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Journal articles on the topic 'Postcolonial mimicry'
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Owen, Catherine, John Heathershaw, and Igor Savin. "How postcolonial is post-Western IR? Mimicry and mētis in the international politics of Russia and Central Asia." Review of International Studies 44, no. 2 (October 25, 2017): 279–300. http://dx.doi.org/10.1017/s0260210517000523.
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AbstractScholars of International Relations have called for the creation of a post-Western IR that reflects the global and local contexts of the declining power and legitimacy of the West. Recognising this discourse as indicative of the postcolonial condition, we deploy Homi Bhabha’s concept of mimicry and James C. Scott’s notion of mētis to assess whether international political dynamics of a hybrid kind are emerging. Based on interviews with Central Asian political, economic, and cultural elites, we explore the emergence of a new global politics of a post-Western type. We find that Russia substantively mimics the West as a post-Western power and that there are some suggestive examples of the role of mētis in its foreign policy. Among Central Asian states, the picture is more equivocal. Formal mimicry and mētis of a basic kind are observable, but these nascent forms suggest that the dialectical struggle between colonial clientelism and anti-colonial nationalism remains in its early stages. In this context, a post-Western international politics is emerging with a postcolonial aspect but without the emergence of the substantive mimicry and hybrid spaces characteristic of established postcolonial relations.
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Siltaoja, Marjo, Katariina Juusola, and Marke Kivijärvi. "‘World-class’ fantasies: A neocolonial analysis of international branch campuses." Organization 26, no. 1 (May 27, 2018): 75–97. http://dx.doi.org/10.1177/1350508418775836.
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In this article, we build on postcolonial studies and discourse analytical research exploring how the ‘world-class’ discourse as an ideology and a fantasy structures neocolonial relations in international branch campuses. We empirically examine how international branch campuses reproduce the fantasy of being so-called world-class operators and how the onsite faculty members identify with or resist this world-class fantasy through mimicry. Our research material originates from fieldwork conducted in business-school international branch campuses operating in the United Arab Emirates. Our findings show the ambivalent nature of mimicry towards the world-class fantasy to include both compliance and resistance. Our contributions are addressed to postcolonial management studies by discussing the ambivalent nature of mimicry in international branch campuses and the significance of grandiose constructions in organizations for neocolonial relations.
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Islam, Dr MD Rakibul, and DR Nazia Hasan. "Kim and Kip in the Mirror of Mimicry: A Postcolonial Study." Grove - Working Papers on English Studies 27 (December 14, 2020): 25–40. http://dx.doi.org/10.17561/grove.v27.a2.
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The research paper aims to give an accurate account of how Kirpal Singh/Kip in The English Patient by Michael Ondaatje copies the socio-cultural and linguistic norms of the Europeans (colonizers) unlike Kipling’s Kim who emulates the Eastern people (colonized) and their culture. They are examples of going through a long drawn process of growing up, looking into the mirror of mimicry. Kip joins the English army as a grown up, learns the need to show affinity to the new culture by way of imitation, adopting their ways to weave a comfort zone. Being different could be an assaulting fact for both sides, Kip is quick to realize that. But his childish view of looking down upon his native culture is the irony of mimicry. It wipes out the original being to rewrite a new identity. Kip leaves the small community sprouted accidentally in the Italian monastery, showing traces of a stricken conscience. Kim, by the virtue of living in close company of Indians, adopts their habits and manners without any qualm, in a most unconscious manner. He never worries to look or sound his original self which he has not experienced for long. Thus, a kind of reverse mimicry is his fate and character when we look at him as an outsider living as an Indian native. The ambivalence of their characters, presented by both, is an interesting aspect of mimicry. In the paper, we have used the views of postcolonial and cultural literary theorists on mimicry, deliberating upon how with the effect of both the processes, Kip and Kim, consciously or unconsciously, get their national identity peeled off, affixing new hybrid identity.
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Darmawan, Ruly Indra. "Revisiting Bhabha’s Mimicry in George Orwell’s Animal Farm." PIONEER: Journal of Language and Literature 12, no. 2 (December 31, 2020): 141. http://dx.doi.org/10.36841/pioneer.v12i2.731.
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This paper talks about Bhabha’s Mimicry’s idea in Orwell’s novel entitled Animal Farm. Postcolonialism theory is used to analyze the Animal Farm since the novel portrays the dynamic of animals’ lives after being freed from human colonization. Bhabha’s mimicry is utilized to demonstrate Napoleon and his pig family as the principal data that portrays animals that are imitating a human as a result of human’s colonization. The animal is known as the foe of humankind on the ranch that they live. Mimicry ideas utilized are Bhabha’s both ambivalence and term the same but not quite. Those ideas are practised to uncover the pig’s propensity and act that represents postcolonial discourse. The mimicry in Animal Farm begins with Old Major’s discourse that is contaminating all animals on the ranch with his feeling of inadequacy towards the man. It results in another form of colonization directed to the animals as the colonized.
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Iskarna, Tatang. "KOMPLEKSITAS POSKOLONIAL DALAM PUISI “NYANYIAN LAWINO” KARYA OKOT P’BITEK." Adabiyyāt: Jurnal Bahasa dan Sastra 10, no. 2 (December 31, 2011): 259. http://dx.doi.org/10.14421/ajbs.2011.10203.
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This article discusses how an African woman faces the postcolonial complexity as presented in the poem “Song of Lawino” (1966), written by Okot p’Bitek, an Uganda writer. The postcolonial complexity here means the difficult situation of decolonizing process as a result of a cultural clash between local African and Western culture, which has been internalized by some African people. The internalization of the Western culture creates self-hatred racism of African people, political group dispute, woman oppression, and mimicry. Using postcolonial perspective, which is proposed by Franz Fanon, Aime Caesar, and Homi K. Bhaba, the writer analyzes how this poem portrays three phenomena of postcolonial complexity. This postcolonial complexity is investigated through the conflict and the characters in the poem.
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Suwondo, Tirto. "KAJIAN WACANA SASTRA PASCAKOLONIAL DAN PEMBANGUNAN KARAKTER BANGSA." JENTERA: Jurnal Kajian Sastra 3, no. 2 (September 7, 2017): 95. http://dx.doi.org/10.26499/jentera.v3i2.440.
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This article talks about Indonesia literature postcolonial discourse in relation to characters building (nation). The approaches used are postcolonial and pragmatic. Postcolonial approach is used to study the meaning of texts, while pragmatic is used to study the meaning of contexts. The postcolonial approach proves that Indonesia literature texts indicate the existence of postcoloniality in the form of power relation, double identities, mimicry, and resistence. The pragmatic approach shows that postcoloniality can be used by readers as a reference to various temathical ideas; and those ideas can also be made as a projection for characterized self building (nation). AbstrakArtikel ini membahas wacana pascakolonial sastra Indonesia dalam kaitannya dengan pembangunan karakter bangsa. Pendekatan yang digunakan adalah pascakolonial dan pragmatik. Pascakolonial digunakan untuk membahas makna teks, sedangkan pragmatik digunakan untuk membahas makna konteks. Hasil pembahasan pascakolonial membuktikan bahwa teks-teks sastra Indonesia menunjukkan adanya pascakolonialitas yang berupa relasi kuasa, identitas ganda, mimikri, dan resistensi. Hasil pembahasan pragmatik menunjukkan bahwa pascakolonialitas itu oleh para pembaca dapat digunakan sebagai referensi berbagai gagasan tematis; dan gagasangagasan tematis itu dapat pula dijadikan sebagai proyeksi bagi pembangunan diri (bangsa) yang berkarakter
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Lothspeich, Pamela. "Chasing the Parsi Theatre in Bareilly." TDR/The Drama Review 59, no. 2 (June 2015): 9–45. http://dx.doi.org/10.1162/dram_a_00447.
