othering

Othering, as the basic political economy of identity construction, has been operative in human societies since ancient times, but it has been conceptually investigated only in recent times. Employing contrapuntal reading, the deconstructive strategy adapted by Edward Said from classic Western music, the present paper deals with the issue of identity politics in “Odysseus’s Tale of Trials” from Homer’s Odyssey to unravel the ideological subtext of this canonical romantic epic and give voice to the figures monsterized and suppressed by the hero and the narrative voice. It is argued that The Odyssey has significantly contributed to the construction of Western subjectivity, giving a sense of national or cultural identity to both ancient Greek people and modern Western man via setting them in opposition to their others. However, upon a contrapuntal reading, Odysseus is no different from the so-called savage, barbarous, villainous others he confronts in his quest and the identity constructed for both parties is merely a matter of convention and discursive power. Thus, the findings of this study challenge the commonsensical identity politics at work in Western culture, in the hope of paving the way for further critical readings of such classical texts and reevaluating their translations.

The present paper examines Nadine Gordimer's The Conservationist (1974) in order to present a postcolonial reading of it in light of Homi K. Bhabha's ideas. It firstly discusses the significance of this novel and its narrative style, along with its context (Apartheid and the Zulu culture). Then it examines the central characters (Mehring and Jacobus) with the help of Bhabha's key concepts of hybridity and mimicry. The paper analyzes the relationship between the foreign white master, Mehring, and his native black servants, and underlines that the displaced colonial subjects (such as Jacobus) can, through mimicry, defy the oppression of imperial hegemony from within. In the text of Gordimer’s novel we can witness the formation of new cultural hybrids. It is characteristic of Gordimer’s fiction to reflect upon interactions between European and indigenous cultures. It is also argued that the funeral at the very end of the novel is in fact a transformation; for one, it brings about a change of focus and the readers shall end the novel bearing the memory of the black man in their minds.