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Journal articles on the topic 'Orient Oriental'
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1
Nadel, Ira. "Oriental Bloomsbury." Modernist Cultures 13, no. 1 (February 2018): 14–32. http://dx.doi.org/10.3366/mod.2018.0192.
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The multiple and occasionally contradictory response of Bloomsbury to the Orient is the focus of this essay which also considers the reverse: the Orient's response to Bloomsbury and the promotion of their texts in the East. From Roger Fry to G. L. Dickinson, Virginia Woolf, and Vanessa Bell, the Orient became a source of aesthetic interest and problematized politics. French Orientalism and Proust initially corroborated the experiences of Woolf in Constantinople and Leonard Woolf in Ceylon, soon to be revised by new views of Imperial authority. Yet Bloomsbury and the Orient artistically depended on each other, at one point Fry scolding Bloomsbury and England that ‘we can no longer hide behind the Elgin marbles and refuse to look at the art of China’. And look they did, from attending museum shows to collecting Oriental art and furniture, while adopting Oriental fashions – and, when possible, traveling to China and Japan marked by visits by Bertrand Russell, William Empson, and Harold Acton. The response of individual Bloomsbury writers to the Orient mixes curiosity and jealousy. To her nephew Julian Bell, teaching at Wuhan University, Woolf wrote that ‘you are much to be envied. I wish I had spent three years in China at your age’.
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Kemper, Michael. "Red Orientalism: Mikhail Pavlovich and Marxist Oriental Studies In Early Soviet Russia." Die Welt des Islams 50, no. 3 (2010): 435–76. http://dx.doi.org/10.1163/157006010x544278.
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AbstractMarxist Oriental Studies in early Soviet Russia emerged in opposition to the 'bourgeois' Russian tradition of classical Oriental scholarship; rather than studying texts and history, Bolshevik Orientalists saw their task in providing the Soviet government with the necessary political and socio-economic knowledge to support the liberation of the contemporary East from colonialism and imperialism. After a failed attempt to stir revolutions in the Muslim World via a 'Congress of the Peoples of the East' in Baku in 1920 and a 'University of Social Sciences for Workers of the Orient' in the same city, the Bolsheviks established an Oriental Studies teaching institute as well as an Oriental Studies Association in Moscow, both under Stalin's Commissariat for Nationalities. The article traces the biography of the key figure in these organizations, Mikhail P. Pavlovich (1871-1927). Pavlovich was not a professional Orientalist but a prolific Marxist writer and propaganda lecturer on military affairs, world transportation lines, imperialism and colonialism—arguably the issues that made the Bolsheviks interested in the Orient. While Pavlovich's Marxist Oriental Studies (and his journal Novyi Vostok, 'The New Orient') were 'anti-Orientalist' in their rhetoric, it can be shown that they used the same notions and methods for which they condemned Western Oriental Studies.
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Hirsch, Dafna. "“WE ARE HERE TO BRING THE WEST, NOT ONLY TO OURSELVES”: ZIONIST OCCIDENTALISM AND THE DISCOURSE OF HYGIENE IN MANDATE PALESTINE." International Journal of Middle East Studies 41, no. 4 (October 26, 2009): 594a. http://dx.doi.org/10.1017/s0020743809990353.
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During the British Mandate period Zionist health organizations and professional groups made an extensive effort to educate the Jewish public in health and hygiene. This article analyzes the Hebrew popular-scientific discourse of hygiene. It looks at the inculcation of hygienic models of conduct as part of a project of modernization and Westernization. As the analysis demonstrates, Zionist identity was constructed as modern and Western in opposition to the Orient and Oriental ways of life. At the same time, “Occidental” and “Oriental” were unstable and sometimes ambivalent categories in the hygienic discourse. Not only the value of the categories sometimes differ (as Jews were depicted both as European settlers and as natives of the Orient), but also East European Jews appeared both as objects and as subjects of a “civilizing mission.” As a consequence, the construction of difference between European Jews and Orientals was not always grounded in different practices attributed to each of these groups but sometimes in the different value attached to the same practices when performed by members of different groups.
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Ben-Ami, Naama. "Arab Representations of the Occident." American Journal of Islam and Society 25, no. 2 (April 1, 2008): 128–30. http://dx.doi.org/10.35632/ajis.v25i2.1481.
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In his Orientalism (Vintage Books: 1978), literature teacher and culturalcritic Edward Said claimed that the entire corpus of academic, literary, andartistic knowledge about the Orient in general and theMuslim world in particularthat the West had accumulated and shaped was built up solely toserve its desire to conquer, control, and subjugate the Orient. His thesis waswidely discussed and influenced the study of the Middle East and the attitudesof numerous scholars.According to Said, theWest depicts the Orientas stagnant, static, exotic, submissive, and retarded, in contrast to the supposedlyenlightened and superior West. Some thirty years after the furor caused by this book, Rasheed El-Enany’s Arab Representations of the Occident: East-West Encounters inArabic Fiction challenges Said’s theory, at least with respect toArabic literature.El-Enany claims that Said only presented the western perspective andignored the Oriental resistance to it. In response, he presents the East-Westencounter through his own eyes, those of anArab intellectual who was bornand raised in Cairo and moved to Great Britain in 1977 during his twenties ...
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Gadamska-Serafin, Renata. "Góry Kaukaz jako wrota Orientu. Motywy orientalne w twórczości Tadeusza Łady-Zabłockiego." Góry, Literatura, Kultura 11 (July 17, 2018): 111–41. http://dx.doi.org/10.19195/2084-4107.11.9.
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THE CAUCASUS AS A GATE TO THE ORIENT. ORIENTAL MOTIFS IN TADEUSZ ŁADA-ZABŁOCKI'S OEUVREThe East, its culture and literature were always part of the rich, erudite poetic imagination of Tadeusz Łada-Zabłocki 1811–1847, a tsarist exile to the Caucasus. He spoke Oriental languages Georgian and Persian and had a thorough knowledge of the Koran, a short fragment of which he even translated probably from French. Although today we only have his poetry inspired by the Caucasian mountains, he was also no stranger to extensive travel accounts unfortunately, his Dziennik podróży mojej do Tyflisu i z Tyflisu po różnych krajach za Kaukazem Journal From My Journey To and From Tiflis Across Various Countries Beyond the Caucasus and notes from his Armenian expedition were lost. An important source of inspiration for Zabłocki, encouraging him to explore the East, were the Philomaths’ translations of Oriental poetry by Jan Wiernikowski and Aleksander Chodźko, while his model of reception of the Orient were the oeuvres of Mickiewicz primarily his Crimean and Odessa Sonnets, Byron and Thomas Moore especially the fragment of Lalla Rookh — Paradise and the Peri. The exile brutally brought Zabłocki into contact with the real Orient, terribly dangerous and diametrically different from the one described by Western travellers. It is, therefore, not surprising, that their superficial and simplified accounts were criticised by the Polish poet and soldier.Zabłocki’s oeuvre, both pre-exile and Caucasus period works, is full of various Oriental reminiscences: from the Biblical topos of the Paradise ab Oriente, through numerous splendid images of Caucasian nature, scenes from the life of Caucasian highlanders, poetic imitation of the metre of Caucasian folk dances, apt ethnographic observations in the verses, borrowings from Oriental languages, extraordinarily sensual eastern erotic poems, to translations of texts of Caucasian cultures Tatar, Azeri and Georgian songs. Zabłocki drew on both folk culture of Caucasian tribes, and on Eastern mythologies as well as universal culture of the Islamic world. He presents an ambivalent image of Caucasian highlanders in his poetry: sometimes they acquire traits of noble, free, valiant and indomitable individuals, typical of the Romantic idea of highlanders, on other occasions the label “Son of the East” becomes a synonym of Asian barbarity.Freed from the service in the tsarist army, Zabłocki planned travels across nearby Persia, Asia Minor, and even Arabia, Nubia and Palestine. However, the plans never became a reality, owing to a lack of funds and the poet’s early death of cholera.Zabłocki’s “Eastern” oeuvre fully reveals the “liminal”, demarcational nature of the Caucasian mountains, for centuries constituting the limes between Europe and Asia, the East and the West, a meeting place of the Christian and the Muslim Orients.]]>
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Roozbeh Koohshahee, Roohollah, and Alireza Anushirvani. "Representation of the Orient in Pasolini’s Arabian Nights." International Letters of Social and Humanistic Sciences 58 (September 2015): 123–29. http://dx.doi.org/10.18052/www.scipress.com/ilshs.58.123.
