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Dissertations / Theses on the topic 'Orientalism in art'
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Bloom, Kelly. "Orientalism in French 19th Century Art." Thesis, Boston College, 2004. http://hdl.handle.net/2345/477.
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Thesis advisor: Jeffery Howe<br>The Orient has been a mythical, looming presence since the foundation of Islam in the 7th century. It has always been the “Other” that Edward Said wrote about in his 1979 book Orientalism. The gulf of misunderstanding between the myth and the reality of the Near East still exists today in the 21st century. Napoleon's invasion of Egypt in 1798 and the subsequent colonization of the Near East is perhaps the defining moment in the Western perception of the Near East. At the beginning of modern colonization, Napoleon and his companions arrived in the Near East convinced of their own superiority and authority; they were Orientalists. The supposed superiority of Europeans justified the colonization of Islamic lands. Said never specifically wrote about art; however, his theories on colonialism and Orientalism still apply. Linda Nochlin first made use of them in her article “The Imaginary Orient” from 1983. Artists such as Jean-Auguste-Dominique Ingres, Eugène Delacroix and Jean-Léon Gérôme demonstrate Said's idea of representing the Islamic “Other” as a culturally inferior and backward people, especially in their portrayal of women. The development of photography in the late 19th century added another dimension to this view of the Orient, with its seemingly objective viewpoint<br>Thesis (BA) — Boston College, 2004<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: Fine Arts<br>Discipline: College Honors Program
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Braddock, Alan C. "Displacing Orientalism Thomas Eakins and ethnographic modernity /." [S.l. : s.n.], 2002. http://catalog.hathitrust.org/api/volumes/oclc/53916454.html.
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Thesis (Ph. D.)--University of Delaware, 2002.<br>Principal faculty advisor: Michael Leja, Dept. of Art History. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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Chen, Albert Yi Fu 1967. "Art and social dislocation : a Chinese diasporic condition." Monash University, Dept. of Fine Arts, 2004. http://arrow.monash.edu.au/hdl/1959.1/5203.
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Jones, Andrew Stuart. "Kay Nielsen orientalism in illustration during the Belle Époque /." Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2009m/jonesa.pdf.
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Thesis (M.A.)--University of Alabama at Birmingham, 2009.<br>Title from PDF title page (viewed Jan. 21, 2010). Additional advisors: Cathleen Cummings, Heather McPherson, Mindy Nancarrow. Includes bibliographical references (p. 66-71).
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Kirk, Elizabeth Gail. "Neo-orientalism : ugly women and the Parisian avant-garde, 1905-1908." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28091.
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The Neo-Orientalism of Matisse's The Blue Nude (Souvenir of Biskra), and Picasso's Les Demoiselles d'Avignon, both of 1907, exists in the similarity of the extreme distortion of the female form and defines the different meanings attached to these "ugly" women relative to distinctive notions of erotic and exotic imagery. To understand Neo-Orientalism, that is, 19th century Orientalist concepts which were filtered through Primitivism in the 20th century, the racial, sexual and class antagonisms of the period, which not only influenced attitudes towards erotic and exotic imagery, but also defined and categorized humanity, must be considered in their historical context.
My introduction is an investigation of current art historical scholarship which has linked the manipulation of form by Matisse and Picasso and shifting avant-garde practice in Paris in the years 1905 - 1908, when Cubism displaced Fauvism, to the concepts of Orientalism and Primitivism. The problem of the ideological content of images of women, which I undertake to address, arises from these studies which rely upon the assumed metaphysical fascination with the exotic or the intuitive, personal concern for erotic symbolism by the artists as a solution to meaning. The absence of a rich critical discourse surrounding the paintings encourages my approach to the problem of meaning whereby in Chapter One I examine images of women produced in Paris in the specific discourses of popular and official culture in 1906. These representations of the female are identified as ideological constructions which functioned in relation to the important and broader issues of the moment affecting the dominance of French culture: class struggle and neo-colonialism.
In Chapter Two the "ugly" women of Matisse's The Blue Nude (Souvenir of Biskra) and Picasso's Les Demoiselles d'Avignon are analysed as intended avant-garde transformations
of images of female prostitutes and compared with the Images of women In popular and official culture and with each other, In recognition of their function within the historical context of their production. In conclusion I suggest that the difference in meaning between these paintings by Matisse and Picasso was Ideological, operating within the context of class struggle and neo-colonialism, and defined by their distinctive conscious and unconscious use of Primitivism.<br>Arts, Faculty of<br>Art History, Visual Art and Theory, Department of<br>Graduate
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Tsang, Wing-yi. "Jewish imagery and orientalism in nineteenth and early twentieth century European art." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B40040355.
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Tsang, Wing-yi, and 曾穎怡. "Jewish imagery and orientalism in nineteenth and early twentieth century European art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B40040355.
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Ming, Christina Tio Ee. "The Avant Garde and its 'others' orientalism in contemporary art music /." Thesis, Online version, 2000. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.364724.
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Issiyeva, Adalyat. "Russian orientalism: from ethnography to art song in nineteenth-century music." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121101.
