Although most colonisations have been invasions of territory by neighbouring peoples with similar appearances, languages, and customs, postcolonial theoryis dominated by cases of inter-civilizational imperialism between the West and the non-West. This article argues that a new theoretical framework is needed to describe intra-civilizational colonial encounters because the psychological conflicts of the intra-civilizational colonial sphere and their political ramifications function differently to those described in postcolonial theory. Drawing on Nobel Prize nominee Richard E. Kim’s memoir of growing up in Korea during the Japanese Occupation, this article explicates the primary differences between the two forms of colonialism with reference to Homi Bhabha’s theories of hybridity and mimicry. It argues that without a visible racial difference between coloniser and colonised, hybridity and mimicry are imperial strategies of assimilation rather than native strategies of resistance and that the growth of cultural nationalism is a logical response.

In this paper, I focus on the idea of identity hybridization, assuming that multicultural models, relevant for each type of state, depend on complex historical,socio-cultural, and political contexts. This hypothesis directs my inquiry into Russia’s colonial and postcolonial past, contemplated in relation to European development as well as with similar situations in other parts of the globe. My review of intellectual discussions on the topic and of Russian Orientology in particular show that the complexity of Russian national identity can be traced back to contradictions within the process of European intellectual colonization, as well as to Russia’s realization of the Orthodox civilizing mission in its own empire. I propose the expression “secondary orientalism” to refer to the Russian situation.

This article investigates Madison Smartt Bell’s Haitian trilogy as a neocaptivity narrative that combines in new ways the conventions of the slave (captivity)narrative and the Barbary captivity narrative. Furthermore, it examines the culture-crossing of the character of Doctor Hébert in the course of the successful slaveuprising of Saint Domingue (1791-1804). Captivity, I argue, constitutes the central theme and structuring device and also triggers Hébert’s culture-crossing in a reversed Hegelian master-slave dialectic that needs to be read together with Riau’s enslavement. Lacking the social recognition of a free subject, Riau attains his independent self-consciousness through physical resistance and Saint-Domingue’s distinct black culture. Whereas Hébert learns to actively resist slavery as he crosses over into the Haitian society. In their struggles, both undergo the three phases (preliminal, liminal, post-liminal) of rites of passage.

This paper intends to highlight how the Kazakhs, the indigenous ethnic group that emerged as the leading subject of society in Kazakhstan after independencefrom the former Soviet Union, reclassify and remodel their self-culture in the new socio-political context. Despite the craving for resuscitating the Islamic tradition,shrunk under colonial domination, rather the indigenous folklorized Islam came to be classified as a pure national tradition under the fear of radical Islamism,causing the exclusion of the orthodox Muslims. This paper looks at hijabed Muslim women, considered to be outside the reclassified boundary of national tradition, and efficiently controlled and marginalized by the discourse produced by the ruling powers. The authors include field research and interviews from a number of participants, making visible the strategies of exclusion and the political narratives constructed around what people should remember and learn. These narratives recollect forms of imperialism which continue to be, in one way or another.

In the hyper-mobile world of today, the industry of tourism and cultural entertainment, witnesses the multiplication of opportunities to travel. According toJohn Urry, we inhabit mobile cultures where being kind to strangers is a positive cultural value. This reality archives the bloody past of hospitality, which from theideological fields facilitated, for instance, the conquest of the Americas. In the present discussion, I delve into the world of literature and explore Viaje a caballo por las provincias Argentinas [Journey on horseback across the provinces of Argentine] a work originally written by William Mac Cann, a British businessman who visited the country between 1947 and 1948. His observations not only reveal the collective patterns of behaviour that have remained part of daily life up to date. The volume describes the attempts of an elite interested in creating a united, but subordinated, image of society, and illuminates the diverse mechanisms of imperial expansion. Hospitality plays a crucial role in the hierarchy of travellers presented in the book, with some belonging to the higher classes of society and others unnamed.

This contribution is devoted to frontier theory, the analysis of its conceptual apparatus as well as its topical issues and practical application. We propose a revision of this theory, and confront the usefulness of the term “frontier” with other the similar concepts such as border, boundary and limit. The paper alsoproposes a typology of frontiers characterized by various aspects; civilization, intercultural, religious, and anthropological, among other. From the standpoint ofthis discussion, the authors consider the Southern Russian bordering region of the Caspian Sea, today a much conflicted territory.

