Academic literature on the topic 'Orientalisme, Orient'
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Journal articles on the topic "Orientalisme, Orient"
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Irfanullah, Gumillar. "Orientalisme Romantis: Imajinasi Tentang Timur Sebelum Edward Said." Jurnal Online Studi Al-Qur'an 11, no. 2 (July 1, 2015): 157–65. http://dx.doi.org/10.21009/jsq.011.2.05.
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Orientalism is a 1978 book by Edward W. Said, in which Said studies the cultural representations that are the bases of Orientalism, the West's patronizing perceptions and fictional depictions of "The East" — the societies and peoples who inhabit the places of Asia, North Africa, and the Middle East. Orientalism, the Western scholarship about the Eastern World, was and remains inextricably tied to the imperialist societies who produced it, which makes much Orientalist work inherently political and servile to power, and thus intellectually suspect.Orientalism is the exaggeration of difference, the presumption of Western superiority, and the application of clichéd analytical models for perceiving the Oriental world. As such, Orientalism is the source of the inaccurate, cultural representations that are the foundations of Western thought and perception of the Eastern world, specifically about the region of the Middle East. The principal characteristic of Orientalism is a “subtle and persistent Eurocentric prejudice against Arab–Islamic peoples and their cultureâ€, which prejudice derives from Western images of what is Oriental (cultural representations) that reduce the Orient to the fictional essences of “Oriental peoples†and “the places of the Orientâ€; such cultural representations dominate the communications (discourse) of Western peoples with non–Western peoples. Orientalism proposes that much of the Western study of Islamic civilization was an exercise in political intellectualism; a psychological exercise in the self-affirmation of “European identityâ€; not an objective exercise of intellectual enquiry and the academic study of Eastern cultures. Therefore, Orientalism was a method of practical and cultural discrimination that was applied to non-European societies and peoples in order to establish European imperial domination.
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Nurachman, Azhar, and Kasori Mujahid. "Studi Orientalisme Menurut Sejarah dan Tujuan Gerakannya." AHKAM 2, no. 4 (December 14, 2023): 866–78. http://dx.doi.org/10.58578/ahkam.v2i4.2310.
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This article will elaborate in detail on Orientalism from a historical perspective. The study of Orientalism is complex, especially concerning the Orient, particularly Islam, and is driven by motives such as religious, scientific, economic, and political issues. The terms "Orientalism" and "Orientalist" emerged in Andalusia (Spain) in the 7th century Hijri or the 14th century AD. They have harmed Islam by submerging Muslims into misleading ideologies, particularly misleading the younger generation by diverting them from their religion through teachings of materialism and secularism. The stages of Orientalism development include Missionaries and anti-Islamic sentiments beginning in the 16th century AD, studies and dissemination in the 17th and 18th centuries, colonialism in the 19th century and the first quarter of the 20th century, and learning and politics in the latter half of the 19th century. The main goal of Orientalism is to uncover and reveal the symbolic meanings of deep-rooted Islamic cultural expressions, with the primary medium being the Arabic language.
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Abubakar Isa, Sadiya, Md Salleh Yaapar, and Suzana Haji Muhammad. "Rethinking Orientalism of Muslims in Ayaan Hirsi Ali’s Infidel." Indonesian Journal of Islam and Muslim Societies 9, no. 2 (December 25, 2019): 241–65. http://dx.doi.org/10.18326/ijims.v9i2.241-265.