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Russia's ambivalent geo-political and socio-cultural position, as a self-avowed intermediary between the East and the West, shaped its double identity and played an important role in the creation of Russia's own Oriental Other. This dissertation examines the political and cultural resonance of nineteenth-century Russian art songs with oriental or Asian subjects, both within and outside of Edward Said's theoretical construct of "Orientalism." It also addresses how Russian art song composers adapted, transformed and assimilated music drawn from ethnographic sources published during the century. By contextualizing nineteenth-century Russian Orientalism through an analysis of folksong collections, ethnographies, and art songs this study addresses the very formation of the Russian image of Otherness in conjunction with the construction of a specifically Russian national and musical identity. Drawing on an extensive yet under-analyzed and under-theorized repertoire of Russian folk and art songs with oriental subjects, as well as a host of writings by Russian literati, travelers, ethnographers, and ordinary individuals about the music and culture of Russian oriental minorities, this dissertation reveals the changing nature of the theory, practice, and creation of nineteenth-century Russian music with oriental subjects, as well as the diverse and often contradictory representations of oriental Others and the extraordinary complexity of the colonizer-colonized relationship in Russia.<br>La position géopolitique et socioculturelle ambivalente de la Russie, en tant qu'intermédiaire autoproclamé entre l'orient et l'occident, a formé sa double identité et cela a joué un rôle important dans la création de son propre Autre Oriental. Cette thèse examine l'influence politique et culturelle de plusieurs mélodies russes du dix-neuvième siècle ayant des sujets orientaux ou asiatiques, à la fois à l'intérieur comme à l'extérieur du contexte « d'orientalisme » d'Edward Said. Elle analyse également la manière dont les compositeurs de mélodies russes ont adapté, transformé et assimilé la musique provenant de sources infographiques publiées tout au long du siècle. En contextualisant l'Orientalisme du dix-neuvième siècle à l'aide d'analyses de collections de chansons folkloriques, d'ethnographies, et mélodies russes, cette étude s'intéresse à la formation même de l'image russe de l'Autre conjointement à l'édification d'une identité nationale et musicale spécifiquement russe. Basée sur un répertoire abondant – bien que peu analysé et théorisé – de mélodies russes ayant des sujets orientaux, de même que plusieurs écrits d'érudits, de voyageurs, d'individus ordinaires et d'ethnographes russes à propos de la musique et de la culture des minorités orientales russes, cette thèse met en lumière la nature changeante de la théorie, la pratique et la création de la musique russe du dix-neuvième siècle ayant des sujets orientaux, de même que les représentations variées et souvent contradictoires de l'Autre oriental et l'extraordinaire complexité de la relation colonisateur-colonisé en Russie.
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Lespes, Marlène. "De l'orientalisme à l'art colonial : les peintres français au Maroc pendant le Protectorat (1912-1956)." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20098/document.
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À travers l’étude des peintres français partis au Maroc pendant le Protectorat, cette thèse examine la structuration et le développement de l’art colonial, courant qui succède à l’orientalisme au tournant des XIXe et XXe siècles. Loin d’être un phénomène isolé, le séjour dans ce pays pendant la période coloniale concerne des centaines d’artistes. Ces voyages sont encouragés et parfois même financés par des sociétés artistiques métropolitaines et par les gouvernements coloniaux. À Paris, des Salons et des expositions, comme les Expositions coloniales ou universelles, réservent des espaces spécifiques aux œuvres sur les colonies. Plusieurs artistes, critiques et conservateurs tentent par ailleurs de montrer de quelle manière l’art colonial est utile pour la propagande colonialiste. Après avoir retracé l’expérience marocaine des peintres français, il s’agira de présenter les principales institutions artistiques et culturelles occidentales dans le Protectorat. L’art colonial reprend certains thèmes orientalistes, mais leur apporte davantage de sobriété, de pondération et de vraisemblance. L’iconographie coloniale marocaine se distingue de celles des autres colonies par le nombre important d’œuvres consacrées aux cavaliers, aux Berbères et aux monuments historiques. Cette spécificité est due en partie à la politique culturelle menée par Lyautey, au développement de l’ethnographie marocaine et aux objectifs assignés à l’art colonial. Cette analyse est complétée par un dictionnaire des artistes du corpus<br>Through the study of French painters gone to Morocco during the Protectorate, this thesis reviews the structures and the emergence of Colonial art, which followed Orientalism at the turn of the century. Far from being an isolated phenomenon, hundreds of artists stayed in this country during the colonial period. The journey is motivated and even sometimes founded by artistic metropolitan societies and by colonial governments. In Paris, Salons and exhibitions such as World's Fairs and Colonial exhibitions dedicate specific areas to works on the colonies. Many artists, critics or curators also attempt to demonstrate how Colonial art can be useful to colonial propaganda. After outlining the French painters’ Moroccan experience, the main artistic and cultural occidental institutions during the Protectorate will be presented. Colonial art continues to represent some Orientalist themes but integrate them with more restraint, moderation and realism. Moroccan colonial iconography can be distinguished from the other colonies by the amount of work dedicated to horse riders, to Berbers and to historical monuments. This particularity is partly due to the cultural policy pursued by Lyautey, to the development of Moroccan ethnography and to the specific goals targeted for Colonial art. This analysis is followed by a dictionary of the artists corpus
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Barnes, Maribea Woodington. "Ethnographic Research in Morocco: Analyzing Contemporary Artistic Practices and Visual Culture." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1218051347.
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Medvedev, Natasha. "The contradictions in Vereshchagin's Turkestan series visualizing the Russian Empire and its others /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835633981&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Jones, Rachel Bailey. "(Re)envisioning self and other subverting visual orientalism through the creation of postcolonial pedagogy /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1403/umi-uncg-1403.pdf.
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Thesis (Ph. D.)--University of North Carolina at Greensboro, 2007.<br>Title from PDF t.p. (viewed Oct. 22, 2007). Directed by Leila Villaverde; submitted to the School of Education. Includes bibliographical references (p. 234-252).
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Cochran, Sharayah. "An Impossible Alternative: Orientalism and Margaret Bourke-White's "A Moneylender's House" (1947)." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3760.
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Between 1946 and 1948, American photographer Margaret Bourke-White traveled to India while on assignments for Life magazine. Since the late 1940s, a photograph from these assignments that depicts three men sitting in an ornately decorated room has appeared in several publications and exhibitions under variations of the title A Moneylender’s House (1947). Though Bourke-White is traditionally categorized as a documentary photojournalist, her photograph exhibits motifs similar to those seen in European Orientalist paintings from the nineteenth century. Considering recent scholarship that has expanded the temporal and geographical parameters of the Orientalist photography genre, this thesis analyzes the “documentary” photograph, A Moneylender’s House, in its varied exhibition and publication contexts to determine whether they present the photographic subjects from a “nonrepressive and nonmanipulative perspective” (one that Edward Said suggests might provide an “alternative” to Orientalism), or reinforce the “Self/Other” binary at the core of Orientalism.
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Pycroft, Hayley. "Beyond Afrocentricism and Orientalism contemporary representations of transnational identities in the works of Nontsikelelo "Lolo" Veleko and Tracy Payne." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002216.
