is not productive enough for diasporic communities because of which they become conscious of their own identities and place in the society.
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Bhandari, Nagendra Bahadur. "Diasporic Subjectivities: A Study of the Second-generation Immigrant in Hiromi Goto’s Chorous of Mushrooms." Literary Studies 34, no. 01 (September 2, 2021): 128–39. http://dx.doi.org/10.3126/litstud.v34i01.39534.
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This article analyses the formation of the hybrid and multiple subjectivities of the second-generation immigrant Murasaki in Hiromi Goto’s Chorus of Mushrooms. In diaspora, Murasaki simultaneously vacillates in the cultural spaces of her homeland Japan and host land Canada. She follows cultural practices of both cultural spaces in her cultural negotiation in the diaspora. Her simultaneous vacillations in two cultural spaces render hybridity and multiplicities in her subjectivities that deconstruct bipolar notion of home and host culture. Moreover, her subjectivities involve in a constant process of formation and reformation undermining the notion of stability and consistency.Murasaki’s evolving subjectivity is analyzed through Stuart Hall’s notion of cultural identity and Homi Bhabha’s postulation of third space in this study.
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Hasanthi, D. R. "The Mimic Man in Kiran Desai’s The Inheritance of Loss." Shanlax International Journal of English 9, no. 2 (March 1, 2021): 48–57. http://dx.doi.org/10.34293/english.v9i2.3737.
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Spread over continents, countries and cultures, Kiran Desai’s The Inheritance of Loss (2006) takes us on a tour de force into the realms of multiculturalism and hybridity in Indian culture. It focuses on the changing face of India, amidst East - West encounter, globalization and glocalization. The novel as a postcolonial text puts forth, the authority politics of cultural imperialism, even after the independence of India. This paper appraises the novel using Homi. K. Bhabha’s theory of mimicry, hybridity and ambivalence. It concentrates on the mimic man of the novel Judge Jemubhai Patel. This paper focuses on the hybridization of culture along with the making of reformed hybrids who are in a constant conflict with their identity, language and culture on account of the praxis between the culture of the colonized and the colonizer during and after colonization of the colonized. This paper recommends proper mapping of mimicry and hybridity with indigenous culture, values and ethics. It advocates sowing and stringing in cultural amalgamation and westernization in indigenous Indian culture and ethos for a better life and better Indian society.
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Abdullah, Omar Mohammed, and Zainab Hummadi Fayadh. "Question of Identity." Al-Adab Journal, no. 134 (September 15, 2020): 13–28. http://dx.doi.org/10.31973/aj.v0i134.827.
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Since Jhumpa Lahiri has been regarded as a second generation Indian immigrant living in the United States. This has made her fully aware of the cultural mixing between India and America. This paper focuses on the process of mimicry and decolonization of Indian immigrants who live in the United States. Lahiri’s fiction Interpreter of Maladies reveals cultural identity, mimicry and decolonization that the immigrants experience while living in the target culture. This paper applies Homi Bhabha’s concept of mimicry and Frantz Fanon’s concept of decolonization to explore three short stories in Lahiri’s fiction Interpreter of Maladies namely; “When Mr. Pirzada Came to Dine” , “Mrs. Sen’s” and “This Blessed House”. The study concludes that some characters in these stories mimic the American culture as a result of their interaction with the Americans due to work or for being born and raised in America. Their imitation involves culture, tradition, language and religion. While, other characters decolonize and resist the American culture by rejecting everything related to this culture, in order to adhere to their original Indian identity and keep ties with their heritage.
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Sardari, Alireza. "Immigration in The Postcolonial Era: Mimicry and Ambivalence in Chimamanda Ngozi Adichie’s The Arrangers of Marriage." Lingual: Journal of Language and Culture 12, no. 2 (November 27, 2021): 3. http://dx.doi.org/10.24843/ljlc.2021.v12.i02.p01.
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It is well established that immigration brings about fundamental changes and the immigrant faces significant challenges in the new culture. The present research uses Homi Bhabha’s critical theories of mimicry and ambivalence to determine the effects of ‘state of mimicry’, and to pinpoint the ‘site of identity’ in the immigration experience in Chimamanda Ngozi Adichie’s The Arrangers of Marriage (2009). The results indicate that antagonist’s (Ofodile) ‘state of mimicry’ continuously grows him apart from his wife Chinaza (protagonist) and intensifies gender inequality against her in their relationship. In addition, the results indicate that protagonist’s ‘site of identity’ is fluid and not fixed, and this place-less-ness of identity is because of the never-ending comparison between her past with the present situation she experiences as an immigrant.
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Mansouri, Niloofar, and Samira Sasani. "Identity Crisis in Reza Ghasemi’s The Nocturnal Harmony of Wood Orchestra." k@ta 22, no. 2 (December 13, 2020): 93–100. http://dx.doi.org/10.9744/kata.22.2.93-100.
