Academic literature on the topic 'Self-exoticism'
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Journal articles on the topic "Self-exoticism"
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Shay, Anthony, and Barbara Sellers-Young. "Belly Dance: Orientalism—Exoticism—Self-Exoticism." Dance Research Journal 35, no. 1 (2003): 13–37. http://dx.doi.org/10.1017/s0149767700008755.
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The Orient was almost a European invention, and had been since antiquity a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences. (Said 1978,1)The past century has witnessed the phenomenon of belly dancing becoming a key icon of the Middle East in the West. This iconic representation often causes outrage, resentment, and even protest among Arabs who resent Westerners (mis)representing them by focusing on cabaret-style belly dance, a low-class and disreputable symbol for many in the Arab world, as a primary media image of the Middle East. Since the 1970s, millions of women and some men in the West have been attracted to belly dancing, investing millions of dollars and enormous time acquiring the basic skill of the dance in order to perform it. This essay will address several issues that are raised by the phenomenon of belly dancing and its transformation, globalization, and acculturation in the West; it is designed to develop a newly emerging area of performance/cultural research, drawing from the fields of dance and transnational studies.
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Coutts, Angela. "Self‐constructed exoticism: gender and Nation inHōrōkiby Hayashi Fumiko." Culture, Theory and Critique 45, no. 2 (September 2004): 113–31. http://dx.doi.org/10.1080/1473578042000283826.
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Ghaderi, Farah, and Wan Roselezam Wan Yahya. "EXOTICISM IN GERTRUDE BELL'SPERSIAN PICTURES." Victorian Literature and Culture 42, no. 1 (February 19, 2014): 123–38. http://dx.doi.org/10.1017/s1060150313000247.
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Victorian travelers in colonial contextsencountered differences in landscape, mores and manners, society, politics and culture, among other things, and registered their responses to the places visited in their published travel books for the home audience. Postcolonial critics contend that exoticism, i.e., a Western traveler's response to and description of the differences encountered in the context of travel, was deeply informed by the asymmetrical power relation between the representer/colonizer and the represented/colonized. As a result, these critics argue, exoticism in colonial travel writing was appropriative since it tended to construct the dichotomy of self/other in such a way as to justify imperial interventions in other countries (Forsdick, “Sa(L)Vaging Exoticism” 30–34; Said 1–28). As Graham Huggan rightly argues, difference of the colonial other in its various aspects was denigrated and dismissed as exotic when “translated into the master code of empire,” since it superimposed “a dominant way of seeing, speaking and thinking onto marginalised peoples” (24).
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Duffy, Andrew, and Hillary Yu Ping Kang. "Follow me, I’m famous: travel bloggers’ self-mediated performances of everyday exoticism." Media, Culture & Society 42, no. 2 (July 31, 2019): 172–90. http://dx.doi.org/10.1177/0163443719853503.
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Celebrity has become common in many fields of endeavour and is increasingly manifested in the emerging form of self-mediated microcelebrity or social media Influencer. One regular tactic for both celebrity and microcelebrity is to use the media for a dual performance at once ordinary and extraordinary, linking the world of the exotic with that of the everyday. Turning the spotlight of (micro)celebrity studies on travel bloggers illuminates social norms and cultural values at the intersection of lifestyle and economics enabled by digital social media, and the role of self-mediation in their online success. This article analyses the About Me sections of 50 popular travel blogs to see how writers take control of their own media representations to combine the everyday with the exotic in such a way that appeals to readers and subsequently to commercial entities – commodifying themselves alongside their readers through media and on their own subjective terms.
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Plancke, Carine. "Re-Envisioning Female Power." Nova Religio 23, no. 3 (February 1, 2020): 7–30. http://dx.doi.org/10.1525/nr.2020.23.3.7.