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South African photographer Nontsikelelo “Lolo” Veleko and South African painter Tracy Payne explore different ways of communicating African realities. The visual imagery of these two artists focuses a lot on movement, challenging the rigidity of boundaries set by Western social constructs. In their work, Veleko and Payne critique the limitations of terms such as “authenticity.” It is extremely difficult to portray shifting notions of contemporary African identity in light of the stain of colonial philosophies which have, in times past, exoticised and appropriated the African body and ascribed conventions of “authenticity” to African representations. Undermining the burden of Western boundaries1, Veleko and Payne redefine what it means to operate in Africa today. Veleko seeks additional cultural realities to complicate her identity as a woman living in Africa while Payne uses concepts of movement to question the validity of structures which advocate an either/ or binary such as “East” and “West” and “masculinity” and “femininity”. By subtly merging aspects of these binaries in their representations, Veleko and Payne bring transnational possibilities to light by undermining the restrictions inscribed in the social and political history of (South) Africa with regard to collective and individual identities. Constructs of gender have contributed to a heightened sense of “African” “masculinity,” forming a stereotype of the African body which is difficult to break free from. Considering the notion of transnationalism and the issue of moving beyond boundaries, borrowing aspects of different cultures in attempt to better define a sense of self, Veleko and Payne engage in the sampling of different lifestyles and perspectives to better define their individualities. This thesis seeks to provide an analysis of the visual language used by Veleko and Payne to promote fluid “African” identities.
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Khosravi, Mojgan. "Shirin Neshat: A Contemporary Orientalist." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/73.
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This thesis analyzes Shirin Neshat’s Women of Allah photographs by exploring key socio-political events that have shaped Iranian history since the reign of Cyrus the Great, ca. 600 B.C. Since Neshat’s photographs have been largely intended for a Western audience, it is important to explore the concept of colonialism that has created East/West polarities and so greatly influenced our modern era. This paper intends to demonstrate that Neshat’s images perpetuate Edward Said’s concept of Orientalism, which allocates the Oriental to an inferior position vis-à-vis his Occidental counterpart. For a Western audience, Neshat’s consistent use of the Muslim veil, illegible Persian calligraphy, and guns symbolizes Islam’s violence and degeneracy; additionally, these elements position the Muslim woman as a subaltern entity in an archaic society. As a result, the Iranian Muslim woman remains restricted by her social, cultural, and religious praxis, as well as by Neshat’s formal and contextual depiction of her.
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DeVito, Elizabeth J. "Orientalism and the Photographs of Eugène Delacroix: An Exploration of Vision, Identity, and Difference in Nineteenth Century France." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1306869542.
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Cauchi-Fatiga, Virginie. "Eugène Delacroix et la critique, 1822 - 1885." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL095.
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L’artiste débute sa carrière au moment où le développement considérable de la critique en France s’explique par plusieurs facteurs : la centralisation parisienne de la vie artistique et littéraire, le prestige inhérent aux Salons de la capitale, et surtout la publication au début du siècle des Salons de Diderot, qui jusque-là n’ayant pas dépassé le cercle privé de l’auteur se retrouvèrent érigés en modèle d’un nouveau genre littéraire. Car il n’y a pas, et ce durant les quarante années de carrière de Delacroix, de critique professionnelle. C’est pourquoi celle-ci regroupe sous ce seul terme une multitude d’auteurs, une abondance de textes et de mediums. Un corpus considérable d’articles nous renseigne sur ce que fut la réception de Delacroix du début à la fin de sa carrière jusqu’à la fin du siècle, et nous montre comment l’esthétique de l’artiste put être appréhendée. La longévité de la carrière de Delacroix est l’un des intérêts majeurs d’une telle recherche, tant elle s’accompagne de bouleversements politiques, sociologiques, idéologiques et esthétiques. La critique qui découvre pour la première fois le jeune artiste en 1822 n’est plus celle qu’il quitte en 1859, tout comme celle de 1885 qui voit approcher l’aune d’un nouveau siècle. L’intérêt de ce travail sera non seulement de tenter de réunir l’intégralité des textes produits par la critique de 1822 à 1885, mais aussi et surtout de mettre en lumière -par l’analyse des textes et de leur contexte- les processus qui permirent à la critique non seulement d’évoluer vers la nouvelle discipline de l’histoire de l’art, mais aussi d’ériger un artiste en l’un des plus fameux symboles du XIXème siècle<br>The artist began his career at the same time as the development of critics/criticism in France - this is explained by several factors: centralization of Parisian artistic and literary life, the inherent prestige of ‘Salons’ in the capital, and especially the publication at the beginning of the century of the ‘Salons of Diderot’, which were started as a model of a new literary genre, and which had not yet exceeded the private author's circle. Also, during the forty years of Delacroix’s career there had been no professional criticism. This is why this single term regroups a multitude of authors, an abundance of texts and media. There are a considerable number of articles provide information on the response to Delacroix from the beginning to the end his career until the end of the century, and inform us how the artist’s works were accepted and interpreted. The length of Delacroix’s career is one of the major interests of any research, as it was accompanied by political, sociological, ideological and artistic upheavals. The criticism that the young artist discovers for the first time in 1822 is very different to that in 1859, and again in 1885, at the approach of a new century. The interest of this work will not only attempt to bring together all of the critical texts produced between 1822 to 1885, but also to highlight - by analysis of the texts and their context - process which enabled them to move towards a new discipline of the History of Art, but also to create an artist who is one most famous symbols of the 19th century
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Tintin, Hodén. "Att visualisera Orienten : En närläsning av Linda Nochlins The Imaginary Orient utifrån Edward Said och John M Mackenzie." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-11683.
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According to Edward Said the Orient is a European construction that has arisen out of a need to describe the Western civilisation as culturally superior. This occurrence Said gives the label "Orientalism". Art historian Linda Nochlin takes Said’s theories further in The Imaginary Orient where she conveys the thesis that the pictorial Orientalism is an expression of an imperialistic ideology. John M. Mackenzie, on the other hand is of the opinion that the pictorial Orientalism rather is an expression of the Romantic movement. To understand the Orientalist art we have to consider the social and historical context in which the work was created. By trying to justify the Orientalists choice of motive Mackenzie takes the view of those who consider art history as a positive discipline. Nochlin on the other hand means that we instead of fortifying the art historical canon we ought to politicize it, which only is possible if we contemplate art history as a critical rather than a positive discipline.
