• Acta Via Serica
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• 제9권1호
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• pp.139-160
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• 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.

• 영미문화
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• 제10권2호
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• pp.231-266
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• 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.

• 영어영문학
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• 제55권2호
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• pp.215-240
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• 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.

• 대한지리학회지
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• 제40권5호
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• pp.473-490
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• 2005

혼성성(hybridity)' 이라는 용어는 최근 초국적 이주자들과 같은 유목민적 주체들에 관심을 가지는 사회이론적 연구들의 주요용어로 등장하였다. 특히, 탈식민주의적 정치와 관련하여, 혼성성은 담론의 경계에 도전하고 권력이 내재화된 역사와 문화를 비판적인 차원에서 새롭게 기술할 수 있는 제3의 공간을 제공할 수 있을 것으로 인식되고 있다. 그러나 본 논문은 혼성적인 주체의 위치성이 오히려 새로운 문화 담론을 생산하고 새로운 헤게모니를 잉태하는 데에 용이하게 작용할 수 있음을 지적한다. 본 논문은 의도된 의식적 혼성성을 경험된 유기적 혼성성으로부터 분리함으로써 탈식민주의에서 혼성성의 정치가 가지는 이중적 본질을 살펴보고자 한다. 경험적인 수준에서, 본 연구는 로스앤젤레스 한인타운에 입지한 '영빈관' 이라는 레스토랑의 시대공간적 변화를 혼성성의 관점에서 읽음으로써 어떻게 탈정치화된 민족성을 드러낼 수 있는가에 주목한다. 둘째, 본 논문의 후반부에서는 지난 10여 년간 로스앤젤레스 한인타운 내에서 새로운 헤게모니를 형성하고 있는 한국계 엘리트 및 전문가 계급들이 소위 '1.5세대' 라는 혼성성의 담론을 통하여 어떻게 그들의 정치적인 지위를 강화하는가에 주목한다. 결론적으로 본 논문은 혼성성이 새로운 대안으로서의 제3의 정치적 지위를 욕망하기보다는 사회공간적 경계들에 도전하는 비판전략의 하나로서 '스스로를 해체하기 위한 개념'으로 이해되어 야 함을 지적한다.

• 한국콘텐츠학회논문지
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• 제8권11호
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• pp.115-124
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• 2008

문화적 혼성성을 중심으로 한국형 블록버스터의 한국영화 미학의 현주소를 탐구했던 이전 논문의 연장 선상에서 작성된 이번 논문은 탈식민주의 관점에서 한국형 블록버스터의 혼성성과 비극성에 초점을 맞추고자 한다. 논의의 대상이 되는 영화는 [쉬리], [공동경비구역], [태극기 휘날리며]이고 이 작품들은 서구적인 제작방식에 한국의 분단 이데올로기가 혼합된 형태이다. 하지만 이들 영화들을 탈식민적 저항 관점에서 접근했을 때 민족적 비극 담론에 대한 역사적 규명도 미래에 대한 비전도 제시하지 못한 채 단지 민족 분단의 고통과 주인공의 불행에 대한 동정적 감상주의만 있을 뿐이다. 따라서 결과적으로 이 영화들은 탈식민적 저항으로 나아가지 못하는 한계를 보여준다.

• 영어영문학
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• 제54권1호
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• pp.77-105
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• 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.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2019년도 춘계종합학술대회
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• pp.315-316
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• 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.

• 한국콘텐츠학회논문지
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• 제6권11호
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• pp.45-55
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• 2006

한국형 블록버스터는 호미 바바의 문화적 혼성주의가 표명하는 두 문화간의 만남과 충돌의 변증법으로 완성된 작품들이다. '한국형'과 '블록버스터'가 한국적이라는 것과 서구적인 것을 나뉘어 대표하고 있으면서도 그 경계는 해체되고 변증법적으로 혼합되어 혼성적이고 복합적인 새로운 하나를 탄생시킨다. 한국형 블록버스터로 대표되는 [쉬리], [JSA], [실미도], [태극기 휘날리며]는 분단 이데올로기라는 한국적 특수성을 이슈화하는 민족적 서사를 내용으로 하고 있으면서 그 표현양식과 제작방식은 지극히 서구적 보편성에 충실한 스타일로 바바의 문화적 혼성성의 특성을 고스란히 담고 있다. 문화적 혼성주의를 통해 한국 영화 미학의 현주소를 탐구해 보고자 한다.

• 한국콘텐츠학회논문지
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• 제5권5호
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• pp.92-99
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• 2005

특정 문화 콘텐츠에 대한 대중적 호응의 이면에서 펼쳐지는 정치경제학과 개인의 심리학에 이르기까지의 드라마를 완전히 이해하기란 쉽지 않다. 다만 장르영화의 흥망성쇠에서도 볼 수 있듯이 대중은 영화라는 문화 콘텐츠를 통해 새로움과 진부함이 교차하는 지점, 즉 자신이 알고 있는 세계의 현존을 확인하는 동시에 그 너머의 세계에 대한 비전을 통해 삶의 의미를 재구성하고자 한다는 것은 분명하다. 본고는 이와 같은 맥락 안에서 <매트릭스> 시리즈의 서사가 제시하는 혼성적 특징을 서사와 인물, 함축적 의미의 저장고로 존재하는 종교적/철학적 질문의 측면에서 분석하고자 한다. 이러한 분석은 새로움과 진부함의 경계 사이에서 현란한 곡예를 보여줌으로써 대중성을 획득한 동시에 SF 영화의 담론을 활성화시킨 <매트릭스> 시리즈의 전략을 이해할 수 있는 하나의 방안이 될 것이다.

• 영어영문학
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• 제55권6호
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• pp.1013-1034
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• 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