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This article aims at studying the representation of the Orient in Pasolini’s film Arabian Nights(1974). Since this film is a faithful adaptation of Thousand and One Nights it will be examined as carrying the same ideology which the text carries. The text of Thousand and One Nights established and legitimized orientalism in the west. Thus the movie follows suit in institutionalizing Orientalism. This is obtained by a close watching analysis and by looking at the images of the Orient, the plot itself, potential stylistic features which expresses images or attitudes in this regard. Our hypothesis is that the Orient in this movie is portrayed in accordance with notions of representation of the Other being depicted as, amongst other aspects, exotic, sexual, erotic and as a homogenous mass. Pasolini portrays Oriental men and woman as bodies in the duality of mind and body, and portrays them as a homogenous mass this is merely due to their belonging to a particular culture or race. The film represents the Oriental men and women as having a defining interest in sex and eroticism. It displays an exoticising Western view of the Oriental culture.
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Ma, Xiaolu. "“The Orient” versus Dongfang." Prism 17, no. 2 (October 1, 2020): 430–56. http://dx.doi.org/10.1215/25783491-8690436.
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Abstract Since Edward Said published his seminal study on Orientalism, the notion of the Orient has been heavily discussed and hotly debated in both the Eastern and Western worlds. While early studies of Orientalism mainly underline Western fantasies of an exotic East as the West's “other,” Chinese scholars have also been inspired to reconceptualize the notion of the Orient in recent decades. By examining the formation of the notion of dongfang 東方 (the Orient) through journal publications, academic disciplinary construction, and the writing of oriental history, this article observes how the Chinese world of letters identified China with the Orient when China attempted to accommodate itself to a Eurocentric historical narrative in the 1920s. The article further investigates how the Chinese achieved a strategic alliance with Soviet Russia in the 1950s to confront the Western cultural centers of Europe and the United States and how Chinese academia repositioned itself in response to the adoption of Western criticism on Orientalism in the 1980s. This article also traces the institutionalization of oriental literature studies in modern China under the influence of both Soviet Russian and Western European academia to investigate how reimagining the Orient has enabled Chinese scholars to reorient Chinese literature within the genealogy of world literature. This article thus aims to shed light on the Chinese reconfiguration of Chinese cultural identity in an ongoing negotiation between East and West.
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Oleh Tkach and Tetiana Masliak. "PLACE AND ROLE OF MODERN REGION IN THE GLOBAL ECONOMICAL SYSTEM." International Journal of Innovative Technologies in Economy, no. 5(25) (September 30, 2019): 38–42. http://dx.doi.org/10.31435/rsglobal_ijite/30092019/6668.
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Economical regional orient has been investigated with considering an economical process forming and organization by the modern period. The role of leading link in this process is played by reproductive structures – regions – but not by industrial ones – enterprises. The very non-commercial structures are leading link in economic sustainable development. Regional oriental- economical system is an element of state, macro regional and global economic spaces that has distinctly expressed hierarchical structure. The development of regional oriental economical system corresponds to cyclic law and undergoes to various influences. The supply of competitiveness of regions influenced by global tendencies supplying oriental unity, sustainability and management is the main challenge in oriental regional development.
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Pop Zarieva, Natalija. "“THE ROSE SULTANA OF THE NIGHTINGALE” ORIENTAL IMAGES, CHARACTERS AND SETTING IN BYRON’S THE GIOAUR." Knowledge International Journal 28, no. 7 (December 10, 2018): 2289–94. http://dx.doi.org/10.35120/kij28072289n.
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It is surprising that Romanticism, a literary movement generally associated with nature, emotions and imagination, had close connection with imperialism, through its most distinguished cultural characteristic - Orientalism. Most of the major Romantic poets found in the Orient not just a noteworthy point of reference for various cultural or political backgrounds, but an important backdrop in the realization of their literary careers. However, most of the writers of this period had never visited the East. Hence, their attitudes towards it differ from Lord Byron’s, who not only embarked on the Grand Tour, among other countries to Albania, Greece and Turkey, early in his career, but also eternalized the theme of escapism in some of his greatest poetry like Childe Harold’s Pilgrimage and Don Juan. The exotic East offered Byron the basis for the aesthetic achievement in his Oriental Tales: The Giaour, Lara, The Corsair, The Siege of Corinth and The Bride of Abydos, but also his play Sardanapalus. The main interest of this paper, however, is the study of Oriental elements in Byron’s first Oriental tale - The Gioaur. I have come to realize that Byron emerges as distinct from and rises above his contemporaries in the treatment of the Orient with regard to the broad range, accurate portrayal and his creative empathy. One of the purposes of this paper would be to acknowledge this uncommon responsiveness to the Orient and to enlighten Byron's use of Oriental allusions. The poem represents an artistic mixture of Eastern and Western elements. This paper will focus on the depiction of the East in images, settings, characters and themes, and explore the way the poet skillfully incorporates a Western hero in an Eastern setting and increases the overall impression by the poem’s various narrators. Byron was the first author who allowed an Oriental character to relay a story from his Islamic point of view. This makes Byron different from his contemporaries; he does not throttle the Oriental voice. The voice of the Muslim narrator emphasizes the Oriental character of the poem as his references and viewpoints bestow a specific Oriental colour. In the depiction of the two main male characters, Byron has skillfully employed the effect of doubling which excludes the position of the Giaour as superior over his Oriental rival. Just as Hassan does not feel any remorse for the death of Leila, so does the Giaour’s regret not stem in the immorality of his deeds or social transgressions. He is endowed with the same weaknesses and vices as Hassan. Artistically threading together, a diversity of Oriental details, such as natural and animal imagery, creatively incorporating picturesque similes and allusions, Byron has managed to fashion a faithful Oriental story.
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Mahdi, Dr Basma Harbi, and Assist Lecturer Suaad Abd Ali Kareem. "Representations of the Oriental Woman in Lord Byron’s “Turkish Tales”." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 223, no. 1 (December 1, 2017): 37–50. http://dx.doi.org/10.36473/ujhss.v223i1.312.
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This study deals with the representations of the oriental woman in the Western narrative on orient. The Western representations of oriental woman are products of specific moments and developments in culture. For their own rhetorical and political purposes, the Western writers employ a discourse representing an Eastern woman, whose Otherness is always subject to qualification and change. The concern of this study is to reveal how this narrative is revolved around certain concept that the oriental woman is victimized. Byron’s conception of the oriental woman is shaped by these Orientalist ideas. In “Turkish Tales,” Byron uses the figure of the Oriental woman and the harem system. What we find in these tales is oriental women who are both domestic and disobedient, and who try to resist their bounded existence; the harem. Byron often portrays the harem as a confined domestic space against which women may reasonably rebel. But their acts of rebellion almost always end in failure.
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Khrisat, Abdulhafeth Ali. "The Image of the Oriental Muslim in Lord Byron’s The Giaour (1813)." English Language and Literature Studies 8, no. 3 (August 29, 2018): 59. http://dx.doi.org/10.5539/ells.v8n3p59.
