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Journal articles on the topic 'Homi Bhabha'

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Published: 4 June 2021
Last updated: 28 January 2023

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1

Shumar, Wesley. "Homi Bhabha." Cultural Studies of Science Education 5, no. 2 (January 29, 2010): 495–506. http://dx.doi.org/10.1007/s11422-010-9255-9.

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2

Peierls, Rudolf. "Physics and Homi Bhabha." Nature 323, no. 6085 (September 1986): 212. http://dx.doi.org/10.1038/323212a0.

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Venkataraman, G. "Homi Bhabha — A profile." Resonance 3, no. 7 (July 1998): 3–5. http://dx.doi.org/10.1007/bf02837307.

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Basto, Maria-Benedita. "Le Fanon de Homi Bhabha." Tumultes 31, no. 2 (2008): 47. http://dx.doi.org/10.3917/tumu.031.0047.

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Sreekantan, B. V., and Richa Malhotra. "Homi Jehangir Bhabha: A visionary." Resonance 15, no. 5 (May 2010): 462–75. http://dx.doi.org/10.1007/s12045-010-0074-9.

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6

Angelovska, Despina, and Lindita Ahmeti. "Кон Homi K. Bhabha (Ed.), Nation and Narration." Identities: Journal for Politics, Gender and Culture 1, no. 2 (January 1, 2002): 175–76. http://dx.doi.org/10.51151/identities.v1i2.52.

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Author(s): Despina Angelovska | Деспина Ангеловска Title (Macedonian): Кон Homi K. Bhabha (Ed.), Nation and Narration Title (Albanian): Për Homi K. Bhabha (Ed.), Nation and Narration Translated by (Macedonian to Albanian): Lindita Ahmeti Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 1, No. 2 (Winter 2002) Publisher: Research Center in Gender Studies - Skopje and Euro-Balkan Institute Page Range: 175-176 Page Count: 2 Citation (Macedonian): Деспина Ангеловска, „Кон Homi K. Bhabha (Ed.), Nation and Narration“, Идентитети: списание за политика, род и култура, т. 1, бр. 2 (зима 2001): 175-176. Citation (Albanian): Despina Angelovska, „Për Homi K. Bhabha (Ed.), Nation and Narration“, përkthim nga Maqedonishtja Lindita Ahmeti, Identities: Journal for Politics, Gender and Culture, Vol. 1, No. 2 (Winter 2002): 175-176.
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7

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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8

Bhabha and Chomsky. "Homi Bhabha Talks with Noam Chomsky." Critical Inquiry 31, no. 2 (2005): 419. http://dx.doi.org/10.2307/3651494.

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Chomsky, Noam. "Homi Bhabha Talks with Noam Chomsky." Critical Inquiry 31, no. 2 (January 2005): 419–24. http://dx.doi.org/10.1086/430971.

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10

Chakrabarti, Sumit. "Moving beyond Edward Said: Homi Bhabha and the Problem of Postcolonial Representation." International Studies. Interdisciplinary Political and Cultural Journal 14, no. 1 (November 1, 2012): 5–21. http://dx.doi.org/10.2478/v10223-012-0051-3.

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The essay takes up the issue of postcolonial representation in terms of a critique of European modernism that has been symptomatic of much postcolonial theoretical debates in the recent years. It tries to enumerate the epistemic changes within the paradigm of postcolonial theoretical writing that began tentatively with the publication of Edward Said’s Orientalism in 1978 and has taken a curious postmodern turn in recent years with the writings of Gayatri Spivak and Homi Bhabha. The essay primarily focuses on Bhabha’s concepts of ambivalence and mimicry and his politics of theoretical anarchism that take the representation debate to a newer height vis-ŕ-vis modes of religious nationalism and Freudian psychoanalysis. It is interesting to see how Bhabha locates these within a postmodern paradigm.
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11

Pereira, André Luis Mitidieri. "Jogos de linguagem e memória na bipartilha de partes da África." Aletria: Revista de Estudos de Literatura 13, no. 1 (June 30, 2005): 133–43. http://dx.doi.org/10.17851/2317-2096.13.1.133-143.