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Darrow, Susannah B. "Negotiating Hybridity in the Work of Lalla Essaydi: An Exploration of Gaze." Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/art_design_theses/137.
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The photographic work of contemporary Moroccan artist, Lalla Essaydi, embodies a new artistic hybridity that reflects her nomadic, globalized background. With this work, the artist employs visual symbolism and uses multiple forms of artistic media as a means to analyze her multicultural background. Throughout her series, which spans 2004-present, Essaydi uses both literal and metaphorical representations of space and self as a means to examine the multifacetedness of her national identity and the many gazes that define that identity. She uses artistic production as a means of mediating the collective experiences of her identity in order to negotiate and construct a revised image of self.
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Bashiron, Mendolicchio Herman. "Mosaico Mediterráneo. El Arte como Herramienta de Diálogo Intercultural." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/121466.
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El presente trabajo de investigación doctoral reflexiona sobre el aporte de las prácticas artísticas contemporáneas en los procesos de diálogo entre culturas en el Mediterráneo.
En las dinámicas de percepción, acercamiento y (re)conocimiento del otro y de las culturas otras, todos los medios informativos y de comunicación pueden ser, por un lado, válidos y efectivos como, por otro, pueden desviar de la verdad y difundir fácilmente numerosos prejuicios. Frente a la “síntesis” operada por los medios de comunicación tradicionales, donde “el Otro” es a menudo objeto de representaciones estereotipadas, las prácticas artísticas, en su sentido más amplio, contraponen un “análisis” que puede permitir, en diferentes casos, la eliminación de las barreras y un mayor acercamiento a la cultura otra.
En la presente investigación se quiere trazar un itinerario teórico que parte de las hipótesis orientalistas, pasa por las filosofías del encuentro con el otro; los estudios sobre la participación; las actuales reflexiones sobre la estética relacional; las definiciones históricas y socio-políticas del Mediterráneo; hasta llegar a reconocer en el arte, en la creación artística, el medio de comunicación más eficaz y penetrante a la hora de refinar el conocimiento y (re)descubrir los diferentes aspectos de las culturas de los países y de los pueblos del Mediterráneo. Asimismo se quiere reflexionar también sobre el aporte de las últimas tecnologías que, gracias a su avance y a su empleo, cada vez más extenso en las expresiones artísticas, crean nuevos modelos de contacto entre culturas, nuevas formas de intercambio y nuevos métodos de conocimiento.
En el espacio plural del Mediterráneo las prácticas artísticas y creativas actuales actúan como un campo de experimentación y un territorio de debate valioso e importante para el desarrollo del discurso intercultural.<br>This PhD research focuses on the role of contemporary artistic practices in the process of dialogue between cultures in the Mediterranean.
In the dynamics of perception, approach and knowledge of the “other” and other cultures, all media can be, on one side, valid and effective, but on the other side, can deviate from the truth and spread easily many prejudices. Faced with the "synthesis" operated by traditional media, where the "Other" is often subject to stereotypical representations, artistic practices, in its broadest sense, opposed an "analysis" that can help out, in different cases, to remove barriers and get closer to the other’s culture.
The present research draws a theoretical path starting from the Orientalist hypothesis, passing through the philosophies of the encounter with the other; studies on the participation; the current discussions on the relational aesthetics; the historical and socio-political definitions of the Mediterranean; up to recognize art and creativity as the most effective means of communication to refine knowledge and (re)discover the different aspects of the Mediterranean cultures.
Contemporary artistic practices serve - in the Mediterranean plural space - as a testing ground and an area of discussion valuable and important for the development of the intercultural discourse.
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Kindred, Emma Robyn. "Passages through the Orient : Arthur Streeton in Cairo." Thesis, Faculty of Arts, 2012. http://hdl.handle.net/2123/17167.
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Braeuner, Hélène. "Les représentations du canal de Suez (15ème-20ème s.) : esthétiques et politiques d'une vision." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAG042.
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L’histoire du canal de Suez constitue un champ d’étude toujours vivant et sensible par son actualité, qui a fait naître des sentiments contrastés. C’est l’histoire de sa symbolique, des fantasmes et des projections qu’il a pu faire naître qui se trouve étudiée à partir d’un corpus littéraire et iconographique inédit. L’originalité de la recherche repose sur la multiplication des approches et le nombre d’œuvres rassemblées permettant de sortir d’une chronologie restreinte au projet de creusement. Elle entend dépasser la vision restrictive d’une entreprise qui ne peut être confondue avec l’action coloniale de la France mais qui est traversée par une idéologie de conquête. Elle apporte une nouvelle approche dans la représentation des voyages orientalistes. Le patrimoine artistique né de ce chantier universel pose enfin la question de sa réception et de son partage mémoriel entre Orient et Occident, encore riches d’enjeux aujourd’hui<br>The history of the Suez canal is a field of study that is still as alive and sensitive as ever, one that elicits mixed feelings. It is the story of its symbolism and the fantasies and projections that have sprung from it that is studied through a heretofore-unexamined literary and iconographical corpus. The originality of this research lies in its multiple approaches and the number of works assembled, which enables one to step out of a narrow chronology of the digging of the canal. It seeks to go beyond the restrictive vision of an endeavour that cannot be considered French colonial action yet is shot through with an ideology of conquest. It brings a fresh approach to the representation of orientalist travel. The artistic heritage born of this universal public work finally poses the question of its reception and how its memory is shared between East and West, with as much at stake today as ever
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Hjelm, Zara Luna. "Kolonialtidens barn : En studie i ”ras”, klass och kön genom representationen av barndomen." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-170854.