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Bricolage, the mixing of diverse religious resources, has been highlighted as a key process in contemporary spiritualities. Since, in this process, historically or culturally distant and foreign traditions are self-referentially drawn upon as representatives of a true spirituality deemed lost in the materialistic West, exoticism has further been identified as its core feature. In this article, through an in-depth ethnographic study, I examine operations of bricolage and exoticism in spiritual women workshops in North Western Europe that focused on the trope of the “wild woman.” In particular, I highlight the transformational power of these retreats in reference to Michael Taussig’s notion of mimesis as a sensuous embodiment of imagined otherness. I argue that, through enacting wildness in their bodies, the participants were overtaken by their own—historically determined—imaginations of primitiveness and naturalness, which not only created new visions of the feminine and female power, but also led to important life changes.
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Marković, Tatjana. "Ottoman legacy and Oriental Self in Serbian opera." Studia Musicologica 57, no. 3-4 (September 2016): 391–402. http://dx.doi.org/10.1556/6.2016.57.3-4.7.
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Serbia was an Ottoman province for almost four centuries; after some rebellions, the First and Second Uprising, she received the status of autonomous principality in 1830, and became independent in 1878. Due to the historical and cultural circumstances, the first stage music form was komad s pevanjem (theater play with music numbers), following with the first operas only at the beginning of the twentieth century. Contrary to the usual practice to depict “golden age” of medieval national past, like in many other traditions of national opera, the earliest Serbian operas were dedicated to the recent past and coexistence with Ottomans. Thus the operas Na uranku (At dawn, 1904) by Stanislav Binički (1872–1942), Knez Ivo od Semberije (Prince Ivo of Semberia, 1911) by Isidor Bajić (1878–1915), both based on the libretti by the leading Serbian playwright Branislav Nušić, and also Zulumćar (The Hooligan, librettists: Svetozar Ćorović and Aleksa Šantić, 1927) by Petar Krstić (1877–1957), presented Serbia from the first decades of the nineteenth century. Later Serbian operas, among which is the most significant Koštana (1931, revised in 1940 and 1948) by Petar Konjović (1883–1970), composed after the theatre play under the same name by the author Borisav Stanković, shifts the focus of exoticism, presenting a life of a south-Serbian town in 1880. Local milieu of Vranje is depicted through tragic destiny of an enchanting beauty, a Roma singer Koštana, whose exoticism is coming from her belonging to the undesirable minority. These operas show how the national identity was constructed – by libretto, music and iconography – through Oriental Self. The language (marked by numerous Turkish loan words), musical (self)presentation and visual image of the main characters of the operas are identity signifiers, which show continuity as well as perception of the Ottoman cultural imperial legacy.
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Navaud, Guillaume. "Otherness in More’s Utopia." Moreana 53 (Number 205-, no. 3-4 (December 2016): 73–94. http://dx.doi.org/10.3366/more.2016.53.3-4.6.
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Utopia as a concept points towards a world essentially alien to us. Utopia as a work describes this otherness and confronts us with a world whose strangeness might seem disturbing. Utopia and Europe differ in their relationship to what is other (Latin alienus) – that is, that which belongs to someone else, that which is foreign, that which is strange. These two worlds are at odds in regards to their foreign policy and way of life: Utopia aspires to self-sufficiency but remains open to whatever good may arrive from beyond its borders, while the Old World appears alienated by exteriority yet refuses to welcome any kind of otherness. This issue also plays a major part in the reception of More’s work. Book I invites the reader to distance himself from a European point of view in order to consider what is culturally strange not as logically absurd but merely as geographically remote. Utopia still makes room for some exoticism, but mostly in its paratexts, and this exoticism needs to be deciphered. All in all, Utopia may invite us to transcend the horizontal dialectics of worldly alterity in order to open our eyes to a more radical, metaphysical otherness.
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Sovtic, Nemanja. ""Exoticism” in the opera Gilgamesh by Rudolf Brucci in Ralph Locke’s “All the music in the full context” paradigm." Muzikologija, no. 15 (2013): 105–25. http://dx.doi.org/10.2298/muz1315105s.