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A contemporary restaging of Pandit Radheshyam Kathavachak’s mythological play Heroic Abhimanyu in the style of Parsi theatre raises questions about postcolonial mimicry, hybrid theatre forms, and the vicissitudes of reviving traditional theatre in India.
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Zeghal, Malika. "On the Politics of Sainthood: Resistance and Mimicry in Postcolonial Morocco." Critical Inquiry 35, no. 3 (January 2009): 587–610. http://dx.doi.org/10.1086/600093.
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Watson, Jini Kim. "Imperial mimicry, modernisation theory and the contradictions of postcolonial South Korea1." Postcolonial Studies 10, no. 2 (May 15, 2007): 171–90. http://dx.doi.org/10.1080/13688790701348565.
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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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Anantama, Muharsyam Dwi, Sahid Teguh Widodo, and Budhi Setiawan. "Hybridity and Mimicry in the Novel Pangeran Dari Timur Iksaka Banu's Work." International Journal of Multicultural and Multireligious Understanding 8, no. 1 (January 3, 2021): 32. http://dx.doi.org/10.18415/ijmmu.v8i1.2211.
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This study aims to describe and interpret the hybridity and mimicry in Iksaka Banu's novel, Pangeran dari Timur. This research is a descriptive qualitative study with a postcolonial approach. The data in this study are symptoms of hybridity and mimicry in the data source, namely the novel Pangeran dari Timur by Iksaka Banu. Data were collected using reading and note-taking techniques. The collected data then analyzed using the interactive analysis technique of Miles and Huberman. The results show that in the novel Pangeran dari Timur by Iksaka Banu, there is hybridity which includes the educational hybridity, fashion style, and the meaning of transportation. The mimicry contained in the novel is in the form of imitating lifestyle, ways of dressing, and transportation instrument.
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Dasgupta, Sandipto. "Gandhi’s Failure: Anticolonial Movements and Postcolonial Futures." Perspectives on Politics 15, no. 3 (August 18, 2017): 647–62. http://dx.doi.org/10.1017/s1537592717000883.
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M.K. Gandhi was the undisputed leader of India's struggle for independence. Yet his vision for postcolonial India was completely marginalized at the moment of decolonization. The article takes this seemingly paradoxical juncture as the vantage point from which to offer a critique of Gandhi's political thought and more broadly an analysis of the shift from anticolonial movements to postcolonial rule. Through the voices of Gandhi's two most significant contemporary critics—B.R. Ambedkar and Jawaharlal Nehru—the article shows how his ideas failed to either inspire the struggle of the ruled (Ambedkar), or address the anxieties of the would-be rulers (Nehru). Gandhi's vision for a postcolonial India persisted within the conceptual constellation of negating colonial modernity, rather than the historical possibilities of postcolonial futures. These predicaments provide an opportunity to analyze the persistence of modern western political imaginaries in the decolonized world. Not through mere assertions of continuity or mimicry, but rather through the concrete struggles, aspirations, and anxieties that constituted the strands of those transitional moments.
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Iqbal, Liaqat, Irfan Ullah, and Abdur Rehman. "Postcolonial perspective in No Longer at Ease and A Passage to India." Global Language Review III, no. I (December 30, 2018): 114–25. http://dx.doi.org/10.31703/glr.2018(iii-i).07.
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Postcolonialism with its various aspects is focused in this paper. The present study highlights the key postcolonial issues in Chinua Achebe’s novel No Longer at Ease and E. M. Forster’s novel A Passage to India. While keeping in view length of the chapters, only the first chapter of No Longer at Ease and the first three chapters of A Passage to India have been analyzed and discussed. The postcolonial issues found in these novels are ambivalence, stereotyping, mimicry, hybridity, representation, orality, binarism and marginalization. Almost both of the novels got these issues in some proportion with different contexts but still with many similarities.
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Oh, Chuyun. "Performing Post-Racial Asianness: K-Pop's Appropriation of Hip-Hop Culture." Congress on Research in Dance Conference Proceedings 2014 (2014): 121–25. http://dx.doi.org/10.1017/cor.2014.17.
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Drawing on theories from performance studies, dance studies, and critical race studies, this paper explores the ways in which Korean pop (K-pop)'s appropriation of hip-hop reveals a complex moment of global cultural flow. Western audience reception of K-pop is likely limited to framing K-pop either as a form of contemporary minstrelsy or a postcolonial mimicry, e.g., making fun of African American culture or a bad copy of American pop. This perspective, however, understands K-pop through the lens of American culture and only considers external signs of the performances. It fails to capture the local context in Korea, such as how and why the performers appropriate hip-hop, such as the process of embodiment and training process to learn hip-hop movement, rhythm, and styles, etc. By analyzing K-pop singer G-Dragon's (GD) music videos, this paper argues that Koreans' appropriation of American culture is neither minstrelsy nor postcolonial mimicry. K-pop's chameleonic racial and gender hybridity reveals incommensurability of contemporary Asian-ness, which I have called post-racial Asian-ness as non-racialization.
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Sealey, Kris. "Resisting the Logic of Ambivalence: Bad Faith as Subversive, Anticolonial Practice." Hypatia 33, no. 2 (2018): 163–77. http://dx.doi.org/10.1111/hypa.12404.
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This article critiques Homi Bhabha's proposal that mimicry, as a transgressive performance of ambivalence, disrupts the colonial violence of the stereotype, and as such, generates emancipatory conditions for postcolonial subjects. I am critical of this naming of mimicry as enabling a possible liberation from colonial violence not only because it fails to address the loss of belonging that significantly marks the experience of being so violated, but also because it seems to intensify this loss in the hybridity and fragmentation that it celebrates. Through the work of María Lugones and Mariana Ortega, I propose a reimagined sense of Sartrean bad faith as one that corrects for this failure. This account of bad faith—as subversive, anticolonial practice—legitimizes my longing for a stability made impossible by the violent ambivalence that pervades both the colonial and postcolonial condition. Lugones's accounts of multiplicity and ontological plurality, as well as Ortega's conception of hometactics, help me argue that this reimagined conception of bad faith ought to be considered productive when it comes to existential strategies that pursue the possibility of free black life.
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Saikia, Giteemoni. "Mimicry in Postcolonial Nigerian literature with special reference to Chimamanda Ngozi Adichie’s ‘Americanah’." Think India 22, no. 3 (September 27, 2019): 1641–59. http://dx.doi.org/10.26643/think-india.v22i3.8553.
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Purpose of the Study: The purpose of the paper is to offer a study on the work of Adichie through the approach of Homi K. Bhabha’s concept of mimicry.
Methodology: The study is based on both primary and secondary data. However, the study is mostly based on secondary data such as published literature, books and journals etc.
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Peimanfard, Shima, and Fazel Asadi Amjad. "“Mimic woman” or “Abject Subject”? Crisscrossing Glances of Postcolonial and Psychoanalytic Theories in Rhys’s Wide Sargasso Sea." Advances in Language and Literary Studies 9, no. 1 (March 1, 2018): 75. http://dx.doi.org/10.7575/aiac.alls.v.9n.1p.75.