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Resumo: Este ensaio destina-se à análise do romance Partes de África, de autoria do crítico, poeta, professor e romancista afro-português Helder Macedo, dando ênfase à estrutura híbrida da referida obra literária e ao conceito de “metonímia da presença”, conforme defendido pelo estudioso indo-britânico Homi Bhabha.Palavras-chave: Helder Macedo; Homi Bhabha; narrativa portuguesa.Resúmen: Este ensayo se destina a analisar la novela Partes de África, cuja autoria pertenece al crítico, poeta, profesor y novelista afro- portugues Helder Macedo, enfatizando la estrutura híbrida de referida obra literária y el concepto de “metonímia de la presencia”, según lo defende el estudioso indo-británico Homi Bhabha.Palabras-clave: Helder Macedo; Homi Bhabha; narrativa portuguesa.
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12

Leslie, Stuart W., and Indira Chowdhury. "Homi Bhabha master builder of nuclear India." Physics Today 71, no. 9 (September 2018): 48–55. http://dx.doi.org/10.1063/pt.3.4021.

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13

Hall, Gary, and Simon Wortham. "Rethinking authority: Interview with Homi K. Bhabha." Angelaki 2, no. 2 (January 1997): 59–63. http://dx.doi.org/10.1080/09697259708571932.

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14

Ramaseshan, S. "Homi Bhabha Centre for Science Education (TIFR)." Resonance 3, no. 2 (February 1998): 91–95. http://dx.doi.org/10.1007/bf02838991.

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15

Schwarz, Henry. "Texture as Substance: Reading Homi K. Bhabha Re-membering Frantz Fanon." PMLA/Publications of the Modern Language Association of America 132, no. 1 (January 2017): 179–85. http://dx.doi.org/10.1632/pmla.2017.132.1.179.

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[T]he idea of Man as his alienated image, not Self and Other but the “Otherness” of the self inscribed in the perverse palimpsest of colonial identity. (116)According to Isaac Julien, the director of Black Skin, White Mask, a film imagining the life of Frantz Fanon, Homi Bhabha is presented in a nonspeaking role as a colored, racialized “colonial subject” to lend “texture” to the cinematography (Interview). Unlike the eloquent postcolonial critics Stuart Hall and Françoise Vergès, who are interviewed extensively in the ilm, the mute Bhabha is a cipher, a visual trace of diference in the philosophical, cinematic, and audio montage that composes Julien's meditation on decolonization (Frantz Fanon [Director's cut]). In many ways, Julien's Fanon seems indebted to Bhabha's strong reading, against the grain of Fanon's oeuvre, in “Remembering Fanon: Self, Psyche and the Colonial Condition,” a foreword Bhabha wrote for a new British edition of Fanon's Black Skin, White Masks, published in 1986. Julien's Fanon is an interstitial igure, stitched together through multiple viewpoints and physically composed of cinematic elements juxtaposed in striking contrast to one another. He emerges from scraps of discourse cast of and reassembled, much as Bhabha's Fanon is captured in Fanon's ungrammatical utterance that betrays by ellipsis the nature of identity, which is that identity is “not”: “The Negro is not. Any more than the white man” (113). The revelation that the nature of identity is spatially split and temporally deferred-the deinition of Derridean diférance-is most truly represented in the colonial situation, where white mythologies of wholeness and authenticity are actualized as performances of power. When these mythologies are accompanied by paranoid fantasies of blackness that reveal the contradictory duplicity of white representations of the other-the simian Negro, the inscrutable Chinaman-this racial discrimination and its neurotic imagery reveal the nature of the white self and its pretense of universality: that the human is not whole and that the Enlightenment dream of self-presence is an illusion thrown up by the anxious exercise of mastery over those lesser humans, the Negroes.
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16

Chagas, Eduardo Lopez. "Os “brasis” de luiz ruffato, em eles eram muitos cavalos: crítica ao discurso de nação à luz de homi bhabha." Revista Investigações 32, no. 1 (September 30, 2019): 282. http://dx.doi.org/10.51359/2175-294x.2019.240784.