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In this text, Rudolf Brucci?s opera Gilgamesh is viewed in the light of Ralph Locke?s ?All the Music in the Full Context? Paradigm which promotes the approach that one should search for the exotic elements in musical works first in the discursive components (title, program, accompanying notes), visual representations (costume, scenery) and a ?horizon of expectations? of a particular culture, and only then to observe exoticism as the aspect of a musical style. In the light of this Paradigm, ?exoticism? of the opera Gilgamesh is detected at the level of the music material and compositional procedures, but not in the dramaturgical profiling of characters, narrative adaptation of the Sumerian epic, costumes and scenery. The plot, costumes and the scenery of the opera do not construct the Orient with either positive or negative projections attributed to it by the Western European Orientalist discourse, but portray Gilgamesh and Enkidu as ancient mythic protagonists on the margin of the (not-always) exoticist once/now binarism. The musical language of the opera, which abounds in the usage of oriental musical scales and citations, indicates that oriental/exotic was one of the author?s ?target levels? when conceiving and composing Gilgamesh. Brucci, however, did not build the ?ethnological model? in his opera, but gave oriental scales and ?exotic? musical citations their meaning within the Western musical tradition, which is why his approach can be compared with the ?veiled exoticism? of the French composers of the late nineteenth and the early twentieth centuries. In the light of the self/other binarism, reaching for the exotic in Gilgamesh can be presented as an auto-exotic creative behavior of Brucci as a composer who perceives his ?minority identity? in a relation to an imaginary referential system of the Center. However, I am more inclined to see Brucci?s identificational intention in his advocacy of the Yugoslav NAM (Non-Aligned Movement) project, and his dealing with the ?exotic? as part of his strategy to support cultural achievements of the Third World which predominantly participated in that project.
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蔡佩均. "Multiple Structures of Orientalism and Self-Orientalism: On Exoticism in Works on Taiwan during Japanese Colonial Period." Journal of Study on Language and Culture of Korea and China ll, no. 36 (October 2014): 215–40. http://dx.doi.org/10.16874/jslckc.2014..36.010.
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KAPUSTA, JOHN. "The Self-Actualization of John Adams." Journal of the Society for American Music 12, no. 3 (July 10, 2018): 317–44. http://dx.doi.org/10.1017/s1752196318000184.
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AbstractIn the late 1960s, the prominent psychologist Abraham Maslow argued that music-making was an inherently bodily activity, which like sex, could induce what Maslow called “peak experiences”—moments of mystical transcendence and personal insight. Amass enough such peak experiences, Maslow suggested, and one could achieve “self-actualization”—the full realization of one's potential as a human being. This article argues that though many musicians would heed Maslow's words, few embodied Maslow's program more than composer John Coolidge Adams did in the late 1970s. The article shows how Maslowian ideas shaped some of Adams's formative musical experiences in the San Francisco Bay Area. The article further demonstrates how these same concepts inspired the development of Adams's idiosyncratic postminimalist idiom, with particular attention to Adams's 1978 string septetShaker Loops. By considering the influence of Adams's countercultural milieu, the article reveals strains of primitivism, eroticism, and exoticism in Adams's work more closely associated with Adams's minimalist predecessors. It also presents an alternative view of postmodernism in music, arguing that for Adams, at least, to make music “after” modernism was to make music a medium of self-actualization.
Dissertations / Theses on the topic "Self-exoticism"
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Hicks, William L. "Social Discourse in the Savoy Theatre's Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/hicks%5Fwilliam/index.htm.
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Caltabiano, Pamela Ann. "Embodied Identities: Negotiating the Self through Flamenco Dance." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/anthro_theses/33.
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Drawing on ethnographic research conducted in Atlanta, this study analyzes how transnational practices of, and discourse about, flamenco dance contribute to the performance and embodiment of gender, ethnic, and national identities. It argues that, in the context of the flamenco studio, women dancers renegotiate authenticity and hybridity against the backdrop of an embodied “exot-ic” passion.
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Åsa, Back. "SINNLIG (sensuous) in Beijing : towards an Artistic Ethnography." Thesis, Stockholms konstnärliga högskola, Institutionen för skådespeleri, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-312.
