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Journal articles on the topic 'Exoticism in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Dellacasa, Claudia, and Hannah McIntyre. "Introduction: Reframing Exoticism in European Literature." MHRA Working Papers in the Humanities 14 (December 9, 2019): 1–8. http://dx.doi.org/10.59860/wph.a6b239d.

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2

Hayes Edwards, Brent. "Transplanted Exoticism." TDR/The Drama Review 64, no. 2 (June 2020): 75–78. http://dx.doi.org/10.1162/dram_a_00919.

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Nelisiwe Xaba’s Fremde Tänze is a remarkable exercise in transplanted exoticism. Its trenchant critique of German imaginings of racialized and eroticized Others unavoidably took on different meanings when Xaba performed it in Chicago in the fall of 2017.

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3

Majdalani, Charif, and Roxanne Lapidus. "Post-Exoticism, or Internal Literatures." SubStance 32, no. 2 (2003): 64. http://dx.doi.org/10.2307/3685666.

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4

Majdalani, C., and J. D. Wagneur. "Post-Exoticism, or Internal Literatures." SubStance 32, no. 2 (January 1, 2003): 64–66. http://dx.doi.org/10.1353/sub.2003.0041.

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5

Benn, Sheila M. "SCHILLER AND EXOTICISM." German Life and Letters 45, no. 1 (January 1992): 1–15. http://dx.doi.org/10.1111/j.1468-0483.1992.tb00343.x.

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6

Nelson, Dana D., Jonathan Arac, and Harriet Ritvo. "Macropolitics of Nineteenth-Century Literature: Nationalism, Exoticism, Imperialism." American Literature 64, no. 2 (June 1992): 376. http://dx.doi.org/10.2307/2927848.

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7

Mngadi, Sikhumbuzo. "‘Africanization’, or, the new exoticism." Scrutiny2 2, no. 1 (January 1997): 18–23. http://dx.doi.org/10.1080/18125449708565885.

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8

Cummins, J. S., G. S. Rousseau, and Roy Porter. "Exoticism in the Enlightenment." Modern Language Review 87, no. 2 (April 1992): 425. http://dx.doi.org/10.2307/3730683.

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9

Ghaderi, Farah, and Wan Roselezam Wan Yahya. "EXOTICISM IN GERTRUDE BELL'SPERSIAN PICTURES." Victorian Literature and Culture 42, no. 1 (February 19, 2014): 123–38. http://dx.doi.org/10.1017/s1060150313000247.

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Victorian travelers in colonial contextsencountered differences in landscape, mores and manners, society, politics and culture, among other things, and registered their responses to the places visited in their published travel books for the home audience. Postcolonial critics contend that exoticism, i.e., a Western traveler's response to and description of the differences encountered in the context of travel, was deeply informed by the asymmetrical power relation between the representer/colonizer and the represented/colonized. As a result, these critics argue, exoticism in colonial travel writing was appropriative since it tended to construct the dichotomy of self/other in such a way as to justify imperial interventions in other countries (Forsdick, “Sa(L)Vaging Exoticism” 30–34; Said 1–28). As Graham Huggan rightly argues, difference of the colonial other in its various aspects was denigrated and dismissed as exotic when “translated into the master code of empire,” since it superimposed “a dominant way of seeing, speaking and thinking onto marginalised peoples” (24).

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10

Li, Xiaofan Amy. "Introduction: From the Exotic to the Autoexotic." PMLA/Publications of the Modern Language Association of America 132, no. 2 (March 2017): 392–96. http://dx.doi.org/10.1632/pmla.2017.132.2.392.

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This cluster of essays stems from the spring reception workshop on autoexoticism, which was organized by the Oxford Comparative Criticism and Translation Research Programme (OCCT) and the British Comparative Literature Association (BCLA) and took place on 19 March 2015 at the University of Oxford. Speakers at the workshop, also the contributors to this special feature, had been discussing the question of exoticism for the past few months. The topic of autoexoticism emerged through our discussions, and we felt the need to explore it because we were dissatisfied with the status quo of criticism on exoticism and intercultural practices. These essays are therefore both the result of our attempt to rethink exoticism and its discourses by articulating the autoexotic and an invitation to further explore and problematize the topic.