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This paper aims to examine The Giaour (1813), a significant poetic work by Lord Byron, nineteenth century romantic British poet, in terms of its presentation of Oriental characters like Hassan and his wife, Leila. Byron uses references to the Oriental Islamic practices through his portrayal of Muslims’ celebration of Ramadan, call for prayer in the mosque, and allusions to the equality of women and men in the Qur’an. Byron, like other Orientalists, adopts an unfairly attitude towards the Orient. His portrait of the Oriental society as patriarchal, where the woman has no freedom at all, a prisoner, and a victim, is embodied in The Giaour’s character of Leila, Hassan’s wife. In brief, Lord Byron’s The Giaour reveals his stereotypical Orientalist’s attitude towards the Oriental society.
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LAU, LISA. "Re-Orientalism: The Perpetration and Development of Orientalism by Orientals." Modern Asian Studies 43, no. 2 (March 2009): 571–90. http://dx.doi.org/10.1017/s0026749x07003058.
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AbstractThis article discusses the perpetration of Orientalism in the arena of contemporary South Asian literature in English: no longer an Orientalism propagated by Occidentals, but ironically enough, by Orientals, albeit by diasporic Orientals. This process, which is here termed as Re-Orientalism, dominates and, to a significant extent, distorts the representation of the Orient, seizing voice and platform, and once again consigning the Oriental within the Orient to a position of ‘The Other’. The article begins by analysing and establishing the dominant positionality of diasporic South Asian women writers relative to their non-diasporic counterparts in the genre, particularly within the last half decade. It then identifies three problems with the techniques employed by some diasporic authors which have exacerbated the detrimental effects of Re-Orientalism; the pre-occupation with producing writing which is recognisably within the South Asian genre, the problem of generalisation and totalisation, and the insidious nature of ‘truth claims’.
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Rosenblat, Rebecca, and Siu Wa Tang. "Do Oriental Psychiatric Patients receive Different Dosages of Psychotropic Medication when Compared with Occidentals." Canadian Journal of Psychiatry 32, no. 4 (May 1987): 270–74. http://dx.doi.org/10.1177/070674378703200404.
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The literature suggests the possibility of different drug dosage requirements between patients of different ethnic origins. This study thereby attempted to investigate the average dosages of psychotropic medications being prescribed for Orientals versus Occidentals using a retrospective drug history review and an international opinion survey. The retrospective drug history review compared drug dosages for four commonly used psychotropic medications in well matched Oriental and Occidental populations. Data from this review showed that final/maintenance dosages of amitriptyline were significantly lower for Orientals than Occidentals. The opinion survey assessed the responses of psychiatrists in the Orient, as well as in North America, with respect to average dosages prescribed for the two populations; their beliefs in possible variability and causes underlying the variability. Data indicated that significantly lower dosages of chlorpromazine, phenelzine, diazepam, and chlordiazepoxide are being prescribed for Orientals as compared with Occidentals. Beliefs in differences were dependent upon the degree of exposure to Orientals. Suggested etiological factors underlying the variability were usually related to drug metabolism, side effects, and body weight. In both types of studies, Orientals appeared to have lower prescribed dosages than Occidentals. The lower dosages, however, appeared to be a function of the physician's experience in treating the Oriental population.
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Pejovic, Roksanda. "Musical instruments depicted in medieval Serbian art under oriental and western influences." Muzikologija, no. 5 (2005): 15–26. http://dx.doi.org/10.2298/muz0505015p.
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Researching musical instruments on frescoes, miniatures, icons and sculptural decorations of mediaeval Serbian art, painted and sculptured in the manner of Byzantine art, we discover Oriental and Western influences. Musical instruments arriving from the Orient were unchanged for centuries and those from West Europe were mainly used in the Middle Ages or the Renaissance. Oriental and Western influences can be observed on instruments of all families-idiophones, membranophones, bowed and string instruments, as well as on aero phones. The same form of some crotales and cymbals can be found both in Oriental and Western art, the majority of membranophones are of Oriental origin, but the tambourine on Bodani frescoes originated in West Europe. Lyres and angular harps are close to Antique tradition. Some bowed instruments, psalteries, lutes, harps, short horns, business and shawms have Oriental patterns and other instruments of these families accepted Western shapes. There are, as well, same kinds of bowed instruments and S-trumpets peculiar for both continents.
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Rubiés, Joan-Pau. "Oriental Despotism and European Orientalism: Botero to Montesquieu." Journal of Early Modern History 9, no. 1 (2005): 109–80. http://dx.doi.org/10.1163/1570065054300275.
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AbstractThe issue of how European images of the East were formed, used, and contested is far from simple. The concept of oriental despotism allowed early-modern Europeans to distinguish themselves from the most powerful and impressive non-European civilizations of the Ottoman Middle East, Persia, India, and China on grounds which were neither fundamentally religious nor linked to sheer scientific and technological progress, but political and moral. However, it would be incorrect to treat this as a pure European fantasy based on the uncritical application of a category inherited from Aristotle, because both the concept and its range of application were often hotly contested. By assessing the way travel accounts helped transform the concept from the Renaissance to the Enlightenment, this article argues that oriental despotism was not a mental scheme that blinded Europeans to the perception of the true Orient, but rather a compelling tool for interpreting information gathered about the Orient, one which served a common intellectual purpose despite important differences of opinion in Europe about the nature of royal power.
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Kundra, Sakul, and Bhawna . "French Travellers’ Treatises on Oriental Diseases and Symptoms: Indo-French Medical History." Artha - Journal of Social Sciences 14, no. 4 (October 1, 2015): 18. http://dx.doi.org/10.12724/ajss.35.2.
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French travellers and adventures of the 17th and the 18th centuries had shown immense interest to explore the medical knowledge of the Orient. This article systematically analyzes their observations and evaluation on different diseases, symptoms and effects on patients which helped the travellers and adventurers of the later times by providing medical precautions to be taken before sailing on a voyage to the Orient. This article, based on many translated and un-translated records written in the form of letters, memoirs and travelogues by the French, who visited India, focuses on the varied facets given by them on medical knowledge and history of the Orient. Undoubtedly, the Portuguese and the English travellers also provided interesting accounts on oriental diseases, symptoms and their therapies but those given by the French are yet to be explored in detail.
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Pennanen, Risto. "Lost in scales: Balkan folk music research and the ottoman legacy." Muzikologija, no. 8 (2008): 127–47. http://dx.doi.org/10.2298/muz0808127p.
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Balkan folk music researchers have articulated various views on what they have considered Oriental or Turkish musical legacy. The discourses the article analyses are nationalism, Orientalism, Occidentalism and Balkanism. Scholars have handled the awkward Ottoman issue in several manners: They have represented 'Oriental' musical characteristics as domestic, claimed that Ottoman Turks merely imitated Arab and Persian culture, and viewed Indian classical raga scales as sources for Oriental scales in the Balkans. In addition, some scholars have viewed the 'Oriental' characteristics as stemming from ancient Greece. The treatment of the Seg?h family of Ottoman makams in theories and analyses reveals several features of folk music research in the Balkans, the most important of which are the use of Western concepts and the exclusive dependence on printed sources. The strategies for handling the Orient within have meandered between Occidentalism and Orientalism, creating an ambiguity which is called Balkanism.
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Jerrentrup, Maja Tabea. "Staging the other: Orientalism in contemporary media practice." Arte, Individuo y Sociedad 33, no. 4 (July 12, 2021): 1329–46. http://dx.doi.org/10.5209/aris.72035.
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The so-called “oriental” has always been a subject for “western” fascination. Today, the staging of the “orient” in (hobby) model photography is among the most popular themes: costumes and props from various cultural contexts are combined to form a new whole. Based on participant observation and interviews, the article traces back possible individual motivations for embodying the “oriental,” among them nostalgia, corresponding with the description of the orient as “timeless,” the need for spirituality, the wish to express femininity, and to work on identity with regard to identity trials and the definition of the own identity through the help of its imagined opposite. Considering society as a whole and its zeitgeist, the phenomenon is interpreted using the concepts of escapism and kitsch, which can be observed in mainstream culture as well. Furthermore, cultural appropriation is discussed as a way to prevent getting to know other cultures, but at the same time, the “oriental” photoshoot is also seen as a chance to generate interest and to practice creativity. The article shows that the analysis of staged photographs offers a base for understanding the cultural context in which they have been taken and/or circulate, and that the photo motifs can be seen as expressions of psychological motivations.