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Edward Said’s Orientalism questions the Western representation of the Eastern ‘other’, especially the Arab Muslims. A misrepresentation that has always treated the orient with inferiority; as barbaric and backward compared to the refined, reasoning and advanced Occident. This form of representation is what Ayaan Hirsi Ali embarked on in her bestselling memoir Infidel (2007). It chronicles her geographical journey from Somalia to Saudi Arabia, Ethiopia, Kenya and the Netherlands, and her flight from Islam to Atheism. A belief system she finds more appealing to reasoning than Islam which is (according to her) backward and barbaric. Her steadfast criticism of Islam is vividly reflected in her memoir, which ascribes the oppression and tribulations of women to Islam, irrespective of geographical or cultural influence. Such claims are tantamount to feminist Orientalism of Muslim women, whose claims of liberating Muslim women and rescuing them from the oppressive Islam cannot be overemphasized. This paper argues that the practices of misogyny are rooted in culture and not Islam. Thus, it investigates three main points which are central to the ‘Islam oppresses women’ debate: Female Genital Mutilation, Early and/or Forced Marriage and Women as sex objects. Edward Said’s Culture and Imperialism as a continuation of Orientalism, propose solutions to the identified problems in Orientalism, which is to unread the misrepresentations by identifying submerged details. Through a contrapuntal reading of Infidel (2007), this study counter-narrates the distortion of Islam by drawing upon authentic Islamic sources. Karya Edward Said Orientalisme mempertanyakan representasi Barat dari “yang lain” di Timur, terutama Muslim Arab. Sebuah penyajian yang keliru yang selalu memperlakukan “orient” dengan inferioritas, sebagai biadab dan terbelakang dibandingkan dengan “Occident”, penalaran dan kemajuan Barat. Bentuk representasi inilah yang memulai Ayaan Hirsi Ali dalam memoarnya yang terlaris, iInfidel (2007). Ini mencatat perjalanan geografisnya dari Somalia ke Arab Saudi, Ethiopia, Kenya, dan Belanda, dan pelariannya dari Islam ke Ateisme. Sebuah sistem kepercayaan yang ia temukan lebih menarik untuk dipertimbangkan daripada Islam yang (menurutnya) terbelakang dan biadab. Kritiknya yang teguh terhadap Islam tercermin dengan jelas dalam memoarnya, yang mengaitkan penindasan dan kesengsaraan wanita dengan Islam, terlepas dari pengaruh geografis atau budaya. Klaim semacam itu sama dengan Orientalisme feminis perempuan Muslim, yang klaimnya membebaskan perempuan Muslim dan menyelamatkan mereka dari Islam yang menindas tidak bisa terlalu ditekankan. Makalah ini berpendapat bahwa praktik misogini berakar pada budaya dan bukan Islam. Oleh karena itu, laporan ini menyelidiki tiga poin utama yang menjadi pusat perdebatan “Islam menindas wanita”: Mutilasi Alat Kelamin Wanita, Pernikahan Dini dan/atau Paksa dan Wanita sebagai objek seks. Karya Edward Said Culture and Imperialism sebagai kelanjutan dari Orientalisme, mengusulkan solusi untuk masalahmasalah yang diidentifikasi dalam Orientalisme, yakni untuk membaca kesalahan representasi dengan mengidentifikasi detail yang terendam. Melalui pembacaan kontrapuntal dari Infidel (2007), penelitian ini membaut kontra-narasi atas distorsi Islam dengan memanfaatkan sumbersumber Islam otentik.
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Md Idris, Izra Inna, Mohamad Saleeh Rahamad, and Md Azalanshah Md Syed. "Saladin: The Animated Series sebagai wacana Orientalisme." Jurnal Pengajian Media Malaysia 19, no. 1 (June 1, 2017): 1–22. http://dx.doi.org/10.22452/jpmm.vol19no1.1.
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This article analyzes the discourse of Orientalism in Saladin: The Animated Series for the first episode entitled Rising Star. Edward Said (1978) in his book Orientalism: Western Conceptions of the Orient (1978) opposed Western perspectives on the East and analyzed postcolonial literary works in historical and social contexts, and describes orientalist discrimination in speculating and specifying data sources for particular interests. This study draws on a series of animations directed by Steve Bristow that showcased the leading Islamic figure of the crusade, Sultan Salahuddin al-Ayubi (1137-1193) or known as Saladin by the Western world. Taking the personality of an Islamic character to be the main character in the animated series is something to be proud of, but the fact about Sultan Salahuddin al-Ayubi’s personality has been distorted in Saladin’s character. This study looked at the orientalist attacks on the personality of Sultan Salahuddin al-Ayubi and found that the Saladin’s character was portrayed as physically weak, shallow-minded, and disobedient to his father. The whole of this first episode shows the misrepresentation of facts and the distortion of the image of Salahuddin al-Ayubi.