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Denna uppsats avser att analysera representationen av barnet och barndomen i konsten under den europeiska kolonialiseringen och imperialismen genom historieskrivningen ur ett feministiskt postkolonialt perspektiv med en historiografisk metod. Syftet är att reflektera över hur kolonialismen har påverkat den visuella konsten föreställande barn och skapat föreställningarna om ras, klass och kön. Som en bakgrund presenteras först konceptet av barnet och barndomens framväxt fram från medeltiden till slutet av 1700-talet. Sedan sammanflätas det med studiens två huvuddelar som tar avstamp i slutet av 1700-talet fram till början av 1900-talet. Den första huvuddelen analyserar barnmotiven i relation med kolonialismen ur nyklassicistisk-, romantisk- och realistisk konst, medan den andra huvuddelen centrerar kring orientalismen. Barnmotiven kommer genomgående att analyseras med en kritisk syn på historieskrivningen och samhällsnormer ur en intersektionell lens.<br>This paper aims to analyze the representation of children and childhood in art during the European colonization and imperialization through history from a postcolonial feminist perspective historiographical method. The aim is to reflect on how colonialism has affected the visual representation of children and generated the concepts of race, class, and gender. As a background, the paper will first present the historical concept of the child and the emergence of childhood from the Middle ages to the end of the 18th century. This will then be intertwined with the two main parts of the study, which will analyze childhood from the late 18th until the beginning of the 20th century. The first main part analyzes pictures of children in relation to colonialism in the Neoclassical-, Romantic- and Realistic artforms, while the second main part will center around Orientalist art. Throughout the paper, the pictures will be analyzed with a critical perspective of history and societal norms from an intersectional viewpoint.
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au, maria degabriele@police wa gov, and Maria Degabriele. "Postorientalism : orientalism since orientalism." Murdoch University, 1997. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080122.112339.
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This dissertation examines a range of popular contemporary texts in a post-Saidian context. It begins with an analysis of Orientalism, as that text influences almost any discussion of representations of Easmest relations. Now, almost twenty years after Orientalism was first published in 1978 it is still a crucial text, and it still needs to be understood and argued with. The other texts looked at in this dissertation include novels, drama, films, opera, a musical, and the print and electronic mass media. They are texts that either represent or comment on EastIWest relations. The main texts I examine fall roughly into two categories: ones that are clearly orientalist and ones that are postorientalist. Those that are orientalist repeat the same myths of Orient Said describes in Orientalism. Those that are postorientalist challenge those myths by repeating and elaborating them, reversing and displacing the orientalist gaze.
The methodological approach is an eclectic blend of cultural studies and literary criticism. Such an approach enables analysis of a variety of texts, fiom classical nineteenth century books and myths through to contemporary postmodern representations, that deal with identity politics.
My thesis is that contemporary postcolonial representations that deal with East and West and that use and displace the very terms such categories rest upon, can be called "postoriental".
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Lambertson, Kristen. "Mariko Mori and Takashi Murakami and the crisis of Japanese identity." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1244.
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In the mid-1990s, Japanese artists Mariko Mori (b. 1962) and Takashi Murakami (b. 1967) began creating works that referenced Japanese popular culture tropes such as sexuality, technology and the idea of kawaii, or cute. These tropes were associated with emerging youth cultures instigating a “soft rebellion” against social conventions. While emancipated female youths, or shōjo, were criticized for lifestyles based on the consumption of kawaii goods, their male contemporaries, the otaku were demonized for a fetishization of kawaii girls and technology through anime and manga, or animation and comic books. Destabilizing the nation’s patriarchal theory of cultural uniqueness, or nihonjinron, the youth triggered fears of a growing infantilized, feminized automaton ‘alien’ society during Japan’s economically tumultuous 1990s.
In response to these trends, Mori and Murakami create works and personae that celebrate Japan’s emerging heterogeneity and reveal that Japan’s fear of the ‘alien within’ is a result of a tenuous post-war Japanese-American relationship. But in denoting America’s position in Japan’s psyche, Mori’s and Murakami’s illustration of Japan as both victim and threat encourages Orientalist and Techno-Orientalist readings. The artists’ ambivalence towards Western stereotypes in their works and personae, as well as their distortion of boundaries between commercial and fine art, intimate a collusion between commercialization, art and cultural identity. Such acts suggest that in the global economy of art production, Japanese cultural identity has become as much as a brand, as art a commodity.
In this ambivalent perspective, the artists isolate the relatively recent difficulty of enunciating Japanese cultural identity in the international framework. With the downfall of its cultural homogeneity theory, Japan faced a crisis of representation. Self-Orientalization emerged as a cultural imperative for stabilizing a coherent national identity, transposing blame for Japan’s social and economic disrepair onto America. But by relocating Japanese self-Orientalization within the global art market, Mori and Murakami suggest that as non-Western artists, economic viability is based upon their ability to cultivate desirability, not necessarily authenticity. In the international realm, national identity has become a brand based upon the economies of desire, predicated by external consumption, rather than an internalized production of meaning.
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Johnson, Andrea Marie. "Incongruous Conceptions: Owen Jones’s Plans, Elevations, Sections and Details of the Alhambra and British Views of Spain." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6101.
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This thesis analyzes Plans, Elevations, Sections, and Details of the Alhambra (1836-1842) by British Architect Owen Jones in relation to British conceptions of Spain in the nineteenth century. Although modern scholars often view Jones’s work as an accurate visual account of the Alhambra, I argue that his work is not only interested in accuracy, but it is also a re-presentation of the fourteen-century monument based on Jones’s ideologies and creative faculties. Instead of viewing the Alhambra through a culturally sensitive, historical lens, Jones treated it as an Imaginary Geography, as Edward Said called it, through which he could promote his interests and perspectives.
Although there were many British views of Spain in nineteenth-century, this thesis will focus on two sets of seemingly contradictory conceptions of Spain that were especially important to Jones’s visual and ideological program in Alhambra: Spain’s status as both the Catholic and Islamic Other, and its frequent interpretations through both romantic and reform-oriented lenses. Through a closer look at Arabian Antiquities of Spain by James Cavanah Murphy and the illustrations from The Tourist in Spain: Granada by David Roberts, I show the prevalence of these mindsets in nineteenth-century reconstructions of the Alhambra. Then, I compare portions of these works to plates from Jones’s Alhambra to illustrate Jones’s similar adaptation of these perspectives despite the visual peculiarity of his work as a whole.