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Este artigo busca analisar a obra literária Eles eram muitos cavalos, de Luiz Ruffato e o diálogo dela com a crítica de Homi Bhabha ao discurso de nação. Considerando, tal qual Benedict Anderson, a nação como comunidade imaginada, o estudo parte do papel desempenhado pela literatura brasileira na consolidação de um discurso nacional, a partir da sua primeira geração romântica. Nesse sentido, a obra de Ruffato é compreendida como uma antítese ao defendido pelo romantismo, tendo na heterogeneidade uma de suas principais características, no que estabelece profunda relação com ideia de discurso de nação defendida por Homi Bhabha.
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17

SRIVASTAVA, DINESH. "HOMI BHABHA - A VISIONARY & SCIENCE ADMINISTRATOR EXTRAORDINAIRE." Science and Culture 86, no. 7-8 (September 1, 2020): 258. http://dx.doi.org/10.36094/sc.v86.2020.homi_bhabha.srivastava.258.

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18

Joubert, Claire. "Théorie en traduction : Homi Bhabha et l'intervention postcoloniale." Littérature 154, no. 2 (2009): 149. http://dx.doi.org/10.3917/litt.154.0149.

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19

Bowyer, Allan. "“Narrating the nation”: Homi Bhabha and Gustav Frenssen∗." Journal of Literary Studies 9, no. 3-4 (December 1993): 250–65. http://dx.doi.org/10.1080/02564719308530047.

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20

Sreekantan, B. V. "Homi Bhabha and Cosmic Ray research in India." Resonance 10, no. 12 (December 2005): 42–51. http://dx.doi.org/10.1007/bf02835127.

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21

Sreekantan, B. V. "Homi Bhabha and cosmic ray research in India." Resonance 3, no. 7 (July 1998): 18–27. http://dx.doi.org/10.1007/bf02837309.

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22

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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Orrú, Sílvia Ester. "A diferença como valor humano: Ensaio sobre as contribuições do pensamento de Boaventura Sousa Santos, Gilles Deleuze e Homi Bhabha para o Paradigma da Inclusão." EDUCAÇÃO E FILOSOFIA 34, no. 71 (February 27, 2021): 727–64. http://dx.doi.org/10.14393/revedfil.v34n71a2020-50642.

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A diferença como valor humano: Ensaio sobre as contribuições do pensamento de Boaventura Sousa Santos, Gilles Deleuze e Homi Bhabha para o Paradigma da Inclusão Resumo: A economia e a particularização marcam a sociedade contemporânea como importantes vetores para a ampliação das desigualdades sociais e produção de variados mecanismos de exclusão social. A diferença é parâmetro para categorizar e apartar pessoas à invisibilidade social. O presente ensaio tem como objetivo o diálogo junto aos autores Boaventura Sousa Santos, Gilles Deleuze e Homi Bhabha e seus respectivos pensamentos como contributores para o entendimento da diferença como valor humano no contexto do paradigma da inclusão. Nos caminhos e entre-lugares da descolonização de nosso ser, é preciso desnaturalizar as barbáries produzidas pelo colonizador e aceitar as diferenças como próprias da espécie humana para a (re)invenção de nossa educação e sociedade.Palavras-chave: Inclusão. Diferença. Educação. Descolonização. Apoio: CNPq DIFFERENCE AS HUMAN VALUE: Essay on the contributions of the thoughts of Boaventura Sousa Santos, Gilles Deleuze and Homi Bhabha to the Inclusion Paradigm Abstract: Economics and particularization mark contemporary society as important vectors for widening social inequalities and producing various mechanisms of social exclusion. The difference is a parameter to categorize and separate people to social invisibility. This essay aims to dialogue with the authors Boaventura Sousa Santos, Gilles Deleuze and Homi Bhabha and their respective thoughts as contributors to the understanding of difference as a human value in the context of the inclusion paradigm. In the ways and places between the decolonization of our being, we must denaturalize the barbarism produced by the colonizer and accept the differences as proper to the human species for the (re)invention of our education and society.Keywords: Inclusion. Difference. Education. Decolonization. DIFERENCIA COMO VALOR HUMANO: Ensayo sobre las contribuciones de los pensamientos de Boaventura Sousa Santos, Gilles Deleuze y Homi Bhabha al paradigma de la inclusión Resumen: La economía y la particularización marcan a la sociedad contemporánea como vectores importantes para ampliar las desigualdades sociales y producir diversos mecanismos de exclusión social. La diferencia es un parámetro para clasificar y separar a las personas de la invisibilidad social. Este ensayo tiene como objetivo dialogar con los autores Boaventura Sousa Santos, Gilles Deleuze y Homi Bhabha y sus respectivos pensamientos como contribuyentes a la comprensión de la diferencia como un valor humano en el contexto del paradigma de inclusión. En los modos y lugares entre la descolonización de nuestro ser, debemos desnaturalizar la barbarie producida por el colonizador y aceptar las diferencias como propias de la especie humana para la (re)invención de nuestra educación y sociedad.Palabras clave: Inclusión. Diferencia. Educación. Descolonización. Data de registro: 21/09/2019Data de aceite: 22/07/2020
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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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Bauhn, Per, and Fatma Fulya Tepe. "Hybridity and Agency: Some Theoretical and Empirical Observations." Migration Letters 13, no. 3 (September 1, 2016): 350–58. http://dx.doi.org/10.33182/ml.v13i3.288.