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Imran, Muhammad, Nazakat, and Adil Khan. "Representation of the Orient: A Postcolonial Perspective on Robert Greene's Selimus." Global Political Review IV, no. IV (December 29, 2019): 114–23. http://dx.doi.org/10.31703/gpr.2019(iv-iv).13.
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Amidst a variety of cultural cum representational notions of individual or group identity, postcolonial studies attempt not only to explore and unfold how Eurocentric logos builds social realities but employs ways also to deconstruct the stereotypes. It provides theorists and critics with analytical methods to see how a fictional work supports or subverts a common paradigm based on Eurocentrism. The aim of this paper is to analyze Robert Greene's play Selimus and Western logos rules oriental discourse and how the Orient is (mis)represented. The study contends that the play under-study follows the traditional literary chain of ousting the Orient from the center either by making it suppressed or a satanic evil. In Selimus, for instance, the Turks, like other oriental races such as the Arabs, the Moors, the Persians and so on, are represented in the early modern writings as the "grand evil" whose infidelity is a threat to the Christian world.
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Stasolla, Maria Giovanna. "The “Orient” in Florence (19th Century). From Oriental Studies to the Collection of Islamic Art, from a Reconstruction of the “Orient” to the Exotic Dream of the Rising Middle Class." Oriente Moderno 93, no. 1 (2013): 3–31. http://dx.doi.org/10.1163/22138617-12340002.
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Abstract The second half of the 19th Century was in Florence a period of extraordinary and fruitful interest in the oriental world when the philological and oriental studies were promoted. Thanks to the fervour of these studies, in 1878 Florence was designated to host the 4th Congress of the Orientalists. The “Orient” excited curiosity and collecting passion to such an extent that we could argue that the legacy of the magnificent Medicean collecting was inherited by the private middle-classes. Moreover, the new cultural context contributed to transforming the taste, it gave rise to new styles in architecture as well as in decoration and generally in the applied arts. After examining these topics, we will focus our attention on a little known fact that we could describe as the rebuilt “Orient” for entertainment, that is to say the Florentine Carnival in 1886, an event of the “disquieting” exoticism by which Europe represented the Islamic world.
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Du Plessis, Hester. "Oriental Africa." Tydskrif vir Letterkunde 45, no. 1 (February 16, 2018): 87–100. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i1.4465.
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Arab culture and the religion of Islam permeated the traditions and customs of the African sub-Sahara for centuries. When the early colonizers from Europe arrived in Africa they encountered these influences and spontaneously perceived the African cultures to be ideologically hybridized and more compatible with Islam than with the ideologies of the west. This difference progressively endorsed a perception of Africa and the east being “exotic” and was as such depicted in early paintings and writings. This depiction contributed to a cultural misunderstanding of Africa and facilitated colonialism. This article briefly explores some of the facets of these early texts and paintings. In the first place the scripts by early Muslim scholars, who critically analyzed early western perceptions, were discussed against the textual interpretation of east-west perceptions such as the construction of “the other”. Secondly, the travel writers and painters between 1860 and 1930, who created a visual embodiment of the exotic, were discussed against the politics behind the French Realist movement that developed in France during that same period. This included the construction of a perception of exoticness as represented by literature descriptions and visual art depictions of the women of the Orient. These perceptions rendered Africa as oriental with African subjects depicted as “exotic others”.
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Marchand, Suzanne. "‘What did the Greeks owe the Orient?’ The question we can't stop asking (even though we can't answer it)." Archaeological Dialogues 17, no. 1 (May 4, 2010): 117–40. http://dx.doi.org/10.1017/s1380203810000140.
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AbstractReviewing five recent books in German classical and oriental studies, this essay argues that the question of archaic Greece's debts to the Orient remains a particularly lively one in German-speaking Europe. Like their predecessors in previous generations, iconoclastic classicists like Walter Burkert, oriental archaeologists like Ernst Herzfeld (1879–1948) and maverick outsiders like Raoul Schrott have attacked the enraptured view of ‘the Greek miracle’ familiar to those educated in classicalGymnasien. And yet the question of Greek cultural autonomy is still alive, in part because there are too many uncertainties for it to be answered definitively, and in part because it continues to play a role in attempts to define modern European identity.
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Kobeckaitė, Halina. "Karaimistyka jako nieodłączny element turkologii w Wilnie." Almanach Karaimski 3 (December 30, 2014): 65–78. http://dx.doi.org/10.33229/ak.2014.3.07.
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The main aim of this article is to describe the role played of two Turkic communities residing in the territory of the Great Duchy of Lithuania from the 14th century onwards – the Karaims and the Tatars – in the appearance and development of oriental and Turkological studies in Vilnius. A short overview of the state of Oriental Studies in Vilnius, in particular in Vilnius University in the 18th–19th centuries, and its correlation with the local “Orient”, is given in the first part of the article. Most of the article focuses on the period between the two world wars, when Karaim and Tatar scholars, educationists and spiritual leaders took a very active role in investigating and popularising their own cultural heritage and Turkic culture in general. Through publications in magazines, the activities of societies and communities, an available pool of effective and skilled experts Karaim and Tatars courses emerged in Vilnius as an equivalent subject to traditional Oriental Studies and Turkology. Their achievements paved the way for the great resurgence in national identity and the revival academic research and teaching on Lithuania’s national heritage after it regained its independence in 1990. Research on the Oriental heritage of the Lithuanian Grand Duchy was out of the question during the Soviet period. Today when linguistic and cultural studies and research on Karaim and Tatar culture have become an important feature of Turkology, the Oriental studies programme in Vilnius constitutes a relevant part of professional academic life.
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Morrison, Alexander. "“Applied Orientalism” in British India and Tsarist Turkestan." Comparative Studies in Society and History 51, no. 3 (June 26, 2009): 619–47. http://dx.doi.org/10.1017/s0010417509000255.
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Writing in 1872, Sir Alfred Lyall, Governor of the North-Western Provinces of British India, was talking about the reluctance amongst many of the old Muslim scholarly class of North India to embrace the modern, enlightened learning of the West. For Lyall, to be an “Orientalist” was to be one of those Anglo-Indian advocates of state support for “Oriental Learning”—the study of Arabic, Persian, and Sanskrit—in the tradition established by Warren Hastings and Sir William Jones, who had been worsted by the “Anglicists” led by Lord Macaulay in 1835. To adopt the meaning popularized by Edward Said, we might say that while Lyall makes a classic “Orientalist” judgment about the value of Eastern civilization, he is also making an observation about the relationship between knowledge and power that still resonates today. Lyall is consciously echoing Macaulay's notorious statement, “A single shelf of a good European Library was worth the whole literature of India and Arabia,” which has often been taken as a byword for the arrogance of Europeans confronted with an Orient to which they felt themselves superior. The obvious point is that Macaulay had no interest in Oriental knowledge or knowledge of the Orient: he was not an Orientalist at all. Perhaps this is why Said dealt with him only tangentially.
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Pujolràs-Noguer, Esther. "‘She Was Such an Exotic Creature’: Feeding the Orientalist Machine in Agatha Christie’s Murder in Mesopotamia." Crime Fiction Studies 2, no. 2 (September 2021): 121–36. http://dx.doi.org/10.3366/cfs.2021.0042.