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Projektet bygger på åtta veckors fältarbete på en oberoende teater i Peking våren 2017,baserat på antropologisk och konstnärlig metod. Det är ett försök att utveckla begreppet konstnärlig etnografi, samt tillämpa det praktiskt. I detta är konsten inte huvudsakligen en produkt eller en presentationsform, utan ett sätt att tänka, att förhålla sig till världen. Materialet består av fältanteckningar, video, foto, rörelsematerial, personliga berättelser, minnen av dofter, ljud och smaker och någonting så vagt som stämning – stadens tempo, känslan i en repsituation… Hur kan scenen förmedla en plats och dess människor? Kan jag levandegöra mina upplevelser så att de blir angelägna för någon annan än mig själv? Det praktiska arbetet utgör ett försök att besvara dessa frågor. Vilka bilder har vi, och vad ser vi när vi speglar oss i varandra? Vad betyder det att våra världar redan är sammanflätade? Spegeln som bild och lek, träder fram både som tema och metod. Begrepp som exotism, representation och mötet med den andre diskuteras, liksom växlingen mellan identifikation och främmandegörande (”othering”) som en grund för förståelse. Hur påverkas människors liv av Kinas snabba samhällsförändringar, balansgången mellan socialism och kapitalism? Och vilken roll har scenkonsten i detta? Här diskuteras frågor om yttrandefrihet, liksom relationen mellan politik och spelstil, så kallad ”fejk realism”. Frågorna knyts samman genom en diskussion om autenticitet, följd av en betraktelse om utanförskap, för att slutligen återvända till det personliga mötet, till en berättelse om kontaktsökande – om vänskap.This project is based on eight weeks of fieldwork at an independent theatre in Beijing in the spring of 2017, based on anthropological and artistic methods. It is an attempt to develop the concept artistic ethnography, and apply it practically. In this, art is seen not mainly as a product or a form of presentation, but as a way of thinking, of relating to the world. The material consists of field notes, video, pictures, movement material, personal stories, the memories of smells, sounds and tastes and of something as vague as atmosphere – the pace of the city, the feeling of a rehearsal situation... How can the stage render a place and its people? Can I bring my experiences to life, making them relevant for anybody else? The practical artistic work with an exposition is an attempt to answer these questions. What images do we have, and what do we see when we mirror each other? What does it mean that our worlds are already intertwined? The mirror as image and play appear both as a theme and a method. Concepts like exoticism, representation and the encounter with the other are discussed, as well as the movement between identification and othering, contributing to understanding. How are people’s lives affected by China’s rapid social changes, balancing between socialism and capitalism? What role do the performing arts have in this? Questions about freedom of expression are discussed, along with the relation between politics and styles of acting, the so called “fake realism”. The research questions are tied together in a discussion of authenticity, to finally return to the personal encounter and a story of seeking contact, of friendship.
Sinnlig - the movie finns länkad dels i dokumentet och dels som egen fil
Movit –Direction and Dramaturgy of movement based Performing Arts
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Shabangu, Mohammad. "In search of the comprador: self-exoticisation in selected texts from the South Asian and Middle Eastern diasporas." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017770.
