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1
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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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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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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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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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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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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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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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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Han, Jin Hee. "Homi K. Bhabha and the mixed blessing of hybridity in biblical hermeneutics." Bible and Critical Theory 1, no. 4 (December 2005): 37.1–37.12. http://dx.doi.org/10.2104/bc050037.
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Furqon, Syihabul, and NFN Busro. "HIBRIDITAS POSTKOLONIALISME HOMI K. BHABHA Dalam Novel Midnight’s And Children Salman Rushdie." JENTERA: Jurnal Kajian Sastra 9, no. 1 (June 30, 2020): 73. http://dx.doi.org/10.26499/jentera.v9i1.494.
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Postcolonialism is a branch of the cultural studies that focuses on socio-cultural analysis, including signs and languages. Colonialism had clear implications in the actions of postcolonial society. Homi K. Bhabha found identification that in postcolonialism there emerged what he called as hybridity. Hybridity is a cross-culture (both intrinsic and extrinsic) that appears in society in many forms, one of which is language and attitude. This research will review Salman Rushdie's Midnight’s Children novel to reveal which aspects are hybridities. As a methodological tool, the authors use descriptive analysis (intrinsic-extrinsic). In this study, the authors found a large number of hybridity identifications in the novel Midnight’s Children. Especially in the aspects of identity (especially the formation of the subject), language, and inner struggle of characters in the novel. AbstrakPoskolonialisme merupakan cabang kajian studi budaya yang berfokus pada analisis sosiokultural, termasuk tanda-tanda dan bahasa. Kolonialisme memunculkan implikasi yang terbaca jelas dalam tindakan masyarakat poskolonial. Homi K. Bhabha menemukan identifikasi bahwa dalam poskolonialisme muncul apa yang disebutnya sebagai hibriditas. Hibriditas adalah silang budaya, baik intrinsik maupun ekstrinsik, yang muncul di masyarakat dalam banyak bentuk, seperti bahasa dan sikap. Dalam penelitian ini akan ditinjau novel Midnight’s Children karya Salman Rushdie untuk mengungkapkan aspek mana saja yang merupakan hibriditas. Sebagai alat metodologi, penulis menggunakan analisis deskriptif (intrinsik-ekstrinsik). Dalam penelitian ini penulis menemukan sejumlah identifikasi hibriditas dalam novel Midnight’s Children, terutama dalam aspek identitas (pembentukan subjek), bahasa, serta pergulatan batin tokoh..
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Schulze-Engler, Frank, Pavan Kumar Malreddy, and John Njenga Karugia. "“Even the dead have human rights”: A conversation with Homi K. Bhabha." Journal of Postcolonial Writing 54, no. 5 (April 4, 2018): 702–16. http://dx.doi.org/10.1080/17449855.2018.1446682.
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Utomo, Gayuh Budi, Rully Damayanti, and Dyan Agustin. "KOMUNIKASI BARU BIRO ARSITEK DI MASA PANDEMI DALAM PANDANGAN POSTKOLONIALISME HOMI K BHABHA." ATRIUM: Jurnal Arsitektur 6, no. 2 (November 11, 2020): 161–67. http://dx.doi.org/10.21460/atrium.v6i2.124.
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Title: New Communication of The Architecture Firms in Pandemic Era; Following the Homi K Bhabha Post Colonial View A new order called the new normal is a central issue at this time. The period before the pandemic which became a standard value and became a reference suddenly was not compatible with the arrival of the Covid-19 pandemic outbreak. This is happening in Indonesia and around the world. Everyone is in a pandemic situation for a certain period time and there is no certainty that it will end. This of course also affects how to communicate in all aspects including the architectural bureau. New ways of communicating are carried out at architectural bureaus related to social distancing and physical distancing which are considered as effective prevention methods from the COVID-19 pandemic. The types of communication that have changed are communication with clients, communication with the team and communication with interns. There are significant differences in how to communicate from offline activities to online activities where we can still be connected both ways but not in the same place. This situation is a momentum to free the bonds of limitations that have occurred in terms of communication. We want to interpret this in the postcolonialism approach of Homi K Bhabha which is very relevant to the views of hybridity, ambivalence and the third space as a way of communicating new normal discourses.
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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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Mariyam, Tahmina. "Forever Displaced?: Identity, Migration, and the Concept of Home in the Works of Manzu Islam, Neamat Imam, and Tahmima Anam." Anglica. An International Journal of English Studies, no. 28/1 (September 20, 2019): 77–88. http://dx.doi.org/10.7311/0860-5734.28.1.06.
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This paper explores the meaning of identity and nation, home and belonging, through the study of internal and international migration in three novels. In doing so it encoun- ters the construction of collective identity in Manzu Islam’s Song of our Swampland, the dystopian dislocation in Neamat Imam’s The Black Coat and the concept of meta-home in Tahmima Anam’s The Bones of Grace. The complex, unstable space of diaspora seems ever evolving and forever shifting. Here ‘home’ becomes what Homi K. Bhabha has ex- pounded as “a mythic place of desire.” In this fluid construction of diasporic existence the paper examines the concepts of “de-territorialization,” “unhoming,” “dislocation,” “iden- tity,” and “belonging.”
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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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Dr. Waheed Ahmad Khan, Salman Hamid Khan, and Dr. Shaukat Ali. "Cultural Hybridity as Perpetuation of Americanization: A Study of the Selected Novels of Mohsin Hamid and Kamila Shamsie." sjesr 3, no. 4 (December 25, 2020): 35–42. http://dx.doi.org/10.36902/sjesr-vol3-iss4-2020(35-42).