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In this article, Homi Bhabha’s concept of hybridity is being discussed from the point of view of its impact on persons’ capacity for agency. Bhabha emphasized the emancipating and anti-authoritarian potentials of hybridity. In this paper it is argued that this positive evaluation does not hold for all cases of hybridity. It is also argued that the value of hybridity will depend on whether it expands or diminishes persons’ capacity for agency. A limited empirical study of Turkish immigrants in the Netherlands will illustrate this hypothesis.
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Vial-Kayser, Christine. "Anish Kapoor vu par Homi Bhabha : une herméneutique « subalterne »." Marges, no. 16 (March 15, 2013): 23–43. http://dx.doi.org/10.4000/marges.257.

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27

Chandra, Paresh. "Marxism, Homi Bhabha and the Omissions of Postcolonial Theory." Critique 40, no. 2 (May 2012): 199–214. http://dx.doi.org/10.1080/00111619.2012.664727.

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28

Harmansah, Ömür, and Nick Shepherd. "The Location of Theory: A Discussion with Homi Bhabha." Archaeologies 8, no. 1 (April 2012): 52–54. http://dx.doi.org/10.1007/s11759-012-9199-7.

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29

Pervez, Summer. "“Hybridity is Heresy:” Homi Bhabha and The Satanic Verses." South Asian Review 25, no. 2 (December 2004): 153–64. http://dx.doi.org/10.1080/02759527.2004.11932351.

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30

Da Silva Medeiros, Izabella Maria. "PRODUZINDO RUÍDOS NO ENCONTRO COM O OUTRO: UMA ANÁLISE DE GUIA DAS PUTAS E NA CALADA, DE BRUNO FARIA / Making noises on the meeting with the Other: an analyze of Guia das Putas and Na Calada by Bruno Farias." arte e ensaios 26, no. 39 (August 15, 2020): 177–91. http://dx.doi.org/10.37235/ae.n39.13.

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O artigo analisa Guia das putas e Na calada, trabalhos artísticos de Bruno Faria, à luz da teoria da cultura de Homi Bhabha, buscando entender para quais sentidos esses trabalhos convergem no tensionamento com a experiência urbana. Para isso, foram realizadas pesquisa documental (de textos, fotos, vídeos) e uma entrevista semiestruturada com o artista estudado.Palavras-chave: Arte contemporânea; Diferença cultural; Arte e experiência urbana; Cidade contemporânea.AbstractThis paper analyses Guia das Putas and Na Calada, Bruno Farias’ collaborative artistic actions, taking as reference Homi Bhabha’s cultural theory. We are trying to understand what kind of meanings these propositions converge in a urban experience tension. For it, we’ve realized a documental research (text, pics, videos), besides a semistructured interview with the artist which we are studying.Keywords: Contemporary Art; Cultural difference; Art and urban experience; Contemporary city.
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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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Graça, Rodrigo Souza Fontes de Salles. "Tradução cultural e política em Homi Bhabha: recepção de a tarefa do tradutor de Walter Benjamin." Cadernos de Ética e Filosofia Política 2, no. 27 (December 23, 2015): 96–113. http://dx.doi.org/10.11606/issn.1517-0128.v2i27p96-113.