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11

Bako, Alina. "A Romanian Vision of World Literature: Between Telescoping and Exoticism." Metacritic Journal for Comparative Studies and Theory 9, no. 1 (July 20, 2023): 248–65. http://dx.doi.org/10.24193/mjcst.2023.15.14.

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The present study sets out to discuss World Literature Paradigm in a Romanian context, by undertaking an ample journey through the most important present-day theories, while also adding local definitions of the concept to them. Our discussion is centred o

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12

Volodine, Antoine. "Post-Exoticism and Its Voices." Contemporary French and Francophone Studies 24, no. 2 (March 14, 2020): 138–47. http://dx.doi.org/10.1080/17409292.2020.1774214.

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13

Forsdick, Charles. "Travelling Concepts: Postcolonial Approaches to Exoticism." Paragraph 24, no. 3 (November 2001): 12–29. http://dx.doi.org/10.3366/jsp.2001.24.3.12.

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14

Tan, Chenhui, and Limin Li. "On the “Occidentalized Indianness” behind “Blue” Image in Midnight’s Children from the World Literature Perspective." International Journal of Languages, Literature and Linguistics 10, no. 1 (2024): 114–17. http://dx.doi.org/10.18178/ijlll.2024.10.1.496.

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With the traits of exoticism and assimilation in world literature, the image of color “blue” in Salman Rushdie’s novel Midnight’s Children presents the “hybridity” with extremely rich connotation. It is showed from aspects of material life, identity pursuit and religion reconsideration, which reveal the “Occidentalized Indianness” in postcolonial South Asian Subcontinent. It not only critically implies the influence from the colonial authority and western centralism, but also conveys a wish of return and adherence to the essence of “Indianness”, another form of world literature.

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15

LOCKE, RALPH P. "A Broader View of Musical Exoticism." Journal of Musicology 24, no. 4 (2007): 477–521. http://dx.doi.org/10.1525/jm.2007.24.4.477.

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Most previous writings on musical exoticism reflect the unspoken assumption that a work is perceived by the listener as exotic only if it incorporates distinctively foreign or otherwise highly unusual elements of musical style. This ““Exotic Style Only”” Paradigm often proves revelatory, especially for purely instrumental works. In operas and other musicodramatic works set in exotic locales, by contrast, music is heard within a narrative ““frame”” that shapes the listener's response. Yet the existing literature on ““the exotic in music”” tends to restrict its attention to those few scenes or passages (in such works) that ““sound non-Western.”” It also tends to leave unmentioned the many Baroque-era operas and dramatic oratorios that focus on despicable Eastern tyrants. The present article proposes an ““All the Music in Full Context”” Paradigm to help make sense of a variety of exotic portrayals that are strikingly diverse in message and means: 1) Les Indes galantes (Rameau's application of standard musico-rhetorical devices to manipulative and anti-colonialist speeches by the Peruvian leader Huascar); 2) Belshazzar (Handel's vivid musical setting of the passage in which the cruel, cowardly Eastern despot seeks oblivion in drink); 3) Bizet's Carmen (the Card Scene, which is notably free of Hispanic or other local color yet, through rigidly recurring devices in voice and orchestra, indelibly limns Carmen's Gypsy fatalism); and 4) three prominent dramatic moments, two of them rarely discussed, in Puccini's Madama Butterfly. In each case, the full range of artistic components——including musical devices that lie within or outside the traditional exotic vocabulary——enriches our understanding of how diversely, powerfully, sometimes disturbingly the exoticizing process can function in genres that combine music with dramatic representation.

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16

AL-ZAUM, Abdulmalek. "LA PLACE DE LA FEMME SYRIENNE DANS LES RÉCITS DE VOYAGE DU XIXe SIÈCLE." Analele Universității din Craiova, Seria Ştiinte Filologice, Langues et littératures romanes 25, no. 1 (January 24, 2022): 149–61. http://dx.doi.org/10.52846/aucllr.2021.01.08.

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The paper focuses on the role of the Middle-Eastern woman in 19th-century travel literature. Middle-Eastern women, particularly Syrian women, feature prominently in the travel writing of the period. For some travel writers, they gave rise to reverie, while for others, they embodied otherness and exoticism, fuelling the romantic aesthetic and sexual fantasies. Their role in travel literature is thus twofold: symbolic and ideological.