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Necef, Mehmet. "Sex og orientalisme - med Gustave Flaubert i hamam." Dansk Sociologi 18, no. 1 (February 23, 2007): 35–52. http://dx.doi.org/10.22439/dansoc.v18i1.1795.
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Mehmet Ümit Necef:
Sex and Orientalism – with Gustave Flaubert in Hamam
In his influential study “Orientalism“ Edward Said almost demonises the intimate and sexual relations between Orientals and Western intellectuals and authors, who in the 1800’s and early 1900’s visited the Orient. His main target among these travellers is Gustave Flaubert. This article discusses the question as to why Said silences Flaubert’s homoerotical interests. I posit the thesis that this is because Flaubert’s multifaceted sexuality does not fit nicely into Said’s theoretical ideas about the hierarchies and dichotomies of Western “Orientalist“ thought. I also argue that Said’s theoretical frame of reference makes it impossible for him to fully acknowledge sexual cultural differences between Northwest Europe and the Turkish/Arabic countries. Finally, I argue that Said’s theories obstruct a full appreciation of Flaubert’s pleasure of meeting the other and his openness to self-development through such meetings.
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Zulfikri. "ORIENTALISME HADIS (Peta Kajian Hadis Orientalis)." TAJDID : Jurnal Ilmu Keislaman dan Ushuluddin 16, no. 2 (April 22, 2019): 205–24. http://dx.doi.org/10.15548/tajdid.v16i2.102.
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Dalam aspek ilmu pengetahuan, kajian hadis secara keilmuan baik juga dari sisi metodologis terus berkembang secara integralistik. Permasalahannya ialah pada muatan proses transisi yang sedemikian panjang. Kompleksitas studi hadis ini menisca-yakan para ke-sarjana-an studi hadis era klasik maupun kontem-porer memiliki inisiatif untuk merumuskan dan memunculkan berbagai metodologi dan teori-teori yang bisa diharapkan akan betul-betul mampu menyeleksi dan memisahkan mana hadis-hadis palsu dari yang otentik, baik diteliti menggunakan metode analisis penanggalan yang didasarkan atas dasar analisis matan, isna>d, argumentum e silentio (kitab hadis), isnad cum matn, dan lain-lain. Metode ini tidak hanya dirumuskan oleh para sarjana-sarjana muslim (insider) bahkan juga oleh non-muslim (outsider, orient-alis). Perkembangan ini menunjukkan adanya pergeseran paradigma dari subyektivisme yang ditunggangi mungkin saja oleh rasa sentimental keagamaan menuju obyektivisme yang dimotori oleh keterbukaan dan kejujuran intelektual, baik di kalangan sarjana hadis muslim ataupun sebaliknya.
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Issiyeva, Adalyat. "Dialogues of Cultures." Revue musicale OICRM 3, no. 1 (June 6, 2019): 71–92. http://dx.doi.org/10.7202/1060122ar.
