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Journal articles on the topic 'Orientalism (Art)'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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1

Moynihan, Conor. "Timelessness and Precarity in Orientalist Temporality: Mehdi-Georges Lahlou’s Aesthetics of Disorientation." Contemporaneity: Historical Presence in Visual Culture 8 (October 30, 2019): 1–22. http://dx.doi.org/10.5195/contemp.2019.272.

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The Hourglasses (2015), by French-Moroccan artist Mehdi-Georges Lahlou, features five large hourglasses displayed artifact-like upon a table. As one would expect of an hourglass, these glass sculptures can be inverted to measure out time. This, though, is where convention ends, as these are filled with couscous, not sand. Unlike sand, couscous cannot measure time consistently and the inversion of any one of these five hourglasses results in a different measurement of time. In effect, they disorient any linear notion of temporality, raising the specter of Orientalism and its fantasy of a timele
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Béord, Théry, and Achim Alan Merlo. "Orientalism in Celluloid: The Production of the ‘Crazy Year’." Social and Management Research Journal 14, no. 2 (2017): 109. http://dx.doi.org/10.24191/smrj.v14i2.5495.

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This article introduces a journey in the orientalist movement that characterises the cinema of the ‘crazy years’ between 1919 and 1929. Attention will be turned on the peculiarities of this period, including the socio-cultural dimension of that epoch. The role of the woman in cinematographic art will be considered as an appropriate tool for the interpretation of orientalism in the European society during the interwar period. Period of the creation of a popular culture or popularisation of culture, Orientalism became a mean to escape with fantasy the everyday way of life of modern European soci
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Kaya, Yunus. "ORIENTALISM – POSTCOLONIALISM and ART." Idil Journal of Art and Language 6, no. 30 (2017): 647–65. http://dx.doi.org/10.7816/idil-06-30-07.

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Kaźmierczak, Joanna. "„Kadzidła i miętówki”. Orientalizm a psychodeliczne okładki płytowe w drugiej połowie lat sześćdziesiątych XX wieku." Prace Kulturoznawcze 21, no. 4 (2018): 153–68. http://dx.doi.org/10.19195/0860-6668.21.4.9.

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“Incense and peppermints”. Orientalism and psychedelic album covers in the second half of the 1960sThe article focuses on three intertwining subjects: 1 psychedelic culture of the 1960s, 2 orientalism in culture and 3 album cover art. Its most important goal is to support the process of inclusion to the discussion about the orientalist phenomenon in popular music in the 60s the problematics of the design of album covers, which had been rarely taken into consideration in such context up to this day. Secondly, regarding the fact that the narration on the reflection about the album cover art of t
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Johnston, Andrew James. "Chaucer‘s Postcolonial Renaissance." Bulletin of the John Rylands Library 91, no. 2 (2015): 5–20. http://dx.doi.org/10.7227/bjrl.91.2.1.

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This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw
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Courville, Mathieu E. "Part Lion, Part Wolf." Studies in Religion/Sciences Religieuses 45, no. 3 (2016): 415–38. http://dx.doi.org/10.1177/0008429816637637.

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In this essay, I begin by examining arguments concerning “Orientalism” from the work of the late Edward W. Said. I then highlight the way that Kurban Said’s novella Ali and Nino is indebted to this tradition, the author relying upon it in order to create a complex world within a few pages. On the one hand, this novella is a wonderful work of art with which to work out some of Edward Said’s key ideas, and on the other hand, appreciating Edward Said’s key ideas is also crucial for a better appreciation of this novella’s complexity. The second part of the paper focuses on the novella itself, so a
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Swartout,, Robert R., and Anthony W. Lee. "Picturing Chinatown: Art and Orientalism in San Francisco." Western Historical Quarterly 34, no. 1 (2003): 102. http://dx.doi.org/10.2307/25047239.

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Ghorgopoulou, Maria. "Orientalism and Crusader Art: Constructing a New Caanon." Medieval Encounters 5, no. 3 (1999): 289–321. http://dx.doi.org/10.1163/157006799x00097.