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This study intends to examine the intersections of Postcolonilism and Psychoanalysis in Rhys’ literary oeuvre, Wide Sargasso Sea. In the light of Kristeva’s Abjection theory, the paper challenges Bhabha’s notions of hybridity, mimicry and ambivalence as he accentuates them as a form of resistance against White hegemony. Notwithstanding Bhabha’s arguments, the novel also indicates that the hybrid woman’s mimicry of whiteness subjects her to an ambivalent space, which not only make her incapable of distorting the master’s hegemony, it dooms her to get lost in a constant psychotic delirium and abjection.
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Hasanthi, D. R. "The Mimic Man in Kiran Desai’s The Inheritance of Loss." Shanlax International Journal of English 9, no. 2 (March 1, 2021): 48–57. http://dx.doi.org/10.34293/english.v9i2.3737.
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Spread over continents, countries and cultures, Kiran Desai’s The Inheritance of Loss (2006) takes us on a tour de force into the realms of multiculturalism and hybridity in Indian culture. It focuses on the changing face of India, amidst East - West encounter, globalization and glocalization. The novel as a postcolonial text puts forth, the authority politics of cultural imperialism, even after the independence of India. This paper appraises the novel using Homi. K. Bhabha’s theory of mimicry, hybridity and ambivalence. It concentrates on the mimic man of the novel Judge Jemubhai Patel. This paper focuses on the hybridization of culture along with the making of reformed hybrids who are in a constant conflict with their identity, language and culture on account of the praxis between the culture of the colonized and the colonizer during and after colonization of the colonized. This paper recommends proper mapping of mimicry and hybridity with indigenous culture, values and ethics. It advocates sowing and stringing in cultural amalgamation and westernization in indigenous Indian culture and ethos for a better life and better Indian society.
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Azeem, Muhammad, M. K. Sangi, and Komal Ansari. "FOREGROUNDING OF POSTCOLONIAL ELEMENTS IN HANIF KUREISHI’S THE BLACK ALBUM." Humanities & Social Sciences Reviews 9, no. 3 (June 19, 2021): 1018–26. http://dx.doi.org/10.18510/hssr.2021.93100.
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Purpose of the study: This study aims to examine the postcolonial elements i.e, hybridity, mimicry, and ambivalence concerning Hanif Kureishi’s novel The Black Album (1995). The protagonist of the novel faces religious, economic, social, racial, and ethnic identities in a tormenting and perturbing social order of England.
Methodology: This article is based on inductive reasoning and thus exploratory due to its qualitative nature. A close reading method is applied to the text of this paper. For this purpose, the researcher has read carefully the book Close Reading (The Basics 2018) by David Greenham. The method consists of five stages through which the paper scrutinized.
Main Findings: The researcher endeavors to find out religious, economic, ethnic, cultural, and social factors behind the identity crisis faced by the protagonist. Hybridity, mimicry, assimilation, and ambivalence play a very vital role in the social life of the protagonist. The researcher found that Shahid Hassan is caught between two identities i.e, Islamic fundamentalism and liberalism. Islamic fundamentalism offered him much peace and satisfaction with the Islamic religion whose leader is Riaz Al Husain but the liberalism attracts his attention with drugs, sex, music, freedom, rock n` rolls, and carefree life in form of Deedee Osgood who is his mentor and is a college lecturer too. He becomes the victim of hybrid identity and remains in an ambivalent state of mind. Being a British immigrant, he always remains in search of his true identity. Being a postcolonial novel, it helps the students, teachers, and literature lovers to know about the biased and rude behaviour of the whites towards non-whites.
Application of the study: Foregrounding of postcolonial elements is very significant only in the field of postcolonial study because it highlights economic, religious, political, social, cultural, and ethnic factors of identity crisis.
Novelty/Originality of this study: This study is an original contribution as it examines the economic, political, racial, social, and ethnic issues faced by the protagonist. The researcher employed Homi Bhabha’s postcolonial elements to examine the identity crisis faced by the protagonist. Moreover, the close reading method for data analysis is based on originality as well as novelty.
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Hays, Colleen. "Beur–French romances in French comedies: Postcolonial mimicry or a challenge to essentialist identities?" Journal of European Studies 46, no. 3-4 (September 24, 2016): 312–25. http://dx.doi.org/10.1177/0047244116664643.
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Ijabs, Ivars. "Another Baltic Postcolonialism: Young Latvians, Baltic Germans, and the emergence of Latvian National Movement." Nationalities Papers 42, no. 1 (January 2014): 88–107. http://dx.doi.org/10.1080/00905992.2013.823391.
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This article looks at the emergence of Latvian nationalism in the mid-nineteenth century from the intercultural perspective of postcolonial theory. The writings of early Young Latvians, and the reaction to them from the dominant Baltic German elite, show that the emergence of a modern Latvian nationalism is to a large extent due to postcolonial mimicry, as described by Homi Bhabha. Attempts to imitate German cultural models and to develop a Latvian high culture lead to hostile reactions from the German side, which, in their turn, lead to increasing consolidation of Latvian nationalism. Since the Baltic German elite increasingly legitimized its rule in terms of cultural superiority, the Young Latvians’ alliance with the Russian Slavophiles led it to treat the Latvian nationalists as culturally inferior and partly Asiatic, like the Russians.
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Awan, Nishat. "Words and objects in transposing desire and making space." Architectural Research Quarterly 12, no. 3-4 (December 2008): 263–68. http://dx.doi.org/10.1017/s135913550800119x.
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In this article I will explore the relationship between space, language and objects and interrogate the role of language as a signifier for the transformation of space through cultural difference. My work is informed by the context and the methods of postcolonialism and specifically the notion of hybridity. If the hybridity of a postcolonial identity is acknowledged, then the space where these identities are negotiated could also be seen as sharing qualities of overlap and mixing. Influenced by psychoanalytic theories of the self and its relation to others, postcolonial theory has used strategies of ‘mimicry’ and ‘hybridity’ as motifs to provide a vocabulary that shifts colonial relations out of the dialectic of oppressor and oppressed. But following Lefebvre's idea that all space is social space, and Foucault's spatialisation of power, the move from the historic preoccupation with time to a spatialisation of the processes of knowledge production, allows postcolonial thinking to go beyond the complicities of identity politics, which has been one of the major criticisms of this mode of thought. As an architect, this opens up certain possibilities of interrogating postcolonial subjectivity through the spaces that are occupied and used by those who are implicated within it. This paper will focus on one such space: a park in East London.
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Samuel, Simon. "THE BEGINNING OF MARK: A COLONIAL/ POSTCOLONIAL CONUNDRUM." Biblical Interpretation 10, no. 4 (2002): 405–19. http://dx.doi.org/10.1163/15685150260340761.
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AbstractThis article reads the Markan beginning (Mark 1:1), arguably the superscription, from a postcolonial perspective. It examines whether or not Mark begins the story of Jesus as a pro- or anti- or postcolonial response to the colonist Roman and certain relatively dominant native Jewish nationalistic and collaborative discourses of power. This reading is informed by the postcolonial theoretical concepts of mimicry, ambivalence and hybridity. It examines the consensual-conflictual hybridity of 'Aρχη τoυ ευαγγελιoυ 'Iησoυ Xριστoυ [υιoυ εoυ], firstly in the Roman imperial context of 'Aρχη τoυ ευαγγελιoυ Kαισαρoυ υιoυ εoυ, and secondly in the native Jewish nationalistic and collaborative discursive contexts. Attention is given to the potential interface of this category of words, codes and symbols in Mark with their occurrences in the imperial cult and in the biblical and postbiblical discourses. I argue that, while adhering to these words, codes and symbols of the Roman and Jewish discourses, Mark potentially creates an element of indetminancy and disruption of meaning. This may perhaps be with a view to create a voice of its own that is affiliative and disruptive to both the Roman colonial and the native Jewish nationalistic and collaborative voices. This article thus sheds light to the affiliative alterity of Mark, a characteristic of most postcolonial discourses whether ancient or modern. This reading is informed by my own postcolonial experience of being born and bred in a minority community in postcolonial 'India' and also by the experiences of being the 'other' in the former colonial masters' mother country. My own ambivalent affiliative-antagonistic attitude toward both countries and their discourses of power inform my reading.