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The influence of the Saisons Russes, with its utterly Orientalist appeal in defining French modernism and Western avant-garde culture in general, is widely known and discussed by many researchers from multiple perspectives (Schaeffner 1953, Garafola 1989, Davis 2010, Bellow 2013). Less emphasised to date is the fact that Russian Orientalism emerged from European stimuli and, in many respects, its very existence is indebted to French Orientalism. As the famous Russian Orientalist Vasily Bartol’d complained, “The Orient’s neighbour, Russia, despite its geographical proximity, often preferred reading shoddy Western books on the Orient to a direct study of the Orient” (Bartol’d 1925, p. 295). 1 This occurred as a result of the nineteenth-century travels of many Russian literary men, painters, and linguists to Europe (notably to France and Germany) to study with famous Orientalists. This paper contextualizes French Orientalism within nineteenth-century Russian culture and considers how French musical Orientalism was negotiated in Russian writings from the period. Despite the critical views of Russian musicians toward French music with oriental subjects, the music nevertheless resonated with Russian compositional practices and some of its devices were used occasionally to depict not only the Orient, but Russia itself.
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Safa, Isabelle. "Itinéraire de Paris à Jérusalem : Orient et orientalisme dans la littérature." Les Cahiers de l'Orient 119, no. 3 (2015): 115. http://dx.doi.org/10.3917/lcdlo.119.0115.
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Krempp, Puppinck. "De la Grèce rêvée à la Grèce vécue Ll’armée d’Orient dans une interculturalité complexe." Balcanica, no. 49 (2018): 91–106. http://dx.doi.org/10.2298/balc1849091k.
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Apr?s l??chec subi aux Dardanelles, les Alli?s d?cid?rent d?envoyer des troupes en Gr?ce et les premiers contingents de l?arm?e d?Orient d?barqu?rent ? Salonique au mois d?octobre 1915. L?arm?e d?Orient se d?ploya ? travers la Mac?doine grecque jusqu?en janvier 1921. Cette r?gion abritait des populations vari?es: Turcs, Bulgares, Serbes, Albanais, Tziganes, Koutso-Valaques, Juifs s?pharades, Grecs, chacun s?exprimant dans sa propre langue. Ainsi l?arm?e fran?aise d?Orient s?imposa sur un territoire au peuplement tr?s divers, qui de surcro?t venait de quitter l?empire ottoman pour ?tre rattach? ? la Gr?ce. Ce caract?re multiculturel rendit le contact entre l?arm?e d?Orient et le pays particuli?rement complexe. En arrivant dans la rade de Salonique, les soldats avaient in?vitablement mobilis? leurs r?f?rents culturels ainsi que tout un imaginaire nourri de st?r?otypes. Rattachaientils la Gr?ce ? son pass? antique prestigieux, ou se tournaientils plut?t vers un orientalisme consid?r? comme plus attirant car plus fantasmagorique? Les clich?s v?hicul?s dans l?esprit des soldats fran?ais par la culture classique des humanit?s et par le courant orientaliste ontils pu r?sister au choc d?une interculturalit? polys?mique ? L?analyse de la Revue franco-mac?donienne, ?crite par les soldats de l?arm?e d?Orient, et l??tude de souvenirs publi?s ou in?dits, laissent largement appara?tre la profonde d?ception des soldats fran?ais, qui ne comprirent pas la configuration culturelle du territoire mac?donien, et qui rest?rent prisonniers d?impressions subjectives et de r?actions ?motionnelles. La Gr?ce r?v?e avant le d?part ne r?sista pas ? la confrontation avec la r?alit?, qui fut alors rejet?e de fa?on virulente par de nombreux soldats.
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Duchesneau, Michel. "Minarets et pagodes." Revue musicale OICRM 3, no. 1 (June 6, 2019): 56–70. http://dx.doi.org/10.7202/1060121ar.
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L’œuvre du compositeur Maurice Ravel (1875-1937) fait résonner un Orient singulier. Si on y découvre l’ombre scintillante du monde de la pacotille « fin de siècle », on y trouve aussi les couleurs chaudes et rêveuses que la littérature et la peinture ont données à un Orient imaginé depuis plus de deux siècles. Au cours de cet article, nous présenterons quelques aspects de l’œuvre de Ravel qui font appel à une culture de l’Orient basée sur le récit et l’imagination. C’est par un processus d’appropriation très particulier que le compositeur réalise certaines de ses œuvres les plus emblématiques et caractéristiques de ce que nous appellerons un orientalisme « poétique ». Nous puiserons nos exemples musicaux dans Shéhérazade (1903) et Ma Mère l’Oye (1910).