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Cultural hybridity has prevailed by penetrating its roots in the globalized world. It has influenced the identity of people especially migrants of various countries. Identity in the case of cultural hybridity leads to conflict. Migrants wish to grow by absorbing influences from their own 'roots' but new 'routes' also inspire them. Homi K. Bhabha is of the view that migrants' cultural world changes after crossing the borders; they have an experience of living in an alien culture and thus learn new ideas. He criticizes the idea of a fixed identity which is developed by the migrants' native culture. Bhabha argues that identity is 'hybrid'; it is always in a state of flux because it is constantly in motion, pursuing unpredictable routes. However, Aijaz Ahmad believes that the identity of people does not develop independently. He does not consider cultural hybridity as synonymous with cultural differentials. Bhabha's celebration of hybridity ignores unequal relations of cultural power. He also ignores cultural and historical specifics in his theorization of hybridity. The study is qualitative and is based on interpretive analysis of the novels The Reluctant Fundamentalist and The Burnt Shadows which celebrate hybridity in cultures. The study unveils unequal relations of cultural power in hybridity.
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Yogie Wijaya, Bangbang, and Diyanah Nisa Halimatussa’diah. "Bentuk-Bentuk Konstruksi Identitas Postkolonial dalam Novel Tenggelamnya Kapal Van der Wijck." Jurnal Genre (Bahasa, Sastra, dan Pembelajarannya) 2, no. 1 (July 22, 2020): 42. http://dx.doi.org/10.26555/jg.v2i1.1410.
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Postcolonial becomes an interesting topic to be discussed when it has changed the custom and cultural order that had existed in the previous community. Postcolonialism received many pros and cons comments, one of which was delivered by HAMKA in its pro-work entitled The Sinking of the Van der Wijck Ship. Through the postcolonial study of Homi K. Bhabha, the author examines the forms of identity construction conveyed by HAMKA in his novel. This research uses descriptive qualitative method to look for characteristics, elements, traits or phenomena.
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Kulsum, Umme. "From Weft and Warp of Weaving to Churning of Grinder: A Diasporic Trajectory in Amitav Ghoshs The Circle of Reason." Stamford Journal of English 6 (February 22, 2013): 186–202. http://dx.doi.org/10.3329/sje.v6i0.13913.
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Amitav Ghoshs first novel The Circle of Reason (1986) demonstrates the relationship between different discourses of knowledge (Science, History, Anthropology) and its colonial application to specific localities that authenticates key strategic policy to determine world trade and economy. In particular, the novel reflects how the emergence of science and textile mills shifts the paradigm of weaving world into the rubric of construction business. This paper focuses on how this manipulative change in world trade and economy predetermines the influx of people from one area to another with their existing skill (weaving) and profession. This paper examines three multicultural cities of three different localities that represent diasporic lives with all their struggle, potentiality, hybridity, mimicry and ambivalence. It will also highlight on how border-business, like trafficking, smuggling, is another important issue that creates newer trajectories for more profitable business (oil, bomb, gold, hashish) that encourages displacement of people. The character of Balaram, one of the major characters of part one of the novel, will be explained as a mimic character as he represents the colonial application of science in this subcontinent. Balaram has been presented according to Homi K. Bhabhas Of Mimicry and Man: The ambivalence of colonial discourse (121). And the diasporic cities like Lalpukur, al-Ghazira and El Oued can be 187 explained from Homi K. Bhabhas, Cultural Diversities and Cultural Differences. Stamford Journal of English; Volume 6; Page 186-202 DOI: http://dx.doi.org/10.3329/sje.v6i0.13913
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Ardiansyah, Mochammad Zaka. "Taktik Bertahan Pemuda Minoritas: Perlawanan Diam dan Mimikri Pemuda Aboge di Lembaga Pendidikan." Jurnal Pendidikan Agama Islam (Journal of Islamic Education Studies) 8, no. 2 (December 31, 2020): 97–114. http://dx.doi.org/10.15642/jpai.2020.8.2.97-114.
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Artikel ini mengungkap bahwa dalam merespons diskriminasi beragama yang menimpanya selama belajar di lembaga pendidikan, pemuda Aboge tak menerimanya dengan pasrah. Alih-alih diam dan menerima menjadi sasaran labeling heresy di lembaga pendidikan, pemuda Aboge mengembangkan beragam survival tactics dan meresponsnya dengan melakukan mimikri dan perlawanan diam. Bentuknya, pertama, melakukan mimikri dalam multiple identity, antara NU dan Aboge. Kedua, berpura-pura sedang menstruasi sebagai bentuk kamuflase di pesantren namun diam-diam salat dan baru memulai puasa Ramadan ala Aboge keesokan harinya. Ketiga, berpura-pura melakukan ibadah sunah untuk mengesankan keesokan harinya dirinya telah mulai “puasa wajib” Ramadan bersama mayoritas. Artikel ini adalah hasil penelitian kualitatif dengan teknik wawancara mendalam yang menempatkan mimikri Homi K. Bhabha dan perlawanan diam James C. Scott sebagai teori, dan pos kolonial sebagai pendekatan. Hasil studi ini mengungkap bahwa meski salah seorang pemuda Aboge belajar di tengah lanskap komunitas ordinat kampus Muhammadiyah, ia tak menjadi obyek subordinat. Mereka melakukan kamuflase dengan mimikri menggunakan identitas ordinat Muhammadiyah serta memanfaatkan in-between space untuk dapat survive. Nampaknya, pemuda Aboge justru menciptakan ruang baru dengan mengkonstruksi identitas lain secara artifisial, yakni mimikri dengan identitas NU sebagai taktik bertahan. Kertas kerja ini menghasilkan sebuah implikasi penting dalam studi poskolonial, yakni ruang ketiga yang berbeda dengan in-between space yang ditawarkan Homi K. Bhabha. Ruang ketiga yang diciptakan pemuda Aboge adalah ruang identitas baru yang tak mengadopsi identitas kultural penjajah dan terjajah, karena pemuda Aboge meminjam identitas NU untuk melakukan mimikri saat menghadapi sang ordinat.
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Hoelz, Maurício, and Andre Bittencourt. "Repetição, diferença, reescritura: das vantagens do “entre”." Aletria: Revista de Estudos de Literatura 30, no. 1 (March 31, 2020): 95–116. http://dx.doi.org/10.17851/2317-2096.30.1.95-116.
