Abstract This work sets off to offer a polemical response to postcolonialist theories advanced by Homi Bhabha in his seminal work The Location of Culture, particularly to Bhabha’s famous notions of ambivalence and mimicry purportedly used as methods of struggle against colonialism. Reading Béla Tarr’s film Werckmeister Harmonies (Werckmeister harmóniák, 2000) as an allegory for the colonization of a former colonial agent in the guise of an ambiguously framed post-imperial Hungary now on the eve of Soviet invasion, I turn Bhabha’s notions on their heads, and thus de-stereotype the simplistic hierarchy that sees the colonial agent dominate the colonized subject in a top-down approach. To achieve this, I bring into play Kuan-Hsing Chen’s notion of deimperialization as well as the psychoanalysis of Octave Mannoni in order to show that rather than being a straightforward misreading of the Other by an uninformed Self, the relationship between colonized and colonizer appears more like a failed attempt at acquiring the most basic knowledge of the psychological functioning of the Self on both sides of the colonized/colonizer divide.

中文翻译：

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贝拉·塔尔的《沃克迈斯特和声》中的后殖民自我与他人

摘要这项工作开始对霍米·巴巴（Homi Bhabha）在他的开创性著作《文化的位置》中提出的后殖民主义理论，特别是对巴巴（Bhabha）著名的矛盾和模仿概念（据称是与殖民主义作斗争的一种方法）提出了具有争议性的回应。读贝拉·塔尔（BélaTarr）的电影《维克迈斯特和声》（Werckmeisterharmóniák，2000年），这是一个前殖民地殖民者的寓言，借口是在帝国主义入侵匈牙利前夕模棱两可的框架，而现在正处于苏维埃入侵的前夜，我把巴巴的观念摆在他们头上，因此，以自上而下的方式对定型的简单模型进行定型，即看到殖民者主导着被殖民者。为了达成这个，