Cultural Hybridity And Fixity

Immigrants who travel and settle in foreign countries face challenges due to cultural differences or even deliberate segregation by dominant groups. In their attempt to negotiate their existence, some decide to stick to the culture of their mother nations and some stand in the middle, and blend some aspects of their mother culture and the new culture. Although immigrants who remain closer to their own cultures are easily spotted and relegated, they are assigned a place on the identity continuum, whereas immigrants who choose to stand in the middle run the danger of being neither this nor that, neither here nor there, and can undergo severe internal fragmentation. In this book, Cultural Hybridity and Fixity: Strategies of Resistance in Migration Literatures, Andrew Nyongesa delves into these two strategies of resistance and analyzes the merits and demerits of each with reference to Safi Abdis fiction.

Immigrants who travel and settle in foreign countries face challenges due to cultural differences or even deliberate segregation by dominant groups. In their attempt to negotiate their existence, some decide to stick to the culture of their mother nations and some stand in the middle, and blend some aspects of their mother culture and the new culture. Although immigrants who remain closer to their own cultures are easily spotted and relegated, they are assigned a place on the identity continuum, whereas immigrants who choose to stand in the middle run the danger of being neither this nor that, neither here nor there, and can undergo severe internal fragmentation. In this book, Cultural Hybridity and Fixity: Strategies of Resistance in Migration Literatures, Andrew Nyongesa delves into these two strategies of resistance and analyzes the merits and demerits of each with reference to Safi Abdi’s fiction.

The chapters in this volume seek to bring hybrid language practices to the center of discussions about English as a global language. They demonstrate how local linguistic resources and practices are involved in the refashioning of identities in a variety of cross-cultural and geographical contexts, and illustrate hybridity as an enactment of resistance and creativity. Drawing on a variety of disciplines and ideological perspectives, the authors use contexts as diverse as social media, Bollywood films, workplaces and kindergartens to explore the ways in which English has become a part of localities and social relations in ways that are of significant sociolinguistic interest in understanding the dynamics of mobile cultures and transcultural flows.

There can never be literary growth in the contemporary world which is devoid of literary criticism, this is the backbone of literary theory. Literature is no longer a mere narration of stories, and prudent literary writers know that great literature is based on theoretical frameworks which give their works an edge in the intellectual world. In this book, Tintinnabulation of Literary Theory: Traversing Genres to Contemporary Experience, Andrew Nyongesa demonstrates how five theoretical frameworks, namely: Marxism, Feminism, Postcolonialism, Psychoanalysis and Stylistic are applied to genres of literature. The last chapter shows how theory has moved away from the lecture hall to real life experience. The book is a practical guide to university students and tutors of literature in their undying desire to embrace Literary Criticism.

In this accessible combination of post-colonial theory, feminism and pedagogy, the author advocates using subversive and contemporary artistic representations of women to remodel traditional stereotypes in education. It is in this key sector that values and norms are molded and prejudice kept at bay, yet the legacy of colonialism continues to pervade official education received in classrooms as well as ‘unofficial’ education ingested via popular culture and the media. The result is a variety of distorted images of women and gender in which women appear as two-dimensional stereotypes. The text analyzes both current and historical colonial representations of women in a pedagogical context. In doing so, it seeks to recast our conception of what ‘difference’ is, challenging historical, patriarchal gender relations with their stereotypical representations that continue to marginalize minority populations in the first world and billions of women elsewhere. These distorted images, the book argues, can be subverted using the semiology provided by postcolonialism and transnational feminism and the work of contemporary artists who rethink and recontextualize the visual codes of colonialism. These resistive images, created by women who challenge and subvert patriarchal modes of representation, can be used to create educational environments that provide an alternative view of women of non-western origin.

The purpose of this book is to examine and analyze Americanization, De-Americanization, and racialized ethnic groups in America and consider the questions: who is an American? And what constitutes American identity and culture?

Drawing on exclusive interviews, choreographic analysis, and the author's own dance experience, Flexible Bodies reveals how South Asian dancers in Britain use their craft and creativity to navigate often precarious economic, national, and racial terrain.

Over the last 20 years, ethnic minority groups have been increasingly featured in Japanese Films. However, the way these groups are presented has not been a subject of investigation. This study examines the representation of so-called Others – foreigners, ethnic minorities, and Okinawans – in Japanese cinema. By combining textual and contextual analysis, this book analyses the narrative and visual style of films of contemporary Japanese cinema in relation to their social and historical context of production and reception. Mika Ko considers the ways in which ‘multicultural’ sentiments have emerged in contemporary Japanese cinema. In this respect, Japanese films may be seen not simply to have ‘reflected’ more general trends within Japanese society but to have played an active role in constructing and communicating different versions of multiculturalism. In particular, the book is concerned with how representations of ‘otherness’ in contemporary Japanese cinema may be identified as reinforcing or subverting dominant discourses of ‘Japaneseness’. the author book also illuminates the ways in which Japanese films have engaged in the dramatisation and elaboration of ideas and attitudes surrounding contemporary Japanese nationalism and multiculturalism. By locating contemporary Japanese cinema in a social and political context, Japanese Cinema and Otherness makes an original contribution to scholarship on Japanese film study but also to bridging the gap between Japanese studies and film studies.