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AbstractThis article argues that we need to question the Orientalist ideology that draws boundaries between the study of crusader art and that of the neighboring Muslim states. Two unusual Ayyubid glass beakers, now in the Walters Art Gallery in Baltimore, are shown to contain Christian images. These images are placed within a landscape showcasing the major monuments in Jerusalem: the Dome of the Rock, the Holy Sepulchre, and the Tower of David, to highlight the significance of the sites for the viewer/patron. When these two beakers are compared with rnetalwork made in an Islamic style but dep
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Carneiro Dazzi, Camila Carneiro. "PELAS RUAS DO MAGREBE: ORIENTALISMO NO BRASIL AO FINAL DO SÉCULO XIX / Walk through the streets of the Maghreb: orientalism in Brazil at the end of the 19th century." arte e ensaios 26, no. 40 (2020): 261–81. http://dx.doi.org/10.37235/ae.n40.18.

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O Magrebe central, cuja palavra de origem árabe e significa “onde o Sol se põe”, correspondia, ao final do século XIX, a um território que englobava a Tunísia, a Argélia e o Marrocos (STORA, 2004). Foi uma região fecunda em temas de inspiração, e ao final do Oitocentos, muitos artistas Europeus e Americanos consideravam uma estadia no Magrebe tão indispensável quanto uma permanência de estudos na Itália, destino eleito por inúmeros pintores para o desenvolvimento de pesquisas de renovação do uso da luz e da gama cromática. O Magrebe não só permitia novas possibilidades no uso da cor e de luz,
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ROH, Junia. "Japanese Art Propaganda to the West : Uniqueness and Orientalism." Korean Journal of Japanese Dtudies 20 (February 15, 2019): 100–121. http://dx.doi.org/10.29154/ilbi.2019.20.100.

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11

Um, Nancy. "Picturing Chinatown: Art and Orientalism in San Francisco (review)." Journal of Asian American Studies 5, no. 2 (2002): 185–88. http://dx.doi.org/10.1353/jaas.2003.0009.

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12

Weber, Alan S. "Michael Powell’s The Thief of Bagdad and Abbas Kiarostami’s A Taste of Cherry: Two Faces of Orientalism." Acta Universitatis Sapientiae, Film and Media Studies 6, no. 1 (2013): 91–108. http://dx.doi.org/10.2478/ausfm-2014-0006.

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Abstract British director Michael Powell (1905-1990) and Iranian director Abbas Kiarostami (1940-) share several technical similarities in their filmmaking, most notably an interest in the visual language of still photography, painting and other visual arts, specifically light and colour. They also often comment on the art of film-making and the subject position of the audience as voyeur within their films. With respect to Orientalism - the philosophical and cultural construction that the West overlaid on the East - Powell and Kiarostami can be profitably compared. Powell appears to have accep
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KOLTSOVA, DARYA. "Maximilian Voloshin’s japanese print collection in the context of european orientalism." Journal of Education Culture and Society 4, no. 2 (2020): 316–24. http://dx.doi.org/10.15503/jecs20132.316.324.

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The paper is concerned with Maksimilian Voloshin’s Japanese woodblock print collec-tion. It starts with a short historical sketch of Orientalism in Europe and Russia, illustrating various highlights and the evolution of the image of the East in the minds of Europeans, and designed so that the emergence of Voloshin’s interest in Japanese art and his activity of collecting Ukiyo-e prints can be considered in the context of European Orientalism.
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Zorgati, Ragnhild Johnsrud. "The Painter and the Princess: Constructing Feminism/Decentring Orientalism between Copenhagen, Istanbul, Cairo and Tunis." Cultural History 9, no. 1 (2020): 46–71. http://dx.doi.org/10.3366/cult.2020.0208.

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This article explores the encounters between a Polish-Danish painter and an Egyptian princess in the second part of the nineteenth century, at the junction of Orientalism, modernism and Islamic reformism. The painter Elisabeth Jerichau-Baumann is known for her Orientalist paintings and autobiographical writings, while Princess Nazli Fadhel was a hostess of influential intellectual salons in Cairo and Tunis and, as such, a contributor to the world of art, literature and politics. Jerichau-Baumann and Nazli Fadhel were both creative and controversial personalities engaged in the cultural and pol
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PARTHA, M. "Western Orientalism and the Construction of Nationalist Art in India." Oxford Art Journal 18, no. 1 (1995): 140–43. http://dx.doi.org/10.1093/oxartj/18.1.140.

