文化混雜性意指任何一種文化都不能排除其他文化的影響而孤立地存在（Bhabha, 1994/2004）。巴巴提到的這類混雜性，並非是在原創文化之上混入不同文化而形成的次要和衍生的現象。而是，因爲從最初就不存在原創文化與不同文化、主體與客體、支配與被支配的文化區分、優劣及時差，所以文化的出發點便是文化之間的界限或中間地帶。巴巴將形成混雜性的這種「相互之間」（in-between）空間稱為「第三空間」。而且，只有混雜性才是「他者的結果」，即為「無汙染處的結果」。巴巴的這種後殖民思維可謂是在近代模式以外，重新思索近代殖民性的某種試圖，而這正是巴巴對現代哲學理論所作出的貢獻。本稿的研究目的是將文化翻譯從民族誌學觀點和後殖民主義觀點分類研究，以此為基礎將多文化主義文學（美國人賽珍珠用英語講述中國故事的《大地》和旅日僑胞作家柳美里用日語撰寫的殖民時代故事「《8月的彼岸》）分類為他者性翻譯和少數化翻譯，並以哲學觀點反思和批判。

Cultural hybridity refers to a state in which no culture can exist in a pure form while encountering the effects of other cultures (Bhabha, 1994/2004). Hybridity, proposed by Bhabha, is not translated into a secondary and derivative phenomenon that is later formed by an original culture mixed with a heterogeneous one. Rather, as there are no cultural divisions, hierarchy, or time gap between original and heterogeneous cultures, between the subject and the object, and between the controller and the controlled in the first place, a culture starts from a boundary line or a middle ground of cultures. Bhabha calls this inter-between space, where hybridity is established, as the “third space.” And it is the “result of others,” or the “result of an un-polluted position.” Such a post-colonial thinking of Bhabha can be deemed as an attempt to reconsider colonialism of the modern era from outside the modern paradigm. This is Bhabha’s contribution to theories of modern philosophy. This study is aimed to take a look at cultural translation from the perspectives of ethnography and post-colonialism and philosophically reflect and criticize multicultural literature (“The good earth” written in English on China by Pearl Buck, an American writer, and “End of August,” written in Japanese on the colonial era by Yu Mi-ri, a Korean-Japanese writer) by classifying them into othering translation and minoritizing translation.