Given the increasing complexity of living in a global village, countries and regions that are parts of larger political entities frequently have considered the optionof separating or seceding an ideal solution to their problems with a larger center of power. Isolation, a form of “freedom from,” has the potential of offering themfree rein or “freedom to” manage their affairs for their own sake. Francophone playwrights and filmmakers have found the dialectical interplay between “freedomfrom” and “freedom to” fertile dramatic soil for plays and films. Some of them work in both of these and other genres. These works seem to ask the same question: Is it desirable or possible to achieve both, even in ideal isolation, without suffering cultural stagnation or repeating the abuse of power on the part of the political center that led to the separation? This article explores the answers to this question given in the plays of Aimée Césaire, Anne Hébert, and Wajdi Mouawad within the greater context for this issue found in J. M. Coetzee’s Waiting for the Barbarians and Azouz Begag’s Un Mouton dans la baignoire and in francophone films by Raoul Peck, Bertrand Tavernier, Claire Denis, Rachid Bouchareb, Ousmane Sembène, Michael Haneke, and Mathieu Kasovitz.

This paper considers Kazakh traditional culture in terms of its etiquette rules. Four main blocks are explored: the etiquette of greeting and farewell, hospitality,family etiquette, and blessings, all of which are mandatory in everyday situations. This study acquires importance in relation to the complicated processes of interethnic relations after the collapse of the Soviet Union and the independence of Kazakhstan. Familiarity with the traditions and norms of behavior in Kazakh society as well a basic knowledge of ethnic etiquette serves to strengthen intercultural relations and to understand the ways of life of neighboring and distant peoples. This topic is of special importance in relation to the study of communication culture among interethnic groups after the collapse of the USSR.

This paper argues for a dialogical approach to the cultural relations between East and West. Recognizing the importance of Edward Said’s 1978 work Orientalism, the paper shows a desire to recover more positive approaches that endeavor to integrate Eastern culture and its influence upon the West, not in terms of power or domination, but in terms of cross-cultural encounters. In order to briefly exemplify the debate, I use two examples from Chinese folk culture in the form of movie adaptations in the West, and mention the multiple opera versions of Shakespeare’s plays in the East.

This paper argues that food security is a very important topic in cosmopolitanism, one that has simply not received the kind of attention that it should receive.The paper reveals how global food monopolies destroy possibilities for national self-sufficiency, raises questions about neo-nationalism in an age of terror,and exposes the insidious and invidious corporate neo-imperialism that attends seed patenting. “Food, eating, and ethics” as a topic is rarely seen as a proper or important part of discussions about “the new cosmopolitanism,” let alone as part of literary discussions. This paper examines the violence and barbarity of transnational corporations such as Monsanto. I show what happens in the global supermarket and how lives and livelihoods are at stake, how the new corporate imperialism swallows up traditions and histories, and how dangerous food has become.

This paper explores the role of Confucian education in the perception and representation of the image of the Japanese soldiers in Chinese cultural products.The paper recognizes that perceptions have been greatly affected by governmental demands as well as by other changing aspects that have evolved alongside societal changes, and traces a brief panorama of Japanese imperialism as reflected in popular cinema across different time periods. Finally, the paper tries to illuminate Sino-Japanese relations in the context of Confucianism and collectivism, extending the argument to include the international community at large.

Rasa, Dhvani and Rasa-Dhvani are the major critical terms in Sanskrit poetics that developed during the post-Vedic classical period. Rasa (lit. juice) is used by a sage named Bharata (c. 4th C. B.C. – 1st C. A.D.) to denote the aesthetic experience of a theatrical audience. But Anandavardhana (9th C. A.D.) and Abhinavagupta (10th C. A.D.) intermedialize this experience by extending it to a reader of poetry. They argue that rasa is also generated by a linguistic potency called dhvani. Some critics like Bhoja (11th C. A.D.) also proposed generation of rasa by pictorial art, and further, some modern critics propose to trace dhvani property in non-verbal arts such as dance and music pleading thereby that these non-verbal arts also generate rasa. The present essay examines these arguments and concludes that generation of rasa is confined to only the audio-visual and verbal arts such as the theatre and poetry, and, dhvani as a specific linguistic potency, is strictly confined to the verbal arts. Its intermedialization is a contradiction in terms.