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Arik, Hülya. "Muslim Women, Transnational Feminism, and the Ethics of Pedagogy." American Journal of Islam and Society 32, no. 4 (2015): 104–9. http://dx.doi.org/10.35632/ajis.v32i4.1007.

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The asphyxiation of subaltern voices and the disregard of Arab and Muslimwomen’s subjectivities in the cultural sphere of the post-9/11 era is the mainproblematic addressed by this collection. With the editorship of Lisa K. Taylorand Jasmin Zine, and based on the legacy of post-colonial writers like GayatriSpivak and Paulo Friere, this collection foregrounds how Orientalism operateson the ground and discusses how we can come up with new discursive toolsand spaces for articulations of difference and diversity and for “reading back” to resist the Empire. Critical public pedagogy is both the main
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Rezvan, Maryam. "Russia and Its Oriental Other: Self‑Cognition Through Mutual Influence (Intermediate Results of One Research Project)." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 26, no. 2 (2020): 85–87. http://dx.doi.org/10.31250/1238-5018-2020-26-2-85-87.

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The article aims at presenting the project Russian Orientalism (Science, Art, Collections), conducted by the team of researchers from the KunstkameraMuseum (St. Petersburg). We offer the reader an interpretation of orientalism, as having an inner unity of the way of perception and vision of the East, its co-creation, expressed in a wide variety of aspects: professional and scientific, artistic, everyday, etc. The resulting book shows that Russia's and “Orient” mutual history testifies to a continuous dialogue, through which we, realizing our dissimilarity, try to understand not only the Other,
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Kudaibergenova, Diana T. "Central Asia in art: from Soviet Orientalism to the new republics." Central Asian Survey 37, no. 2 (2018): 333–36. http://dx.doi.org/10.1080/02634937.2018.1433190.

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Goto-Jones, Chris. "Playing with Being in Digital Asia: Gamic Orientalism and the Virtual Dōjō." Asiascape: Digital Asia 2, no. 1-2 (2015): 20–56. http://dx.doi.org/10.1163/22142312-12340019.

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Seeking to address the general question, ‘Where is Digital Asia?’, this paper explores the various ways in which the digital and virtual realm interacts with the problematic and contested category of Asia. Beginning with a discussion of the relationship between Asia and Digital Asia, as both cartographic and ideological sites, it moves on to connect Digital Asia with the discourse of techno-Orientalism. Using the example of the videogame as an instance of a digital location that can be visited and explored, this article suggests that the gamic quality of interactivity adds a new, experiential
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Khasanovna, Aripova Aziza. "From The History Of Rhetoric (Ortaorian Skill) Of The Ancient East." American Journal of Social Science and Education Innovations 03, no. 08 (2021): 46–53. http://dx.doi.org/10.37547/tajssei/volume03issue08-11.

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This article tells about the historical forms of the oral living word in the ancient East, about such forms as dabirlik (the writers and readers of the state correspondence), xatiblik (speakers of religious, political speech), and muzakkirlik (speakers of religious and moral issues). All types of rhetoric (oratory art) that were used by scholars of orientalism.
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Shevtsova, Maria. "Interculturalism, Aestheticism, Orientalism: Starting from Peter Brook's Mahabharata." Theatre Research International 22, no. 2 (1997): 98–104. http://dx.doi.org/10.1017/s0307883300020502.

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The criticism of ‘intercultural’ theatre in general, and Peter Brook's Mahabharata in particular, that was spearheaded by Rustom Bharucha in Theatre and the World, has taken firm hold in the Anglo-American academy and especially in Britain. Bharucha's critique of Eurocentric appropriation of non-western cultures (although the word ‘plundering’ might be more precise for his argument) is the mainstay of his attack on interculturalism, whether theorized by Richard Schechner or, in Bharucha's view, epitomized in performance by Brook's production. Schechner is understandably Bharucha's central refe
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Wexler, Alice. "Autism and outsiderism: The art of George Widener." International Journal of Education Through Art 16, no. 1 (2020): 83–99. http://dx.doi.org/10.1386/eta_00018_1.