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17

Hutchinson, Ben, and John Zilcosky. "Kafka's Travels: Exoticism, Colonialism, and the Traffic of Writing." Journal of the Midwest Modern Language Association 37, no. 1 (2004): 124. http://dx.doi.org/10.2307/1315387.

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18

COLMEIRO, J. F. "Exorcising Exoticism: Carmen and the Construction of Oriental Spain." Comparative Literature 54, no. 2 (January 1, 2002): 127–44. http://dx.doi.org/10.1215/-54-2-127.

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19

Irlam, Shaun. "Gerrymandered Geographies: Exoticism in Thomson and Chateaubriand." MLN 108, no. 5 (December 1993): 891. http://dx.doi.org/10.2307/2904882.

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20

Fraser, Benjamin. "San Sombrèro." Journeys 8, no. 1 (June 1, 2007): 117–27. http://dx.doi.org/10.3167/jys.2007.081207.

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Although fictional places have certainly been the hallmark of great literature (William Faulkner, Gabriel García Márquez, Juan Benet), a recent travel guide to the fictional land of 'San Sombrèro' shows that their manifestation in popular culture can be questionable. A Bergsonian reading (Laughter, 1900) of the guide's attempt to pair humour with contrived exoticism yields more discomfort than laughs.

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21

Brady, Heather. "The Frontiers of Popular Exoticism: Marie Bonaparte's New Orleans Crossings." Nineteenth Century French Studies 31, no. 3 (2003): 311–23. http://dx.doi.org/10.1353/ncf.2003.0008.

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22

Hill, Peter. "Arguing with Europe: Eastern Civilization Versus Orientalist Exoticism." PMLA/Publications of the Modern Language Association of America 132, no. 2 (March 2017): 405–12. http://dx.doi.org/10.1632/pmla.2017.132.2.405.

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The French romantic poet Alphonse de Lamartine traveled to the East—namely, Syria, Palestine, and parts of the Balkans—in 1832–33, with his wife and daughter. His account of these travels, the Voyage en Orient, was published in 1835 and went on to become one of the major Eastern travel-narratives of the nineteenth century. Edward Said was scathing about it in Orientalism: “What remains of the Orient in Lamartine's prose is not very substantial at all … the sites he has visited, the people he has met, the experiences he has had, are reduced to a few echoes in his pompous generalizations” (179). I would not dissent from this assessment. But Said was not the first to remark on the nature of Lamartine's representations of the Orient. In 1859, twenty-four years after the French poet's visit to the East, a young Beiruti poet and journalist, Khalīl al-Khūrī, made an Arabic translation and commentary, with some sharp criticisms, of one of the poems included in Voyage en Orient.

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23

Khoo, Olivia. "Folding Chinese boxes: Asian exoticism in Australia." Journal of Australian Studies 24, no. 65 (January 2000): 200–208. http://dx.doi.org/10.1080/14443050009387604.

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24

Amil, Ahmad Jami’ul. "THEATER PERFORMANCE ANALYSIS FORBIDDEN FROM SINGING IN BATH ROOM BY SENO GUMIRA AJIDARMA THEATER HAD STUDY PROGRAM IN INDONESIAN LANGUAGE AND LITERATURE EDUCATION TRUNOJOYO MADURA UNIVERSITY (CARLES SANDERS PEARCE SEMIOTIC STUDY)." Prosodi 14, no. 2 (October 4, 2020): 147–51. http://dx.doi.org/10.21107/prosodi.v14i2.8803.

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This research is descriptive qualitative research that examines theatrical performances of scripts. It is forbidden to sing in the bathroom. The work of Seno GumiraAjiDarma is the study of semiotic carlesanderspearce. The formulation of the problem in this research is how the study of semiotics in the tetater show had once been conducted by the PBSI Study Program using the study of semiotic carles sanders Pearce. Data collection techniques using documentation techniques, note, and see. The analysis technique used is reducing data, promising data, and verifying data. From the results of the study concluded that the semiotics that appear on signs and markers in the form of symbols are the dance of the bathroom, sound, and the shadow of the bathroom. The index aspect is in the form of actor actions in the form of exoticism, anxiety, admiration, exoticism, and the imagination of the actor. The iconic aspect is shown in one of the events, namely the social environment in the form of a house, bathroom, and boarding house.