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Sinha, Paresha N., and Dharma Raju Bathini. "Resistance toward dominant US work practices in emerging markets." critical perspectives on international business 15, no. 4 (October 7, 2019): 323–40. http://dx.doi.org/10.1108/cpoib-11-2017-0083.
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Purpose The purpose of this study is to apply the dominance effect theory and postcolonial notions of “otherness” to critically study the enactment of mimicry at IndianBread, an Indian fast-food chain that has adopted work practices typically found in US fast-food multinational enterprises (MNEs). Design/methodology/approach The authors used an interpretive sensemaking case study approach and collected qualitative data drawing on observations, notes from the company policy manual and in-depth interviews with eight staff at an IndianBread outlet. Data were also collected during informal interactions with staff at three other IndianBread outlets. The analysis focused on the enactment of mimicry and studied the postcolonial dynamics between managers and migrant workers to explain their resistance to the adoption of US work practices. Findings Work practices of US fast-food MNEs such as the standardization of workers’ appearance and basic “Englishization” such as greeting customers in English had been adopted at the IndianBread outlet. However, migrant workers resisted enforcement by contesting the superiority and relevance of these US work practices. The workers’ resistance was accommodated by local managers to pacify and retain them. Research limitations/implications The analysis contributes to a deeper understanding of the dynamics of resistance to the dominant influence of US work practices in emerging market firms. It expands current notions of “otherness” by presenting the perspective of “local” managers and migrant workers. The authors show how worker resistance embedded in their “identity work” involves contesting notions of “inferiority” of local work practices and selves. In the case of managers, accommodating resistance maintains their “legitimacy of dominance”. To that end, the study explains how the need to mimic US work practices is enforced, contested and ultimately diluted in competitive local firms in rising India. Practical implications The organizationally grounded data show how managerial accommodation of workers’ resistance to US practices creates a more flexible working environment that dilutes migrant workers’ sensitivity to their exploitation at the fast-food outlet. Social implications The findings identify the link between mimicry and resistance by the “other,” the ambivalence of the colonizing agent and the ongoing material exploitation within emerging economies. Originality/value To that end, the study explains how the need to mimic the US work practices is enforced, contested and ultimately diluted in the context of the competitive local firms in India.
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Ndi, Gilbert Shang. "On the aesthetics of mimicry and proliferation: interrogations of hegemony in the postcolonial public sphere." English in Africa 44, no. 2 (August 4, 2017): 93. http://dx.doi.org/10.4314/eia.v44i2.4.
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Yasa, I. Nyoman, Anang Santoso, and Roekhan. "The Resistance of Slave in Colonial Era toward Surapati by Abdoel Moeis." International Journal of Linguistics, Literature and Culture 3, no. 1 (January 27, 2017): 70. http://dx.doi.org/10.21744/ijllc.v3i1.366.
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This descriptive qualitative research is done based on slave and slavery problem in Indonesia in literary work. It is executed by using deconstruction technique, and it has the goals to describe: (1) The relation between colonials and colonialized people in Surapati novel and (2) The resistance of slave to the employer, and (3) The characteristics of Surapati novel in postcolonial perspective. The result of this research shows that the relation between colonials and colonialized people, it is between Dutch and Indonesian indigene is an unbalanced relation. Dutch’s domination toward indigene is shown through Dutch’s prejudices toward indigene, animal stereotyping to indigent, and skin color discrimination which is constructed by colonial. Dutch viewed themselves are more civilized than indigene because they have white skin color, otherwise indigene have black skin color, or not white. This point of view is reconstructed in their mind and attitude, so there is a stereotype that indigene is uncivilized, negligent, lazy, and like an animal (monkey). The impact of this domination (discrimination, racism, and marginalization) makes indigene perform resistance. Resistance is done by slave/indigene in form of mimicry, and mockery that mocking Dutch colonial as an effort to destroy their power. The mimicry and mockery show the hybrid attitude of slave/indigene, so the discourse that is constructed in Surapati novel is ambiguous. So that, in postcolonial perspective this novel can be said having ambiguous characteristics. In one side it constructs opponent discourse, but in another side it is hegemonies by colonial discourse.
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Mayasari, Fitria. "NEGOSIASI BUDAYA DAN DIALEKTIKA KEKUASAAN DALAM DISKURSUS (POS)KOLONIAL: DISKUSI TENTANG A BACKWARD PLACE KARYA R. P. JHABVALA (Cultural Negotiation and Power Dialectics in (Post)Colonial Discourse: A Discussion on R. P. Jhabvala’s A Backward Place)." METASASTRA: Jurnal Penelitian Sastra 9, no. 2 (January 5, 2017): 201. http://dx.doi.org/10.26610/metasastra.2016.v9i2.201-210.
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Penyajian sejumlah teks sastra poskolonial berusaha mengubah citra dunia ketiga dalam dikotomi kaku dunia pertama/dunia ketiga, namun malah menunjukkan apa yang disebut Bhabha colonial mimicry di mana permasalahan ‘nativism’ justru mengasingkan isu identitas (origin) dan membentuk situs kekuasaan baru (Gandhi, 1998). Karya-karya Ruth Prawer Jhabvala, khususnya novel A Backward Place, mengindikasikan gejala tersebut. Esai ini membahas negosiasi budaya dan dialektika kekuasaan yang mengaburkan batasan-batasan biner kerangka pemikiran kolonial. Pendekatan yang digunakan dalam analisis adalah pendekatan poskolonial. Analisis dalam esai ini berfokus pada persilangan kedua ideologi yang bertentangan pada ranah publik dan pada ranah domestik. Esai terlebih dahulu memetakan relasi kuasa di antara pribumi dan ekspatriat dalam narasi. Selanjutnya, negosiasi budaya dan dialektika kekuasaan dibahas berdasarkan pemetaan tersebut. Persilangan dua ideologi yang bertentangan dalam pemetaan kekuasaan yang sudah dianalisis menghasilkan narasi yang ambivalen.Abstract: Many of postcolonial texts attempts to change the third world image within the rigid dichotomy first world/third world. However, their presentation ended up being what Bhabha called colonial mimicry in which the problem of ‘nativism’ alienates orginal identity and creates a new power site (Gandhi, 1998). Ruth Prawer Jhabvala’s works, specifically the novel A Backward Place, indicate the exact symptoms. This essay discusses cultural negotiation that blur boundaries between colonial dichotomy using postcolonial approach. Analysis focuses on the crossings of two contradicting ideologies both in public and domestic spheres. First, power relation between the natives and expatriats in the narrative is mapped. Second, cultural negotiation and power dialectics is discussed based on that power relation mapping. The crossings of two conflicting ideologies is making the narrative ambivalent.
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Tallapessy, Albert, Indah Wahyuningsih, and Riska Ayu Anjasari. "Postcolonial Discourse in Coogler’s Black Panther: A Multimodal Critical Discourse Analysis." Jurnal Humaniora 32, no. 1 (January 31, 2020): 75. http://dx.doi.org/10.22146/jh.47234.