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Abstract Until recently, Outsider Art has escaped the examination that has been given other colonialist labels, such as Orientalism and Primitivism. Contemporary artists, such as George Widener, who slip in between mainstream and Outsider artworlds, pose lingering questions about this category. As an autistic artist, Widener also upends the misrepresentations about the spectrum in both the artworld and art education. I suggest that although Widener does not serve as a representative of the autistic or Outsider Art communities, he does serve as an example of entrenched notions of art and disabi
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Islam, Inaash. "Redefining #YourAverageMuslim woman: Muslim female digital activism on social media." Journal of Arab & Muslim Media Research 12, no. 2 (2019): 213–33. http://dx.doi.org/10.1386/jammr_00004_1.

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Orientalist discourses have largely shaped how Muslim women have come to be represented in western visual media as oppressed, subjugated or foreign. However, with the advent of social media platforms, Muslim women are utilizing social media spaces to rearticulate the controlling images promulgated through orientalist narratives. This article examines the complex relationship visual media shares with Muslim women and demonstrates that the lens of orientalism continues to structure the imaginaries that shape visual representations of Muslim women in art, news and film. This article addresses how
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Lee, Jaeeun. "Techno-Orientalism and Contemporary Art in Posthuman Era: Pierre Huyghe’s Untitled, Human Mask." Journal of History of Modern Art 48 (December 31, 2020): 243–71. http://dx.doi.org/10.17057/kahoma.2020..48.009.

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Benjamin, Roger. "Hilda Rix Nicholas and Elsie Rix's Moroccan Idyll: Art and Orientalism, by Jeanette Hoorn." Australian and New Zealand Journal of Art 14, no. 2 (2014): 222–25. http://dx.doi.org/10.1080/14434318.2014.973010.

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Hoorn, Jeanette. "Rejoinder to Review: Hilda Rix Nicholas and Elsie Rix's Moroccan Idyll, Art and Orientalism." Australian and New Zealand Journal of Art 17, no. 1 (2017): 126–28. http://dx.doi.org/10.1080/14434318.2017.1341283.

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Vranou, Sofia. "‘Pakis from Outer Space’: Oriental postmodernity in Leigh Bowery’s performative costuming." Studies in Costume & Performance 5, no. 1 (2020): 73–84. http://dx.doi.org/10.1386/scp_00014_1.

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With his extraordinary self-styled personas, the late London-based costume designer, nightclub extravaganza and subcultural icon Leigh Bowery constantly unsettled clear divisions between fashion, performance and visual art. His performative costuming reflects in a prolific manner his hybrid aesthetic and his ability to fuse a wide range of visual elements stemming from high fashion, art, mainstream culture and underground practices that en masse render his bizarre presence highly enigmatic. Inspired primarily by the aesthetics and the representations of South Asian culture, and noticeably devi
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Taroutina, Maria. "Between East and West." Experiment 23, no. 1 (2017): 66–79. http://dx.doi.org/10.1163/2211730x-12341301.

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Abstract Taking cue from Dmitry Sarabyanov’s seminal publications on the Stil Modern and turn-of-the-century Russian visual culture, the present article resituates Mikhail Vrubel’s œuvre “between East and West” by demonstrating that the artist moved beyond the narrowly circumscribed nationalist agenda typically attributed to the work he produced at the Abramtsevo and Talashkino artistic colonies. In addition to indigenous sources, Vrubel also assimilated a number of external artistic influences such as Jugendstil, medieval Gothic and Renaissance ceramics, Japanese and Chinese porcelain, and Eg
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Behdad, Ali. "The power‐ful art of Qajar photography: orientalism and (self)‐orientalizing in nineteenth‐century Iran." Iranian Studies 34, no. 1-4 (2001): 141–51. http://dx.doi.org/10.1080/00210860108702001.