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This thesis is concerned with transnational literature and writers of the Middle Eastern and South Asian diasporas. It argues that the diasporic position of the authors enables their roles as comprador subjects. The thesis maintains that the figure of the comprador is always acted upon by its ontological predisposition, so that diasporic positionality often involves a single subject which straddles and speaks from two or more different subject positions. Comprador authors can be said to be co-opted by Western metropolitan publishing companies who stand to benefit by marketing the apparent marginality of the homelands about which these authors write. The thesis therefore proceeds from the notion that such a diasporic position is the paradoxical condition of the transnational subject or writer. I submit that there is, to some degree, a questionable element in the common political and cultural suggestions that emerge upon closer evaluation of diasporic literature. Indeed, a charge of complicity has been levelled against authors who write, apparently, to service two distinct entities – the wish to speak on behalf of a minority collective, as well as the imperial ‘centre’ which is the intended interlocutor of the comprador author. However, it is this difference, the implied otherness or marginality of the outsider within, which I argue is sometimes used by diasporic writers as a way of articulating with ‘authenticity’ the cultures and politics of their erstwhile localities. This thesis is concerned, therefore, with the representation of ‘the East’ in four novels by diasporic, specifically comprador writers, namely Salman Rushdie’s Midnight’s Children, Hanif Kureishi’s The Buddha of Suburbia, and Khaled Hosseini’s The Kite Runner and A Thousand Splendid Suns. I suggest that the ‘third-world’ and transnational literature can also be a selling point for the transnational subject, whose representations may at times pander to preconceived ideas about ‘the Orient’ and its people. As an illustration of this double-bind, I offer a close reading of all the novels to suggest that on the one hand, the comprador author writes within the paradigm of the ‘writing back’ movement, as a counter-discourse to the Orientalist representations of the homeland. However, the corollary is that such an attempt to ‘write back’, in a sense, re-inscribes the very discourse it wishes to subvert, especially because the literature is aimed at a ‘Western’ audience. Moreover, the template of the comprador could be used to explain how a transnational post-9/11 text from an Afghan-American, for instance, may be put to the service of the imperial machine, and read, therefore, as a supporting document to the U.S. policy on Afghanistan.
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Lauzon, Marilyn. "Stéréotypes et auto-exotisme : les représentations de la sexualité de l'homme noir chez René Depestre et Dany Laferrière." Thèse, 2013. http://hdl.handle.net/1866/10700.
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Ce mémoire fait appel aux notions de stéréotype (tel que théorisé par Ruth Amossy, Jean- Louis Dufays et Mireille Rosello) et d’auto-exotisme (défini par Nathalie Schon) afin d’étudier les représentations de la sexualité de l’homme noir dans Alléluia pour une femme-jardin de René Depestre et La chair du maître de Dany Laferrière. Le stéréotype et l’exotisme, tous deux tributaires d’une vision de l’autre généralisante, superficielle et éphémère, nous intéressent dans la mesure où ils sont employés de façon auto-référentielle par ces auteurs d’origine haïtienne, qui mettent en scène des protagonistes noirs correspondant souvent au stéréotype du Noir hyper-sexuel, qui est pourtant issu de fantasmagories coloniales avilissantes.
Dans le cadre de cette recherche, nous analysons les différentes postures de la sexualité masculine dans les œuvres susmentionnées afin d’y révéler un emploi varié des stéréotypes, tantôt reconduits, tantôt déplacés, voire rendus désuets ou incertains, grâce à diverses stratégies textuelles comme l’humour, l’ironie, l’exagération ou l’omission. Ce faisant, nous remarquons que l’usage complexe des stéréotypes, chez Depestre et Laferrière, quoi qu’il fasse appel aux mêmes tropes, dénote différents moyens de négocier avec sa propre « étrangeté ».This thesis uses the concepts of stereotype (as theorized by Ruth Amossy, Jean-Louis Dufay and Mireille Rosello) and self-exoticism (defined by Nathalie Schon) to study the representations of the sexuality of the black man in Alléluia pour une femme-jardin from author René Depestre and La chair du maître from Dany Laferrière. Stereotype and exoticism are both dependent on a vision of the other that is generalizing, superficial and ephemeral. Here, they are used in a self-referential way by the authors of Haitian origin, which depict black protagonists often corresponding to the stereotype of black hyper-sexual male, which is derived from yet demeaning colonial fantasies. In this research, we analyze the different postures of male sexuality in the work of Depestre and Laferrière in order to reveal a varied use of stereotypes, sometimes renewed, sometimes displaced or rendered obsolete or uncertain, with various textual strategies such as humor, irony, exaggeration or omission. In doing so, we note that the complex use of stereotypes in Depestre and Laferrière texts, whatever it procedes by the use of the same tropes, denotes different ways for the characters to deal with their own "strangeness".