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This article deals with the investigation of the existence of postcolonial discourse in Coogler’s Black Panther (2018). The study aims to reveal and examine the existence of social issues related to Bhabha’s notion of postcolonialism represented through visual and linguistic elements in the movie. Fairclough’s (1989,2001, 2010) Critical Discourse Analysis, Kress and van Leeuwen’s (2006) Reading Images, Halliday’s Systemic Functional Linguistics (2004) and Bhabha’s (1994) Postcolonialism are used to conduct this research. The result of the study shows that postcolonial discourse is proved represented in the movie. The findings imply that the post colonialism affects the characters in term of how they see and reflect themselves towards the dominance. They are also identified as possessing hybrid identity, ambivalence, and mimicry. It seems that the result of the research opposes the director’s intention to bring the theme of the movie. Theoretically, it is proved that the social irregularities representing black supremacy and exploitation of the citizen of Africa, Wakanda, is depicted in the movie. Empirically, the existence of nondemocratic social practices in black citizens is also seen in the movie.
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Vetinde, Lifongo. "Reels of Conflicting Paradigms The Black Filmmaker and Africa's Transitional Dilemmas." Matatu 40, no. 1 (December 1, 2012): 457–88. http://dx.doi.org/10.1163/18757421-040001030.
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Since its debut in the 1960s, African cinema, like other popular cultural forms, has played, and continues to play, a role in the discursive and representational practices which shape specific ideas of African nationhood. This essay explores the ways in which African filmmakers dramatize, explicitly or implicitly, the postcolonial transitional dilemmas their nations face in a context of cultural mimicry with its inherent ideological contradictions. It focuses principally on (Senegal, 1974) by Ousmane Sembène, (1988, Burkina Faso) by Gaston Kaboré, (1991, Cameroon) by Bassek ba Kobhio, (Burundi, 1992) by Léonce Ngabo, and (Zimbabwe, 1993) by Godwin Mawuru.
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Thomson, Kelly, and Joanne Jones. "Being and becoming a professional accountant in Canada." critical perspectives on international business 11, no. 2 (May 5, 2015): 156–72. http://dx.doi.org/10.1108/cpoib-10-2012-0045.
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Purpose – The purpose of this study was to explore how the migration experiences of international accounting professionals were shaped by colonial structures and how, through their interactions with other professionals, migrants hybridize their professional identities and the profession in Canada. Design/methodology/approach – A post-colonial analysis of the career narratives of international accounting professionals who migrated to Canada. Findings – This paper illustrates how explicit and formal requirements for transformation, as well as the more subtle informal demands of employers and clients, require non-Western professionals to transform personal characteristics in ways that make them more “Canadian” or “professional”. Findings show that mimicry takes many forms, with some professionals becoming “consummate mimics”, while others discuss their transition in ways that highlight resistance (“reluctant mimics”) and the demands that systematically frustrate and exclude many non-Western professionals from full participation in the “global” profession in Canada (“frustrated mimics”). Research limitations/implications – This paper contributes to the existing scholarly literature on the persistence of colonial structures in shaping the experiences of colonized people even as they migrate in search of better opportunities decades after the colonial structures have been formally dismantled. It builds on Bhabha’s (1994) work illustrating that colonial structures are susceptible to change through action and interaction. We hope this study contributes to social change by providing some insights into how mimicry, resistance and hybridization may disrupt the unreflexive enactment of colonial structures that sustain inequality. Originality/value – This study extends the literature on professional migration using a postcolonial perspective to empirically examine the lived experience of the colonial encounter and professionals transition their professional identities across borders.
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Tion, Lucian. "The Postcolonial Self and the Other in Béla Tarr’s Werckmeister Harmonies." Acta Universitatis Sapientiae, Film and Media Studies 14, no. 1 (December 1, 2017): 31–49. http://dx.doi.org/10.1515/ausfm-2017-0002.
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Abstract This work sets off to offer a polemical response to postcolonialist theories advanced by Homi Bhabha in his seminal work The Location of Culture, particularly to Bhabha’s famous notions of ambivalence and mimicry purportedly used as methods of struggle against colonialism. Reading Béla Tarr’s film Werckmeister Harmonies (Werckmeister harmóniák, 2000) as an allegory for the colonization of a former colonial agent in the guise of an ambiguously framed post-imperial Hungary now on the eve of Soviet invasion, I turn Bhabha’s notions on their heads, and thus de-stereotype the simplistic hierarchy that sees the colonial agent dominate the colonized subject in a top-down approach. To achieve this, I bring into play Kuan-Hsing Chen’s notion of deimperialization as well as the psychoanalysis of Octave Mannoni in order to show that rather than being a straightforward misreading of the Other by an uninformed Self, the relationship between colonized and colonizer appears more like a failed attempt at acquiring the most basic knowledge of the psychological functioning of the Self on both sides of the colonized/colonizer divide.
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Diala. "Colonial Mimicry and Postcolonial Re-membering in Isidore Okpewho's Call Me by My Rightful Name." Journal of Modern Literature 36, no. 4 (2013): 77. http://dx.doi.org/10.2979/jmodelite.36.4.77.
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Christianna, Aniendya. "Javanese Women Hybridity: Postcolonial Study of Nyonya Muluk in Damar Kurung Paintings." International Journal of Creative and Arts Studies 7, no. 1 (July 27, 2020): 33–48. http://dx.doi.org/10.24821/ijcas.v7i1.4164.
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ABSTRACTDamar Kurung is a typical lantern of Gresik, made in the 16th century. In 2017 Damar Kurung was declared an intangible cultural heritage by the Indonesian Ministry of Education and Culture. Masmundari (1904-2005) was a female artist who painted Damar Kurung based on skills learned from her ancestors. Among Masmundari's many paintings, Nyonya Muluk is the most frequently painted. Nyonya Muluk is described as a big woman wearing a dress and wings. Many people say that Nyonya Muluk is a picture of Queen Wilhemina that Masmundari has seen directly. To uncover Nyonya Muluk's identity, it is necessary to explain the image and meaning of this traditional art, the author uses Bahasa Rupa method (Tabrani, 2012), which analyzes the contents of the wimba, cara wimba, tata ungkapan and how to read wimba. Then, analyzed using postcolonial theory, specifically using the concepts of hybridity and mimicry to find out the identity of Nyonya Muluk. Finally, this research is to produce (1) A description of the relationship between the two cultures (East and West/invaders and colonized) which is manifested in the figure of Nyonya Muluk. (2) Nyonya Muluk is a representation of Javanese women's hybridity that illustrates the hopes and dreams of Masmundari (as an East representative) to be similar to the West.Hibriditas Perempuan Jawa: Studi Poskolonial Figur Nyonya Muluk Di Lukisan Damar KurungABSTRAKDamar Kurung adalah lentera khas Gresik, dibuat pada abad ke-16. Pada 2017 Damar Kurung dinyatakan sebagai warisan budaya tak bendawi oleh Kementerian Pendidikan dan Kebudayaan Indonesia. Masmundari (1904-2005) adalah seniman perempuan yang melukis Damar Kurung berdasarkan keterampilan yang diperolehnya secara turun temurun. Di antara banyak lukisan Masmundari, Nyonya Muluk adalah yang paling sering dilukis. Nyonya Muluk digambarkan sebagai perempuan berukuran besar yang mengenakan gaun dan memiliki sepasang sayap. Banyak orang mengatakan bahwa Nyonya Muluk adalah gambaran Ratu Wilhemina yang langsung dilihat Masmundari. Untuk mengungkap identitas Nyonya Muluk, perlu menjelaskan gambar dan makna seni lukis tradisi ini, penulis menggunakan metode Bahasa Rupa (Tabrani, 2012), yang menganalisis isi wimba, cara wimba, tata cara dan cara membaca wimba. Kemudian, dianalisis menggunakan teori postkolonial, khususnya menggunakan konsep hibriditas dan mimikri untuk mengetahui identitas Nyonya Muluk. Akhirnya, penelitian menghasilkan (1) Deskripsi hubungan antara dua budaya (Timur dan Barat/penjajah dan terjajah) yang dimanifestasikan dalam sosok Nyonya Muluk. (2) Nyonya Muluk adalah representasi dari hibriditas perempuan Jawa yang menggambarkan harapan dan impian Masmundari (sebagai perwakilan Timur) untuk menjadi serupa dengan Barat.