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Sunnemar, Jonatan. "Sydeuropeiska kroppar i fotokonst 1890–1910 : En analys av Wilhelm von Gloedens fotografier av nakna sicilianska ynglingar." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-157040.
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Uppsatsen ämnar till att analysera fotografier tagna av fotografen Wilhelm von Gloeden mellan åren 1890—1910. Genom att undersöka fotografierna utifrån aspekter om iscensättning och performativitet leds syftet vidare till en analys och diskussion som berör homoerotik, klass, genus, sexualitet och orientalism. Tillvägagångssättet för analysen utgår från Anne D’Allevas formalanalys som är utformad efter tvådimensionella verk. Analysen stöds av Judith Butlers idéer om vad en performativ akt symboliserar ur ett queerperspektiv. Analysen kring fotografierna i förhållande till orientalism och hur Västeuropeiska konstnärer har konstruerat en bild av Sydeuropeiska samhällen grundas på texter av Edward W. Said och Linda Nochlin. Uppsatsen är uppdelad i två kapitel. Det första kapitlet berör främst den antika iscensättningen i von Gloedens fotografier med ett fokus på sociala relationer. Det andra kapitlet berör en kategorisering av von Gloedens fotografier samt på vilket sätt det går att analysera fotografierna utifrån perspektiv som pornografi, konst och kön. Frågeställningarna bygger på vad som går att utläsa genom att undersöka iscensättningen i fotografierna och om en problematik går att utläsa utifrån fotografiernas motiv. Resultatet påvisar olika ingångsätt till en analys av von Gloedens fotografier och vad som går att utläsa både allmänt och personligt genom att studera iscensättning och performativitet utifrån ett queerperspektiv. Nyckelord: Wilhelm von Gloeden, fotokonst, bildanalys, homoerotik, iscensättning, performativitet, genus, sexualitet, klass, sociala relationer, orientalism, Taormina
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Linon-Chipon, Sophie. "Gallia orientalis : voyages aux Indes orientales, 1529-1722, poétique et imaginaire d'un genre littéraire en formation /." Paris : Presses de l'Université de Paris-Sorbonne, 2003. http://catalogue.bnf.fr/ark:/12148/cb39024672h.
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Texte remanié de: Th. doct.--Litt. française--Paris 4, 1993. Titre de soutenance : Le genre de la relation de voyage française sur la route maritime des épices : des origines à 1722.<br>Bibliogr. p. 603-679. Index. L'ouvrage porte par erreur : ISSN 0756-7847.
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Chamberlain, Rachel P. "Articulations of Liberation and Agency in Yanagi Miwa's "Elevator Girls"." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/102.
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Miwa Yanagi’s Elevator Girls series, a collection of glossy photographs featuring groups of similarly clad women lingering in expansive, empty arcades, made its international debut in 1996. While the pieces garnered positive reactions, Yanagi found that most Western viewers read her work as predominantly “Oriental”—confirming stereotypes of a highly polished techno-topic Japan that was still negotiating gender equality.
In this thesis, I explore alternative ways of reading Yanagi’s Elevator Girls series, which, I argue, call attention to myopic views of commercialism and identity in order to provide an alternative reading of these women as agents of transgression and ideological transcendence. Whereas many viewed Yanagi’s works as a comment on capitalist machinations, where consumerism has produced soulless, vapid feminine identities, I focus on the ways in which these women exercise agency without relying on notions of an individualized, unique ego.
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Nakanishi, Mitsuya. "Saint-Saëns et le Japon : considérations sur le japonisme dans l’oeuvre du compositeur." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040038.
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Le sujet de la thèse s’intitule « Saint-Saëns et le Japon ». Ce compositeur français (1835-1921) a toute sa vie durant entretenu un intérêt soutenu pour le Japon. Il s’est rendu célèbre comme « orientaliste » avec des œuvres telles que Samson et Dalila, la Suite Algérienne et le cinquième Concerto pour piano, dit l’Egyptien. Toutefois, son engouement pour le Japon n’a pas encore fait l’objet d’une étude approfondie, car son corpus musical ne comporte qu’une œuvre y étant dédiée, un opéra-comique intitulé La Princesse Jaune (1872). En revanche, il a publié deux poèmes : « Le Japon » et « Le Fouji-Yama », tous deux datant de 1890, auxquels s’ajoute un conte inédit, « Le Miroir » (1912). Le mouvement artistique « japonisme » désigne l’influence des objets d’art japonais, comme l’ukiyo-e (forme d’estampe), sur des artistes occidentaux. Vincent Van Gogh et Edmond de Goncourt en sont les exemples les plus connus. Saint-Saëns possédait lui-même une collection significative d’objets d’art et de livres japonais. Cependant, son intérêt concernait surtout le domaine littéraire, puisque ses guides japonisants étaient ses amis écrivains : Louis Gallet, Judith Gautier et un Japonais qui s’appelait Motoyosi Saizau. Enfin, le compositeur était un fameux « voyageur ». Ses séjours à Londres lui donnèrent l’occasion de visiter des expositions consacrées au Japon. A la suite de sa visite en Indochine, il avait même prévu de s’y rendre<br>The subject of the thesis is entitled "Saint-Saëns and Japan." This French composer (1835-1921) has throughout his life maintained a continued interest in Japan. He became famous as "orientalist" with works such as Samson and Delilah, the Algerian Suite and the fifth Piano Concerto, said the Egyptian. However, his infatuation with Japan has not been an object of profound study because his musical corpus has only one work dedicated to Japan, a comic opera entitled La Princesse Jaune (1872). However, he published two poems: "Japon" and "Fouji-Yama", both from 1890, plus an unpublished tale, "Le Miroir" (1912). The artistic movement "Japonism" means the influence of Japanese art objects, such as ukiyo-e (as print), on Western artists. Vincent Van Gogh and Edmond de Goncourt are the best known examples. Saint-Saëns himself possessed a significant collection of art objects and Japanese books. However, his interest mainly concerned the literary field, as its “japonisant” guides were his writer friends: Louis Gallet, Judith and a Japanese named Motoyosi Saizau. Finally, the composer was a famous "traveler". His stays in London gave him the opportunity to visit the exhibitions in Japan. Following his visit to Indochina, he had even planned to get there
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Kim, Joanne S. "Romanticism and the Poetics of Orientation." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523659373305353.
