Homi Bhabha brings attention to the figure of the postcolonial metropolitan subject—a third world subject who resides in the first world. Bhabha describes the experiences of the “colonial” subject as ambivalently split. As much as his work is insightful, Bhabha's descriptions of the daily life of postcolonial metropolitan subjects as split and doubled is problematic. His analysis lends only to the possibility of these splittings/doublings as schizophrenically wholly arising. His analysis cannot account for the agonistic moments (...) when the colonial subject is caught in not knowing, and in developing understanding about present circumstances. A framework with an account of context and horizons, such as in phenomenology, can better depict the experiences of the postcolonial metropolitan subject. Maurice Merleau-Ponty follows a gestaltian contact with the world, which advances that the “most basic unit of experience is that of figure-on-a-background.” One perceives the figure/theme because of and within the background/horizon. In this horizonal framework, human experiences are ambiguously open. The openness in the horizon of the gestaltian framework better accounts for the conditions Bhabha refers to as splitting. The ambivalence can be understood not simply as conundrums that defy understanding but as ambiguous moments for expanding, developing, and growing. (shrink)

Homi Bhabha, a postcolonial scholar influenced by the work of Franz Fanon and Edward Said, indicates that identities stimulate a need to negotiate in spaces that result in the remaking of boundaries. There is a call to expose the limitations of the East and the West in an effort to acknowledge the space in-between that interconnects the past traditions and history, with the present and the future. This study applies Homi Bhabha’s theory of hybridity to determine (...) whether the term liturgical is appropriate to describe Kuchipudi Indian classical Hindu dance. Presented are the elements of Kuchipudi dance and liturgical dance, and then contemplative dance is discussed as an appropriate medium in the space of hybridity between Kuchipudi dance and liturgical dance. (shrink)

-/- Abstract: The present paper investigates the empowering force of hybridity in female diasporant in Bharati Mukherjee’s outstanding novel Jasmine. The novel depicts Jasmine’s journey of transformation from a passive, traditional girl at the mercy of fate in a village in India to an active, modern, and most importantly cross-cultural hybrid woman in America. All through the novel, her identity is transformed in line with shifts in her name from Jyoti to Jasmine to Jazzy to Jane. Accordingly, she stands in-between (...) two cultures, shuttles between identities, welds opposing identities, enters the third space and emerges as a hybrid. The present study in the light of Homi Bhabha's insights seeks to demonstrate that immigrating, experiencing displacement and in-betweenness, and being positioned in the third space pave the way for Jasmine’s becoming a hybrid and being liberated. Besides, the study is to depict by creating a hybrid character, Bharati Mukherjee, the author, alludes to her own very hybridity. -/- . (shrink)

The recent resurgence of extreme-right movements and the nationalist turn of many governments across the world have reignited the relevance of discussions within educational philosophy about the teaching of national identity in schools. However, the conceptualisation of national identity in previous iterations of these debates have been largely Western and Eurocentric, making the past theoretical literature about these questions less relevant for post-colonial settings. In this paper, I imagine a new approach for teaching national identity in post-colonial contexts, founded on (...) postcolonial conceptions of identity and in particular, the concept of hybridity. I first develop a postcolonial account of national identity by drawing on Homi Bhabha’s thinking about cultural identity, drawing on his concepts of liminality, splitting, and ambivalence. Then, building on Bhabha's notion of hybridity, I propose a distinction between national identity portrayals as either fixed or malleable. Finally, I demonstrate the implications of such a conceptual distinction on the way that national identity is taught in post-colonial schools; by way of an example, I envision a concrete approach to teaching national identity that views national identity as malleable rather than fixed, set in a hypothetical postcolonial school in the Philippines. By beginning from postcolonial assumptions about national identity, I hope to indicate new directions that the debates about the teaching of national identity in schools might proceed. (shrink)

Este trabajo indaga el posicionamiento que tiene realmente el escritor con respecto a su propia realidad. Para demostrar esa premisa, adopto como referente indispensable a Mario Vargas Llosa. Él se manifiesta críticamente desde el “entre medio”, concepto sociológico desarrollado por el teórico poscolonial Homi Bhabha, que alude a la postura globalizadora y preferencial, asumida por condicionamientos a factores económicos, mercantiles, coloniales y hegemónicos. Al prevalecer esta variante, resulta cuestionable el valor fidedigno que se le otorga al arte, ya (...) que no necesariamente corresponde con la cultura ni está orientada a consolidar una nación o una biografía nacional, tal como la comprende Antonio Gramsci en Cuadernos de la cárcel. Por consiguiente, las novelas como La ciudad y los perros, Conversación en La Catedral o El sueño del Celta expresan una crítica al sistema, pero su enfoque se adaptará convencionalmente a un contexto coetáneo y una situación oportuna. (shrink)