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Saputra, Iwan. "HEGEMONI WACANA KOLONIAL DALAM CERPEN “MEREKA BILANG, SAYA MONYET” KARYA DJENAR MAHESA AYU: KAJIAN PASCAKOLONIAL." Kibas Cenderawasih 17, no. 1 (April 14, 2020): 75–85. http://dx.doi.org/10.26499/kc.v17i1.247.
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Hegemoni merupakan salah satu upaya yang dilakukan oleh penjajah untuk melanggengkan kekuasaannya. Dengan hegemoni tersebut, penjajah akan terus menjadi dominan terhadap kaum terjajah. Dalam penelitian ini, penulis berusaha mengelaborasi tentang bentuk dan model hegemoni wacana kolonial yang terdapat dalam cerpen mereka bilang, saya monyet karya Djenar Mahesa Ayu dengan menggunakan teori pascakolonial. Adapun teori yang digunakan untuk menganalisis cerpen tersebut adalah konsep pascakolonial Homi K. Bhabha, yaitu tentang stereotype, mimicry dan hibriditas. Ketiga konsep tersebut dilakukan untuk melanggengkan hegemoni kolonial terhadap kaum terjajah. Kecemasan kolonial terhadap negara jajahan mendorong mereka untuk selalu berbagai upaya untuk meyakinkan pengaruh kolonial terhadap negara jajahan. Salah satu bentuk keyakinan tersebut adalah dengan menanamkan wacana kolonial dengan terus-menerus (repetition). Berdasarkan dari hasil analisis pada cerpen mereka bilang, saya monyet, peneliti menemukan bahwa hegemoni wacana kolonial dilakukan dengan cara penanaman identitas terhadap tokoh saya yang dianggap sebagai kelompok minoritas. Di sisi lain, peniruan yang dilakukan oleh tokoh saya merupakan upaya untuk mendapatkan pengakuan sebagai subjek yang memiliki identas. Peniruan tersebut sebagai bentuk hegemoni wacana kolonial pada tokoh saya agar terlihat sama dengan Kepala Anjing yang merepresentasikan kaum penjajah. Pengulangan (repetition) sikap yang ditunjukkan oleh Kepala Anjing pada tokoh saya merupakan bentuk hegemoni untuk meyakinkan tokoh saya. Key Words: Hegemoni, dominasi, penjajah, terjajah. Abstract Hegemony is the colonial’s effort done to legitimate its domination. By this hegemony, the colonizer is dominant to colonize. In this research, the writer attempts to elaborate about form and model of hegemony of colonial’s discourse in Djenar Mahesa Ayu’s short story “mereka bilang, saya monyet, by using postcolonial theory. To analyses this short story, the researcher would use the Homi K. Bhabha’s theory about postcolonial, that are stereotype, mimicry, and hybridity. The third concept is conducted to keep colonizer’s hegemony to colonized. The colonizer’s anxiety to colony encourages colonizer to do all effort to convince colonizer’s influence to colony. The colonizer attempts to do more ways by repetition of colonizer’s discourse. Based on the results of the analysis on their short story “mereka bilang, saya monyet”, the researcher found that the hegemony of colonial discourse was carried out by means of inculcating the identity of character “saya” who was considered a minority group. On the other hand, the mimicry made by character “saya” is an attempt to get recognition as a subject that has identity. The impersonation was a form of colonial discourse hegemony in character “saya” to make it look the same as the Dog's Head representing the invaders. Repetition of the attitude shown by the Dog Head to character “ saya” is a form of hegemony to convince. Key Words: Hegemony, domination, colonizer, colonized.
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Sidjabat, Yedija Remalya, Vissia Ita Yulianto, and Royke Bobby Koapaha. "POLITIK IDENTITAS DALAM PERSPEKTIF POSKOLONIAL STUDI KASUS HIP HOP DANGDUT GRUP NDX A.K.A." CaLLs (Journal of Culture, Arts, Literature, and Linguistics) 4, no. 2 (November 28, 2018): 77. http://dx.doi.org/10.30872/calls.v4i2.1693.
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Hip hop dangdut is music identity of NDX A.K.A group. Hip hop dangdut that became popular in society also bring the pros and cons for some groups. Political identity in this research investigates background in choosing music dangdut and hip hop that integrated in NDX’s songs. Political identity used to see the factor that played a role in formation of hip hop dangdut, but not fully realized by NDX group. Political identity in formation of hip hop dangdut then analyzed in textual and contextual to answer the contestation of hip hop dangdut in postcolonial perspective. The concept postcolonial in this research is criticized dominance or the form of leadership culture (hegemony) conducted by capitalists. Hip hop dangdut formed because of the hegemony of media in popularizing hip hop that occurs massively. Contestation on hip hop dangdut identity is analyzed using the concept of mimicry and hybridity to see ‘in-between’ space or third space that can be described the position of hip hop dangdut. Negotiations between hip hop and dangdut is a form of hybridity that takes place in ambivalence, which is mimicking and mocking, and not entirely subordinated to the cultural discrimination that occurs to the strategy of globalization. The performance and NDX music that performed on stage shows the cultural identity negotiations between hip hop and dangdut that formed in the third space.
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Dsouza, Tanya, and Dr Hemangi Bhagwatis. "Master-Slave Dialectic and Mimicry: A Postcolonial Analysis of the Subjectivity of Frankenstein and his Monster in Mary Shelley’s Frankenstein." New Literaria 1, no. 2 (December 4, 2020): 48–59. http://dx.doi.org/10.48189/nl.2020.v01i2.026.
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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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Claeyé, Frederik. "Contextualising non‐profit management in Sub‐Sahara Africa." African Journal of Economic and Management Studies 3, no. 2 (September 14, 2012): 159–83. http://dx.doi.org/10.1108/20400701211264983.
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PurposeThe purpose of this paper is to offer a framework for the analysis of the power dynamics shaping the emergence of hybrid management systems in sub‐Sahara Africa. It aims to achieve this by showing how insights from postcolonial theory can further enrich cross‐cultural management theory.Design/methodology/approachThe mainstream perspectives in current cross‐cultural management literature are reviewed as a basis for the development of a theoretical framework that emphasises cross‐cultural interaction and a consideration of the power dynamics surrounding non‐profit organisations operating in a sub‐Saharan African context is integrated. Drawing on the metaphors of mimicry and hybridity, this paper argues that postcolonial theory offers an avenue for theorising cross‐cultural interaction and the power dynamics surrounding these cross‐cultural encounters. Examples chosen from the author's ongoing work in the NGO sector in the Eastern Cape, South Africa serve as illustrations of how the analytical framework might generate insights into the workings of power dynamics shaping the emergence of hybrid ways of managing and organising.FindingsIt is argued that through a focus on interaction and the surrounding power relations, this framework allows for a more contextualised understanding of the emergence of hybrid management systems in non‐profit organisations.Originality/valueThe paper shows that, f cross‐cultural management theory hopes to inform the practice of non‐profit management in sub‐Sahara Africa, it is imperative the power dynamics at work are clearly understood.