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ABSTRACTMigration, this multifaceted phenomenon, has always been a concept of importance in different domains such as art and literature. What impacts migration has on human psychology can be well elaborated on using the tool of characterization in stories. Among these impacts, the one regarding identity is probably of highest importance. Therefore, the literature of diaspora can be a field for exploring the process of identity refashioning. What the present study aims to elaborate on is Reza Ghasemi’s The Nocturnal Harmony of Wood Orchestra and the way identity crisis is manifested in and handled by the characters in this book. The analysis is grounded on Homi Bhabha’s concept of Third-Space but to specifically analyze the challenges that immigrant characters face in this liminal location, Yuri Lotman’s cultural idea of semiosphere is also incorporated. Keywords: Identity Crisis, Literature of Diaspora, Reza Ghasemi, Third-Space, Yuri Lotman
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Bhandari, Nagendra Bahadur. "Reinventing the Self: Cultural Negotiation of LuLing in Amy Tan’s The Bonesetter’s Daughter." Prithvi Academic Journal 3 (June 21, 2020): 64–76. http://dx.doi.org/10.3126/paj.v3i0.29561.
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In Amy Tan’s The Bonesetter’s Daughter, Chinese American mother LuLing involves in the self-exploration vacillating between her home and host cultures. The Chinese immigrant LuLing cannot remain totally independent of her indigenous culture of her native country China. Consequently, she demonstrates residual of Chinese culture in her diasporic life. Moreover, she forces her American born daughter to follow the same which sometimes renders conflict in mother-daughter relation. However, she cannot resist the influences of the culture of host country in the United States. She follows certain practices of American cultures. At the same time, she manifests an ambivalent attitude to both cultures. In such cultural interaction, her subjectivity encompasses multiplicities and pluralities by deconstructing the binary of the home and host culture. In this article, the formation of her subjectivity is analyzed through the critical postulations of ‘being’ and ‘becoming’ of Stuart Hall and ‘third space’ of Homi Bhabha. Hall’s representation in Bhabha’s third space can be interpreted and analyzed in the light of Arjun Appadurai’s modernity of cultural globalization. Precisely, the cultural interaction in the third space of the diaspora renders fluid and unstable subjectivity of LuLing which simultaneously belongs to past, present and future.
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Borhan, Abbasali, and Alireza Anushiravani. "Third-Space Encounters and Unexpected Forms of Resistance in Amy Tan's The Joy Luck Club." International Letters of Social and Humanistic Sciences 69 (May 2016): 107–18. http://dx.doi.org/10.18052/www.scipress.com/ilshs.69.107.
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This paper sets out to investigate Amy Tan'sThe Joy Luck Club, a liminal work written in-between cultures, in the light of Homi Bhabha’s concept of the third space as a site of transformation and transvaluation. It is argued that Tan’s novel is implicated in unexpected forms of resistance as a result of its placement in the borderland of cultures. Thus, exploring the discursive fissures and ideological ruptures inscribed in the novel, the authors seek to bring to fore how the very mainstream accounts of Chinese culture and orientalist archive of knowledge in which the work is embedded are contested in the third-space enounters between subjects of different cultures. Orientalism, Western feminism, American Dream, and multiculturalism are some of the major discourses whose truthfulness and serenity are shown to be precarious and open to questioning, hence the recuperation of the subaltern’s voice through this contrapuntal reading.
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Parry, Benita. "Signs of our times: Discussion of Homi Bhabha'sthe location of culture." Third Text 8, no. 28-29 (September 1994): 5–24. http://dx.doi.org/10.1080/09528829408576499.
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Liu, Tingxuan. "Construction of Hybrid Identity in Samuel Selvon’s The Lonely Londoners and Moses Ascending." Journal of Language Teaching and Research 7, no. 6 (November 1, 2016): 1198. http://dx.doi.org/10.17507/jltr.0706.18.
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Samuel Selvon (1923-1994) is an outstanding figure in Caribbean literature. His Moses trilogy is very famous because of his preoccupation with issues of identity and culture. His two representative works The Lonely Londoners and Moses Ascending giving a vivid description of Creole immigrants’ life in London, have a far-reaching influence on postcolonial literature. The thesis attempts to employ Homi Bhabha’s theory of hybridity to elaborate the formation of cultural identity. The thesis consists of three parts. Part One is Introduction, which gives a brief introduction to the author, his two works, the theoretical framework. Part Two presents the dilemma in which the Creoles have to face on cultural identity. In the aspect of cultural identity, the Creoles experience the process from identical crisis to the construction of hybrid identity. Part Three is Conclusion. Based on the above analyses, the thesis draws the conclusion that different cultures can influence each other. The effective way to solve identical crisis is to build the hybrid identity.
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Zohdi, Esmaeil. "Lost-Identity; A Result of “Hybridity” and “Ambivalence” in Tayeb Salih’s Season of Migration to the North." International Journal of Applied Linguistics and English Literature 7, no. 1 (December 15, 2017): 146. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.1p.146.