Books on the topic "Self-exoticism"
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Strand, Mary R. I/you: Paradoxical constructions of self and other in early German romanticism. New York: P. Lang, 1998.
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Hans-Jürgen, Bachorski, and Röcke Werner, eds. Weltbildwandel: Selbstdeutung und Fremderfahrung im Epochenübergang vom Spätmittelalter zur Frühen Neuzeit. Trier: Wissenschaftlicher Verlag Trier, 1995.
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I/You: Paradoxical Constructions of Self and Other in Early German Romanticism. Peter Lang Pub Inc, 1998.
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Bosse, Joanna. Performing Race, Remaking Whiteness. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039010.003.0007.
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This chapter explores the intersection between race and ballroom dance by focusing on the racial stereotypes encoded within Standard and Latin genres. More specifically, it considers more tacit aspects of ballroom dance, race, whiteness, and exoticism, and how they are encoded as different aspects of beauty in American expressive forms. The chapter first considers the performance of Standard and Latin dances before discussing the competition dances of both genres. It also examines a third category employed at the Regent Ballroom and Banquet Center, the Nightclub/street dances, and proceeds by looking at the relationship between essentialism and the performance of race. It argues that the performance of ballroom dance is structured by the dualistic and racialized notions of a rational self, a normalized whiteness, and an embodied, explicitly racialized other.
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Exotic Subversions in Nineteenth-Century French Fiction (Legenda Research Monographs in French Studies). Legenda, 2008.
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Nikolaidou, Afroditi. "Self-Exoticism, the Iconography of Crisis and the Greek Weird Wave." In Political and Cultural Aspects of Greek Exoticism, 139–51. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19864-0_11.
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Sheppard, W. Anthony. "Representing the Authentic from Japanese American Perspectives." In Extreme Exoticism, 276–316. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0008.
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This chapter explores the career of Japanese American composer and arranger Tak Shindo (1922–2002). Shindo grew up nisei in Los Angeles. Japanese American musical life is discussed with a focus on the community’s 1933 production of Sakura composed by Claude Lapham in the Hollywood Bowl. Interned at Manzanar during World War II, Shindo began musical studies through the camp’s programs. Although devoted to Latin jazz, he repeatedly served during the Cold War as a Japanese musical advisor for such Hollywood composers as Franz Waxman and Max Steiner (Sayonara, Cry for happy, and A majority of one). Several of his 1950s and 60s albums—combining elements of Japanese music with the big band style—were successful in the exotica genre. Shindo’s self-Orientalism is compared with the musical exoticism of Martin Denny. A brief discussion of subsequent Japanese American jazz follows. The chapter concludes with a profile of the composer Paul Chihara.
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"4. Kipling's "Other" Narrator/Reader: Self-Exoticism and the Micropolitics of Colonial Ambivalence." In Belated Travelers, 73–91. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822382638-006.
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Peterson, Kristin M., and Nabil Echchaibi. "Mipsterz." In Religion and Popular Culture in America, Third Edition. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520291447.003.0008.
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In a two-and-a-half-minute-long video released on YouTube in November 2013, a series of short clips featured a group of self-confident young Muslim women hanging out in various urban landscapes in the United States, as Jay-Z's song “Somewhere in America” played in the background. The viral video, entitled “Somewhere in America #MIPSTERZ,” quickly became controversial, amid heated accusations that a “misguided” group of hipster Muslim women had gone “too far” in reappropriating modesty and staking out an edgy religious and gendered identity. This chapter focuses on how the women behind the Mipsterz video engaged with visuals, urban styles, fashion, fun, and other forms of popular culture to liberate themselves from a relentless framing that portrays them as either covered and oppressed by Islam or uncovered and sexually liberated by Western secular culture. It argues that popular culture and religion intersect in productive ways, breaking free of the discourse of victimization and exoticism and helping us understand the complex, multiple frames of reference that define American Muslims' everyday lives.
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Smail Salhi, Zahia. "‘La France, c’est moi’:1 Love and Infatuation with the Occident." In Occidentalism, 93–124. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9780748645800.003.0005.