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The Orientalist scenario that Agatha Christie’s Murder in Mesopotamia displays is an incontestable representation of the ‘Orient’ as an exoticised ‘Other’ that menaces Western civilization with its inherent tendency towards depravation and savagery. In Christie’s novel, the archaeological site configures a terrain wherein civilisation is safeguarded because controlled by Westerners and yet, civilisation is disrupted the moment a murder is committed and everything indicates that the murderer is ‘one of us’, not the oriental ‘Other’. However, the stranger that endangers the civilising integrity of an otherwise unpolluted, commendable Orientalist enterprise by murdering ‘one of us’ is none other than the victim, Mrs Leidner, who goes through an orientalising process that premeditatedly transforms her into the essential Oriental female, the Belle Dame sans Merci. This article aims at unmasking how the Orientalist plot of Murder in Mesopotamia is strategically used to condemn the woman, the victim, and exonerate the murderer, the husband. Hence, the ‘Oriental’ female that lurks behind Mrs Leidner’s ‘blonde, Scandinavian fairness’ ( Mesopotamia 28) is exposed whereas Dr Leidner’s past as a German spy is conspicuously undermined. What this Orientalist plot ultimately unveils is the prescience of ‘whiteness’ as a discursively constructed category just as elusive as gender.
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Lukashev, Andrey A. "The Problem of the Typology of Rationality in Muslim Culture." Russian Journal of Philosophical Sciences 62, no. 6 (September 29, 2019): 88–99. http://dx.doi.org/10.30727/0235-1188-2019-62-6-88-99.
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The typology of rationality is one of major issues of modern philosophy. In an attempt to provide a typology to Oriental materials, a researcher faces additional problems. The diversity of the Orient as such poses a major challenge. When we say “Oriental,” we mean several cultures for which we cannot find a common denominator. The concept of “Orient” involves Arabic, Indian, Chinese, Turkish and other cultures, and the only thing they share is that they are “non-Western.” Moreover, even if we focus just on Islamic culture and look into rationality in this context, we have to deal with a conglomerate of various trends, which does not let us define, with full confidence, a common theoretical basis and treat them as a unity. Nevertheless, we have to go on trying to find common directions in thought development, so as to draw conclusions about types of rationality possible in Islamic culture. A basis for such a typology of rationality in the context of the Islamic world was recently suggested in A.V. Smirnov’s logic of sense theory. However, actual empiric material cannot always fit theoretical models, and the cases that do not fit the common scheme are interesting per se. On the one hand, examination of such cases gives an opportunity to specify certain provisions of the theory and, on the other hand, to define the limits of its applicability.
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Bourenane, Abderrahmene. "Authenticity and discourses in Aladdin (1992)." Journal of Arab & Muslim Media Research 13, no. 2 (September 1, 2020): 235–50. http://dx.doi.org/10.1386/jammr_00021_1.
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Since the first encounters between the East and the West, many Western artistic productions have been produced to introduce the Orient to the Occident. Antoine Galland’s translation of the oriental folkloric tales, known as One Thousand and One Nights marked a cultural transfer through introducing an exotic, colourful and adventurous, yet unsafe, life-threatening and mysterious image of the Orient. Scholars question the authenticity of the translation, and reject the true belonging of the tale of Aladdin’s Wonderful Lamp to the oriental cultural heritage suggesting its Western construction. This fabrication suggests the existence of several discourses that are to be unfolded with the critical discourse analysis of the pictorial and textual discourse of the tale and its several filmic adaptations. The tale was fully or partially adapted in several cinematographic productions during the last century. For example, while Aladin (1906) faithfully adapted part of the original tale, the 1992 version directed by Clements and Musker is a loosely inspiration perceived through an orientalist filter. The aim of this article is to investigate the authenticity and disclose the discourses concealed in Galland’s translation and its 1992 filmic adaptation, the critical discourse analysis in addition to Edward Saïd’s Orientalism provide the theoretical framework to analyse the excerpts from the translation and scenes from the film, in order to disclose the colonial, orientalist and feminist discourses they encapsulate.
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Vázquez, Francisco María. "Anotaciones a la tribu Stipeae (Gramineae) para Andalucía oriental (España)." Acta Botanica Malacitana 31 (December 1, 2006): 73–80. http://dx.doi.org/10.24310/abm.v31i31.7121.
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RESUMEN. Anotaciones a la tribu Stipeae (Gramineae) para Andalucía Oriental (España). El estudio taxonómico de los materiales de la tribu Stipeae (Gramineae) procedentes de Andalucía Oriental (España), ha revelado la presencia de dos nuevos taxones, posiblemente endémicos para el área: Macrochloa tenacissima subsp. umbrosa F.M. Vázquez subsp. nov y Stipa almeriensis F.M. Vázquez sp. nov. Además, se incluye una nueva combinación: Macrochloa antiatlantica (Barreña, D. Rivera, Alcaraz & Obón) F. M. Vázquez, comb. nov.Palabras clave: Poaceae, Stipa, Macrochloa, Taxonomía, Península Ibérica.ABSTRACT: Stipeae tribe (Gramineae) annotations for eastern Andalusia (Spain). The taxonomy study of the Stipeae tribe (Gramineae) materials from Orient Andalusia (Spain) was revealed two new taxa, possibility endemic from this area: Macrochloa tenacissima subsp. umbrosa F.M. Vázquez subsp. nov and Stipa almeriensis F.M. Vázquez sp. nov. Also, the new combination: Macrochloa antiatlantica (Barreña, D. Rivera, Alcaraz & Obón) F. M. Vázquez, comb. nov., is proposed.Key words: Poaceae, Stipa, Macrochloa, Taxonomy, Iberian Peninsula.
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Conversano, Emanuela. "Marx, Hegel and the Orient." Philosophica: International Journal for the History of Philosophy 27, no. 54 (2019): 61–80. http://dx.doi.org/10.5840/philosophica2019275420.
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My article does not aim at a comparison between Hegel’s and Marx’s points of view on Asia as such. The Hegelian motives are employed to understand the place and the significance of the Orient in Marx’s writings from the 1850s onwards. The more Marx learns from original and/or updated sources on the Oriental societies, the more Hegel’s authority seems inadequate to provide a reliable and comprehensive account of their history and social organization. Yet his “spirit” still holds together the different perspectives from which the subject is approached by Marx (economy, history and praxis, above all). In other words, Marx’s interest in Asia is here considered through the lens of Hegel’s legacy in order to reflect on the endless effort of the materialistic dialectic to encompass the complexity of reality and global history.
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Mikhail, John. "Dilemmas of cultural legality: a comment on Roger Cotterrell’s ‘The struggle for law’ and a criticism of the House of Lords’ opinions in Begum." International Journal of Law in Context 4, no. 4 (December 2008): 385–93. http://dx.doi.org/10.1017/s1744552309004054.
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In Orientalism, Edward Said’s seminal critique of Western discourse on the Arab and Islamic world, Said begins with an epigram from Karl Marx: ’They cannot represent themselves; they must be represented‘ (Said, 1979, p. xiii, quoting Karl Marx, The Eighteenth Brumaire of Louis Bonaparte). Said then argues that Marx’s statement captures a basic reality about Western representations of ’Oriental‘ societies, which is that they often rest on a pattern of cultural hegemony. The dominance of European colonial powers, primarily Great Britain and France, over their subjugated populations is what allowed the latter to be depicted in a way that reinforced ‘the idea of European [superiority] in comparison with. . .non-European peoples and cultures’ (p. 7). For example, in Gustave Flaubert’s popular novels, ‘Flaubert’s encounter with an Egyptian courtesan produced a. . .model of the Oriental woman. . .[who] never spoke of herself. . .[and] never represented her emotions, presence or history. He spoke for and represented her. . .telling his readers in what way she was typically Oriental’ (p. 6, emphasis original). Moreover, Flaubert’s superiority in relation to her ‘was not an isolated instance. It fairly stands for the pattern of relative strength between East and West, and the discourse about the Orient that it enabled’ (p. 6).
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Zagorodnikova, T. N. "Servant of Tsar and Motherland. Basil Oskarovitch von Klemm (1861–1938) in Bukhara Emirate." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 115–25. http://dx.doi.org/10.31696/2618-7302-2020-1-115-125.