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Neste artigo é realizado análise do conceito de tradução cultural nos escritos do crítico literário Homi Bhabha (da década de 1980 a 2000) a partir de sua recepção de A Tarefa do Tradutor (1921), de Walter Benjamin. São destacadas a política e a noção de cultura implicadas na elaboração do conceito de tradução cultural, tendo em vista o vocabulário “benjaminiano”, tais como traduzibilidade, intraduzível, intenção (intencionalidade) e outros. Para tanto, são brevemente perpassadas as referências de Bhabha: à literatura de Salman Rushdie, às migrações contemporâneas e aos documentos da Índia colonial. Argumentamos que a recepção de A Tarefa do Tradutor mostra-se seminal nos textos de Bhabha para proposta político-analítica de destaque da alteridade pela tradução cultural.
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D'Arc, Jane. "O conceito de discurso migrante: na personagem Hue, de Es necesario entender un poco." Aletria: Revista de Estudos de Literatura 7 (December 31, 2000): 187–92. http://dx.doi.org/10.17851/2317-2096.7..187-192.

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Resumo: Baseando-me nos conceitos de Homi Bhabha sobre cultura e de Antonio Cornejo Polar sobre discurso migrante, analiso a performance da personagem Hue de Es necesario entender um poco, da dramaturga argentina Griselda Gambaro. O artigo enfatiza alguns pontos importantes que me servem de conectores para minha leitura interpretativa: globalização, identidade do sujeito, competência linguística e inserção cultural, e estranhamento.Palavras-chave: cultura; discurso migrante; Griselda Gambaro.Resumen: Basándome en los conceptos de Homi Bhabha sobre cultura y de Antonio Cornejo Polar sobre discurso migrante, analizo la performance del personaje Hue de Es necesario entender un poco de la dramaturga argentina Griselda Gambaro. El artículo enfatiza algunos puntos importantes que me sirven de conectares para mi lectura interpretativa: globalización, identidad de sujeto, competencia lingüística e inserción cultural, y extrafiamiento.Palabras-clave: cultura; discurso migrante; Griselda Gambaro.
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Oliveira, Jonata, and Alcione Alves. "TESEU, O LABIRINTO E SEU NOME: COMO HOMI K. BHABHA PODERIA NOS AJUDAR A COMPREENDER UMA PASSAGEM DE MOI, TITUBA SORCIÈRE…, DE MARYSE CONDÉ?" Caderno de Letras, no. 27 (December 20, 2016): 91. http://dx.doi.org/10.15210/cdl.v0i27.8840.

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Propõe-se uma interpretação da obra de Maryse Condé, intitulada Eu, Tituba, feiticeira...negra de Salem (1997); o romance é inspirado na história de Tituba, sendo esta a única negra entre as mulheres condenadas no trágico incidente, ocorrido há três séculos, na cidade de Salem, promovido pela intolerância religiosa no interior de uma sociedade influenciada por normas puritanas. Busca-se compreender a ressignificação do termo feiticeira, por parte de Tituba, em um estudo fundamentado, sobretudo, nas noções de hibridismo e fronteira trazidas por Homi K. Bhabha em O local da cultura (2013). As discussões e produções científicas atinentes a este estudo têm sido elaboradas no âmbito do Projeto de Pesquisa Teseu, o labirinto e seu nome, vigente na Universidade Federal do Piauí.Palavras-chave: Maryse Condé: romance; construções identitárias negras americanas; Homi K. Bhabha: teoria; hibridismo; fronteira.
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Lee, Emily S. "Postcolonial Ambivalence and Phenomenological Ambiguity: Towards Recognizing Asian American Women's Agency." Critical Philosophy of Race 4, no. 1 (March 1, 2016): 56–73. http://dx.doi.org/10.5325/critphilrace.4.1.56.

