• Acta Via Serica
• /
• v.9 no.1
• /
• pp.139-160
• /
• 2024

This study delves into the concept of cultural hybridity, using the Great Mosque-Cathedral in Córdoba, Spain as a unique case study. This monumental site stands as a testament to the convergence of Islamic and Christian architecture and ideology, a phenomenon that is often discussed in modern contexts. However, this study takes a step further, examining cultural hybridity across historical epochs to reveal its persistent relevance in shaping social and cultural landscapes. Originally a mosque transformed into a Christian cathedral, the Great Mosque-Cathedral is a prime example of this phenomenon, reflecting continuous cultural, architectural, and ideological exchanges between the two religions. This paper meticulously analyzes how the structure's architectural elements embody these exchanges, such as its ornate mihrab and unique double-arched columns. By integrating theories of hybridity with a detailed architectural and historical analysis, the study argues that the mosque-cathedral is not merely a physical space but a dynamic medium through which cultural negotiations and adaptations are articulated. The findings underscore the complexity of cultural hybridity, challenging simplistic interpretations of cultural exchange and dominance, and highlighting the mosque-cathedral's role in ongoing debates about identity and heritage in contemporary society. This comprehensive examination contributes to academic discussions on hybridity and enhances our understanding of cultural resilience and transformation through architectural spaces.

• English & American cultural studies
• /
• v.10 no.2
• /
• pp.231-266
• /
• 2010

This paper explores hybridity and hybridized relations that see mixings and crossings as the first moment of multicultural society. References to hybridity often assume that the definition and orientation of the term are located within biology; that is, hybridity constitutes a mixing of two formally discrete objects. In this regard, there seems to be a dialectical preoccupation with purity that goes hand in hand with discussions of hybridity. This dialectical reference to hybridity privileges whole, complete entities as the original instance before mixing, and in this way purity becomes reified. My analysis of hybridity foregrounds mixings that occur at the level of the social, not exclusively at the level of the biological. Hybridity contexts the myth of monoculturalism in the United States and foregrounds multiculturalism as the initial context around which difference has begun to be conceived. In destabilizing the myth of racial origins, this paper attempts to establish a retroactive construction of purity, which is historically, ideologically, and ethnically examined in Gloria Anzaldua's Borderlands/ La Frontera: The New Mestiza. Through this work composed of disparate narratives discourses, Anzaldua employs physical differences to ward off the colonial desire that has defined others as objects which are to be controlled. In this regard, this paper pursues the way that physical differences could be repositioned in terms of 'hybridity' that has been related to the cultural, historical, economical significations of borderlands. The space of borderlands is also a place marked psychologically; it will turn differences mobilized in the borderland into an acute consciousness that makes us recognize 'otherness' within ourselves. In sum, this paper attempts to elaborate the productive and creative interactions among disparate languages, classes, genders, and ideas, which will draw attention to their own interlocking nature.

• Journal of English Language & Literature
• /
• v.55 no.2
• /
• pp.215-240
• /
• 2009

This paper focuses on how Younghill Kang internalizes whiteness ideology through interracial romance to build himself as an oriental Yankee and recover his masculinity in his autobiographical novel East Goes West. This paper also focuses on Kang's strategy of racial and cultural hybridity presented in this novel. The theoretical basis of my argument is a mixture of Fanon's psychoanalysis in his Black Skin, White Masks, Bhabha's notion of mimicry in The Location of Culture, and notions related to race and gender of some Asian critics such as Patricia Chu, Jinqi Ling, and Lisa Lowe. In East Goes West, white women appear as "ladder of success" of successful assimilation and serve as cultural mediators and instructors and sometimes adversaries who Korean male immigrants have to win to establish identities in which Americanness, ethnicity, and masculinity are integrated. However, three Korean men, Chungpa Han, To Wan Kim, George Jum, who fall in love with white women fail to win their beloveds in marriage. George Jum fails to sustain a white dancer, Jun' interest. Kim wins the affection of Helen Hancock, a New England lady, but Kim commits suicide when he knows Helen killed herself because her family doesn't approve their relationship. Han's love for Trip remains vague, but Kang implies Han will continue his quest for "the spiritual home" as the name of "Trip." In East Goes West, Kang also attempts to challenge the imagining of a pure, monolithic, and naturalized white dominant U.S. Culture by exploring the cultural and racial hybridity shown by June and the various scenes of Halem in the 1920s. June who works for a Harlem cabaret is a white woman but she wears dark makeup. Kang questions the white face of America's self-understanding and racial constitution of a unified white American culture through June's racial masquerade. Kang shows that like Asian and black Americans, the white American also has an ambivalent racial identity through June's black mimicry and there is no natural and unchanging essence behind one's gender and race identity constitution.

• Journal of the Korean Geographical Society
• /
• v.40 no.5 s.110
• /
• pp.473-490
• /
• 2005

The term hybridity has recently emerged as one of the most popularized leitmotivs in contemporary diasporic and transnational problematics on migrants' nomadic experiences. Especially, in postcolonial politics, hybridity is argued to provide a critical 'third space' on which to challenge discursive boundaries and redescribe power-embedded history However, this paper suggests that the hybrid subject position can be easily articulated in producing new cultural discourse and empowering hegemonic subjects in certain spates. Based on distinguishing the intentional, conscious hybridity from the organic, lived hybridity, this research Intends to investigate the Janus-faced, double-edged nature of the postcolonial politics of hybridity in the case of Los Angeles Koreatown. First, I discuss how a place of organic hybridity in Koreatown can lead to challenging invented and depoliticized ethnicity. At the second half of this paper, 1 focus on understanding the ways in which new Korean American professionals and elites employ the discourse of '1.5 generation' as an intentional hybridity for empowering their own political position at a local scale. I conclusively suggest that hybridity should be a deconstructive strategy to unlearn dominant socio-spatial boundaries rather than bring about the third space as a reterritorialized political position.