In the 20th century, the adaptation of William Shakespeare's classic dramas onto the Chinese stage have attracted great interest. The study of such cross-cultural adaptations has positive significance not only for development of literary theory, literary criticism and literary history, but also in that it promotes unusual forms of innovation with regards to the study of performance in general. Chinese adaptations to performance and opera have allowed Chinese people to understand the essence of Shakespeare's plays, presented in a more forms, and as a consequence, such adaptations function as a bridge for Sino-foreign cross-cultural exchanges and interpretations. These paper traces a panorama of Shakespeare's adaptations onto the Chinese stage in the year that celebrates the 500 anniversary of his death.

The term Kathakali has by far become a word that is known widely among theatre lovers all over the world. It is no longer an art intended to perform within the four walls of a temple in Kerala, with only a limited educated upper class to appreciate. In its evolution, it has become a symbol that represents a society, culture and tradition.This paper explores Kathakali art form, tracing its origin and evolution and analyzing how it hasbecome a socio-cultural icon. The paper also intends a comparative analysis of Kathakali with its counterparts – Krishnanaattam, Koodiyattam and Yakshagana – in order to substantiate its pre-eminence.

Gelede is a typical Yoruba concept which has evolved into a traditional form of musical performance with its influence has transcend its traditional abode in the Yoruba communities of Nigeria and West Africa to Latin Americas, parts of Europe, Australia and the Black world at large. It also evolves beyond mere localized performance in which members of a community gathered in the town squares, market squares or the typical under the tree arrangements to a wider scale in all aspects of the social, and even religiouslives of the people. This paper combines an expository and comparative analysis with its main objective to sensitise scholarly attention to the phenomenon and to provide supplementary concise and critical source for further studies, philosophic analyses and scholarly interpretations.

The Flowers of War (2012), based on the homonymous novel by Geling Yan, and City of Life and Death (2009) are recent Chinese films that deal with the so-called 'Nanking Massacre‘ or 'the Rape of Nanking‘. The events which inspired these stories in the context of the second Sino-Japanese War will be analysed through the study and comparison of both films, together with the reasons which led the directors to fictionalise a series of events so many years after they occurred in 1937. This analysis will be carried out based on the testimonies of the foreigners who eyewitnessed the events at the time, and who left written testimony of the facts, and a comparison shall be made between the fictional and factual events.

During the past ten years, China’s micro film industry has made a rapid development aided by technological changes. Focusing on three types of micro films, this paper reveals some characteristics of China’s micro films within socialist cultural production with Chinese characteristics. This model departs from a past when the government managed everything during the Planned Economy, but is also different from the models of cultural policy in the West. The micro films examined are A Murder Case Triggered by a Steamed Bun, a parody of film Wuji (The Promise 2005), market-conspiracy micro films such asImminent and The Only Choice, and social-welfare micro films likeI will give you happiness when I grow up. All of them bring forth the issue of coordination and harmonization of conflict between social-welfare and market efficiency.

Discussing the intercultural reception of Pier Paolo Pasolini, this article looks into the intercultural and medial crossovers of his person and his work. It shows the historical particularities of Pasolini's work, and it traces layers of intermedial references in his movie production, describing the many-layered intercultural interplay. Lastly, it focuses on the discussions of media relations, and the remedialisation inherent in much of Pasolini's work.

Fontane Effi Briest by the German director Rainer Werner Fassbinder is arguably one of the greatest adaptations from literature to screen, and the best Effi Briest adaptation. Although the first reception of the movie, when it appeared in 1974, was not without unmixed reviews, most scholars nowadays share the conviction that it is a masterpiece. Elke Siegel defines the film as a success both at the Berlinale and at the box office (Siege, 2012: 378). Kreft Wetzel, however, in an interview with Fassbinder in 1974, refers to the ambivalent attitude of the critics abroad at the time of the movie‘s release, to which Fassbinder replies that Fontane‘s language is the foundation of the movie and, hence, the film works to its full extent only in German (Wetzel, 1992: 157). Forty years after this interview and judging from the scholarly work carried out on Fassbinder in general and Fontane Effi Briest in particular, it is plausible to claim that Fassbinder‘s art has moved beyond the language barriers and appeals to an audience beyond the German culture and language.