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Abstract Homi Bhabha brings attention to the figure of the postcolonial metropolitan subject—a third world subject who resides in the first world. Bhabha describes the experiences of the “colonial” subject as ambivalently split. As much as his work is insightful, Bhabha's descriptions of the daily life of postcolonial metropolitan subjects as split and doubled is problematic. His analysis lends only to the possibility of these splittings/doublings as schizophrenically wholly arising. His analysis cannot account for the agonistic moments when the colonial subject is caught in not knowing, and in developing understanding about present circumstances. A framework with an account of context and horizons, such as in phenomenology, can better depict the experiences of the postcolonial metropolitan subject. Maurice Merleau-Ponty follows a gestaltian contact with the world, which advances that the “most basic unit of experience is that of figure-on-a-background.” One perceives the figure/theme because of and within the background/horizon. In this horizonal framework, human experiences are ambiguously open. The openness in the horizon of the gestaltian framework better accounts for the conditions Bhabha refers to as splitting. The ambivalence can be understood not simply as conundrums that defy understanding but as ambiguous moments for expanding, developing, and growing.
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Subhan, Asep, and Didimus E. Turuk. "Discourse on Creole Identity: from Ambivalence to Madness Post-Colonial Reading on Rhys� Wide Sargasso Sea." Indonesian Journal of English Language Studies (IJELS) 5, no. 1 (December 12, 2019): 18–23. http://dx.doi.org/10.24071/ijels.v5i1.2310.

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The portrayal of creole identity is presented in several literary works, one of them is in the portrayal of Antoinette Cosway in Jean Rhys Wide Sargasso Sea. Antoinette Cosway firstly is the minor character in Charlotte Bronts Jane Eyre. The research traces the link between Antoinette Cosways creole identity with her madness. According to Bhabhas ambivalence theory, creole identity possibly creates a new identity as the result of interrelation between colonizer and colonized. Based on the research, Antoinette Cosway failed to create a new identity and became a madwoman instead. The cause is the complex situation faced by her and the lack of supporting aspects for constructing a new identity.Keywords: creole identity, ambivalence, Antoinette Cosway, Homi Bhabha
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Queiroga, Mariene De Fátima Cordeiro, and Vicente Paulino. "A memória da infância e a formação da nação emergente em Luís Cardoso." Via Atlântica, no. 31 (December 20, 2017): 269. http://dx.doi.org/10.11606/va.v0i31.116105.

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Esse trabalho aborda a personagem da trilogia cardosiana, por hipótese, o próprio autor-narrador, como sujeito principal da sua obra e suas narrativas como a metáfora da formação do Estado nação Timor-Leste. O romancista é um sujeito que na expressão de Homi Bhabha: aquele “que representa uma diferença ‘interior’, um sujeito que habita a borda de uma realidade ‘intervalar’. E a inscrição dessa existência fronteiriça consiste numa quietude do tempo e uma estranheza de enquadramento que ‘cria a imagem discursiva na encruzilhada entre história e literatura” (Bhabha, 1998:35).
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McCarthy, R. "Miniaturizing Modernity: Shahzia Sikander in Conversation with Homi K. Bhabha." Public Culture 11, no. 1 (January 1, 1999): 146–50. http://dx.doi.org/10.1215/08992363-11-1-146.

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39

Viera, Katia. "La Habana como entre-lugar: Dazra Novak en la ciudad." Alea: Estudos Neolatinos 24, no. 1 (April 2022): 271–88. http://dx.doi.org/10.1590/1517-106x/202224115.

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Resumen La configuración reciente de la ciudad de La Habana en los textos literarios de jóvenes narradores cubanos puede pensarse desde el entre-lugar (Homi Bhabha, 2007), desde los movimientos de desterritorialización/reterritorialización (Deleuze y Guattari, 2004) e incluso desde el no-lugar (Augé, 2002). Este texto tiene como línea de discusión fundamental el análisis de la configuración reciente de la ciudad de La Habana a partir de los dos primeros libros publicados por la escritora cubana Dazra Novak. Para ello, se ha puesto en diálogo la obra de esta escritora con los aportes teóricos de Deleuze y Guattari (rizoma), Gisela Heffes (ciudad imaginaria), y Hommi Bhabha (entre-lugar). Todo ello ha permitido vislumbrar que en el conjunto escritural de esta narradora existe un intento por establecer narrativamente una instancia bisagra, doble, de ida y vuelta, propia del entre-lugar.
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Udumukwu, Onyemaechi, and Onyinyechi Ugwuezumba. "HYBRID IDENTITY IN NIYI OSUNDARE'S VILLAGE VOICES AND SONGS OF THE MARKETPLACE." Ahyu: A Journal of Language and Literature 2 (December 4, 2018): 174–79. http://dx.doi.org/10.56666/ahyu.v2i.91.