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25

King, Christa Knellwolf. "Exoticism and the Formation of the Imperial Mind." Eighteenth-Century Life 42, no. 1 (January 1, 2018): 102–9. http://dx.doi.org/10.1215/00982601-4261291.

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26

Bondarchuk, Julia, Svitlana Dvorianchykova, Maryna Vyshnevska, Kseniia Kugai, and Halyna Dovhopol. "Ukrainian literature in the English-speaking environment." Revista Amazonia Investiga 11, no. 54 (August 30, 2022): 264–72. http://dx.doi.org/10.34069/ai/2022.54.06.25.

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The article highlights literary models of perception of Ukrainian national literature by the English-speaking cultural community in general and literature as its phenomenon in particular. The principle of interaction between both literatures is subject to the concept of receptive communication. The contacts of English literary material and Ukrainian one with respect to each other are characterized by asymmetry, but there is also a mutual oncoming movement. A look at Ukrainian literature in the British Empire is marked by such concepts as exoticism, stereotypes, peripheral territory, national characteristics, post-colonial world, globalization, interpretation. A full-fledged parity dialogue between the two literatures, which develop on the Slavic and Anglo-Saxon traditions, respectively, has not yet taken place at the moment, but has the potential for successful development and presence in the European cultural landscape in the medium and long term. The article emphasizes that Anglophones read, perceive and comprehend Ukrainian literature differently compared to Ukrainian readers. Thus, one of the long-term goals facing Ukrainian writers, cultural critics and literary critics is the development of aesthetic and semantic intentions, as well as the consistent and meaningful transmission of the ideas of national and state building.

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27

Saglia, Diego. "Other homes: exoticism and domesticity in maria jane jewsbury's oceanides." Women's Writing 12, no. 2 (July 1, 2005): 205–24. http://dx.doi.org/10.1080/09699080500200346.

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28

Yee, Jennifer. "Undermining Exoticism: Flaubert's Use of Antithesis inL'Éducation sentimentale." Dix-Neuf 15, no. 1 (April 2011): 26–36. http://dx.doi.org/10.1179/147873111x12973011702202.

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29

Chang, Yu-Chi. "Localised Exoticism: Developments and Features of Belly Dance in Taiwan." Physical Culture and Sport. Studies and Research 54, no. 1 (June 1, 2012): 13–25. http://dx.doi.org/10.2478/v10141-012-0003-6.

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Localised Exoticism: Developments and Features of Belly Dance in TaiwanBelly dance has become one of the most popular dances in Taiwan today, with women of various ages participating in this imported dance. With respect to this speedy expansion, the purpose of this study is to investigate current developments, and to distinguish features of Taiwanese belly dance. The method adopted is literature analysis: a large number of Internet news items were collected to capture the trend of belly dancing in Taiwan. This study concludes that belly dance in Taiwan is primarily presented as: an exercise that is beneficial for health; widely accessible and partially embedded in local life; an exercise for all age groups and genders; a blend of multiple cultural elements; outstanding dancers acclaimed as the pride of Taiwan. The representation showed that the development of belly dance was influenced by the Taiwanese social background. Within the Taiwanese cultural landscape of meanings, belly dance moves between the exotic and the local. This study argues that belly dance is better described as "localised-exoticism" in Taiwan.

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30

HAYANI, KHADIJA El. "Marrakech in Travel Literature." International Journal of Innovative Science and Research Technology 5, no. 7 (July 21, 2020): 166–69. http://dx.doi.org/10.38124/ijisrt20jul251.