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Тетяна Младенова. "ORIENT В. А. МОЦАРТА: ВІД АЛЮЗІЇ ДО ЕТИКО- ЕСТЕТИЧНОЇ СТИЛЬОВОЇ МОДЕЛІ". World Science 2, № 4(56) (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 e
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Sentevska, Irena. "All that turban-folk: Orientalism and neo-folk music in Serbia." Bulletin de l'Institut etnographique 68, no. 3 (2020): 641–60. http://dx.doi.org/10.2298/gei2003641s.

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In this paper I look at the ?oriental controversy? of the neo-folk music in Serbia, focusing on the changes in the perception of the longstanding Serbian-Bosnian ensemble Juzni vetar (Southern Wind) in the academic circles, media and various segments of the music industry. The affirmative attitude towards the performers and music legacy of Juzni vetar, which has in recent years gradually entered the media from the alternative (non-commercial) music and art circles, may be observed in the context of the contemporary globalized music industry which constantly challenges orientalist assumptions a
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Close, Ronnie. "Parallax Error: The Aesthetics of Image Censorshipe." Cabinet, Vol. 2, no. 2 (2017): 74–81. http://dx.doi.org/10.47659/m3.074.art.

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Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.
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Dmitrieva, T. A. "Evolution of the representation of folk artistic culture in cinema." Northern Archives and Expeditions 4, no. 4 (2020): 21–28. http://dx.doi.org/10.31806/2542-1158-2020-4-4-21-28.

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In the presented article, the features of the reflection of folk art culture in the cinema are considered. The author examines films that reflect the folk art culture of the American Indians, Udege, meadow mari, residents of the village of Palekh, as well as the folk art culture of the colonial countries, China and Japan. This article examines the films of both foreign and Russian directors, as the author refers to global trends in cinema. The author identifies several stages, considering the evolution of folk art culture, starting from films of the early twentieth century and ending with mode
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Milanovic, Biljana. "Balkans as a cultural symbol in the Serbian music of the first half of the twentieth century." Muzikologija, no. 8 (2008): 17–26. http://dx.doi.org/10.2298/muz0808017m.

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Focus on the internalization of Western images in the Balkans has special significance in researching Serbian art. The functioning of Balkanism as it overlapped and intersected with Orientalism is indicated in the text by an examination of the cases of Petar Konjovic, Miloje Milojevic and Josip Slavenski, the three significant composers working in Serbia during the first half of the twentieth century. Their modernistic projects present different metaphors of the Balkans. Nevertheless each of them is marked by desire to change the Balkan image into a 'positive' one and thus stands as a special
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Foxwell, Chelsea. "The Painting of Sadness? The Ends of Nihonga, Then and Now." ARTMargins 4, no. 1 (2015): 27–60. http://dx.doi.org/10.1162/artm_a_00104.

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Nihonga (literally “Japanese painting”) is a term that arose in 1880s Japan in order to distinguish existing forms of painting from newly popularized oil painting, and even today it is a category of artistic production apart from contemporary art at large. In this sense, nihonga is the oldest form of a broader worldwide category of “tradition-based contemporary art.” While nihonga was supposed to encompass any form of “traditional” painting, however, in practice it was held together by a recognizable style. When nihonga stopped fulfilling certain material or stylistic criteria, it ceased to be
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Holbrook, Victoria Rowe. "Philology Went down to the Crossroads of Modernity to Meet Orientalism, Nationalism, and... Ottoman Poetry." New Perspectives on Turkey 11 (1994): 19–41. http://dx.doi.org/10.1017/s0896634600000972.

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Ottoman poetry is an empty sign. It floats, unfettered by the correspondence between words and things conventional to the typically modern signification of historical realities. But the sign (under which many of the other written Ottoman humanities—philosophy, literary-critical writing, fine art literature, and thought in general—tend to be subsumed) is not exactly empty. It carries double, or overdetermined, meaning. Though empty of poetry the term Ottoman poetry does not, for most people, call Ottoman poetry to mind—it is full of other things in so far as the sign is “read” as a rhetorical f
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Loges, Natasha. "Exoticism, Artifice and the Supernatural in the Brahmsian Lied." Nineteenth-Century Music Review 3, no. 2 (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 associa
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Nadel, Ira. "Oriental Bloomsbury." Modernist Cultures 13, no. 1 (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 depende
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Zhang, Yingjin. "Ways of Seeing China through Isaac Julien's Ten Thousand Waves." Prism 16, no. 1 (2019): 174–96. http://dx.doi.org/10.1215/25783491-7480373.