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O artigo pretende situar o conceito pioneiro e seminal de “entre-lugar” formulado por Silviano Santiago no início da década de 1970 dentro de um conjunto de discussões do que poderíamos chamar de um “primeiro momento” do debate acadêmico pós-colonial. Para isso, indicaremos aproximações com ideias contemporâneas de dois outros críticos culturais de origem colonial que se estabeleceram e se consagraram no circuito acadêmico hegemônico, Edward Said e Homi K. Bhabha. Santiago e Said participaram da recepção imediata das ideias estruturalistas e “pós-estruturalistas” nos Estados Unidos e, por caminhos próximos, mas com alcances teóricos diferentes, perseguiram o questionamento dos padrões europeus de pensamento ao colocar em xeque a ideia de origem. Em momento posterior, Bhabha desenvolverá uma crítica à perspectiva que ele considera binarista de Said, cujos argumentos – sendo este o ponto que gostaríamos de demonstrar – convergem com aqueles já presentes na formulação de Santiago.
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Yates, Paul. "Reviews : Homi K. Bhabha (ed.), Nation and Narration, London: Routledge, 1990, paper £9.99, viii + 333 pp." History of the Human Sciences 4, no. 3 (October 1991): 438–41. http://dx.doi.org/10.1177/095269519100400309.
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Gairola, Rahul K., and Ashna Ali. "Ambivalence and Security in the Anglo-American Empire: A Critical Dialogue with Professor Homi K. Bhabha." Journal of Narrative Theory 47, no. 1 (2017): 143–62. http://dx.doi.org/10.1353/jnt.2017.0005.
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Viviani, Yolanda, and Robby Satria Mandala. "HYBRIDITY POTRAYED BY MAJOR CHARACTERS IN THE NOVEL “CRAZY RICH ASIAN” BY KEVIN KWAN." JURNAL BASIS 8, no. 1 (April 20, 2021): 85. http://dx.doi.org/10.33884/basisupb.v8i1.2958.
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This research was conducted to figure out kinds of hybridity that major characters did in the novel “Crazy Rich Asian” by Kevin Kwan. This study was analyzed by using postcolonial approach with theory of hybridity by Homi K. Bhabha. According to Bhabha, hybridity is the mixing of two or more different culture and create a new culture that has both culture characteristic. It can be said that hybridity is the result of cross culture that appears in society due to cross cultural interaction that happened for a long time. Descriptive qualitative method was used in this research to analyse social problems happened in the novel. Based on the analysis that had been conducted, there were two kinds of hybridity found out in the novel “Crazy Rich Asian”. They are ethic hybridity and lifestyle hybridity. The ethic hybridity was found in Rachel and Eddie’s mindset. Their mindset were more like American than other characters. Lifestyle hybridity was found in Astrid lifestyle which more like westerner than her husband.
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Hartigan, Emily Albrink. "Engaged Surrender in the Void: Post-Secularist “Human” Rights Discourse and Muslim Feminists [sic]." Journal of Law and Religion 22, no. 1 (2006): 131–51. http://dx.doi.org/10.1017/s0748081400003234.
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“Human” rights discourse is inherently multicultural, and multicultural discourse is messy. The academese for that goes something like this: I am an “agnostic and ambivalent subject of a double, decentered multicultural choice” (see the following quotations) and my text comes from a minority stance in a “different context.”“[A]ffirmative multi-culturalism” can bring no such closure and composure to the subject of cultural choice. Its subjectivity is performatively constituted in the very tension that makes knowledge of cultural difference dense, conglomerative, and nondeliberative. What emerges is an agonistic and ambivalent subject of a double, decentered multicultural choice. (emphasis added)—Homi K. Bhabha
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Bower, Richard. "Marginality and the Third Space of Unadopted Plotlander Roads." Space and Culture 20, no. 4 (July 9, 2017): 485–99. http://dx.doi.org/10.1177/1206331217707474.
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This article explores the characteristics and relationships of marginality in informal space and plotlander housing in the context of Homi K. Bhabha’s cultural hybridity and Third Space. To illustrate and examine the processes of marginalization that defined informal space in the United Kingdom, this article will critically analyze the previously undocumented plotlander community at Studd Hill on the North Kent coastline.1 Examining key aspects of this sites social origins and its marginal spatial context reveals the positive implications and challenges of informal space and social hybridization. In this analysis, issues of spatial vulnerability and marginality of plotlander communities are critically reframed as analogous to the sociospatial characteristics and innovative practices highlighted by Bhabha in postcolonial hybrid space. Focusing specifically on the challenges of the unadopted roads at Studd Hill, this article’s comparisons reveal how the anarchistic emergence of plotlander housing in the United Kingdom has produced innovative solutions to their social marginality that reflect the spatial values of postcolonial hybrid spaces.
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Vinzent, Jutta. "In Search of Hybridity: Inculturation, Interculturation and Transculturation in Contemporary Religious Art in Britain." Exchange 39, no. 1 (2010): 29–48. http://dx.doi.org/10.1163/016627410x12559405201117.
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AbstractThis essay explores contemporary religious art in Britain through the lens of Homi K. Bhabha’s concept of hybridity. While he leaves it rather ‘ambivalent’, this essay suggests that in visual representations, various forms of hybridity can be distinguished: inculturation, interculturation and transculturation. These three types, hijacked from religious dialogue discourses, show a variety of power relations in representation and context; while incultural elements are based on a dominant versus subordinate role, intercultural ones form a dialogue; both expand iconographic vocabularies. Transcultural symbols refer to those which are existing parts of a variety of iconographies; these thus ‘merge’ visually different cultural heritages; their interpretation is, in the true sense of Bhabha, hybrid. The essay concludes by referring to the limits of transcultural symbols, which accept losses, blurs and shifts. The entire analysis is based on Hindu and Christian iconographies exploited by Caroline Mackenzie in her four wooden panels located for the Catholic Church in St. Helen in Caerphilly (Wales), commissioned in 1999.
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Triasmoroadi, Hardiyan. "MELAMPAUI OPOSISI BINER: Studi Komparatif Tentang the Third Force, Metaxu, dan the Third Space." KENOSIS: Jurnal Kajian Teologi 5, no. 1 (July 31, 2019): 1–12. http://dx.doi.org/10.37196/kenosis.v5i1.56.