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The paper aims to examine images of Marrakech in travel literature and their relevance to and impact on tourism. Many of the pioneer works conducted by painters, writers or simply adventurers from the 17th century to the beginning of 20th century depict Morocco as a no man’s land; a country inhabited by savage, fierce looking men, living in a primitive, atavistic society. Their customs, beliefs, and behavior were exotic if not weird and therefore deserving anthropological research. Women were also subjects of much conjecture and criticism. They were often depicted behind barred windows, and closed doors, subservient, walking non- entities, draped in ‘haiks’ and veiled. They existed only for the pleasure of men. These stereotypes continue to inflame the imagination of tourists heading to Marrakech today. In this connection, Jemaa Elfna is considered the heart and soul of the city particularly because it caters to the fantasies of the tourists looking for exoticism. My purpose is to demystify the place and critique what it stands for. The snake charmers, henna ladies, disguised prostitution and homosexuality, con dentists and monkey trainers, who populate the place, in no way reflect the richness and authenticity of the country or the hospitality of the people

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31

Lu, Chunyao. "How Medieval Lifestyle in Fantasy Literature Attracts Chinese." Communications in Humanities Research 31, no. 1 (May 17, 2024): 180–86. http://dx.doi.org/10.54254/2753-7064/31/20232068.

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The medieval lifestyle has been realized as an element in fantasy literature, which can create an imaginary world and attract readers with historical features. The aim of the present research was to explore the effects of medievalism in fantasy works and analyze its influence on Chinese readers. The Lord of the Rings was chosen to be the example, and a qualitative method was executed to categorize and analyze Chinese readers reactions to the example. Tables and word clouds illustrated the popularity of the Lord of the Rings in China and the reasons why Chinese readers were attracted by the story. Results showed that medievalism as symbols in the fantasy works provided the story with exoticism and pastoralism. And Chinese readers can be attracted by symbols and the values behind them. In view of these findings, this research revealed the possibility that masterpieces with general values can be admired by readers from other parts of the world.

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32

Dingley, R. J. "Arac, J. and Ritvo, H. eds., Macropolitics of Nineteenth-Century Literature: Nationalism, Exoticism, Imperialism." Notes and Queries 39, no. 2 (June 1, 1992): 250–51. http://dx.doi.org/10.1093/nq/39.2.250.

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33

Loges, Natasha. "Exoticism, Artifice and the Supernatural in the Brahmsian Lied." Nineteenth-Century Music Review 3, no. 2 (November 2006): 137–68. http://dx.doi.org/10.1017/s147940980000063x.

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Perhaps as a consequence of the late-nineteenth-century tendency to differentiate Brahms from the Wagnerian coterie at all costs, his enduring interest in exoticism has received little attention. This is not unreasonable, since his untexted works show no evidence of any foreign links further than Hungary. In addition, for obvious reasons, the specific tropes associated with exoticism, or more specifically orientalism, manifested themselves most clearly through art-forms better equipped to portray specific verbal content, such as opera, literature and painting, none of which is strongly associated with Brahms. Biographically, it is even harder to reconcile Brahms with exoticism, since the connotations of sensuality sit oddly with the bürgerlich North German Protestant work ethic that generally defines perceptions of him. Still, the effect of over 30 years in cosmopolitan Vienna cannot be overlooked; also Brahms was a friend and supporter of artists as well as of musicians. Although Max Klinger and Adolf von Menzel spring primarily to mind, his interest in German painters dated from his early twenties, following his visit to the Schumanns in Düsseldorf. In particular, from the mid-1860s onwards he expressed constant interest in the works of the painter Anselm Feuerbach. Interestingly, both Brahms's and Feuerbach's concept of orientalism, specifically through the Persian poet Hafis, was mediated by the poetry of Georg Friedrich Daumer. This study will explore the simultaneous burgeoning of interest shown by Brahms in his Hafis settings and Feuerbach in his works Hafis vor der Schenke and Hafis am Brunnen in the mid-1860s, as well as the background of the poet who inspired them both.

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34

Bongie, Chris, and Roger Celestin. "From Cannibals to Radicals: Figures and Limits of Exoticism." South Central Review 14, no. 3/4 (1997): 121. http://dx.doi.org/10.2307/3190219.

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35

Smith, Eric D. "Pandering Caribbean Spice: The Strategic Exoticism of Robert Antoni’s My Grandmother’s Erotic Folktales." Journal of Commonwealth Literature 39, no. 3 (September 2004): 5–24. http://dx.doi.org/10.1177/0021989404047043.

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36

Wójcik, Wiesław A. "„Na przełęczy” Stanisława Witkiewicza w syntezach dziejów literatury polskiej." Góry, Literatura, Kultura 10 (May 25, 2017): 173–85. http://dx.doi.org/10.19195/2084-4107.10.15.