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Abstract This article examines ways of seeing China in Isaac Julien's nine-screen film installation Ten Thousand Waves (2010), which represents a migratory aesthetic based on evocative translocality and mobile spectatorship. As Julien reconstructs the legend of compassionate Mazu (played by Maggie Cheung) and memories of Old and New Shanghai (both enacted by Zhao Tao), his screen images and sounds enter a constant circulation and form an intriguing multidirectional dialogue across a variety of media and genres: cinema, art photography, calligraphy, painting, poetry, and star performance. In ad
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محسن, رهام حسن, та هاجر سعيد عز الدين. "صورة المرأة الشرقية بين الاستشراق الغربي وفنون الشرق الأوسط = The Image of Middle East Woman between Western Orientalism and Middle Eastern Art". مجلة التصميم الدولية 7, № 2 (2017): 19–24. http://dx.doi.org/10.12816/0046548.

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Teslya, Andrei. "“The Only Pictures in Memory of the Great War”: The Heroic Spirit, Orientalism, and the Problems of Representational Depictions of the Russo-Turkish War of 1877–1878." Sotsiologicheskoe Obozrenie / Russian Sociological Review 17, no. 3 (2018): 240–55. http://dx.doi.org/10.17323/1728-192x-2018-3-240-255.

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The Russo-Turkish War of 1877–1878 spawned a request from both the government and the public for an appropriate pictorial representation to be evaluated in the categories of ‘high art’, a request which revealed the inability of the predominant aesthetics to be satisfied. The paintings on the subjects of the preceding Balkan Crisis of 1875–1876 easily appealed to the existing reserve of descriptive means in primarily appealing to Orientalist motives by using the international Oriental-artistic language. In this case, painters such as K. Makovsky or V. Polenov did not need to resort to some inve
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Arjana, Sophia Rose. "The Study of Shi’i Islam." American Journal of Islam and Society 33, no. 1 (2016): 132–36. http://dx.doi.org/10.35632/ajis.v33i1.892.

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Shi’i Islam is a broad subject encompassing history, theology, ritual, culture,and other topics. Several current monographs provide an overview ofone or more of these subject areas. Two examples that come to mind arePedram Khosronejad’s edited volumes on Shi’i pilgrimage, ritual, and materialculture, The Art and Material Culture of Iranian Shi’ism: Iconographyand Religious Devotion in Shi’i Islam (2011) and Saints and Pilgrimsin Iran and Neighboring Countries (2012). While these volumes help usunderstand the pilgrimage practices, art, and other cultural expressions ofShi’ism, they are not focu
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Singleton, Brian. "K. N. Panikkar's Teyyateyyam: Resisting Interculturalism Through Ritual Practice." Theatre Research International 22, no. 2 (1997): 162–69. http://dx.doi.org/10.1017/s0307883300020563.

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Indian theatre practice under British colonial rule was marked by differing strategies of resistance: agit-prop drama to promote social and political reform; the preservation of classical dance as cultural heritage; and the continuing practice of folk rituals in rural areas outwith the immediate control of the colonial authorities. Postindependence India, however, has witnessed those ‘deviant’ practices of resistance become the dominant ideological performance practices of modern India. Much actor training continued to be modelled on British drama schools such as RADA (Royal Academy of Dramati
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Putri, Alyssa Syahmina, and Herlin Putri Indah Destari. "On the Orientalism and Neo-Orientalism in Ayad Akhtar’s Disgraced: Analysis on the Dynamics of Amir and Emily’s Relationship." Jurnal Humaniora 31, no. 3 (2019): 282. http://dx.doi.org/10.22146/jh.39065.

