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• W2108131757 abstract "A RECENT TREND in cultural theory is to pay attention to previously neglected and unrecognised groups and individuals transcending antithetical and dichotomous categories of Western/non-Western, male/female, hetero/homo and the like. 1 Cultural and social ‘misfits’ like bicultural and multiethnic people, transracial and international adoptees, and transgenders and bisexuals all exemplify marginal and liminal existences in-between or beyond essentialist categories. One part of this trend is the emergence of masculinity, elite, heteronormativity, and Whiteness studies even if an orphan or bastard theory as such has yet to be formulated. These theoretical and methodological approaches which are often combined through their intersection, focus on how hegemonic power is formed, maintained and reproduced, but also how it can be interrupted and subverted. Another remarkably productive aspect of this research development is a growing number of comparative studies examining similarities and differences between various bi/trans-minorities with regard to the performative, visual and bodily character of postmodern identities and the issue of passing. One such example is Vicki Bell’s comparative study between Jews in Nazi Germany and today’s sexual minorities, and their abilities to pass as and mimic the majority population. 2 All these border crossers, variously labelled as nomads, pilgrims, vagabonds, bricoleurs, creoles, mestizasor whatever depending on scholars and theories, can be linked to the notion of hybridity. Hybridity is a key term in postcolonial studies where it stands for the transcultural crossroads and spaces generated by the colonial encounter. Robert Young traces the word hybridity and its meaning to nineteenth century attitudes towards race and obsession with miscegenation as well as to the emergence of pidgin languages in colonized lands, in his magisterial study of early colonial interactions and the roots to contemporary images of racial and cultural differences.3 According to nineteenth century race discourse, especially in its British Victorian version, a hybrid was a mixture of two species, whether animals or human beings, as different races were conceptualised as different species, and the state of hybridity was strongly associated with degeneration, infertility and sterility. This fear of and interest in intermixture at the time of high imperialism is for [Young] a reflection of an ambivalent attitude towards hybridity; on the one hand it expresses a desire and an attraction for the ‘creolised’, while on the other hand it articulates an aversion and a repulsion for the ‘mongrelised’ and ‘bastardised’. In one of his introductions to postcolonial theory, Young takes up the Algerian popular music genre of rai as an ideal example of hybridity in practice. 4 Rai, whichemerged in 1970s urban and working-class Algeria represented an amalgamation of many different cultures and traditions such as West African folk music, Arabic dance and Western rock, and can be seen as a musical crossover between binary opposites like the sacred and the secular, the classical and the" @default.
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• W2108131757 date "2004-01-01" @default.
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• W2108131757 title "Korea(n) divided: Third Space Existence in Kim Ki- duk's Wild Animals" @default.
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