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Ethnic and social differences have continued to manifest in postcolonial African countries often leading to great animosity and bloody clashes. This paper has used Homi K. Bhabha's ideologies of difference and hybridity to study selected poems from Niyi Osundare's Village Voices and Songs of the Marketplace. Such a study is important in order to bring to light the underlying political, ethnic, cultural, religious and social differences reflected in contemporary Nigerian literature and the effects of colonialism on individual private and public experiences. Theresearchers have applied deconstruction of discourse to the selected poems in order to cancel the binary opposition created by the apparent reflection of difference and to bring out the liminal situations that lead to what Homi Bhabha has called hybrid identity. The analysis of selected poems has shown that postcolonial Nigeria is suspended in a liminal space where traditional differences have been dissolved giving way to unrecognizable characters whose actions and inactions have helped to create a third class of hybrid characters.
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Ferhood, Majeed Abjel, and Lajiman Janoory. "Constructing the Palestinian Nation Via Narration and Attachment in Mornings in Jenin: A Postcolonial Perspective." Malaysian Journal of Social Sciences and Humanities (MJSSH) 5, no. 11 (November 1, 2020): 240–44. http://dx.doi.org/10.47405/mjssh.v5i11.531.

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This article aims at carving the Palestinian nation in the global map via narration. As an artistic genre, Susan Abulhawa's Mornings in Jenin (2010) is a reaction against the methodical Jewish plan that powerfully strives to erase the Palestinians and their state from the universal map in the aftermath the turning event of the 1948 catastrophe. The article traces actions and behaviours of the immigrated Palestinian characters whose minds, souls and bodies have a strong attachment to their native homeland. Based on the notable post-colonial theorist Homi Bhabha’s theory of nation, I do a careful reading of the Susan Abulhawa's novel within the theoretical framework of postcolonial criticism. Homi Bhabha encourages the people of the colonized nations including the Palestinians to restore their stolen homelands by narration and a permanent reminiscence. The study concludes that the Palestinians will not forget their case forever. The continuation of narrating the Palestinian story will doubtless abort the colonialism.
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Pereira, André Luis Mitidieri. "Jogos de linguagem e memória na bipartilha de partes da África." Aletria: Revista de Estudos de Literatura 13 (June 30, 2005): 133. http://dx.doi.org/10.17851/2317-2096.13.0.133-143.

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Este ensaio destina-se à análise do romance Partes de África, de autoria do crítico, poeta, professor e romancista afro-português Helder Macedo, dando ênfase à estrutura híbrida da referida obra literária e ao conceito de “metonímia da presença”, conforme defendido pelo estudioso indo-britânico Homi Bhabha.
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43

Monteiro, Rebecca. "DO CORPO E DA LITERATURA: UMA APROXIMAÇÃO À POÉTICA DA RESISTÊNCIA EM HOMI K. BHABHA." Em Tese 7 (December 31, 2003): 73. http://dx.doi.org/10.17851/1982-0739.7.0.73-82.

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Estudo sobre a estratégia de resistência que orienta a atividade crítica de Homi Bhabha. Entre as ferramentas conceituais que articulam essa resistência, destacaremos a questão da mímica. Para que melhor se demonstre seu funcionamento, será avaliada sua utilização por duas dimensões discursivas: o corpo e a literatura.
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Dox, Donnalee. "Thinking Through Veils: Questions of Culture, Criticism and the Body." Theatre Research International 22, no. 2 (1997): 150–61. http://dx.doi.org/10.1017/s0307883300020551.

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When Homi Bhabha discusses the problematics of signification and coding in intercultural interpretation, he questions the relationship between practices and the experience of culture. By questioning the power of codes and signifiers to fix cultural identity, Bhabha allows that the stable object of culture might be caught ‘in the disturbed artifice of its signification’, that is, ‘at the edge of experience’. This suggests to theatre and performance studies that the culturally inscribed body need not be viewed as a stable repository of displaced and deferred codes. The body may be intercepted in situations, or at moments, when signification dissolves and is reconfigured.
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CHOW, REY. "Sacrifice, Mimesis, and the Theorizing of Victimhood (A Speculative Essay)." Representations 94, no. 1 (2006): 131–49. http://dx.doi.org/10.1525/rep.2006.94.1.131.