Chinua Achebe, the contemporary Nigerian novelist, is considered as one of the prominent figures in African anti-colonial literature. What makes his works specific is the way he approaches the issues of colonization of Africa in an objective manner and through an innovative language which aims at providing a pathology; a pathological reading meant to draw on the pre-colonial and colonial history without any presumptions so as to present the readers with possible alternative African discourses in future. His first novel Things (...) Fall Apart can be taken as the best representative of such a penchant in Achebe. The present study seeks to approach Things Fall apart by reflecting on those discursive features which have provided the ground for constructing such a pathological reading and an alternative to the colonial discourse. To this end, some key terms introduced by Homi Bhabha and Mikhail Bakhtin such as ‘hybridity’, ‘otherness’ and ‘polyphony’, constitute the cornerstone of this study. Presumably, such an innovative reading of Achebe’s Things Fall Apart is to lead to a better understanding of his discourse and the efforts made by him to help the African readers figure out how to piece together what once fell apart; what they can rely on for building an independent future in the so-called postcolonial era. (shrink)

Edward Said pointed to the problem of Orientalism that develops when the West creates a fictitious imagined version of Eastern religion and culture. Said’s notion of Orientalism focuses on the general distorted representation of Eastern religion and culture by the West. Homi Bhabha extends Said’s notion of Orientalism to reveal the tension of the inevitable hybridity between the East and the West. Here, cultural practices develop in the space of hybridity with the intention to promote a feeling of (...) coherence as opposed to with the objective to deform or distort religion and culture. Thus, the intention in a space of hybridity is often not to engage in Orientalism. Instead, the goal is to develop something new in a hybrid form. An opportunity arises in philosophy of education to adequately confront the problem of Orientalism that may develop in a space of hybridity. The author proposes a philosophical postcolonial framework that engages in a creative process that does not further Orientalism but rather develops something new with an ethic of hybrid responsibility for religion and culture. To illustrate this, the author uses Kuchipudi Indian Classical Hindu dance as an example. (shrink)

The sixteenth-century Cossacks became the favourite topic of Ukrainian authors of the nineteenth century who dealt with national and individual identity issues. Nikolai Gogol, the celebrated Russian author who had Ukrainian origin and was born in a Cossack village, wrote the epic romance of Taras Bulba, which narrated the story of Cossacks and their struggle for preserving their independence. While the work has been previously studied under the light of postcolonial theoretical framework, using the concepts developed by Homi (...) class='Hi'>Bhabha to scrutinize the situation and the destiny of the two main hybrid characters, Taras Bulba’s sons, takes a step further and reveals the deeply ingrained anxiety and ambivalence in the Cossack mentality. The article focuses on the two main hybrid characters who choose divergent paths upon encountering the conflict brought to them by the imperial power. (shrink)

Conflicts abound in Asian American churches between different groups. This study articulates a theological location of forgiveness that speaks to those conflicts. In particular, it situates forgiveness in the liminal space between what Homi K. Bhabha describes as "domains of difference" that define different generational or ethnic groups within Asian American churches. Yet the possibility of forgiveness is enacted only when both sides of a conflict are willing to move from those domains into liminal space. This study argues (...) that Mark Lewis Taylor's articulation of "dialogical questioning" is a useful mechanism for making such movements possible. (shrink)

Using Foucault’s concept of governmentality vis-à-vis Appadurai’s “global ethnoscapes” as frames, I argue for a techno-cultural dimension which brought forth the phenomenon of the “dancing inmates,” an argument against the charge of Filipino colonial mimicry of a Hollywood popular entertainment. Albeit the inmates’ dance routines indeed depict Foucault’s “docile bodies” in his analysis of the modern prison, as pointed out by critics, I am inclined to show how the internet mediation through social media networks awakened a culturally imbibed dance and (...) musical character trait vis-à-vis the jolly cultural disposition of Filipinos. Thus, I view these characteristics as existential responses, hence, ‘creative resilience,’ to the inhuman incarcerating conditions of the prison life through using the art of dance with the aid of media technology. I argue on the role of the internet as the prisoners’ avenue to the outside world that was strategically deprived of them as a form of punishment, and the role of the internet as their last frontier to freedom and to realize their human potentials. (shrink)