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During the colonial period, British colonizers marched to the Third and Fourth World countries to exploit them for the purpose of colonizers’ economical uplifts. Therefore, colonizers internalized their own superiority over the inferior colonized countries by devaluing their culture, race, language, and identity in order to pillage the colonized. As the result, many of the colonized individuals migrated to the developed countries to educate there in order to save their motherlands. However, facing with an alien culture and language caused the colonized to have a merged and dual identity. In this regard, Season of Migration to the North, written in 1969 by Tayeb Salih, is the story of an intelligent colonized who sacrifices his own life and identity to take revenge on colonizers by traveling to London and educating there. But, Mustafa Saeed, the intelligent colonized, loses his own identity in this way and finally disappears as the victim of this colonizing strategy’s consequence, merged- or lost-identity. Therefore, in this study, it has been tried to investigate Tayeb Salih’s Season of Migration to the North through Homi K. Bhabha’s theories of “Hybridity” and “Ambivalence” as the causes of merged- and even lost-identity in post-colonial discourse.
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Onyejizu, Raphael Chukwuemeka, and Uchenna Frances Obi. "Ideological Commitment in Modern African Poetry: Redefining Cultural Aesthetics in Selected Poems of Niyi Osundare’s The Eye of the Earth and Village Voice." Journal of Language and Literature 20, no. 2 (October 5, 2020): 332. http://dx.doi.org/10.24071/joll.v20i2.2579.
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<p>In this study, ideological commitment to cultural norms is a standpoint that has led to the development of modern African poetry. The Modern African poet is seen as an advocate for cultural prowess and transformation and as such naturally adopts this African traditional antecedent in his poems. Several critical studies on the two collections have focused on the stylistic and literary values of Osundare’s craft without appropriate reviews on the poet's use of cultural forms to reflect his ideological stance on pertinent issues affecting the society. The descriptive qualitative content analysis method was used to show how the selected poems reflect Homi Bhabha’s postcolonial theory of hybridity as expressed through the shifting of cultural margins in the society, thus, illustrating the use of cultural art forms as a means of appreciating nature and exploring issues of exploitation and marginalization. The study also examines the influence of the traditional Yoruba African culture on the poet with an adequate focus on the content and devices of orature, proverbs, riddles, parables, humor, satire, and traditional forms of language. The study submits that the poet adequately incorporated the ideals of culture and its elements in his enduring craft showing his allegiance to his folk cultural patterns.</p>
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Perišić, Igor. "HOMI BABA: OD POSTKOLONIJALNIH TEORIJA KA TRANSKULTURNIM POLITIKAMA." Lipar XXIII, no. 78 (2022): 139–49. http://dx.doi.org/10.46793/lipar78.139p.
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/ Homi Baba, American-Indian literary theorist and philosopher of cul- ture, is one of the key figures in postcolonial theory. His original contribution is in the introduction of the terms „hybridization“, „mimicry“, „cultural difference“, „ambivalence of colonial discourse“ and „third space“, which enriches the repertoire of postcolonial theories and problematizes these theories in the key of poststructur- alist philosophies, especially those of Jacques Derrida, Jacques Lacan and Michel Foucault. As a postcolonial literary and cultural theorist, Baba opposes binary divi- sions of theories / policies in The Location of Culture (1994) to try to show the true meaning of postcolonial theories. Of course, in order to arrive at this new practice, it was necessary to discuss some aporia into which his thought often falls, especially to develop a complicated dialectic of the ambivalence of post/colonial discourse. In parallel with postcolonial thought, Baba develops philosophy of culture, which is thematized in the second part of the text. In the essay „DissemiNation“ (1990), as a poststructuralist-inspired thinker he does not derive a systematic transcultural theory, but only deconstructively points to the „splitting points“ of the unison-understood Culture as a monolithic and monopolistic Western narrative.
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Bhandari, Nagendra Bahadur. "The Making of Immigrant Identities in Chang-rae Lee’s Native Speaker." SCHOLARS: Journal of Arts & Humanities 4, no. 2 (August 11, 2022): 65–73. http://dx.doi.org/10.3126/sjah.v4i2.47429.
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This article analyzes the formation of multiple and hybird identities of an immigrant in Korean American writer Chang-rae Lee's Native Speaker (1995). Growing up between Korean ancestry and American surrounding, the second-generation immigrant Henry feels uncertainty and dilemma in his sense of belonging. He simultaneously travels in both cultural spaces in his quest of sense of belonging. At times, he attempts to identify himself with American cultural space along with his White wife. However, the reaction of the mainstream society to the immigrants of Asian origin like him makes him aware of his marginalized status in the US. In the same way, he cannot wholeheartedly identify with his Korean ancestry. His upbringing in the American cultural milieu problematizes his sense of belonging in the Korean cultural space. He negotiates between his origin and upbringing in the third space of the diaspora. This negotiation renders multiplicities and pluralities of self, which reflects in his evolving subjectivities that deconstruct the binary of home and host culture. This article examines the formation of hybrid and multiple subjectivities of Henry through his negotiations between his native and host cultural space. Homi Bhabha’s notion of the third space, including hybridity, multiplicities and immigrant identities, has been employed to substantiate evolving multiple subjectivities of immigrants.