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ABSTRACT This essay is an attempt to identify and elaborate the inextricable mutual implications between mimesis and sacrifice in considerations of victimhood (understood as dominated or stigmatized existence), especially as found in prominent examples of contemporary cultural theory. The authors discussed include Giorgio Agamben, Luce Irigaray, Homi Bhabha, and Renéé Girard.
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Pereira, Pedro Paulo Gomes. "Sertão e Narração: Guimarães Rosa, Glauber Rocha e seus desenredos." Sociedade e Estado 23, no. 1 (April 2008): 51–87. http://dx.doi.org/10.1590/s0102-69922008000100003.

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Este texto busca verificar as formas de construção da nação em Grande Sertão: veredas, de Guimarães Rosa, e Deus e o Diabo na terra do sol, de Glauber Rocha. Utilizando autores como Homi Bhabha, Stuart Hall, Walter Mignolo, Veena Das, o texto indaga de que forma esses autores construíram o sertão.
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Sá, Luiz Fernando Ferreira. "ENCONTRANDO PARAÍSO PERDIDO NUMA CONVERSAÇÃO PÓS-COLONIAL." Em Tese 6 (August 31, 2003): 41. http://dx.doi.org/10.17851/1982-0739.6.0.41-48.

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Ao usar o circuito pós-colonial de teoria e de prática textual de Edward Said, Gayatri Spivak e Homi Bhabha este ensaio introduz a possibilidade de uma des-leitura contrapontista de um texto de Milton: Paraíso Perdido poderá finalmente libertar-se de seu conteúdo colonial e liberar seu conteúdo pós-colonial.
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48

Echavarría Canto, Laura. "Barbarie y subjetividad: el caso de Garage Olimpo." Theoría. Revista del Colegio de Filosofía, no. 28 (December 3, 2015): 147–57. http://dx.doi.org/10.22201/ffyl.16656415p.2015.28.479.

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The article analyzes the film ‘Garage Olimpo’ through the figures of the victim and the ‘victimary’ or agressor. Grounded on Walter Benjamin, Homi Bhabha and Michel Foucault, it seeks to acknowledge the need of historical memory as a way of preventing the repetition of barbarism and of promoting intergenerational transmission.
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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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Bangsa, Jantan Putra. "Representasi Perlawanan Kaum Migran Cina di Amerika Serikat dalam Film Ip Man 4: The Finale (Sebuah Pembacaan Poskolonial)." Calathu: Jurnal Ilmu Komunikasi 4, no. 1 (June 29, 2022): 42–55. http://dx.doi.org/10.37715/calathu.v4i1.2595.

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Penelitian ini merupakan pembacaan poskolonial terhadap film Ip Man 4: The Finale dengan menggunakan kerangka pemikiran Edward Said dan Homi Bhabha. Film ini menceritakan tentang kehidupan orang-orang Cina di Amerika sejak era Gold Rush yang memicu terjadinya gelombang besar migrasi orang-orang Cina ke Amerika dan menyebabkan beragam konflik. Pemikiran Edward Said digunakan untuk menggambarkan konstruksi "Barat” dan “Timur”, sedangkan pemikiran Homi Bhabha digunakan untuk menjelaskan bentuk-bentuk perlawanan orang-orang Cina terhadap subjek Barat di Amerika. Berdasarkan pembacaan atas adegan-adegan, dialog, dan juga narasi dari teks film itu dapat ditarik kesimpulan bahwa film ini justru semakin mengukuhkan perbedaan subjek Barat dan subjek Timur yang saling membenci. Namun, ada subjek Barat maupun subjek Timur yang sejak awal bersikap ambivalen. Film Ip Man 4: The Finale, memang tidak mencoba mendamaikan hubungan saling membenci antara subjek Barat dan subjek Timur, masing-masing merasa lebih superior dibanding yang lain. Hal ini hanya menjelaskan bahwa “Barat” dan “Timur” bukan entitas tunggal dan monolitik. Kata kunci: Ip Man 4: The Finale; poskolonial; orientalisme; ambivalensi; kajian film
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