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Oposisi biner merupakan keniscayaan di tengah konteks kontestasi identitas yang mengedepankan adu argumentasi dan kesalingan untuk menguji klaim kebenaran. Dalam rangka merespons oposisi biner, muncul elaborasi-elaborasi teoretis yang berpretensi melampaui oposisi biner, sebagaimana konsepsi Richard Kearney mengenai metaxu, konstruksi Homi K. Bhabha tentang the third space, dan proposal Cynthia Bourgeault perihal the third force. Saya berpendapat bahwa ketiga konstruksi teoretis tersebut mangkus dalam meretas kebuntuan. Dus, saya akan menguraikan dan mengkomparasi ide pokok serta konsepsi kunci dari the third force, metaxu, dan the third space, untuk selanjutnya menyajikan beberapa poin kesimpulan sebagai sebuah kontribusi teoretis dalam mendasari praksis pergerakan yang rindu untuk melampaui oposisi biner.
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Osthues, Julian. "Interkulturelle Metaphern Überlegungen zu ihrer Theoretisierung am Beispiel des Palimpsests." Zeitschrift für interkulturelle Germanistik 8, no. 2 (December 20, 2017): 37–52. http://dx.doi.org/10.14361/zig-2017-0206.
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AbstractCultural theory is full of metaphors. In intercultural German studies (›interkulturelle Germanistik‹), metaphors play an equally significant role in the treatment of cultural concepts. It may seem surprising, though, that their use has not been analyzed from an intercultural perspective yet. This article discusses the potential of metaphors for intercultural thinking, and describes how different theories (Bernhard Waldenfels, Gayatri Chakravorty Spivak, Homi K. Bhabha, Anil Bhatti and others) make use of them in their treatment of culture and identity. In particular, focus is given on the intercultural potentials provided by the palimpsest metaphor, which presents culture in its plurality, cross-border complexity and ambivalence.
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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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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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Baral, Raj Kumar, and Swarnim Raj Lamsal. "Food Habits in the Indian Subcontinent: Making of Cultural Identities." SCHOLARS: Journal of Arts & Humanities 3, no. 2 (August 28, 2021): 13–23. http://dx.doi.org/10.3126/sjah.v3i2.39416.
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This article analyses some popular eating habits in the Indian subcontinent, considering its diversity in its history, especially during the time of colonialism and its religion. Based upon the religious scriptures and postcolonial theorists like Shaobo Xie and Homi K. Bhabha, the article argues that food has its implications beyond the kitchen where it is cooked. Consciously or unconsciously, history and religion have dictated our food choices. Taken together, the references provide new insights into some of the common food items of the Indian subcontinent, showing them as distinct identity markers. Such analysis can help relate our food habits to a broad context and open new avenues to understand the cultural identity of humans through their dietary choices.
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Ganjtalab Shad, Parvaneh. "Indigenous Identity through Hybridity and Humor: A Postcolonial Reading of Robert Merritt’s The Cake Man." International Journal of Applied Linguistics and English Literature 7, no. 7 (December 1, 2018): 9. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.7p.9.
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The major thrust in this research has been in the area of postcolonial studies. As one their primary missions, post-colonial works of art relate stories as seen by the oppressed and the colonized. Beginning with Edward Said’s Orientalism, postcolonial figures as diverse as Franz Fanon, Gayatri Spivak, and Homi Bhabha emerged and each targeted an aspect of postcolonial conditions. The present article was undertaken to trace postcolonial elements of “colonial negotiations,” and “hybridity” in an Aboriginal play by Robert Merritt entitled The Cake Man. The central argument of this article is that in its anticolonial stance, this play discusses issues of Aboriginal race and identity. To realize this argument, the play is studies with the background of Edward Said and Homi K. Bhabha’s theories. While these two figures are the leading theoreticians of the research, Aboriginal anticolonial strategies, like Aboriginal humor and figurative emasculation, are also pointed out. In fact, the novelty of the study is in its amalgamation of Western theories and Aboiginal strategies. All through the play, history as seen by the oppressed becomes the focal point, making it eligible to be called postcolonial works. Merritt’s The Cake Man, which is a well-known example of forced conversion, contains a very prominent manifestation of Said and Bhabha’s colonial negotiations. In addition, by creating an anticolonial character in the play, Merritt highlights and criticizes colonial Christianity, colonial otherization, and figurative emasculation of Aboriginal men in Australian society. All these issues, as the play leads the audience to believe, contribute to the realization that colonial discourse has the policy of obliterating Aboriginal traditions.
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Shafiq, Qasim, Asim Aqeel, and Qamar Sumaira. "Postcolonial Merger/Dissolution of Identities in In-Between Spaces: A Diaspora Study of Ondaatje�s The English Patient." Global Social Sciences Review III, no. IV (December 30, 2018): 647–61. http://dx.doi.org/10.31703/gssr.2018(iii-iv).44.
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The epistemological shift from colonialism to postcolonialism refashioned the colonial conceptualization of gender, race, geopolitical locale and sexual orientation to focus on those processes theorized by Homi K. Bhabha as 'in-between spaces'. With the delimitation of Michael Ondaatje's The English Patient (1992), this research explores how these 'in-between spaces' led colonialism and its subjects to the postcolonial / post-World War II milieu. The colonizers were not psychologically resilient enough to survive the hybrid 'in-between space' that dismantled the binary of the self and the other. The post-colonial subject, like the colonial subject, is a collage, not stable or autonomous, because it exists in a hybrid space of the enunciation of two cultures which cannot sustain its independent identity: in The English Patient, the diaspora located at the cultural boundaries of the Europeans and their home countries merges and dissolves into the in-between spaces acquainted with their anxiety and passion of nationhood and the nationlessness.
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Sousa Dias, Mariana. "“Pode o subalterno falar?”." Revista Odisseia 5, no. 1 (June 3, 2020): 120–40. http://dx.doi.org/10.21680/1983-2435.2020v5n1id20573.