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Liu, Tingxuan. "Hybridization in Political Civilization in Samuel Selvon’s The Lonely Londoners and Moses Ascending." Theory and Practice in Language Studies 6, no. 5 (May 17, 2016): 1006. http://dx.doi.org/10.17507/tpls.0605.14.
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Samuel Selvon (1923-1994) is a great pioneer in Creole literature. His writing in the Moses trilogy is very representative because of his preoccupation with issues of identity and culture. The Lonely Londoners, published in 1956, and Moses Ascending, published in 1975, are two of them. These two books telling Creole immigrants’ story have been recognized as a great masterpiece in Caribbean literature, which have a far-reaching influence on postcolonial literature. This thesis attempts to employ Homi Bhabha’s theory of hybridity to illustrate the Creoles’ struggle against colonization and the construction of political hybridity. The thesis consists of three parts. Part One is Introduction, which presents a short introduction to the author Samuel Selvon, his two works, the theoretical framework. Part Two depicts the process of the Creoles’ struggle against colonization in political civilization. In the aspect of politics, the Creoles experience the process from unawareness of politics to pursuing their political dream. They attempt to construct their own political system on the basis of the British mode. Part Three is Conclusion. Based on the above analyses, the thesis draws the conclusion that different cultures can influence each other. The effective way to realize decolonization is the construction of political hybridity.
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Phillips, Lawrence A. "Lost in space: siting/citing the in-between of Homi K Bhabha’sThe location of culture." Scrutiny2 3, no. 1 (January 1998): 16–25. http://dx.doi.org/10.1080/18125441.1998.10877328.
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Hamad, Waleed. "Exploring the Postcolonial Concept through the Eye of European Expansionism and Imperialism." Arab World English Journal For Translation and Literary Studies 5, no. 4 (October 15, 2021): 153–61. http://dx.doi.org/10.24093/awejtls/vol5no4.11.
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The Postcolonial study has become very popular—it deals with colonial issues, cultural hegemony, imperialist subjects, and subservient topics. The postcolonial analysis mainly mostly involves Africa, America, Asia, and the Middle East. The imperial forces like England and France were the prominent actors in this venture. Thus, the postcolonial began after these imperial forces had left their former colonies. The formerly colonized countries were given political independence, and they began to govern themselves. However, the postcolonial study began to gain significant attention from Edward Said’s Orientalism (1978), in which he explains how Africa, the Middle East, and Asia were established on the western Imperialist structure. Edward Said explains exclusively that Orientalism vehemently accentuates the disparity between the west, their theories, social orders, literary pieces, the orient political history, tradition, norms, ideology, religion, and destiny. It dramatically reflects how the colonized adapted the cultural identity of their colonizers. The postcolonialism has been used to remember a set of conjectures and practices—and it also explains how colonialism has become a prominent and constant record. This article explores the postcolonial study, delineates the available resources that present the idea of postcolonialism, colonialism, and the effect of the Western imperialist system on the former colonies. The article also reflects Homi Bhabha’s cultural hybridity; he explains how mimicry plays a significant role in making the colonized adopt the culture of their colonizers.
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KOSTOVA-PANAYOTOVA, Magdalena. "“THE PERIPHERY – THE PLACE THAT REVEALS THE FUTURE” (BETWEEN THE EAST AND THE WEST – BOUNDARIES AND IDENTITIES)." Ezikov Svyat volume 19 issue 3, ezs.swu.v19i3 (October 1, 2021): 109–19. http://dx.doi.org/10.37708/ezs.swu.bg.v19i3.12.
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The study was inspired by several key ideas essential to the contemporary literary situation – times of testing literary studies, when outside the debate on the sustainability and content of the established forms of literary research, the constant subordination of culture in its entirety to the market laws is associated with the perpetual encroachment on the humanities and with the implicitly declining importance of literature as a cultural phenomenon. We share the idea that the cultures that stay isolated wither away, the cultures that remain confined within themselves deform, and only those cultures that maintain the balance of borrowing and lending tend to be healthy and thriving; hence the insistence on the interaction between the different cultures on the basis of equality and mutual respect. The discussed literary works pose the questions whether multiculturalism is a positive element of modern cosmopolitanism, whether it unites races and cultures in the idea of the hybrid man or it s simply a social propaganda that reinforces the stereotypes about otherness and perpetuates racism, etc. Probably what also unites the characters here is the feeling of loss, as well as the shared grief. Addressing the personal heartache, they talk about things that are universal and continue to move people. The common thing to the two types of culture and the studied works is derived from Homi Bhabha’s idea that both the stories created in the Balkans and the narratives of the cross-cultural writers are part of that model of cultures capable of turning their own marginality into a kind of center.
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Charles, Ronald. "Hybridity and the Letter of Aristeas." Journal for the Study of Judaism 40, no. 2 (2009): 242–59. http://dx.doi.org/10.1163/157006309x410662.