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From the very beginning of his adulthood Basil Oskarovitch von Klemm dreamed of the diplomatic career in the Orient. So he graduated from Lazarev Institute of Oriental Languages and after that from Training Department for Oriental Languages affiliated to the Asiatic Department of Ministry of Foreign Affairs. In summer of 1885 he began working in that Department and after a year was send to Bukhara Emirate to work as an interpreter in Russian Imperial Political Agency. The article concentrates on the beginning of Basil Oskarovitch von Klemm’s service in Central Asia, when he studied the traditional life of the Emirate and of the Emir’s court, the details and peculiarities of Oriental diplomacy, as well as etiquette, being the dragoman of the Agency in Bukhara Emirate. He acted instead of the Political Agent, when the latter was absent. The Attachment to the article contains the Report of B. O. von Klemm, where he analyzes the highly charged political situation in Bukhara and gives his recommendations on the ways to stabilize it and to deal with the ruler of the Emirate in order to appease him. The document shows the difference between the views of Russian Empire towards her vassal state and the views of Great Britain towards India.
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Dietrich, Charles. "Les Opéras Parfumés: Aspects of Orientalism in Nineteenth-Century French Opera." Theatre Research International 22, no. 2 (1997): 111–19. http://dx.doi.org/10.1017/s0307883300020526.
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In his introduction to Orientalism, Edward Said defines the West's conceptualization of the East as a European invention which had been ‘since antiquity a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences’. He further posits that this conceptualization has formed a basis on which western civilizations build self-definition. The Orient, therefore, has shifted from the imaginary to the actual. This creation of a culture in opposition has enabled Europeans to construct an impression of their collective ‘Self’ as reflected by the oriental ‘Other’. In this regard, Said formulates the notion of the orientalization of the Orient. Europe, in creating the demarcation of the world into East and West, has sought to locate its own proper topological and cultural place within a global scheme. While setting up the parameters of ‘western civilization’, the West defines the East. Since the known world at the time of this demarcation consisted of Europe, Asia, and the northern extremities of Africa, everything outside these designated parameters becomes the ‘Other’. Philosophies and concepts disorienting to western thought become the Orient.
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Sooriyakumaran, Michael. "Inventing the Asian community: The Toronto Reel Asian International Film Festival as discourse and collective performance." Asian Cinema 31, no. 2 (October 1, 2020): 219–34. http://dx.doi.org/10.1386/ac_00024_1.
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This article examines how the Toronto Reel Asian International Film Festival constructs an imagined Asian community and how spectators perform their cultural identities at screenings and on social media. By screening films from some Asian nations and diasporas and not others, and by screening a disproportionate number of films from East Asia, Reel Asian’s programming selections imply that some Asian societies are more Asian than others, and posit certain essentialized cultural practices associated with those societies as being emblematic of the Orient as a whole. At screenings and on social media, spectators position themselves either as insiders who identify with the Orient, or as westerners who imaginatively project themselves into an oriental culture through an act of sympathetic understanding. Through an analysis of the Reel Asian Film Festival, this article demonstrates how identity-based film festivals function as sites where an imagined community becomes visible to itself and the general public.
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Kurfirst, Robert. "J. S. Mill on Oriental Despotism, including its British Variant." Utilitas 8, no. 1 (March 1996): 73–87. http://dx.doi.org/10.1017/s0953820800004738.
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European portraits of the great Asian states, China, India, and Persia, remained remarkably constant from the establishment of the Chinese silk trade in the first century B.C. until the religious and mercantile expeditions to the Orient prominent in the late Middle Ages. For more than a millenium, the Eastern empires had been classified by Europeans as stable despotisms – stationary societies governed by custom and tradition and devoid of economic, political, or cultural dynamism. Only during the Enlightenment did the proper interpretation of the merits of ‘Oriental despotism’ become a matter of controversy. To some Enlightenment figures, the paternalistic despotisms of Asia appeared to be superior to the nations of Europe ethically and in the quality of their political, legal, and educational institutions. Many social philosophers of the period agreed that the example afforded by Asia could contribute much to the rejuvenation of European society they hoped to effect.
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Gholi, Ahmad, and Masoud Ahmadi Mosaabad. "Image of Oriental Turkmen Female Travelees in the Nineteenth Century Western Travel Writing." International Journal of Applied Linguistics and English Literature 6, no. 3 (March 1, 2017): 43. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.3p.43.
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One of crucial issues which Western travel writers in their journeys to the Orient specifically in the height of colonialism in the nineteenth has addressed is Oriental women. Entrapped and conditioned by their cultural baggage and operating on the basis of Orientalist discourse, they have mostly presented a reductive image of their Oriental female travelees as exotic, seductive, sensual, secluded, and suppressed, in lieu of entering into a cultural dialogue and painting their picture sympathetically and respectfully. To convey their lasciviousness, they have expatiated on Oriental harems and to display their oppression foregrounded their veil and ill-treatment by their allegedly insensitive and callus menfolks. In the same period in the context of the Great Game the politically oriented Western travel writers in particular the British ones set out on a voyage to Central Asia where they encountered ethnic Turkmen. Besides gathering intelligence, the travel writers devoted considerable pages to their Turkmen female travelees as well. But their images in these travel books have not been subject to rigorous scholarly scrutiny. In this regard, the current articles in two sections seeks to redress this neglect by shedding light on how these travel writers portrayed their Turkmen female travelees in seemingly unorientalist fashion in the first part and how explicitly in Orientalist tradition in the second part.
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Al-Shetawi, Mahmoud F. "Shakespeare’s Orientalism Revisited." Critical Survey 32, no. 4 (December 1, 2020): 21–35. http://dx.doi.org/10.3167/cs.2020.320403.
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This article attempts to document and examine the corpus of Arabic and Islamic allusions and references in Shakespeare’s drama and poetry in line with postcolonial discourse and theory. The works of Shakespeare incorporate a large body of Arabic/Islamic matters, which the Bard has gleaned from different sources, such as travel literature, narratives of pilgrims, history annals and common tales of the Crusaders. However, these matters are sporadic in Shakespeare’s works, woven into the fabric of various plays and poems. For example, Shakespeare has thematically used a set of allusions and references to the Arab world such as Arabian trees, the Prophet Mohammed, the Turk, Aleppo, Jerusalem, and many others. Shakespeare has also presented three Oriental characters in his plays: the Prince of Morocco, Shylock and Othello, each with distinctive ethnic and personal traits. A scrutiny of Arabic and Islamic matters in the works of Shakespeare from postcolonial critical perspectives reveals that Shakespeare has a vague idea about Arabs and the Orient at large. Therefore, Shakespeare represents the Orient as the other; his Orient is rather exotic and bizarre, posing as an impending menace to Europe.
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Тетяна Младенова. "ORIENT В. А. МОЦАРТА: ВІД АЛЮЗІЇ ДО ЕТИКО- ЕСТЕТИЧНОЇ СТИЛЬОВОЇ МОДЕЛІ." World Science 2, no. 4(56) (April 30, 2020): 14–20. http://dx.doi.org/10.31435/rsglobal_ws/30042020/7028.
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Throughout the history of music, the dialogue of cultures in the West- East discourse has produced various Orientalism models. Introducing a fashion for oriental decorations in Europe, using new instruments, borrowing modes of musical expression, as well as alluding to signs and symbols of oriental religions and philosophies gave rise to reshaping European musical aesthetics as early as the 18th century. At that time, Wolfgang Amadeus Mozart and his work were undoubtedly pivotal for the art. One can retrospectively observe that Turkish Janissary musical traditions significantly freshened and enriched the composer's instrumental thinking. This can be seen most in the orchestration of Mozart's oriental operas – namely, his singspiels Zaide and The Abduction from the Seraglio. Being a synthetic genre by its nature, opera is primarily related to literary activity; therefore, its oriental colour and imagery need to be immersed in the philosophical world of oriental narratives and storylines that were very popular in baroque and classicism art. Moreover, on the example of The Magic Flute, Mozart's last opera, we can observe how the semiosis of Sufi texts explicitly present in this singspiel libretto gives the work new – Romantic – features. These new characteristics are not limited to the surface aesthetic level of decorations. As an opera reformer, Mozart reshapes the aesthetics of musical language, concurrently refining the ethical component of the genre. Thus, when analysing some instrumental, especially opera pieces by Mozart – namely, Zaide, The Abduction from the Seraglio and The Magic Flute singspiels, one can affirm that the synergy between all orientalism features in the composer’s works and established traditions of the European musical art resulted in the Viennese master creating a new ethical and aesthetic style model, which became seminal for the upcoming epochs.