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O presente trabalho analisa a (re)criação de vozes silenciadas pelo colonizador em A gloriosa família, obra publicada pelo escritor angolano Pepetela em 1997. Se o romance tem Baltazar van Dum como protagonista, não é ele, entretanto, quem nos apresenta os fatos, mas sim seu inseparável escravo, um narrador analfabeto e mudo de nascença. Por meio de tal impossibilidade de base essencialmente metaficcional, Pepetela problematiza a marginalização operada pela destituição da palavra, reforçando-a como elemento crucial para a construção de subalternidades. Para tratarmos das estratégias utilizadas pelo autor para a composição da fala do sujeito subalterno, emudecido pela violência colonial portuguesa, recorreremos a pesquisadores como Homi K. Bhabha (2007, 2010), Linda Hutcheon (1991), Mbembe (2014) e Gayatry Spivak (2010).
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Cabral, Éderson, and Ernani Mügge. "Reconstruindo Matilde: desigualdade e discriminação em Leite derramado, de Chico Buarque." Revista Odisseia 5, no. 2 (December 17, 2020): 123–41. http://dx.doi.org/10.21680/1983-2435.2020v5n2id22866.
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Este trabalho centra-se no romance Leite derramado, de Chico Buarque, lançado em 2009, e visa analisar o tratamento dispensado a Matilde, personagem da obra, pela sociedade na qual ela está inserida, mais precisamente pelo entorno social da família Assumpção, a qual integra, por longo período, a aristocracia carioca. A análise do texto é efetivada sob o prisma da identidade e da cultura e considera aspectos políticos e históricos ao lançar luz sobre determinados eventos ocorridos no Brasil e mencionados na obra. Para isso, usa-se como aporte teórico conceitos de Homi K. Bhabha (1998, 2011), de Lélia Gonzalez (1984), de Linda Hutcheon (1991), entre outros. Como resultado, é possível perceber, por meio da narrativa, deslocamentos sociais e seus impactos em uma sociedade preconceituosa, racista e dissimulada.
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Lemann, Natalia. "„Linia królewska Odry” − literackie strategie „pisania narodu” na przykładzie sygnifikacji polskości Ziem Odzyskanych w powieści piastowskiej (od II wojny światowej do 1989 roku)." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 5 (December 30, 2016): 87–109. http://dx.doi.org/10.18778/2299-7458.05.07.
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Artykuł poświęcony jest procesowi sygnifikacji Ziem Odzyskanych na przykładzie tzw. powieści piastowskiej, która jest podtypem powieści historycznej. Proces literackiego i historiograficznego „pisania narodu” odbywa się w literaturze współczesnej zarówno za sprawą dyskursów historii, w tym tzw. polityki historycznej, wspieranej przez instytucje narodowe, promującej określoną, pożądaną przez rządzących wizję, jak i odmiennych wobec powyższych dyskursów pamięci, obejmujących mikrohistorię, autobiografizm, narracje lokalne itd. Wydaje się, że na przykładzie strategii sygnifikacji polskości Ziem Odzyskanych w powieści piastowskiej można wykazać, iż zjawisko „pisania narodu” (Homi K. Bhabha) ma w dużej mierze charakter procesualny, perswazyjny i przygodny, narzucony wymogami polityki. Powieść piastowska jako elementem tzw. „pedagogiki narodowej” (Bhabha) miała dla polskich władz szczególne znaczenie. Poprzez odwołanie do czasów panowania w Polsce dynastii piastowskiej, kiedy to ziemie zwane po II wojnie światowej odzyskanymi wchodziły w skład państwa polskiego, można było na nowo związać je w świadomości społecznej z terytorium kraju. Powieść piastowska umożliwiała więc zakorzenienie postanowień jałtańskich w sferze mitycznych wyobrażeń historycznych i symbolicznych, przez co terytorialne przesunięcia nabrały znamion czytelniejszego, bo historycznie usprawiedliwionego procesu odszkodowawczego. Utwory Karola Bunscha, Antoniego Gołubiewa czy Władysława Jana Grabskiego doskonale wpisywały się w proces związywania północnych i zachodnich terytoriów z resztą kraju i jako takie odpowiadały zarówno na zapotrzebowanie władz, jak i społeczeństwa, stając się elementem budowania fantazmatycznej wspólnotowej narracji fundacyjnej.
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Kusumaningrum, Ayu Fitri. "KRISIS IDENTITAS DALAM CERPEN A PAIR OF JEANS KARYA QAISRA SHAHRAZ." Poetika 7, no. 1 (July 30, 2019): 51. http://dx.doi.org/10.22146/poetika.v7i1.43500.