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AbstractThis paper explores how the complex notion of hybridity, as developed by Homi K. Bhabha, can shed light on the Letter of Aristeas. Throughout the narrative of this ancient Jewish tale one finds a risky attempt on the part of the author to incorporate the best aspects of the two cultures and modes of thinking—Judaism and Hellenism—within which his community were living in Alexandria. In order to understand the dynamics of the hybrid condition of Aristeas in its ambivalence, this paper argues that the multiple agencies in place to foster a certain version of Jewish identity in this diasporic social location are best captured in the forms of calculated negotiations, prudent affiliations, and idealized memory.
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TEIKO, NII OKAIN. "Representation of The Other in Ghanaian Literary Texts: A Reading of Some Selected Works." KENTE - Cape Coast Journal of Literature and the Arts 2, no. 1 (August 20, 2021): 58–77. http://dx.doi.org/10.47963/jla.v2i1.105.
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Ghanaian literary texts have been greatly influenced by post-colonial theory which tends to depict and (expose) the inaccuracy of the duality embedded in western imperialism manifested in the concepts of the self and the other. With post-colonial theory as background and specifically the theoretical formulations from Said’s Orientalism (1978), Bhabha’s The location of Culture (1994), and Spivak’s “Can the Subaltern Speak?” (2001), this paper examines how Ghanaian written literature re-inscribes the concept of the Other with intent of justifying the existence of the advantageous self which apparently denigrates the other. Using textual analysis of some representative texts, I argue that Ghanaian literary artists portray the concepts of the self and the other with different connotations and permutations which reflect the ideals of the society within the geo-political space of world Literatures.
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Wahyudiputra, Alexei, and Antonius Rahmat Pujo Purnomo. "Chinese-American Liminality in Everything, Everywhere All at Once (2022)." ELS Journal on Interdisciplinary Studies in Humanities 5, no. 4 (December 24, 2022): 643–55. http://dx.doi.org/10.34050/elsjish.v5i4.24158.
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Diasporas are often said to live in “two worlds”. The conflicting relationship between their physical and mental states results in a fissure where symbolic and physical violence become the main drive for diaspora to survive. This violence comes not only due to these diaspora’s own inner conflicts, but also due to the discrepancies between their native and internalized culture with the external norms and values that surround them in their current stay. The theme of diaspora and violence has been recurrent in American cinematic representation. As the most recent example, an independent film entitled Everything, Everywhere All at Once delves into this issue by incorporating a storyline of a Chinese-diasporic family in the United States who encounters various problems regarding their cultural differences to their surroundings. This article seeks to examine the cultural dynamics only of Evelyn, Waymond, and Joy in the film’s storyline amidst the abundance of multiversal plot points that serve as the pivotal exposition in the film. The analyses are textually grounded based on Homi Bhabha’s notion of liminality and contextually on the differing conception of violence in Chinese and American contexts respectively. This article draws from a Taoist concept of Wu wei to interpret the latter point. This study finds that the film represents diasporic characters within a liminal space that forces them to produce their own “maneuver” in order to survive. The parental problems that Evelyn has with Joy as well as her familial and ideological problems with Waymond are found to be propelled by such culturally-laden maneuvers. The film then can be read as an allegory of Chinese-American diaspora’s liminal experience in the United States. This allegory contains an ethical stance where the idea of non-violence (wu wei) becomes the utopian message of the film.
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Lombu, Chris Stevany, Izak Y. M. Lattu, and Rama Tulus Pilakoannu. "RUANG KETIGA DALAM PERJUMPAAN NIAS-KRISTEN DAN MINANGKABAU-MUSLIM DI PADANG." Jurnal Kawistara 9, no. 3 (December 22, 2019): 324. http://dx.doi.org/10.22146/kawistara.40687.
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Minangkabau has often been identified as an excluisve ethnic group. In contrast to this view, Nias etnic group in West Sumatera has established a peaceful encounter between Christians and Muslim from both ethnic groups. Nias tribe has been in Padang for about 500 years and encouter Islam as the dominant religion of Minangkabau and other wolrkd religion, namely Christianity. This is something new for the Nias tribe because at first they had animistic beliefs. This article aimes to show the social phenomenon of the meeting between the Nias-Kristen and the Minangkabau-Muslim. Nias community has created a new identity in peacefully bridging the community with Muslim community in Padang. This article explores the formation of new identity among Nias-Padang community as bridging and copping mechanisms to live in a multicultural context that based on Minangkabau-Muslim values in Padang. This new identity heled them to adapt and develop in Padang. This new identity is called Hada Nono Niha Wada (Custom of Nias Padang). This change does not only relate to the name used but also includes component that are in the custom itself. The author employs Homi Bhabha’s third space theory to examine the encounter of Nias Padang-Christianity community and Minang-Muslim host community in Padang. The article shows that through social negotiation, Nias Padang-Christianity community in Padang have formulated new identity that different from that of Nias in the Island of Nias and created the third space to copping with Minangkabau culture-tradition. This negotiation resulted in a custom that had a pattern of openness in accepting differences. The third space provides a place for them to build a mindset that can make them survive as a minority that is able to manage differences into a unity that can be accepted by various parties and living peacefully with the Minangkabau-Muslim community in the greater Padang area.