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This study analyses the three essential elements of the interracial relationship between Amir and Emily in Ayad Akhtar’s Pulitzer Prize-winning play, Disgraced. They are: Emily’s painting of Amir, her husband, in the style of Portrait of Juan de Pareja by Diego Velázquez; Emily’s White Saviour Complex; and the violence she suffered in the hands of Amir. The first two parts of the analysis will utilise the combination of Identity Construction theory by Stuart Hall, Edward Said’s Orientalism, and the post 9/11 discourse of neo-Orientalism. The last part of the analysis will foreground the entire
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Borchigud, Wurlig. "Between Chinese Nationalism and Soviet Colonisation: A Chinese Orientalist's Narration of Inner and Outer Mongolia (1926–1927)." Inner Asia 4, no. 1 (2002): 27–46. http://dx.doi.org/10.1163/146481702793647605.

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AbstractThis essay questions the nature of ‘Chinese orientalism’ vis-à-vis the Western model of ‘orientalism’. It examines the dialectics of the interconnection between Chinese civilisation/nationalism and Soviet communist colonisation/modernisation, and how these shape and limit the perceptions of a Chinese scholar politician, Ma Hetian, in his travel writing about Inner and Outer Mongolia in the mid 1920s. Unlike most travel writings which focus on cultural differences of the ‘inferior’ others as study object and aesthetic idol, Ma's was a political travel writing, which represents his Chine
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Putcha, Rumya S. "Yoga and White Public Space." Religions 11, no. 12 (2020): 669. http://dx.doi.org/10.3390/rel11120669.

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This article connects recent work in critical race studies, museum studies, and performance studies to larger conversations happening across the humanities and social sciences on the role of performance in white public spaces. Specifically, I examine the recent trend of museums such as the Natural History Museum of London, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts in Boston, to name but a few, offering meditation and wellness classes that purport to “mirror the aesthetics or philosophy of their collections.” Through critical ethnography and discursive analysis I e
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Helms, Elissa. "East and West Kiss: Gender, Orientalism, and Balkanism in Muslim-Majority Bosnia-Herzegovina." Slavic Review 67, no. 1 (2008): 88–119. http://dx.doi.org/10.2307/27652770.

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Through an ethnographic analysis of public and “everyday” discourses in the Muslim-majority area of Bosnia-Herzegovina, this article shows how gender is frequently constitutive of orientalist and balkanist representations. Both orientalism and balkanism have recently undergone a shift, precisely in the ways in which they are gendered. Women have become more visible symbols of Balkan backwardness while orientalist depictions have moved from emphasizing erotic sexuality to a focus on heavily veiled and controlled women, symbolizing the political threat of the east/Islam. In examining the everyda
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Chew, Carissa. "The ant as metaphor: Orientalism, imperialism and myrmecology [W. T. Stearn Student Essay]." Archives of Natural History 46, no. 2 (2019): 347–61. http://dx.doi.org/10.3366/anh.2019.0595.

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Myrmecological texts that circulated in Britain in the nineteenth and early twentieth century can be interpreted, from the perspective of the post-colonial theory of Orientalism, as belonging to a wider body of colonial-era European literature that has historically portrayed New World peoples and animals as the “Other”. In implicit ways, colonial-era literature on ant behaviour reproduces the Orientalist dichotomy of civilization and savagery. At different times, the ant colony has been portrayed, somewhat paradoxically, as both a civilized society in miniature and a foreign savage order. On t
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Taruskin, Richard. "‘Entoiling the falconet’: Russian musical orientalism in context." Cambridge Opera Journal 4, no. 3 (1992): 253–80. http://dx.doi.org/10.1017/s0954586700003797.

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This essay originated as a contribution to a symposium organised by the Dallas Opera and Southern Methodist University around the Opera's production of Boro-din's Prince Igor in November 1990. Since many Soviet guests had been invited, the poster and programme book were printed in English and Russian side by side. I found that the word ‘orientalism’ in my title had become tema vostoka – ‘the Eastern theme’ – in translation, even though orientalizm, or more commonly, orientalistika, are perfectly good Russian words (well, Russian words, anyway). It was a sensible precaution. ‘The Eastern theme’
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Benton, Gregor. "Anthony W. Lee, Picturing Chinatown: Art and Orientalism in San Francisco. Berkeley: University of California Press, 2001. xiv + 347pp. 8 plates. 155 figures. Bibliography. US$45; £29.50." Urban History 30, no. 2 (2003): 311–13. http://dx.doi.org/10.1017/s0963926803311356.

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