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Dektisa, Andrian. "Parody Idioms in the Visual Characteristics of KNIL Andjing NICA Reenactors." International Journal of Creative and Arts Studies 2, no. 1 (February 12, 2017): 16. http://dx.doi.org/10.24821/ijcas.v2i1.1436.
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This research is to study the phenomena of wearing military costumes of the past as an alternative ‘means’ of visual communication. People in Indonesia like old military costumes and celebrate them as reenactors (a name for the wearers of old military uniforms) in various social activities that can be categorized into two types of stage, namely main and parallel stage. The main stage is related to learning military history, while parallel stage correlates to euphoria for military fashion. Both stages become an expression of mockery toward postcolonial mimicry and create a cultural postcoloniality that takes place in the contemporary life in Indonesia. This research applies Rose’s visual method that emphasizes the aspect of site image itself by making interviews and getting observation data in the groups of KNIL Andjing NICA reenactors in Surabaya, Bojonegoro, Bandung, and Jakarta. It also applies Barthian semiotics unit analysis.
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Nugroho, Bhakti Satrio, and Muhammad Arif Rokhman. "Imposition, adoption, and resistance in Lynne Kutsukake�s The Translation of Love: A postcolonial approach." EduLite: Journal of English Education, Literature and Culture 5, no. 2 (August 31, 2020): 345. http://dx.doi.org/10.30659/e.5.2.345-358.
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This paper, which is under Transnational American Studies and Postcolonial Studies, aims to analyze a process of creating a colonial culture which involves cultural imposition, adoption, and resistance in Lynne Kutsukake�s The Translation of Love. This novel depicts postwar Japanese society that lives under American power after the end of World War II while undergo kyodatsu (the period of an economic, social and moral crisis caused by the war). This paper is a qualitative research that utilizes three theories, including cultural imposition, mimicry and symbolic resistance. The finding, shows the devaluation of Japanese cultural identity which used to oppose the claim of �otherness� by the West. In cultural imposition, the United States manages to impose American ideology, language, lifestyle, customs and fashion through various ways such as media, social interaction, social obligation and school curriculum. Meanwhile, in cultural adoption, postwar Japanese adopt American cultures in which it asserts that there is a shift of postwar Japanese cultural orientation that tends to celebrate American culture as a �sign of liberation�. Then, in symbolic resistance, postwar Japanese resistance toward the United States as the occupying power is only manifested in subversive everyday gestures which include covert and overt form. In short, this analysis shows that, during U.S. occupation, postwar Japan only becomes �a pawn� in the United States� postwar plan for global dominance by rebuilding a new Japanese society under American influence.
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Ichsan, Hindun. "BUILDING IDENTITY IN GLOBAL REALITY: A POSTCOLONIAL STUDY ON RAJAA ALSANEA'S BANAT AR-RIYADH." Poetika 9, no. 1 (July 26, 2021): 23. http://dx.doi.org/10.22146/poetika.v9i1.63956.
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This study aims to examine the novel Banaat ar-Riyadh (Girls of Riyadh) from the perspective of globalization using a postcolonial approach. This novel was written by Rajaa Alsanea, a Riyadhi girl who moved to the United States of America and then published her novel in Lebanon. The novel was written in the form of a series of electronic mails sent by four young Riyadhi girls who discuss the contestation between traditional Saudi Arabian norms and American norms. Fittingly, this study uses postcolonial theory, with the theoretical framework of globalization as a basis for investigating the aspects identified in the theory, such as mimicry, inferiority, and hybridity, and applies deductive qualitative method from a globalization perspective. The results of this study indicate the influence of American culture on the lives of Saudi Arabians. The influence of American culture is obtained through Saudi people, both men and women, who study and work in the United States. It is the relationship between Arab culture and American culture that influences the Arab way of thinking, which leads to certain behavioral changes. Some Arabs, previously compliant to their traditional values, display behavorial changes that are inspired by Americans, especially American women. Arab women who are supposed to constantly obey state rules, want changes which they adopt from American culture. Penelitian ini bertujuan meneliti novel Banaat ar-Riyadh dari perspektif globalisasi dengan mengambil pendekatan poskolonial. Novel ini ditulis oleh Rajaa Alsanea, seorang gadis Riyadh yang pindah ke Amerika Serikat lalu menerbitkan novelnya di Lebanon. Novel ini berbentuk rangkaian surat elektronik yang dikirimkan oleh empat sekawan gadis-gadis Riyadh yang membicarakan kontestasi antara norma-norma tradisional Arab Saudi dengan norma-norma Amerika Serikat. Oleh karena itu, penelitian ini menggunakan teori poskolonial, serta globalisasi sebagai landasan untuk melihat aspek-aspek yang dikemukakan dalam teori tersebut, yaitu mimikri, inferioritas, dan hibriditas, dengan metode deduktif kualitatif yang ditempatkan dalam perspektif globalisasi. Hasil dari penelitian ini menunjukkan adanya pengaruh budaya Amerika pada tata kehidupan sebagian orang Arab Saudi. Pengaruh budaya Amerika itu diperoleh melalui orang-orang Arab Saudi, baik laki-laki maupun perempuan, yang menempuh studi dan bekerja di Amerika. Keterhubungan antara budaya Arab dengan budaya Amerika inilah yang memengaruhi pemikiran orang Arab, yang kemudian berdampak pada perubahan perilaku. Orang Arab yang semula berpegang teguh pada aturan-aturan tradisi kemudian menginginkan perubahan-perubahan yang mengarah pada pada perilaku orang Amerika yang mereka lihat, terutama pada perempuan. Perempuan Arab, yang diharuskan patuh pada aturan-aturan yang dibuat oleh negara, menginginkan perubahan-perubahan dengan mengadopsi budaya Amerika.
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Perdana, B. Endo Galuh, and Elisa Dwi Wardani. "CRISIS OF IDENTITY AND MIMICRY IN ORWELL’S BURMESE DAYS SEEN THROUGH A LOCAL NATIVE CHARACTER U PO KYIN: A POSTCOLONIAL READIN." Journal of Language and Literature 17, no. 1 (April 1, 2017): 82–96. http://dx.doi.org/10.24071/joll.2017.170109.
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Asri, Iit Purnama. "RESISTENSI TOKOH AKU TERHADAP KOLONIALISME DI MUSIRAWAS DALAM NOVEL KEPUNAN KARYA BENNY ARNAS." Jurnal Penelitian Humaniora 21, no. 1 (February 1, 2020): 43–54. http://dx.doi.org/10.23917/humaniora.v21i1.7377.
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This study aimed to reveal the forms of resistance to colonialism of character "I" in Musirawas in Kepunan novel by Benny Arnas. The theory used in this study is postcolonial theory. Data analysis was carried out by identifying forms of resistance identified by "I" character in Kepunan novel. The researcher described information about the resistance of the forms of mimicry, hybridity, diaspora, and ambivalence through evidences in the form of quotations. I addition, the researcher interpreted the resistance done by "I" character to the Dutch colonial government in Musirawas in the field of education. The result indicated that "I" character had a critical attitude towards discrimination of the Dutch colonial government in the field of education. "I" character had a critical attitude, that was, her awareness of having the same rights as the Dutch colonial. "I" character was against the Dutch colonial government in terms of intellectuality that needed to be honored. Intellectuality helped "I" character to gain the independence from the Dutch colony.