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Rapa', Ones Kristiani. "Hibriditas Aluk Todolo dan Kekristenan Dalam Ritual Ma’bulle Tomate Di Gandangbatu." Melo: Jurnal Studi Agama-agama 1, no. 2 (December 3, 2021): 91–104. http://dx.doi.org/10.34307/mjsaa.v1i2.14.
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Abstrak: Tulisan ini bertujuan untuk melihat hibriditas budaya dalam Aluk Todolo dan Kekristenan melalui Ritual Ma’bulle Tomate di Gandangbatu. Ritual ini merupakan salah satu bagian dalam rangkaian ritus yang paling terkenal di Toraja yaitu Rambu Solo’. Dalam tulisan ini penulis menggunakan metode penelitian kulitatif melalui pengumpulan data observasi dan wawancara. Adapun teori yang digunakan dalam tulisan ini yakni teori dari Homi K. Baba dalam buku yang berjudul The Location Of Culture. Teori tersebut mengatakan bahwa hibriditas budaya merupakan ruang ke tiga yang seharusnya menjadi ruang diskursif karena melalui hal ini telah terjadi pelanggaran batas ruang yang menandakan suatu kontradivisi dari objek, penggunaan, makna, ruang dan properti dalam suatu tradisi. Dari hasil penelitian, penulis menemukan bahwa Aluk Todolo menggunakan badong sebagai syair duka dalam ritual Ma’bulle Tomate dan kekristenan menggunakan nyanyian rohani. Melalui teori tersebut disimpulkan bahwa hibriditas budaya Aluk Todolo dan kekristenan dalam ritual Ma’bulle Tomate Di Gandangbatu merupakan titik tolak perjumpaan yang indah antara dua kebudayaan tersebut.
Kata Kunci: Hibriditas, Ma’bulle, Tomate, Masyarakat, Ritual
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Faruk, Faruk. "HUMANISME KARYA-KARYA SASTRA PRAMOEDYA ANANTA TOER: SEBUAH PERGULATAN DISKURSIF." ATAVISME 22, no. 1 (June 26, 2019): 1–14. http://dx.doi.org/10.24257/atavisme.v22i1.507.1-14.
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Until now Pramoedya Ananta Toer is still recognized as a great Indonesian writer. For this reason, many people doubt that Hanung Bramantyo as popular movie director can perfectly and deeply adapt Pramoedya’s literary works into movies. Some scholars agree that one of the fundamental values in Pramoedya’s works is humanism. However, since Pramoedya visited China and was involved in Lekra, their opinions were split into two categories of humanism: universal humanism on the one hand and the socialist humanism on the other. This research attempted to scrutinize whether Pramoedya is on one of the humanism categories or beyond both categories. Theoretical framework of this research is Laclau and Mouffe’s discourse theory combined with Bhabha’s concept Location of Culture, while the method is the appropriate discourse analysis method. This research found that Pramoedya’s humanism is beyond universal and socialist humanism. In his articulations of humanism as uncovered from his literary works, there are different positions taken by Pramoedya according to different discursive arenas in wich the humanism articulated. In other words, Pramoedya’s postcolonial humanism is located in the liminal area that is always in contestation and negotiation.
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Widiyanti, Dhyani. "Fashion Lurik Kontemporer sebagai Hibriditas dalam Budaya Urban." Urban: Jurnal Seni Urban 3, no. 2 (February 18, 2020): 91–98. http://dx.doi.org/10.52969/jsu.v3i2.34.