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Multikulturalisme menjadi wacana yang diagung-agungkan di abad 21 karena men-cerminkan kemodernan yang mana pertemuan dan percampuran dua atau lebih kebudayaan dianggap sebagai cerminan masyarakat modern yang terbuka dengan akulturasi. Dewasa ini, multikulturalisme menjadi fenomena yang biasa terjadi di berbagai belahan dunia karena proses migrasi yang terus berlangsung di berbagai negara, salah satunya Inggris (Britania Raya). Berdasarkan sensus pada tahun 2011, tercatat Inggris menjadi rumah bagi delapan belas kelompok etnis berbeda yang tersebar di seluruh penjuru Inggris dan Pakistan adalah salah satu kelompok etnis tersebut, menduduki peringkat ketiga dengan persentase sebanyak 2% dari total populasi di Inggris. Kedelapan belas kelompok etnis ini pun hidup bersama sehingga kebudayaan mereka bertemu dan bercampur dalam ruang multikulturalisme. Multikulturalisme inilah yang kemudian memicu munculnya krisis identitas. Menggunakan karya sastra kontemporer yang diterbitkan pada abad 21, kajian ini bertujuan untuk mengungkapkan bagaimana krisis identitas tokoh Miriam, seorang perempuan muslim Pakistan yang tinggal di Inggris, digambarkan dalam cerpen “A Pair of Jeans” karya Qaisra Shahraz. Dengan mengaplikasikan metode analisis pascakolonialisme Homi K. Bhabha, kajian ini menemukan bahwa proses hibriditas dan mimikri dalam multikulturalisme dapat menimbulkan ambivalensi yang berupa krisis identitas.Kata Kunci: multikulturalisme; hibriditas; mimikri; ambivalensi; krisis identitas Multiculturalism becomes a glorified discourse in the twenty-first century because it reflects the modernity in which the meeting and mixing of two or more cultures are considered as a reflection of a modern society that is open to acculturation. Today, multiculturalism is a common phenomenon in various parts of the world because of the ongoing process of migration in various countries, one of which is Britain (United Kingdom). According to the 2011 census, it was recorded that Britain was home to eighteen different ethnic groups scattered throughout Britain and Pakistan is one of the ethnic groups, ranking third with 2% of the total population in the UK. These eighteen ethnic groups live together so their cultures meet and are mixed in the space of multiculturalism. This multiculturalism then triggers an identity crisis. Using contemporary literature published in the twenty-first century, this study aims to reveal how Miriam's identity crisis, a Pakistani Muslim woman living in Britain, is described in Qaisra Shahraz’s “A Pair of Jeans”. By applying the method of post-colonialism analysis of Homi K. Bhabha, this study finds that the process of hybridity and mimicry in multiculturalism can lead to ambivalence in the form of identity crisis.Keywords: multiculturalism; hybridity; mimicry; ambivalence; identity crisis
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Tolotti, Lucas Procópio de Oliveira. "Alex Flemming: corpo, conflito e utopia em Bodybuilders." REVISTA POIÉSIS 21, no. 36 (July 1, 2020): 285. http://dx.doi.org/10.22409/poiesis.v21i36.40408.
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Entre os temas mais presentes no repertório de Alex Flemming, surge o corpo e as questões que o envolvem. A série Bodybuilders, produzida a partir de 1997, situa a temática apresentada em um contexto muito próprio do final do século XX: globalização, novas tecnologias e pós-colonialismo. Como esses temas são articulados nesta série de obras? Qual o corpo que nela se apresenta e de que maneira a série se envolve na própria trajetória pessoal do artista? Por meio da análise de um determinado conjunto desses trabalhos, o artigo perquire os diversos corpos que se estendem plasticamente nas telas, situando-os junto às questões sociopolíticas do final do século XX e início do século XXI. Para isso, além de textos de críticos de arte que versam sobre o artista, as reflexões serão pautadas por Michel Foucault e Homi K. Bhabha.
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Waworuntu, Michelle Intan Goh Rumengan, and Tomi Arianto. "HIBRIDITY OF THE CHACRACTERS IN MY SON THE FANATIC STORY BY HANIEF KURESHI." JURNAL BASIS 6, no. 2 (October 26, 2019): 197. http://dx.doi.org/10.33884/basisupb.v6i2.1432.
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This study aimed to reveal the forms of hybridity as a result of the existence of postcolonial cultural contact with the construction of a colonial form. Researchers revealed the hybridity represented by the characters Parvez and Ali in My Son the Fanatic Short Story by Hanief Kureshi. This study used the Postcolonialism approach in the hybridity concept of Homi K Bhabha. According to. Bhabha (1994) Hybridity is a cross between two different cultures in a tangent interaction. In this case, hybridity is not only seen as a fusion of culture but also cultural products placed in social and historical space under postcolonialism which are part of the imposition of colonial power relations. The qualitative descriptive method was used in this study because of its essence in descriptive text analysis in predetermined literary works. The results of this study indicated that there are two forms of hybridity representation in this study. First, the character of mimicry in the sense of ambiguity and contradictory character as a discourse of cultural devotion due to the colonial construction that was formed. Mimicry is represented by the character Parvez in the story. Second, the ambivalence represented by his son named Ali. Ali was aware of the colonial discriminatory against culture so he resisted the construction but on the other hand, he did not know what identity he should hold.
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Hassan Bin Zubair and Dr. Nighat Ahmed. "TRACING CULTURAL MORPHING AND DIASPORIC IDENTICAL APPREHENSIONS: POST-PARTITIONED (1947) CONTEXTUAL IDEOLOGIES IN LIQUID MODERN ERA." Journal of Arts & Social Sciences 7, no. 2 (December 31, 2020): 150–61. http://dx.doi.org/10.46662/jass-vol7-iss2-2020(150-161).
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This research explores the diasporic experiences of South Asian immigrants and cultural ambivalence in Kiran Desai’s The Inheritance of Loss (2006). It highlights the conditions when East Pakistan had to adjust to an altogether new environment separated from their original culture after the Partition of this subcontinent in the year 1947. It reveals that the same historical, ideological, and thematic properties have been coming through generations and diasporic writers select these themes as their major subject of discussion. This research explores the varied nuances of family relationships in the writings of recent diaspora writers like Desai. The surge of globalization has washed away solitary identities. Theories presented by Homi K. Bhabha and Stuart Hall help this study in finding the answers of the proposed research question. This research provides a chance to understand the impact of Post-Partitioned (1947) ideologies behind the theme selection in the writings of diasporic Anglophone writers.
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Morales, Renata Santos de, and Juliana Figueiró Ramiro. "Gênero, raça e outramento em A question of power." Magma, no. 14 (December 27, 2018): 127–40. http://dx.doi.org/10.11606/issn.2448-1769.mag.2018.154409.
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Este artigo parte do entendimento de que o pós-colonialismo se apresenta, na literatura, para que o povo colonizado possa resistir às identidades que lhes são impostas. A partir da escrita de resistência, o dominado responde aos discursos que perpetuam a sua condição de estar no mundo e as relações de poder e subordinação as quais são submetidos. O nosso objetivo é observar a obra A Question of Power, da escritora sul-africana Bessie Head, a partir de um recorte de gênero e raça, fundamentado nos estudos de Jacques Lacan sobre o Outro, nas propostas de Gayatri Spivak a respeito dos conceitos de outramento e subalternidade e na concepção de ambivalência de Homi K. Bhabha. Acreditando que a leitura é possibilidade de encontro com a alteridade, propomos um movimento de questionar as estruturas que nos são impostas, como um primeiro passo para mudar a nossa existência no mundo.