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Albay, Neslihan Günaydın. "Orientalist Perspective in the Letters of Lady Mary Montagu and Kelemen Mikes." World Journal of Social Science 8, no. 2 (June 17, 2021): 13. http://dx.doi.org/10.5430/wjss.v8n2p13.
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An English aristocrat, poet and writer, Lady Mary Wortley Montagu (1689-1762) was a privileged and distinguished woman traveller in her time. During her sojourn in Ottoman Istanbul, she noted down significant details as regards the Constantinople and seraglio through her vivid descriptions as a liberated woman in her Embassy Letters. Another significant oriental work, Letters from Turkey by Kelemen Mikes (1690-1761), who was a Transylvanian-born Hungarian writer and political figure, is centered upon Mikes’s life in exile between the years 1717 and 1758 within the boundaries of the Ottoman Empire. In Letters from Turkey, we can feel his strong sense of Hungarian identity and his steadiness in maintaining his cultural and religious customs and values in his elaboration of his own and the “other” culture, while his praising the benign and merciful ruling style of Ottoman Sultans offers a different view of orientalism in favour of the “other” culture (Ottoman Empire). Therefore, the purpose of this paper is to examine the Letters of Lady Mary Montagu and Kelemen Mikes from their political, ethnical, religious and personal perspectives and trace several relationships that has allusive discussion relativity in the discourse of Orientalism. After having explained the specific letters of both writers, I will attempt to use the scope of Edward Said’s Orientalism and Enlightenment Orientalism discussed in Sirinivas Aravamudan’s Enlightenment Orientalism: Resisting the Rise of the Novel, as a magnifying glass to different oriental images and conceptions contradictory with the reality in the eighteenth century. This study will mostly make use of Edward Said’s account of orientalism as well as Stephen Greenblatt’s theory of Self Fashioning in order to explicate the differences as to how the Orient is perceived by the authors from different cultures but from the same period. In order to highlight how the definition of Orient changes, this paper attempts to define the Orient in accordance with the works of Lady Montagu and Kelemen Mikes.
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Nuzhnaya, T. V. "Oriental Landscape in the Novel “Journey to the Orient” by G. de Nerval." Nauchnyi dialog 1, no. 11 (December 7, 2020): 242–53. http://dx.doi.org/10.24224/2227-1295-2020-11-242-253.
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Hanjin Eom. "The occidental view of the Orient and the oriental view of the Occident." Korean Journal of Cultural Sociology 19, no. ll (November 2015): 169–205. http://dx.doi.org/10.17328/kjcs.2015.19..005.
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Scherer, Frank F. "UFA Orientalism. The “Orient” in Early German Film: Lubitsch and May." CINEJ Cinema Journal 1 (October 6, 2011): 89–98. http://dx.doi.org/10.5195/cinej.2011.24.
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Fantastic images of the exotic pervade many early German films which resort to constructions of “Oriental” scenes. Stereotypical representations of China, India, Babylon, and Egypt dominate the Kino-screens of Weimar Germany. These films were produced in the UFA studios outside Berlin by directors such as Ernst Lubitsch (Sumurum/ One Arabian Night, 1920; Das Weib des Pharaos/The Love of Pharaoas 1922) and John May (Das Indische Grabmal/ The Indian Tomb, 1921). Yet, where recent observers resist the use of a postcolonial perspective it becomes difficult to assess the cinematographic exoticism of post-WWI Germany.This essay, therefore, offers both a discussion of Edward Said’s ‘Orientalism’and a psychoanalytical thesis on the concealment and supposed healing of post-1918 Germany’s national narcissistic wounds by emphasizing Eurocentric difference in its filmic representations of the Orient.
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Irfanullah, Gumillar. "Orientalisme Romantis: Imajinasi Tentang Timur Sebelum Edward Said." Jurnal Online Studi Al-Qur'an 11, no. 2 (July 1, 2015): 157–65. http://dx.doi.org/10.21009/jsq.011.2.05.
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Orientalism is a 1978 book by Edward W. Said, in which Said studies the cultural representations that are the bases of Orientalism, the West's patronizing perceptions and fictional depictions of "The East" — the societies and peoples who inhabit the places of Asia, North Africa, and the Middle East. Orientalism, the Western scholarship about the Eastern World, was and remains inextricably tied to the imperialist societies who produced it, which makes much Orientalist work inherently political and servile to power, and thus intellectually suspect.Orientalism is the exaggeration of difference, the presumption of Western superiority, and the application of clichéd analytical models for perceiving the Oriental world. As such, Orientalism is the source of the inaccurate, cultural representations that are the foundations of Western thought and perception of the Eastern world, specifically about the region of the Middle East. The principal characteristic of Orientalism is a “subtle and persistent Eurocentric prejudice against Arab–Islamic peoples and their cultureâ€, which prejudice derives from Western images of what is Oriental (cultural representations) that reduce the Orient to the fictional essences of “Oriental peoples†and “the places of the Orientâ€; such cultural representations dominate the communications (discourse) of Western peoples with non–Western peoples. Orientalism proposes that much of the Western study of Islamic civilization was an exercise in political intellectualism; a psychological exercise in the self-affirmation of “European identityâ€; not an objective exercise of intellectual enquiry and the academic study of Eastern cultures. Therefore, Orientalism was a method of practical and cultural discrimination that was applied to non-European societies and peoples in order to establish European imperial domination.
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Raz-Krakotzkin, Amnon. "Orientalism, Jewish Studies and Israeli Society: A Few Comments." Philological Encounters 2, no. 3-4 (August 16, 2017): 237–69. http://dx.doi.org/10.1163/24519197-12340034.
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One of the claims that was voiced in the debate over Edward Said’s book Orientalism was that the author ignored German Orientalist research. This essay does not discuss this claim itself, but rather uses this debate as a starting point for investigating different aspects of Israeli consciousness. Indeed, German Orientalism was not directly connected to colonialist activity, but it encompassed the discourse regarding the relation between Germany and Judaism and “the Jewish Question.” The question was whether Jews were Oriental and therefore foreign to European culture, or rather a religious group that could be integrated into that culture. The modern national definition of the Jewish collective was based on adopting this worldview and on accepting the Orientalist paradigm. The tendency was to define the Jews as a European nation, emphasizing the difference between the new entity and the Orient. This tendency was manifested both in the attitude towards Arabs and towards the history of “the land” [Palestine/“Land of Israel”], and in the attitude to Oriental Jews [Mizraḥim]. Nonetheless, other directions for the definition of Jewish thought and identity can also be found in the Orientalist literature.
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Suvorov, Valeriy V., Anton R. Kiselev, and Alexander S. Fedonnikov. "Tibetan medicine with respect to increased attention to the east in Russian society: The second half of the nineteenth century to early twentieth century." Medical History 65, no. 1 (December 15, 2020): 18–31. http://dx.doi.org/10.1017/mdh.2020.46.