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Lurik is a fabric that has a stripe motif and is made with a non-machine loom (Alat Tenun Bukan Mesin - ATBM). Lurik’s stripes can be divided into three motifs, namely lajuran, pakan malang, and cacahan. In the beginning lurik was only worn in the palace circles, not just by anyone, especially common people. In its development, lurik becomes a general public consumption; especially among urbanites lurik is a means to build their identities. This research studies contemporary works in lurik fashion, which are hybridity between elements in traditional lurik and elements existing in the culture or lifestyle of urbanites in building their new identity; it is a combination of qualitative research and the utilization of literary exploration. The primary data objects are various examples of contemporary lurik, which are analysed through content analysis. The content analysis applied here is Homi Bhabha’s post colonialism, which is a part of the deconstructive postmodern text interpretation method. The results show the following: (1) contemporary lurik fashion is a fusion between elements representing Eastern culture, viz. lurik with lajuran motifs, pakan malang, and cacahan, with elements that represent Western culture, viz. long wrap dresses, midi dress, and semi billowy airy dress, (2) based on an elucidation of internal aspects, contemporary lurik fashion expresses a dualism in meaning, viz. the popular meanings that is the superficial appreciations enjoyed by the common people and the subliminal meanings indicating depth of lurik motifs the meaning of which are studied by people who understand their significance. (3) Based on the interpretation of external aspects, contemporary lurik fashion is a form of resistance to modern Western fashion as well as being a Keraton tradition. Posed against Western fashion, hybridity is used as a way to de-colonialize Western influences that are considered incompatible with Eastern culture. Meanwhile, in the perspective of Keraton tradition, hybridity is carried out as a form of desacralization so that lurik can be utilized by as many people as possible as an individual expression, (4) the hybridity in contemporary lurik fashion creates a new identity, namely its placement in urban spaces and lifestyles more broadly, especially in relation to its access in semi-formal environment.Lurik merupakan kain yang mempunyai motif garis-garis dan dibuat dengan alat tenun bukan mesin (ATBM). Motif garis-garis pada lurik dapat dibagi ke dalam tiga macam motif, yaitu lajuran, pakan malang, dan cacahan. Lurik sendiri pada awalnya hanya digunakan di keraton dan tidak boleh digunakan oleh sembarang orang apalagi rakyat biasa. Pada perkembangannya, lurik kemudian menjadi konsumsi umum terutama bagi kaum urban dalam membangun identitasnya. Penelitian ini mengkaji karya-karya fashion lurik kontemporer yang merupakan hibriditas antara unsur-unsur dalam lurik tradisional dengan unsur-unsur yang ada dalam budaya atau gaya hidup kaum urban dalam rangka membangun identitas baru yang merupakan hasil peleburan atau fusi. Penelitian ini menggunakan metode kualitatif dengan menggunakan data-data kepustakaan. Objek data primer ini adalah berbagai contoh busana lurik kontemporer untuk kemudian dianalisis dengan analisis konten. Analisis konten yang digunakan adalah dengan menggunakan poskolonialisme Homi Bhabha yang merupakan satu bagian dari metode tafsir teks posmodern dekonstruktif. Hasil penelitian kemudian menunjukkan hal-hal berikut ini: (1) fashion lurik kontemporer adalah peleburan atau fusi antara unsur yang merepresentasikan budaya Timur, yaitu lurik dengan motif lajuran, pakan malang, dan cacahan dengan unsur-unsur yang merepresentasikan budaya Barat, yaitu gaun panjang (long wrap dress), midi dress, dan gaun airy semi billowy, (2) berdasarkan interpretasi terhadap aspek internal, fashion lurik kontemporer melahirkan dualisme makna, yaitu makna populer yang cenderung dinikmati secara permukaan untuk diapresiasi orang awam dan makna subliminal yang menunjukkan adanya kedalaman pada motif-motif lurik yang digunakan untuk dikaji secara mendalam oleh orang yang paham makna lurik secara mendalam, (3) berdasarkan interpretasi terhadap aspek eksternal, fashion lurik kontemporer adalah bentuk resistensi terhadap fashion modern Barat sekaligus tradisi keraton. Terhadap fashion modern Barat, hibriditas dilakukan sebagai cara untuk dekolonialisasi terhadap pengaruh-pengaruh Barat yang dianggap tidak sesuai sepenuhnya dengan budaya Timur. Sementara terhadap tradisi keraton, hibriditas dilakukan sebagai bentuk desakralisasi agar lurik dapat dikonsumsi oleh sebanyak mungkin orang sebagai ekspresi individual, (4) hibriditas yang dilakukan pada fashion lurik kontemporer melahirkan identitas baru, yaitu penempatan lurik pada ruang dan gaya hidup urban secara lebih luas terutama terkait aksesnya pada situasi semiformal.
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Di Martino, Maria Luisa. "The self-reflexivity in transnational literature: Re-writing the migration in female migrant writers." Open Research Europe 3 (February 14, 2023): 31. http://dx.doi.org/10.12688/openreseurope.15118.1.
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The main aim of this paper is to discuss the socio-political meaning of the transnational literary production made by female migrant writers. Thus, it analyses their role in the framework of the ‘hybrid’ literary production of the 21st century in Europe, such as Spain and Italy. Moving away from the idea of national literatures, this paper investigates literature as a geographical and emotional inquiry point and friction between languages, ideas, practices, literary institutions, female authors, and female voices in today’s markets. Hybrid literature written by first and second-generation migrants and displaced people is part of a huger concept of transnational literature, which breaks down with the idea of national identity and transiting towards a new conceptualization of hybridity in the literary production, also based on the translation of writings to other languages. Based on the concept of ‘the location of culture’ and the conceptualization of the Bhabha’s ‘third space’, I will analyse the relation between the positioning of female migrant writers of 21st century and the role of hybridity and the reconceptualization of the ‘third space’ in their literary production. The preliminary findings show, firstly, the idea of reconceptualising it appears in light of the complexity of migrant people's realities and sex-gender differences. By adopting an intersectional lens, focused on the dialectic between gender and race/ethnicity and class, this paper analyses the tensions embedded in the re-positioning of four female migrant writers and their transnational experience (self)reflected in their writings. The present research contributes to the scientific knowledge in the field of cross-cultural literary studies, crossed with the migration study, through questioning the changing gender role and relations in transnational migrant literature. In addition, the findings show that today's reflection on ‘third space’ theory in the diasporic literature seems like an idea to be refined when migrant women are involved.