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Zhou, Lingmin. "Constructing “The Third Space” On Eat a Bowl of Tea." Asian Social Science 14, no. 12 (November 29, 2018): 168. http://dx.doi.org/10.5539/ass.v14n12p168.
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Identity construction is always the motif of Chinese American literature. Many critical theories are adopted to analyze this issue. Homi K. Bhabha’s “the third space” is one of them. It refers to a place where it is not a combination of different positions, rather, it is “neither the One nor the Other but something else besides”. Eat a Bowl of Tea by Chinese American writer Louis Chu presents such Third Space. This paper first discusses the homogeneous old Chinatown culture which is patriarchal and impotent in Eat a Bowl of Tea and explains how Mei Oi causes the cultural split from this homogeneous culture by her independence and adultery. And then this paper discusses how the old Chinatown undergoes the cultural negotiation and finally realize its transformation. This paper points out that in this process of transformation, the characters construct their Third Space, which offers them hybrid identity and the sense of belonging.
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Pereira, Walquíria Rodrigues, and Ximena Antonia Díaz Merino. "Historia y esclavitud en Cuba: la memoria de Perro viejo en la narrativa de Teresa Cárdenas." Raído 14, no. 35 (November 17, 2020): 282–90. http://dx.doi.org/10.30612/raido.v14i35.12155.
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O objetivo deste estudo é identificar e analisar as estratégias discursivas pós-coloniais presentes no romance Perro Viejo (2005), de Teresa Cárdenas com o intuito de ressaltar estratégias de resistência contra o controle colonial e regime escravocrata em contraponto com os acontecimentos históricos que contribuíram para a desumanização do negro. Observaremos, mediante uma leitura reflexiva, a construção da imagem do negro escravizado em Cuba, mostrando como a história sofre influência quando é contada somente pelo lado hegemônico. A escritora reescreve os dramas da escravidão priorizando a narrativa dos silenciados pela história, reconstruindo memórias individuas e coletivas. Através da reescrita da figura do escravo Perro Viejo, encontramos a voz do excluído, que no meio da escravidão busca descobrir sua identidade. A partir de análises, pautadas nos estudos pós-coloniais, podemos recuperar o protagonismo histórico do sujeito escravizado. As análises desenvolvidas estão ancoradas nos estudos críticos de Fernando Ortiz (1940), Frantz Fanon (1961), Homi K. Bhabha (1998), Walter Mignolo (2003), Thomas Bonnici (2009) e Stuart Hall (2015).
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Kurz, Giovani T. "O TERRITÓRIO, A LITERATURA: EL ASCO E A FRONTEIRA." Caderno de Letras, no. 34 (October 24, 2019): 229. http://dx.doi.org/10.15210/cdl.v0i34.16815.
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Desenvolve-se, neste artigo, uma leitura do romance El asco: Thomas Bernhard en San Salvador, de Horacio Castellanos Moya, a partir das questões territoriais que ele toca e, por extensão, do problema da fronteira — seja no sentido político, seja no sentido estético. Para tanto, parte-se da filosofia de Leopoldo Zea, construída essencialmente em Discurso desde la marginación y la barbárie; do pensamento de Walter D. Mignolo, desenvolvido em Local Histories/Global Designs: coloniality, subaltern knowledges and border thinking; e das ideias sobre temporalidade e territorialidade apresentadas por Josefina Ludmer em Aquí América latina: una especulación. Chega-se, assim, à ideia do entre-lugar como lócus de enunciação do romance, problema abordado a partir de Silviano Santiago e, indiretamente, Homi K. Bhabha. Por fim, percebe-se, no romance, um narrador “em trânsito”, dividido entre passado e presente, Primeiro e Terceiro mundos.Palavras-chave: Literatura latino-americana; fronteira; Horacio Castellanos Moya; Josefina Ludmer; Walter Mignolo.
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Cahyono, Cahyono. "WARAK NGENDOG DALAM TRADISI DUGDERAN SEBAGAI REPRESENTASI IDENTITAS MUSLIM URBAN DI KOTA SEMARANG." Jurnal THEOLOGIA 29, no. 2 (December 27, 2018): 339. http://dx.doi.org/10.21580/teo.2018.29.2.2937.
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This research aims to explore how Warak Ngendog in the Dugderan tradition represents the identity of urban Muslim communities in the city of Semarang. This research also aims to expose the strength of the city's Muslim culture that has been maintained to this day. This study uses an identity theory approach by Peter J. Burke and Homi K. Bhabha about Hybrid culture, and several other extraordinary theories as supporting theories. This research uses a qualitative descriptive approach with the support of substantive information from archives and interviews with related figures. The results of this study emphasize that the dynamics of the religiosity of urban Muslim communities in Semarang City shape urban Muslim identity. Acculturation of the traditional culture of Javanese, Arab, and Chinese Muslims symbolizes the new religious and cultural rites as an inseparable part of the urban Muslim identity of Semarang City because there are social interactions in their involvement in religious rituals, traditions and culture.
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Nohe, Hanna. "Diventare estranea e marginale." apropos [Perspektiven auf die Romania], no. 5 (December 17, 2020): 88. http://dx.doi.org/10.15460/apropos.5.1598.
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In un momento in cui il discorso politico, sociale e mediatico rappresenta il tema della migrazione e della fuga come socialmente esplosivo, questo articolo analizza come nei racconti di Fra-intendimenti (2010) di Kaha Mohamed Aden la percezione di sé del soggetto migrante venga formata dagli stereotipi che la società di arrivo proietta su loro e come, allo stesso tempo, si rappresenti la vera complessità della realtà vissuta dal soggetto migrante attraverso una doppia referenzialità. Da una parte si ricorrerà alle riflessioni di Edward Said sulla costruzione europea ed egemonica dell’alterità e all’approccio di bell hooks, che si focalizza sulle intersezioni tra race e gender, per evidenziare le percezioni stereotipe della società di arrivo; dall’altra, il concetto di «Terzo Spazio» sviluppato da Homi K. Bhabha per segnalare le dinamiche di comunicazione in contesti migratori contribuirà a mostrare la complessità della realtà sperimentata dal soggetto migrante. Così, il lettore o la lettrice ha la possibilità di cambiare la propria percezione della realtà.