• The Journal of the Korea Contents Association
• /
• v.8 no.11
• /
• pp.115-124
• /
• 2008

My former thesis was about the present status of Korean film aesthetics of Korean blockbusters through the cultural hybridity. Now this thesis focuses on hybridity and tragedy in Korean blockbusters from the postcolonial perspectives. Typical examples are Shiri, JSA, Taegukgi containing a special Korean situation of division ideology and expressing an extremely Western style of production. These movies hardly provide any historical causes, critical explanation, or vision beyond the discourse of national tragedy. They simply supply sentimental feeling of sympathizing with the misfortune of heroes in the course of national suffering. Therefore, these movies shows limitation not to accomplish postcolonial resistance.

• Journal of English Language & Literature
• /
• v.54 no.1
• /
• pp.77-105
• /
• 2008

Even though Paule Marshall and Ishmael Reed have differences of gender, generation, and literary techniques, they share common points in dealing with cultural conflicts and racial discrimination in the United States as Afro-American Writers. As black minority writers, Marshall and Reed write out of a perspective of forced immigrant/fragmentary native consciousness. The purpose of this paper is to investigate the protagonist's reaction to racial prejudice, different cultures and their attempts to reconcile and to coexist with other races and their culture in these writers' representative works. Marshall's uniqueness as a contemporary black female artist stems from her ability to write from the three levels, that is, African American and Caribbean black. So, Marshall's Brown Girl, Brownstones represents an attempt to identify, analyze, and resolve the conflict between cultural loss/displacement and cultural domination/hegemony. Reed's Japanes by Spring offers a blistering attack upon the various cultural and racial factions of the academy and the bankrupt value systems in America. Reed's depiction of Jack London College's existing racial problems-later compounded by the cultural dilemmas that accompany the Japanese occupation of the institution-reveals his interest in highlighting the ways in which any monoculturalist ideology ultimately results in racist and culturally exclusive policies. Marshall's and Reed's novels provide opportunities for reader to explore various manifestations of intercultual and interethnic dynamics. They present the possibility of reconciliation and coexistence between different race and ethnic cultures through asserting a cultural hybridity and multiculturalism.

• Proceedings of the Korea Contents Association Conference
• /
• 2019.05a
• /
• pp.315-316
• /
• 2019

By understanding the concept of transculturality, this paper tries to look at the mixedness shown in modern dance works in Korea. By shedding light on the transculturality character that Welsch, emphasizes, we will interpret the artistic transition and the art phenomena that appear in Korean dance.

• The Journal of the Korea Contents Association
• /
• v.6 no.11
• /
• pp.45-55
• /
• 2006

Korean blockbusters are the works finished by the dialectic of the meeting and collision of two cultures or H. Bhabha's cultural hybridization. They represent things Korean and Western, and yet their borders are demolished to create a new complicated mixture. Typical examples are Swiri, JSA Silmido Taegukgi Whinalimyu, containing a special Korean situation of division ideology and expressing an extremely Western style of production. This thesis will study the present status of Korean film aesthetics through the cultural hybridity.

• The Journal of the Korea Contents Association
• /
• v.5 no.5
• /
• pp.92-99
• /
• 2005

It is not easy to understand that the drama with various aspects of political-economics and psychology in a certain popular cultural contents. People, however, does want to reconstruct the meaning of the real world and the hyper - reality, it means cross of oldness and newness, through the films. We try to analyze in religious/philosophical aspect with hybrid narrative, characters and condensed meaning in series. This try shows a good example way of understanding series which on the border line of newness and oldness.

• Journal of English Language & Literature
• /
• v.55 no.6
• /
• pp.1013-1034
• /
• 2009

The space of the Other assumes the space of Barthes's multiplicity and Foucault's transdiscursive position, and, therefore, aims at becoming the locus in which the speaking subject and the hearing subjects are supposed to communicate and constitute as if they were situated in the pscychoanalytic session. However, the wall of untranslatibility across language and cultures still exist there in the space of the Other in the form of trauma and aggressivity, as Lacan demonstrate perceptively through the reading of Kant avec Sade. In short, Lacan regards the moral commandment (to love one's neighbor as oneself) as the obstacle in the Freud's myth of transgression, and interprets this in terms of the emergence of the Other. Freud understands that the aggressivity in the subject's own heart was inherent in all humans, and that one's neighbor would be evil. Lacan goes beyond Freud and articulates that the aggressivity in the imaginary relation with the Other in the mirror stage insures that an evil inheres in the very being of humanity. A global phenomenon of the diasporic identities and hybridity, the phenomenon which has been represented by the complicated intermixture of terms which span from diaspora, postcolonialism, postnationalism. and transnationalism can be clarified, if they are put in the context of the ethics of Othering or becoming the Other. The ethics of Othering presupposes the situation in which the diasporic subjects encounter the lack of the cross-cultural negotiation and communication. The purpose of this paper is to demonstrate how the poetics of Other and the logic of the ethics of Othering can explain the postmodern or transmodern world which has become deterritorialized, diasporic, and transnational as well as how one can encounter the results of diasporic and postcolonial double consciousness, a consciousness which is a discursive category for multicultural or cross-cultural, focusing on the concept of liminality/interstitiality