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Ambrosini, Chenivesse Victoria. "Art populaire, art contemporain et pratiques politiques au Moyen-Orient : entre orientalisme et Révolution égyptienne, 2000-2014." Paris, EHESS, 2015. https://tel.archives-ouvertes.fr/tel-01168383.
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Art populaire, art de la subversion, à l'échelle locale et internationale. À partir des années 1990, l'art populaire, ainsi dénommé par les artistes contemporains d'Egypte et du Moyen-Orient, désigne une pratique antiélitiste qui détourne les esthétiques populaires, s'ancre dans le pop art et l'irruption de la vie quotidienne dans les représentations. Parmi ces esthétiques, le kitsch est emblématique. Entré dans l'art au début du XXe siècle, de nombreux artistes du Moyen-Orient s'en emparent bien qu'il concentre une critique esthétique et éthique. Il s'agit pour les artistes de produire une surenchère visuelle porteuse d'ambivalence et de faire flotter le sens de l'œuvre. Ainsi, la représentation de l'identité culturelle fait apparaître une ostentation, qui introduit une distance et une nuance, par laquelle l'artiste peut affirmer son appartenance, répondre aux injonctions des marchés locaux et internationaux et introduire une dimension ironique. De même, de nombreux sujets de l'art détournent une esthétique populaire, de façon à créer une tension qui dramatise, par le contraste entre l'apparente légèreté et la gravité contenue. Il s'agit également de subvertir la hiérarchie des valeurs de l'art, non pour en affirmer le relativisme mais pour mieux renverser l'ordre social. Avec la rupture que constituent les Printemps arabes de 2011, l'art révolutionnaire, notamment l'art urbain, qui explose, renforce et amplifie avec éclat en Egypte le projet démocratique de l'art populaire, relayé par internet, pour une audience tant locale qu'internationale. L'avant-garde politique et artistique coïncident. Le dialogue public entre les graffeurs et les gens de la rue nourrit la visée libertaire de certains d'entre eux avant que l'essoufflement révolutionnaire et le retour à un pouvoir militaire en 2014 ne marquent son reflux<br>Popular art, art of subversion, on a local and international scale. Since the 1990s, 'popular art' is the name given by contemporary Egyptian and Middle Eastern artists when they refer to 'anti-elitist' artistic practices inspired by popular esthetics and which are taking root in pop art and in daily life in representations. Kitsch is the most emblematic form of it. Entering the realm of art in the early 20th century, it was adopted by many Middle Eastern artists despite being the focus of esthetic and ethical criticism. The aim of the artists was to produce a visual escalation that carried ambivalence and a wavering sense of meaning. The representation of cultural identity was thus given to ostentation, introducing distance and nuance through which the artists could assert their belonging, provide an answer to the orders of the local and international markets, and inject an element of irony. Similarly, many of the subjects diverted a popular esthetic, creating a dramatizing tension through contrast between the apparent frivolity and gravity contained within. It was also a matter of subverting the hierarchy of artistic values — not to assert the relativism thereof, but to rather further disrupt the social order. With the upheaval of the Arab Spring in 2011, revolutionary art, and particularly urban art, exploded, reinforced and amplified the democratic intention of popular art in Egypt, relayed by the Internet to both a local and international audience, resulting in a coexistence of the political and artistic avant-garde. The public dialogue between the graffiti artists and people in the street fueled the libertarian ambition of some, before waning revolutionary enthusiasm and the return to military power in 2014 caused its decline
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Bagnole, Rihab Kassatly. "Imaging the Almeh: Transformation and Multiculturalization of the Eastern Dancer in Painting, Theatre, and Film, 1850-1950." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1132433330.
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Koudriavtseva-Velmans, Olessia. "Les traditions occidentales et orientales du Moyen Âge dans l’art contemporain." Paris 10, 2012. http://www.theses.fr/2012PA100078.
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Le langage commun et l’image forment l’identité de l’individu. En prenant cela comme une possibilité pour l’art plutôt qu’une donnée, nous allons vérifier si l’art plastique médiéval et si celui du contemporain visent les mêmes buts et fonctionnent de la même façon, quand ils utilisent au sein de la même œuvre le texte et l’image considérés comme les moyens majeurs d’expression. L’idée d’étudier « la rigidité des traditions indiscutables » dans l’art visuel de l’Orient à l’Occident ne se voit pas dans un contexte de limites géographiques, l’Orient et l’Occident sont vus plutôt comme un concept symbolique élargi jusqu’au contexte universel. L’art contemporain aperçu en tant qu’institution du pouvoir élabore ses propres doctrines nouvelles ou bien des doctrines recyclées, avec l’ambition de construire à l’échelle mondiale un New Age de l’expression artistique exclusivement actuelle. Mais ne risque-t-il pas à rentrer plutôt dans une sorte de Dark Age sombre et morbide? L’Est et l’Ouest, le médiéval et le contemporain sont vus comme des pôles esthétiques, comme des extrémités de l’Univers et la question se pose : sont-ils analogiques ou antinomiques ? L’Iconostase en Orient et le retable en Occident apparus au Moyen Age sont des créations plastiques d’une importance suprême par leur haute concentration en énergie spirituelle et surtout par leur concentration informative très forte, probablement équivalente à celle des multimédias contemporains. Cette polyfocalité des œuvres médiévales attire des artistes actuels qui cherchent leurs racines dans l’art de l’icône, ceux qui se laissent porter par les icônes médiatiques contemporaines et ceux qui créent des œuvres concentrant des énergies spirituelles dans le but de réunir l’Est et l’Ouest<br>Common language and image form the identity of the individual. Considering this as a possibility for art rather than data, we shall verify if medieval and contemporary art aim for the same goals and, function the same way when they use within the same works text and image considered as the major means of expression. The idea of studying rigidity of unquestionable traditions from East to West is not seen in a context of geographic limits, instead East and West are seen as a symbolic concept extended to a universal context. Contemporary art perceived as an institution of power elaborates its own new doctrines or recycled doctrines with the ambition to build at a world scale a New Age of artistic expression exclusively current. But won’t they rather risk entering a sort of morbid Dark Age? East and West, medieval and contemporary, are seen as aesthetic poles, like extremes of the Universe and raise the question: are they analogue or contradictory? The iconostasis in the East and the alterpiece in the West that appeared in the Middle Ages are paramount art creations for their high spiritual energy concentration and above all for their very strong informative concentration, probably equivalent to that of modern day multimedia. This polyfocality of medieval works attracts today’s artists that search for their aesthetic roots in the art of icon, that are driven by modern day media icon and that create works concentrating spiritual energies so as to reunite East and West
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Günther, Erika. "Die Faszination des Fremden : der malerische Orientalismus in Deutschland /." Münster : Lit Verl, 1990. http://catalogue.bnf.fr/ark:/12148/cb355303022.