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Stanisław Witkiewicz’s Na przełęczy in histories of Polish literatureThe overview, presented in the article, of opinions by historians of Polish literature about Witkiewicz’s writings about the Tatras, especially his flagship work — Na przełęczy [On a Mountain Pass] — clearly shows that most of them, comparing Witkiewicz’s oeuvre to that of other Polish writers at the time, appreciated his artistic and social significance, his role in building readers’ sensitivity to the beauty of the Tatra landscape, to the exoticism of the culture of Podhale highlanders. This seems to be the central idea of fragments of these studies cited in the article as examples. In addition, all of them — indirectly or explicitly — point to the untypical structure Witkiewicz’s book of the Tatras, hindering its genological typology and making it impossible to unequivocally assign it to a specific kind or genre of literature.

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37

Keshmirshekan, Hamid. "The Question of Identity vis-à-vis Exoticism in Contemporary Iranian Art." Iranian Studies 43, no. 4 (September 2010): 489–512. http://dx.doi.org/10.1080/00210862.2010.495566.

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38

Lojacono, Florence. "A “Postmodern” Novel of the 1920s: Vasco de Marc Chadourne." Thélème. Revista Complutense de Estudios Franceses 35, no. 2 (October 22, 2020): 229–37. http://dx.doi.org/10.5209/thel.70083.

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Marc Chadourne (1995-1975), almost forgotten today, has published a hugely successful novel in 1927, Vasco. Under the guise of presenting a concentrate of the emblematic themes of the literature of the 1920s such as anxiety, exoticism and holiness, Vasco is above all a postmodern novel ahead of time. Indeed, the questions staged in this island fiction deconstruct the very possibility of adventure and highlight the aporia of "why live for?" Starting from the context of Vasco's publication and its critical reception, we will see why, even in the very heart of the paradise island, the protagonist fails in escaping his demons.

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39

Dubakov, Leonid V. "Buddhist exoticism in the works of Eduard Limonov: philosophical and aesthetic criticism." Vestnik of Kostroma State University 28, no. 1 (April 20, 2022): 118–22. http://dx.doi.org/10.34216/1998-0817-2022-28-1-118-122.

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The article analyses the specifics of the perception of Buddhism by Eduard Limonov. The reception of Buddhism is determined in his work by a system of double coding – he is a writer, but also a politician and publicist. Artistic and political narrative in his works are inextricably linked. Eduard Limonov is a critic of Buddhism, but the consistency of his views is not absolute. For the writer, Buddhism is an unoriginal religion, in the national versions of which there are too much exotic and irrational elements. In addition, Buddhism is a religion with philosophical assumptions of which, Eduard Limonov disagrees. The vision of reality as full of suffering and the desire to escape from it contradicts the active life position of the writer. At the same time, in the work of Eduard Limonov, the tendency towards the Russification of Buddhism, characteristic for the modern Russian literature, manifests itself. The writer also explores the mystical side of this religion in its Tibeto-Mongolian version, perceiving and actualising its superhuman component.

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40

Pérez-Gil, María del Mar. "Exoticism, Ethnocentrism, and Englishness in Popular Romance Fiction: Constructing the European Other." Journal of Popular Culture 51, no. 4 (July 19, 2018): 940–55. http://dx.doi.org/10.1111/jpcu.12710.

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41

Caiyan, Zhong. "O exotismo na literatura orientalista portuguesa." Orientes do Português, no. 4 (2022): 163–79. http://dx.doi.org/10.21747/27073130/ori4a7.

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This paper results from an investigation with the theme of Chinese images in Portuguese literary Orientalism. The study will show the situation of Portugal in the period, which reveals the double axis (Western and national) of the critique of Orientalism Portuguese. We will look for the oriental representations in the works of the authors of the Generation of 1870, whose works renew Portuguese literature with orientalist tendencies. Next, we will develop a reading of the images of Macau in authors of the territory, which configure the symbolism in Portuguese. In addition, oriental exoticism is highlighted in Chinese female images in the works of Wenceslau de Moraes (1854-1929) and Maria Ondina Braga (1932-2003). The analysis of the female images will show the observation of the Portuguese authors about the Eastern Other. The three facets of reading will facilitate the understanding of the double axis of criticism and the perception of the construction of the Lusitanian identity with the literary imaginary of the exotic East.