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AbstractGrowing interest to Tibetan medicine among the Russian scientific community and popularisation of its practices in the Russian Empire metropolitan areas in the second half of the nineteenth century to early twentieth century concurred with on-going changes in perception of the Orient by Russian society, establishment of its positive image, increased interest to the elements of oriental culture and practices within the framework of the Silver Age values, and the development of the natural science and experimental medicine, both of which caused an improvement in the healthcare system in Russia. At the turn of the twentieth century, Russian society manifested an ambivalent attitude towards Tibetan medicine. On the one hand, there was an increasing interest to theoretical foundations, a desire for scientific understanding, and spread of the Tibetan medicine practical component in the sociocultural environment of the metropolitan society, previously unfamiliar with oriental traditions and beliefs. On the other hand, an issue of the possibilities and principles of Tibetan medical treatment had opposed Western scientific medicine, which produced many discussions and critical reviews. The controversy was repeatedly caused by the negative attitude towards principal metropolitan specialist in Tibetan medicine – Peter Badmaev and distrust to his activities, as opposed to the medical skills of actual lamas. Despite the fact that it was virtually impossible to integrate Tibetan medicine into the Russian healthcare system, interest in it became a factor of attraction to the East and the oriental culture in Russian society at the turn of the twentieth century.
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Lowe, Lisa. "Rereadings in Orientalism: Oriental Inventions and Inventions of the Orient in Montesquieu's "Lettres persanes"." Cultural Critique, no. 15 (1990): 115. http://dx.doi.org/10.2307/1354182.
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Harris, Ellen T. "With Eyes on the East and Ears on the West: Handel's Orientalist Operas." Journal of Interdisciplinary History 36, no. 3 (January 2006): 419–43. http://dx.doi.org/10.1162/002219506774929863.
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After the formal establishment of an Austrian competitor to the English East India Company (eic) in 1722, the English drew on every resource available to force the Austrian company to close down—not only political pressure and extensive pamphleteering but also the arts. Of the fifteen operas presented by the Royal Academy of Music from 1724 to 1728, twelve, including seven by George Frideric Handel, featured settings in the Orient. Chosen by the directors of the Academy, who were also eic directors and investors, these Oriental settings kept the image of the East in front of aristocratic audiences, including important Members of Parliament, who had the power to assist the East India effort.
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Akkan, Goksu Gigi. "Midnight Express as a Product of Hollywood Orientalism." Communication, Society and Media 1, no. 1 (April 19, 2018): 20. http://dx.doi.org/10.22158/csm.v1n1p20.
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<p><em>The concept of Orientalism has been a forthcoming issue in film studies, be it the (mis)representation of minority groups in Hollywood, or white</em><em>-</em><em>washing people of color characters in remakes of films from “the Orient”, or through a complete omission of representation of these characters. Ideology is a great aspect in shaping the views of the masses, and as they become more embedded in cultural devices such as films, the more soft power they deploy and the more problematic they become. In Foucauldian terms, knowledge about the Orient is produced through films made by the Occident, and thanks to their infinite capital and wide distribution networks, the West, particularly America, is far more successful in retaining a cross-cultural dominance through this power/knowledge structure.</em></p><em>This paper aims to deconstruct the motives behind Oliver Stone & Alan Parker’s 1978 film Midnight Express, in terms of putting Turkey and Turkish people in the Oriental position and putting Western and White characters in the Occidental epistemological positions. Some questions this paper tackles include “How does Orientalism work in the context of Film Studies? Does the Gaze grant a monolithic and unidirectional look at the Orient instead of the Occident?”</em>
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Abdullah bin Ahmad Al- Ghamidy, Abdullah bin Ahmad Al Ghamidy. "A Trip to the Orient by G?rard De Nerval : The Egyptian Woman as an Example." journal of king abdulaziz university arts and humanities 25, no. 1 (May 9, 2017): 157–78. http://dx.doi.org/10.4197/art.25-1.7.
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The literature of travel is considered as an art form by many nations. During the 18th and 19th centuries there were an abundance of visits to the Middle East by Western travelers, some of whom were famous and influential. These visits engendered a variety of published documentation in Oriental literary and cultural values. The West had become interested in the Eastern World, specifically the Middle East, following the French Revolution and subsequent to the translation of the Holy Quran and of classical Arabic texts in literature, science, and philosophy such as 1001 nights and Calileh va Demneh. Napoléon Bonaparte's 1798 invasion of Egypt had hugely increased interaction on numerous levels between the two civilizations. A number of travelers have significantly contributed to the image of the Orient in general and of Arabs in particular, some of which are inaccurate, stereotypical or exaggerated. Edward Saeed considered these trips and their reporting as constituting "an authoritarian discourse." Such journeys to the Orient and their reporting have increased in number and frequency and have increasingly acquired political, social, military, ideological, scientific, and even imaginative aspects and impact. Gerard de Nerval's novel, "A Trip to the Orient" was a summary of his travel to Egypt. The author recorded each detailed event that occurred in what he perceived to be this exotic world. It was a wonderful example of implicit eloquence mixed with legendary imagination.
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Karam, Savo. "Byron’s Politics in “The Giaour”: A Socio-Political Speculation." International Letters of Social and Humanistic Sciences 39 (September 2014): 77–84. http://dx.doi.org/10.18052/www.scipress.com/ilshs.39.77.
Full textAbstract:
Historically, Europe was fearful of the remarkably swift expansion of the Ottoman Empire in the 16th century. And it was not until the middle of the 18th century that the brutal struggle between Europeans and Turks ended; but the West then still situated Turkey in an indelible, despotic frame despite the fact that some scholars instigated an interest in Oriental culture. Western literature had for centuries portrayed the East in an aggressive and bigoted manner; this hostile perception distanced the West from the Orient. A new political situation prevailed as the West began a political propaganda to dominate the weak East; that political and even literary propaganda was the main thrust for the Western colonial ambitions. Several British men of letters directly or indirectly contributed to this propaganda during the 18th and 19th centuries, but not Lord Byron, who used his Oriental tales, and specifically “The Giaour,” to broaden his political horizon in order to re-evaluate both state and global affairs and to reveal to Eastern and Western readers his impartial stance towards European and Turkish policies. In this work, I contend that Byron’s political ideology was prompted by not only an idealistic Romantic spirit but also by a realistic one, as well. And although “The Giaour” is political par excellence, yet it does not reveal any colonial, imperial schemes, contrary to what a number of critics think. Peter Cochran believes that “The Giaour” is “… a metaphor for western imperialist expansion into and forcible domination of eastern countries” (Cochran Byron and Orientalism 2), while deceitfully supporting nations desiring autonomy in the Occident. Cochran discerns in Byron’s tale the Western longing for subjugating and governing the East. This study, however, proves that Byron’s 1st Oriental tale after his return from his 1st Oriental tour is emblematic of his concern with liberalism and with admiration for the East, thus deviating from the popular imperialism that existed at the time.
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Haddad, Patrick. "Occidental Gender Trouble and the Creation of the Oriental Sodomite." Kohl: A Journal for Body and Gender Research 3, Winter (December 1, 2017): 184–95. http://dx.doi.org/10.36583/kohl328.
Full textAbstract:
Recent debates on the issue of “Arab homosexuality” place the creation of that identity category in a framework of European “epistemic hegemony,” putting thus the blame on both Nahdawi writers who adopted a Victorian morality and ethics from their western counterparts, and on contemporary “Arab” LGBT activists that participate in neoliberal NGO practices. These two agents allegedly imbibe a matrix of cis-heteronormativity alien to their societies at the time. Literary critics such as Khaled El-Rouayheb and Joseph Massad, foremost writers on the subject of the Nahda and homosexuality, have presented the nuanced relationship between Arab modernity, sexuality, and de-colonization. Yet, they have done so while charting a dynamic of power that does not sufficiently provincialize Europe nor re-contextualize the discourse into a longer history of “East/West” history of desire. My objective in this paper is to showcase small but significant instances of interaction between “The West” and the “Orient” on the issue of “same-sex” sexual contact in an effort to understand a trend of portraying “The Orient” as inherently sodomitic. Furthermore, my aim is to question the histories of “Arab” sexuality and modernity that are taken for granted in many of these debates. Thus, I will discuss a dynamic of power contradictory to the one presented in Joseph Massad’s Desiring Arabs, one that would question several pre- and post-colonialist arguments on the emergence of “homophobia” in Levantine contexts.