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Riaz, Wajid, Shaista Malik, and Bakht Rahman. "Quest for Identity in Bapsi Sidhwa’s An American Brat: A Postcolonial Perspective." Liberal Arts and Social Sciences International Journal (LASSIJ) 1, no. 1 (December 31, 2017): 32–40. http://dx.doi.org/10.47264/idea.lassij/1.1.4.
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Diasporic dislocation due to transcending boundaries and its consequences is a much-focused issue in postcolonial literature. All those writers who are living in a foreign culture have faced this issue. Therefore, the clash between the indigenous and the foreign cultures splits their personalities and they search for their identity. The present research is intended to explore the implicit optimism in diasporic dislocation and its consequences in Bapsi Sidhwa’s An American Brat (2012). This is a qualitative research using an eclectic approach, which is the combination of Edward Sarian and Homi K Bhabha frameworks. The results show that identity crisis is a pertinent concept in diasporic literature and the protagonist in the novel under discussion goes certain transformations. In this process, the heroin of the novel faces a dislocation and a cultural crisis in terms of her cultural identity. She could not assimilate a foreign culture completely due to her indigenous cultural roots to apply Said’s terminology.
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Chittiphalangsri, Phrae. "Trauma, Repressed Memory, and the Question of ‘Authenticity’: Reading see Under: Love and Beloved Through Bhabha." MANUSYA 8, no. 4 (2005): 43–56. http://dx.doi.org/10.1163/26659077-00804003.
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Trauma and the repressed memory of Jewish Holocaust survivors and African- American slaves are issues that require the notion of ‘authenticity’ in fictional representation. The Zionist discourse demands that Holocaust fictions be written by true witnesses of the genocide and with respectful seriousness, for the Holocaust is a sacred, incomparable phenomenon in Jewish history. In the same manner, the Black American narrative needs authenticity to articulate the Black’s own voice, which has been predominately constructed by White Americans since the early history of America. David Grossman’s See Under: Love (1999) nevertheless deals with the problem of ‘authenticity’ in describing the Holocaust, despite the fact that the writer never experienced the Holocaust directly and even wrote it in a postmodern, humorous, and fantastic manner. Likewise, Toni Morrison’s Beloved (1987) introduces a new way to write an authentic African- American narrative, i.e. magical realism. This essay explores the problem of authenticity by applying Homi K. Bhabha’s cultural theory to analyse it in four parts. The first part investigates the causes and the culturally specific backgrounds of the Zionist and the American Africanist’s views towards ‘authenticity’ in literary representation. The second part clarifies the argument by situating ‘authenticity’ in Bhabha’s framework of the pedagogical. The third part furthers the argument by detailing the performative use of the fantastic and magical realism to render the effect of liminality. The last part concludes the notion of ‘authenticity’ by pointing out the supplementary aspect of Bhabha’s theory when applied to the two novels.
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Arasteh, Parisa, and Hossein Pirnajmuddin. "The Mimic (Wo)man ‘Writes Back’: Anita Desai’s In Custody." International Letters of Social and Humanistic Sciences 27 (May 2014): 57–66. http://dx.doi.org/10.18052/www.scipress.com/ilshs.27.57.
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This article aims to trace the articulation of resistance in terms of gender and the postcolonial condition in Anita Desai’s In Custody (1984). As one of the most prominent post-Independence Indian writers of her time, Anita Desai has been a strong voice in portraying the Indian domestic sphere. Accordingly, one of the main concerns of Desai’s novels has been the representation of women and their struggles against patriarchal and colonial oppression. Though promising in many aspects, the political Independence of 1947 failed to unburden women from the ideal visions of womanhood promoted both by traditional community and colonialists in India. The present study focuses on the portrayal of women and female instances of resistance and the spaces through which they manage to survive in a male-dominated Post-Independence Indian society. Since the 1980s, Homi K. Bhabha has opened up a wide variety of critical issues fundamental to the understanding of colonial and post-colonial condition. His theorization of the idea of ‘mimicry’ is used in order to explore the socio-cultural interrelations Desai’s novel seeks to reveal.
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Faizah, Afifah. "Ambivalensi Identitas dalam Novel Black Bazar karya Alain Mabanckou." Jurnal Bahasa dan Sastra 9, no. 2 (May 4, 2021): 79. http://dx.doi.org/10.24036/jbs.v9i2.112003.
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Black Bazar merupakan salah satu novel karya penulis frankofon yang berasal dari Republik Kongo, yaitu Alain Mabanckou. Novel ini bercerita tentang kehidupan tokoh Fessologue di Paris sebagai seorang pria imigran kulit hitam yang berasal dari Republik Kongo. Lingkungan sosial yang baru membuatnya harus meniru perilaku orang Prancis agar dapat berintegrasi di sana. Artikel ini membahas pencarian identitas Fessologue melalui peniruan yang menyebabkan keadaan ambivalen. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dengan kajian naratologi Gérard Genette dan analisis struktur naratif Roland Barthes dengan diperdalam menggunakan teori representasi dan identitas Stuart Hall, serta teori hibriditas budaya Homi K. Bhabha. Hasil penelitian menunjukkan bahwa penokohan dan latar cerita menggambarkan ambivalensi identitas budaya tokoh Fessologue. Peniruan-peniruan yang dilakukan Fessologue tercermin dalam gaya berpakaian, gaya hidup, dan cara berpikirnya agar sama dengan orang Prancis. Proses peniruannya tersebut tidak terus berlanjut sehingga timbul ambivalensi dalam dirinya karena berada di antara dua budaya, yaitu budaya Prancis dan Kongo. Keadaan ambivalen menyadarkannya bahwa tidak ada budaya yang murni sehingga tidak perlu mengagungkan kemurnian suatu identitas budaya.