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Brovold, Madelen Marie. "Om Postkolonialisme, Migrasjonsprosesser Og Hybride Identiteter. En Lesning Av Eva Scheers Vi Bygger I Sand (1948)." Folia Scandinavica Posnaniensia 24, no. 1 (June 1, 2018): 7–24. http://dx.doi.org/10.2478/fsp-2018-0002.
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Abstract This article examines what one might call migration literary features in the Jewish Norwegian author Eva Scheer’s novel Vi bygger i sand (1948). I will investigate themes and sections that in different ways emphasize the migration experience of the characters within the novel. The focal point of the analysis is the migration experience in itself, what it means to be forced to move from one country to another and having to learn how to live in a different country and community, perceived identity and identity issues, prejudices, anti-Semitism and the fear of persecution. Because of this chosen focal point, I will use postcolonial theory in my reading of the novel, emphasizing Homi K. Bhabha’s concepts of mimicry and hybridity. What does it mean to belong to a nation? Is it possible to become Norwegian while keeping parts of your homeland’s identity? With the altered migration pattern of recent decades, such issues make the novel relevant even today.
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Sharp, Carolyn. "Interrogating the Violent God of Hosea: A Conversation with Walter Brueggemann, Alice Keefe, and Ehud Ben Zvi." Horizons in Biblical Theology 30, no. 1 (2008): 59–70. http://dx.doi.org/10.1163/187122008x294358.
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AbstractThis essay responds to Brueggemann, Keefe, and Ben Zvi. Commending Brueggemann's discernment of multivocality in Hosea, this response considers his idea of a recovering God in light of rhetorical disjuncture between the brutal God of most of Hosea and the nurturing deity of Hosea 14. Keefe's welcome focus on class-based economic motivations for Hosea's polemics raises a question about the "urban elite male warrior class" that she identifies as responsible for regional economic exploitation; postcolonial notions of hybridity and mimicry are invoked to extend Keefe's analysis. Ben Zvi's argument that Persian-period literati would have been empowered by Hosea's utopian rhetoric is considered; the male rereadership would have been shamed, too, by Hosea's metaphorization of Israel as adulterous woman, and Yehud readers might not have seen the monarchical-era implied audience as discontinuous with themselves. The question is posed as to what role(s) the prophet Hosea might play in the hermeneutical models of Brueggemann, Keefe, and Ben Zvi.
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El Samad, Soha. "“Hamsun's Liminality”." Nordlit, no. 47 (December 10, 2020): 237–51. http://dx.doi.org/10.7557/13.5640.
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This study seeks to establish the extent to which In Wonderland is a cultural hybridity discourse and a writing-back to Euro-American travelogues. In this ‘different’ travelogue, Hamsun’s voice cuts through the borderlands of the Russian colonized Caucasus region to reveal contempt for acquired culture and a rejection of global uniform identities in a manner that accords with Homi Bhabha’s concept of ‘hybridity.’ While keeping in mind Hamsun’s undisputed parodic style, this postcolonial reading claims that mimicry, as applied by Hamsun, is a practical demonstration of Bhabha’s theory that reflects his propensity to destabilize the West’s monolithic stance as regards the Orient. It therefore reveals the manner in which his supposedly colonial discourse exposes the discriminatory nature of colonial dominance. Within this context, Hamsun has become a cultural hybrid who refuses to imitate conventional European travel narratives or follow in their differentiating paths. On the whole, the basic argument is that Hamsun’s travelogue which invariably asserts, subverts and removes boundaries, does not endorse Orientalism neither in its romantic nor in its subservient form.
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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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Costa, Sérgio. "The research on modernity in Latin America: Lineages and dilemmas." Current Sociology 67, no. 6 (November 5, 2018): 838–55. http://dx.doi.org/10.1177/0011392118807523.
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Conventional research on modernity has interpreted Latin American experiences as lagging behind, as expressions of an ‘incomplete’ or failed modernity, since they do not meet the conditions of a ‘complete’ achievement of modernity as described by theories developed within European and, later, US academia. Since the emergence of dependency theory in the 1960s, and more emphatically since the 1990s, after the dissemination of postcolonial and decolonial theories in the region, this still dominant interpretation has been challenged by new approaches which convincingly underline the interdependent development of global modernity. This article reconstructs part of these debates and identifies a number of different lineages in current research on modernity in Latin America: a first lineage which describes modernization in Latin America as a mimicry of European/Western modernity; a second lineage which characterizes modernity as a global transformation activated by the colonial annexation of the Americas into capital accumulation; and an intermediary lineage which also recognizes the importance of colonialism in shaping global modernity, but at the same time underlines the European origin of modern emancipatory imaginaries.
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Punt, Jeremy. "Who’s the Fool, and Why? Paul on Wisdom from a South African Perspective." Religion & Theology 20, no. 1-2 (2013): 107–28. http://dx.doi.org/10.1163/15743012-12341256.
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Abstract South Africa is a young democracy but with colonial and Apartheid legacies fresh in the minds of many, the lasting impact and consequences of hegemony still tangible and measurable in a new, democratic dispensation with its own problems and concerns. This is the context within which Paul’s appeal for a different understanding of wisdom and appearance to insist on breaking through the conventions of the day (1 Cor 1:18–31) is considered. Since Empire largely defined wisdom in the first century, Paul’s rhetoric of foolishness can be interpreted as a critique of the imperial discourse of wisdom and power. But Paul simultaneously invoked a new discourse of power through his rhetoric which inter alia depended on scriptural appeal for endorsement or authority. A postcolonial optic enables one to see Paul’s discourse as mimicry, negotiating power as much with discursive Roman colonialism as with the recipients of his letters, and also with the Scriptures of Israel. Such use of discursive power and ambiguity resonates in interesting ways in the South African context.
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Muhammad Azeem, Prof. Dr. M K Sangi, and Dr. Komal Ansari. "Critical Analysis of Identity Crisis in Hanif Kurieshi's Novel “The Buddha of Suburbia”." sjesr 3, no. 4 (December 25, 2020): 159–67. http://dx.doi.org/10.36902/sjesr-vol3-iss4-2020(159-167).
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This paper critically analyzes the dilemma of identity crisis and its impact on immigrants concerning the Hanif Kurieggidentity crisis into its texts because of the rule of colonial power and its impacts on the colonized. Under the impact of this colonial power, the crisis of identity has been originated in western countries on social, economic, political, religious, and cultural grounds. Postcolonial theoretical ideas i.e, hybridity, mimicry, assimilation, and ambivalence by Homi K. Bhabha are applied into the text of this research paper to examine the dilemma of identity crisis more clearly. Karim Amir, the protagonist of the novel faces an identity crisis in tormenting and perturbing the social order of England. Such a tormenting and disturbing condition of England is a threat both to Karim and immigrants. The quest for an identity for Karim Amir is very complicated and alarming which sets a dilemma for the whole world to look at this global issue seriously. The Whites think about immigrants as they are the lower creature of God due to differences in skin color, religion, ethnicity, and culture. On the contrary, the immigrant trying to imitate the cultural values, language, habits, and manners of the white men to assimilate with them but in consequence, this mimicry never fetched the desired effects and simply, the outcome is ambivalent for them. Although they always try to assimilate with the British culture, yet they feel hesitant either to adopt Western culture or the culture of their homeland. The Buddha of Suburbia (1989) depicts the darker side of suburban life as well as the congested life of London city with references to other characters too.