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This chapter studies three representative novels that voice their authors’ fascination with the Occident and desire to see their people become part of the civilised world. Although these novels are guided by their authors’ unbending belief in France’s civilising mission, the social ills they depict invite the readers’ doubts of this view. Whether they were fully assimilated to the point of converting to Christianity (Chukri Khodja’s Mamoun: L’Ebauche d’un idéal), or partially assimilated by remaining Muslim while indulging in the vice of drinking alcohol and mixing with bad Europeans (Abdelkader Hadj Hamou’s Zohra la femme du mineur), the main characters in these novels have not been saved from their ‘barbarity’; one way or another, they all meet a tragic end. In contrast however, Mohammed Ould Cheikh’s Myriem dans les Palmes heralds a new era where through mixed marriages and the fusion of the French and Maghrebi races peace prevails at last, reflecting of course the author’s utopic dream as promoted by the French civilising mission. Furthermore, this chapter demonstrates that the discussed novels offer significant instances of self-exoticism and a faithful adoption of the Orientalist tropes providing thus much needed clichés to the authors’ targeted Occidental readers.
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Vanhaesebrouck, Karel. "To travel to suffer: towards a reverse anthropology of the early modern colonial body." In The Hurt(ful) Body. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784995164.003.0004.
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By focusing on the way early modern plays staged these colonial encounters, this contribution will address the question of the enslaved body which functioned as a site of both cultural exoticism and compassionate identification, directly dealing with complex issues such as pain, cruelty and martyrdom. This chapter will take two specific texts as its starting point: the fascinating play Les Portugais infortunés (1608) by Nicolas Chrétien des Croix, which stages an encounter of a shipwrecked Portuguese crew with an indigenous African tribe, and La Peinture spirituelle (1611) by Louis Richome, the account of the massacre of 39 Catholic martyrs from the ‘Compagnie de Jésus’, murdered by Protestants, on their way to Brazil on the 15th of July in 1570. In both cases the human body functions as a spectacular locus of intercultural dialogue (or warfare). This chapter proposes an analysis of both texts, not as literature in the first place, but as artefacts of cultural imagination which question the idea of alterity and the all too easy dichotomy between the self and the other, while at the same time showing that Europe, Africa and Brazil (or by extension South America) share a history and a culture of the (hurt) body.
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Longkumer, Arkotong. "Visualising National Life, The Hornbill Festival as Culture and Politics." In Focus on World Festivals. Goodfellow Publishers, 2016. http://dx.doi.org/10.23912/978-1-910158-55-5-3012.
Full textAbstract:
The global circulation of images has become a powerful tool in representing the visual richness of cultures around the world. It has made the annual Hornbill Festival in North-east India a product that acts as a brand. The plethora of visual images – tribal people in their traditional clothes, scenic representation of landscapes, and tourist information on how to reach Nagaland to attend the festival – have fixed the identities of the Nagas of India in such a compelling and exotic manner that it resembles a kind of modern primitivism, a getaway from the decadent and uncultured world, to a place that still preserves these pristine habitats for cultural and tourist voyeurs. This chapter will suggest that in order to appreciate the festival one has to take into account the different levels of what I shall call the ‘performance of identity’. First, the festival celebrates the creation of Nagaland in 1963 as a state in India after years of civil and military unrest in the region. Second, while the political situation remains unresolved, the festival is an attempt to project a distinct Naga identity that correlates with notions of indigenous peoples’ rhetoric of ‘preservation of culture’ and ‘self-determination’ as the cornerstone of national identity. While these different forces are at play in the global arena of indigeneity, the Hornbill Festival also functions as a contested site of culture. On the one hand, it plays on representations of exoticism from colonial ethnography found in glossy coffee-table books and adventure tourism materials. On the other hand, the festival itself is struggling to articulate a Naga culture that represents the lived reality of present day Nagas. Tension arises from displaying a manufactured, but nonetheless real, culture that is dependent on the political economy of global markets. It is in these tensions that we can come to understand the evolving nature of culture and all its manifest contradictions.