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42

Catrin Lundström. "Embodying Exoticism: Gendered Nuances of Swedish Hyper-Whiteness in the United States." Scandinavian Studies 89, no. 2 (2017): 179. http://dx.doi.org/10.5406/scanstud.89.2.0179.

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43

Scherbinina, Olga I. "Northern Cheyenne Exodus and Negroes Lynching: Historical Novels of Howard Fast in the USSR." RUDN Journal of Studies in Literature and Journalism 26, no. 2 (December 15, 2021): 217–26. http://dx.doi.org/10.22363/2312-9220-2021-26-2-217-226.

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The article deals with the historical novels reception of Howard Fast (a writer who was extremely popular in the 1950s, though he is almost forgotten now) in the Soviet Union. Once a USA Communist Party member loyal to the USSR, he became a fierce opponent of Soviet communism. The analysis of the American context uncovers the reasons why the author of left-wing beliefs turned to the genre of a historical novel and peculiarities of the literary market he faced. A close study of Soviet reviews demonstrates that the novels The Last Frontier and The Freedom Road were perceived by Soviet literary critics as Fasts protest against racial discrimination and growing right-wing sentiment. These problems were a matter of urgency against the background of the McCarthy campaign, which Fast fell victim to in 1947. His novel The Freedom Road was put on the stage in Moscow theaters. According to Soviet reviewers, the absence of decadent primitivism set Fast apart from other once-friendly Soviet writers such as Richard Wright and Claude McKay. Within this tradition of exoticism criticism, dating back to the 1920s and 1930s, novels about distant lands were highly appreciated only when ethnographic descriptions were used for consistent social criticism. Being a committed supporter of the concept art as a weapon developed in the Soviet Union, Fast perceived exaggerated exoticism, top-heavy descriptions of historical novels as a sign of escapist literature that ignores the method of dialectical materialism.

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Hayon, Kaya Davies. "Exoticism or Empowerment? The Representation of Non-normative Women and Prostitution in Nabil Ayouch's Much Loved." L'Esprit Créateur 60, no. 2 (2020): 99–112. http://dx.doi.org/10.1353/esp.2020.0024.

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VECHORYNSKA, T. "Introduction to Chinese American literature: Amy Tan phenomenon." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 26 (2020): 48–54. http://dx.doi.org/10.17721/1728-242x.2020.26.48-54.

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The paper deals with Chinese American literature that is reviewed from the perspective of new theories of post-ethnicity, transnationalism, transculturalism. It is argued that in the context of globalization the markers of ethnicity and exoticism are being replaced by a new understanding of this aesthetic phenomenon. Though widely read and discussed in the world, Amy Tan's writings that combine Chinese and American images remain rather unknown for a Ukrainian reader. This paper considers the Chinese American discourse as an integrant part of Amy Tan's bicultural novels. From a broad philological perspective, involving West / East culture, literature, philosophy, history, this paper highlights the mechanisms of literary representation and identity specificity in the interplay of constructed Chinese American images in Amy Tan's six novels: "The Joy Luck Club" (1989), "The Kitchen God's Wife" (1991), "The Hundred Secret Senses" (1995), "The Bonesetter's Daughter" (2001), "Saving Fish from Drowning" (2005), "The Valley of Amazement" (2013). The emphasis is laid on the artistic mechanism of destereotypization, and synthesis of various cultural images and identities in portraying the American Chineseness. The research is conducted with reference both to cultural, historical contextualization in the study of Chinese American images as dynamic results of cultural interaction. The paper reveals the multiple dimensions of Chinese American identity through unveiling such categories as "Chineseness", "American Chineseness", "Americanness", involving cross-cultural intertextuality and narrative intermediality. In the paper "Chineseness" is viewed as a global, transnational cultural phenomenon.

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Paralkar, Anil. "Trade, Exoticism and the English Appropriation of South Asian Pickles, c. 1600–1750." Cultural History 9, no. 1 (April 2020): 106–22. http://dx.doi.org/10.3366/cult.2020.0211.