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Leitzke, Angelika. "Das Bild des Orients in der französischen Malerei von Napoleons ägypten-Feldzug bis zum Deutsch-Französischen Krieg /." Marburg : Tectum, 2001. http://catalogue.bnf.fr/ark:/12148/cb412895245.
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Bayard-Sakai, Anne. "La parole comme art : etude du rakugo." Paris 7, 1989. http://www.theses.fr/1989PA070077.
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Le rakugo est un art traditionnel japonais de conteurs. Notre travail s'articule autour des developpements suivants, dans le but d'explorer l'exploitation que propose le rakugo des potentialites de la parole. A. L'histoire du rakugo, des origines - la litterature d'anecdotes et la predi- cation bouddhique - a nos jours, avec un accent particulier mis sur les premieres seances qui ont lieu a la fin du dix-huitieme siecle. B. Les caracteristiques textuelles des recits de rakugo: leur structure, leur mode d'enonciation, et les genres entre lesquels se distribue le repertoire. C. Les enjeux sociaux du rakugo: n'est pas un art subversif, bien qu'il soit populaire. D. Les jeux de langage dans le rakugo. Le rakugo constitue le theme premier d'un certain nombre de recits du repertoire. Les personnages de ces recits, par conse- quent, sont des enonciateurs plus que des individus porteurs d'une histoire. Les recits nous donnent alors a entendre une polyphonie complexe ou la voix des personnages, bien que vehiculee par le monologue du conteur, est respectee dans son absolue autonomie. De la meme maniere, les recits mettent en scene les diffe- rents modes d'apparition de la fiction dans la voix de ces personnages. C'est pourquoi le rakugo apparait comme etant un art de la parole, aussi complet qu'original<br>Rakugo is one of the japanese traditional art of story-telling. The following points are approached, in the aim of studying the working of the numerous potentialities od speaking by the storytellers. A. The history of rakugo, from its origins in the setsuwa bungaku and the buddhist preaching, to its actual state, through the first performances at the end of the eighteenth century. B. The textual features of rakugo stories: their structure, their utterance and their genres. C. The social background of the characters: the rakugo is not a subversive art. D. The language plays in rakugo: the main theme of a lot of stories is language in itself, and the characters are to be considered as peculiar speakers, more than as story-bearing persons. Rakugo thus let us hear a very complex polyphony of the numerous voices of the characters. On an other level, the stories also stress upon the coming out of fiction through the voices of the characters. Consequently, rakugo appears to be a very complete and original art of speaking
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Seter, Ronit. "Yuvalim be-Israel : nationalism in Jewish-Israeli art music, 1940-2000 /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40050015j.
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Gopin, Seth A. "Jean-Baptiste Vanmour, a painter of turqueries /." Ann Arbor (Mich.) : UMI, 1994. http://catalogue.bnf.fr/ark:/12148/cb371610976.
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Daftari, Fereshteh. "The influence of Persian art on Gauguin, Matisse, and Kandinsky /." New York ; London : Garland publ, 1991. http://catalogue.bnf.fr/ark:/12148/cb37423050q.
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Joshi, Samudra Lal. "Ecology and management of the red ant Dorylus orientalis Westwood in Nepal." Thesis, Imperial College London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300969.
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Lacchin, Luca <1987>. "L'evoluzione bizantina dell'iconografia paleocristiana: influenze orientali nell'arte musiva veneziana del '200." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4457.
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Hond, Jan de. "Verlangen naar het Oosten : oriëntalisme in de Nederlandse cultuur, ca. 1800-1920 /." Leiden : Primavera pers, 2008. http://catalogue.bnf.fr/ark:/12148/cb413441602.
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Peltre, Christine. "Retour en Arcadie : le voyage des artistes français en Grèce au XIXe siècle /." Paris : Klincksieck, 1997. http://catalogue.bnf.fr/ark:/12148/cb361650940.
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Texte remanié de: Th. État--Histoire de l'art--Paris IV--Sorbonne, 1993. Titre de soutenance : Le voyage de Grèce des artistes français : du retour de l'antique au culte de la Méditerranée, 1780-1939.<br>Bibliogr. p. 347-362. Index.
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Farhoud-Jraissati, Lily. "L'Espace et l'Autre la peinture orientaliste française et anglaise du XIXe siècle, analyse critique /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37605124v.
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Landskron, Alice. "Parther und Sasaniden : das Bild der Orientalen in der römischen Kaiserzeit /." Wien : Phoibos, 2005. http://catalogue.bnf.fr/ark:/12148/cb41035092x.
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Stamy, Cynthia. "Marianne Moore and China : Orientalism and a writing of America /." Oxford [GB] : Oxford university press, 1999. http://catalogue.bnf.fr/ark:/12148/cb37198412d.
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Epelde, Kathleen R. "Travel guidebooks to India a century and a half of orientalism /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20041220.122026/index.html.
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Arnold, Raphael. "William Jones : ein Orientalist zwischen Kolonialismus und Aufklärung /." Würzburg : Ergon, 2001. http://catalogue.bnf.fr/ark:/12148/cb39995705w.
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