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Mueller-Greene, Claudia. "The Concept of Liminality as a Theoretical Tool in Literary Memory Studies: Liminal Aspects of Memory in Salman Rushdie’s Midnight’s Children ." Journal of Literary Theory 16, no. 2 (August 30, 2022): 264–88. http://dx.doi.org/10.1515/jlt-2022-2025.
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Abstract There is something peculiar about memory insofar as it tends to be formed across boundaries. We can think of it as located in an in-between zone, on the threshold »where the outside world meets the world inside you« (Salman Rushdie, Midnight’s Children). Somehow, memory oscillates between the inside and the outside, connecting the subjective and the objective, the imaginary and the real, the self and the other, the individual and the collective. Memory involves all aspects of human life, be they biological, psychological, social, or cultural. Due to its omnipresence, memory is the object of a diverse range of disciplines. Correspondingly, the field of memory studies is situated at the intersection of a bewildering variety of disciplines, which creates exciting interdisciplinary opportunities, but also epistemological and methodological challenges. According to Mieke Bal, interdisciplinarity »must seek its heuristic and methodological basis in concepts rather than methods«. Liminality is a concept that seems particularly well-suited to address problems that arise from the distinctive in-between position of memory. So far, however, it has been largely ignored in memory studies. The concept of liminality deals with ›threshold‹ characteristics. Liminal phenomena and states are »betwixt and between«; they are »necessarily ambiguous« and »slip through the network of classifications« (Victor Turner). The concept of liminality helps to avoid »delusions of certainty« (Siri Hustvedt) by drawing attention to interstitial entities and processes that resist clear-cut categorizations and are inherently blurry and impalpable. »Every brain is the product of other brains« (Hustvedt) and so is memory: »we always carry with us and in us a number of distinct persons« (Maurice Halbwachs). Instead of being able to distinguish clearly between individual, social, and cultural memory, we are confronted with their dynamic interactions and complex entanglements: »to understand me, you’ll have to swallow a world« (Rushdie, Midnight’s Children). There is »the constant ›travel‹ of mnemonic contents between media and minds« (Astrid Erll), as well as their ›migration‹ from one culture to another (Aby Warburg). Memory is deeply relational and always in motion in regions of the ›between‹. This contribution focuses on these qualities through the lens of liminality. Its purpose is to introduce the concept of liminality as an analytical tool in literary memory studies and to put it to the test by applying it to a paradigmatic literary text about memory. Section one provides an introduction to the concept of liminality as it was developed by the anthropologist Victor Turner. The second section brings liminality and memory together and reflects on liminal, relational, and complex aspects of memory, with the main emphasis on complexity. In section three, the focus shifts to literature and the applicability of liminality as a concept in literary memory studies. Theories implicitly dealing with liminality are given special consideration: the triadic model of Wolfgang Iser’s literary anthropology, Paul Ricœur’s circle of threefold mimesis, and Homi Bhabha’s theory of ›Third Space‹. Section four examines liminal aspects of memory in Midnight’s Children, using the concept of liminality as a tool for literary analysis. The article ends with a brief conclusion and outlook. This contribution argues that liminality is an innovative concept in literary theory and literary memory studies. Liminality facilitates processual approaches and helps to avoid false certainties created by static concepts. Two different perspectives on liminality can be taken in literary memory studies: we can either study the mnemonic liminality of literature itself or the mnemonic liminality represented in literature. The ›fictional privileges‹ of literature in dealing with mnemonic liminality receive particular attention. Literature’s experientiality and its unique freedom in the depiction of consciousness allow fictional texts to portray the subjective experience of mnemonic liminality. Literature can represent mnemonic liminality in practically all of its aspects. Such representations concern, for instance, the multi-layered overlappings between memory and imagination, the complex interactions between the individual and collective levels of memory, the intricacies of communication and the crucial role of language and media in these processes. As a theoretical tool in literary memory studies, the concept of liminality enables us to identify and interpret the literary staging and reflection of these liminal aspects of memory as well as the narrative techniques involved. Although the variety of techniques is potentially unlimited, some devices seem especially effective. The analysis of Midnight’s Children shows that magic realism as well as metaphors and allegories are particularly powerful means of representing the liminality of memory. Furthermore, the narrator’s behavior plays a crucial role in the staging of mnemonic liminality. In the case of Midnight’s Children, the narrator’s partial unreliability as well as his numerous intertextual and intercultural references signify liminal aspects of his memory. The narrator crosses certain boundaries when his remembering self overlays his remembered self or when he oscillates between his first-person perspective and a miraculous omniscience that makes him appear to be the receptacle of other people’s memories. Moreover, structural means of representation such as leitmotifs and the semanticization of space and objects are forceful techniques to depict mnemonic liminality.