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South Asian pickles, or achar, were the first processed food to arrive from the subcontinent to Europe. While the earliest European references stem from Portuguese texts of the sixteenth century, evidence of cooking instructions date from the second half of the seventeenth century. Utilizing sources like botanical literature, travelogues, and recipes, this paper focuses on the introduction of achar to England in between 1600 to 1750. The first part investigates the initial trade of these pickles to Europe, in particular to England. The second part discusses how English authors developed an understanding of achar, which promoted the use of certain ingredients and preparation methods. This understanding did not account for the multiple diverging types of achar in South Asia, but represented an essentialized concept of the dish, which found its expression in English achar-recipes. The third part argues that this style of achar constituted an appropriation of the food, as it was adapted to European tastes and made ‘exotic’ enough but not too ‘exotic’ for the English palate. Thus, this article offers a case study on the introduction of South Asian food to England, which shows the power structures involved in global culinary exchanges.

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Spang, Rebecca L. ""And They Ate the Zoo": Relating Gastronomic Exoticism in the Siege of Paris." MLN 107, no. 4 (September 1992): 752. http://dx.doi.org/10.2307/2904917.

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Preece, Julian. "Kafka's Travels: Exoticism, Colonialism, and the Traffic of Writing by John Zilcosky (review)." Modern Language Review 100, no. 3 (July 2005): 873–75. http://dx.doi.org/10.1353/mlr.2005.a826776.

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Saglia, Diego. "The Moor's Last Sight : Spanish-Moorish exoticism and the gender of history in British Romantic poetry." Journal of English Studies 3 (May 29, 2002): 193. http://dx.doi.org/10.18172/jes.77.

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Legends and tales of Islamic Granada were among the most frequently re-elaborated exotic subjects in British Romantic literature. A popular theme in the early decades of the nineteenth century, Spanish Orientalism attracted both famous writers such as Lord Byron, Joanna Baillie, Washington Irving, Felicia Hemans or Letitia Landon, and less familiar ones such as Lord Porchester, George Moir and Lady Dacre. This essay concentrates on one component of the myth of Granada which enjoyed great diffusion in Romantic-period literature, the tale of the Moor's Last Sigh and the tears shed by the last Muslim monarch on leaving his capital forever after the Christian conquest in 1492. The aim is to illustrate how, in migrating from its original context, this tale comes to signify and emblematize issues of gender and notions of history as progress specific to British culture. The poetic texts examined here employ the Spanish-Orientalist myth to elaborate ideas of masculinity and femininity, as well as reflections on power and its extinction, the fall of empires and the emergence of new states. Thus King Boabdil's tears were exotically popular also because they were removed from their original meaning and import, and refashioned into vehicles for ideological concerns proper to British Romantic-period culture

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Lundberg, Anita, Hannah Regis, and John Agbonifo. "Tropical Landscapes and Nature-Culture Entanglements: Reading Tropicality via Avatar." eTropic: electronic journal of studies in the Tropics 21, no. 1 (March 30, 2022): 1–27. http://dx.doi.org/10.25120/etropic.21.1.2022.3877.

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Landscape integrates both natural and cultural aspects of a particular geographical area. Environmental elements include geological landforms, waterscapes, seascapes, climate and weather, flora and fauna. They also necessarily involve human perception and inscription which reflect histories of extraction and excavation, of planting and settlement, of design and pollution. Natural elements and cultural shaping by humans – past, present, and future – means landscapes reflect living entanglements involving people, materiality, space and place. A landscape’s physicality is entwined with layers of human meaning and value – and tropical landscapes have particular significance. The Tropics is far more than geographic and needs to be understood through the notion of tropicality. Tropicality refers to how the tropics are construed as the exoticised Other of the temperate Western world as this is informed by cultural, imperial, and scientific practices. In this imaginary – in which the tropics are depicted through nature tropes as either fecund paradise or fetid hell – the temperate is portrayed as civilised and the tropical as requiring cultivation. In order to frame this Special Issue through an example that evokes tropicality we undertake an ethnographic and ecocritical reading of Avatar. The film Avatar is redolent with images of tropical landscapes and their nature-culture entanglements. It furthermore reveals classic pictorial tropes of exoticism, which are in turn informed by colonialism and its underlying notions of technologism verses primitivism. Furthermore, Avatar calls to mind the theories of rhizomatics and archipelagic consciousness.

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