Dissertations / Theses on the topic "Orientalisme, Orient"
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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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Bustarret, Claire. "Parcours entre voir et lire : les albums photographiques de voyage en Orient 1850-1880 /." [Paris] : C. Bustarret, 1989. http://catalogue.bnf.fr/ark:/12148/cb35066669c.
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Rabolt, Marie-Caroline. "Louis Lortet (1836-1909), un médecin naturaliste en Orient." Thesis, Lyon 1, 2013. http://www.theses.fr/2013LYO10087/document.
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Louis Lortet est un savant lyonnais qui a cumulé connaissances scientifiques et responsabilités administratives. Entre 1873 et 1909, il obtient plusieurs missions en Orient du ministère de l'Instruction publique, notamment en Syrie et en Égypte. Les travaux relatifs à ces voyages témoignent de la formation de médecin et de naturaliste du savant, mais concernent également d'autres disciplines comme l'archéologie et l'anthropologie. Cette étude propose de retracer l'itinéraire de Lortet en s'appuyant sur divers aspects de sa biographie, éclairant son oeuvre orientaliste. La première partie met en relation l'Orient de Lortet et le courant orientaliste de l'époque. La seconde partie s'attache à la vie du savant, et plus particulièrement à son parcours professionnel. La troisième partie présente une étude descriptive et analytique des principaux travaux de Lortet en OrientLouis Lortet is a scientist from Lyon who accumulated knowledge and administrative responsibilities. Between 1873 and 1909, he obtains from the ministry of the State Education several missions in Orient, in particular in Syria and Egypt. The works related to these travels not only testify on his background as a doctor and naturalist, but also concern other disciplines besides, such as archaeology and anthropology. This study suggests tracing Lortet’s itinerary by emphasizing diverse biographic aspects in order to better understand his orientalist work. The first part links Lortet’s vision of East to the "orientalist" movement of this period. The second part focuses on the life of the scientist, and more particularly on his career. The last part presents a descriptive and analytical study of Lortet’s main work in Middle East
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Terme, Renaud. "La perception de l'islam par les élites françaises (1830-1914)." Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30004/document.
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Percevoir signifie recevoir une information, la prendre en compte, la confronter aux données de notre mémoire et la traiter selon nos modes de raisonnement puis tirer de l’image ainsi formée une conséquence c’est-à-dire un acte. Pour approcher la perception de l’islam par les élites françaises entre 1830 et 1914 nous avons donc dans un premier Livre fait une compilation des présentations que les élites dites « d’érudition » : historiens, écrivains, religieux, linguistes, philologues, artistes, faisaient de l’islam ; des données qu’ils pouvaient recevoir de leur mémoire puisque l’on glosait sur l’islam depuis Pierre le Vénérable ; et des modes de raisonnement qui caractérisaient l’époque en étudiant l’évolution du sens des concepts de civilisation, de race, d’économie politique. Nous avons ensuite, dans un deuxième Livre essayé de comprendre comment et pourquoi l’image ainsi formée avait abouti à la colonisation de terres islamiques par des hommes politiques, leurs conseillers, leurs soutiens, des officiers, des industriels, des financiers, et des administrateurs. Enfin, dans un troisième Livre, nous avons tenté de suivre jusqu’à nos jours les jugements portés sur ces travaux orientalistes. Il nous semble que le traitement d’une image, au départ volontairement tronquée, par des hommes persuadés que les techniques - balbutiantes - des sciences de la nature pouvaient être appliquées aux sciences humaines a conduit à une incompréhension de deux mondesPerceiving means to receive an information, to take it into account, to compare this information with the data from our memory, to process it according to our ways of thinking and then to pull from the image thus formed a consequence, that is to say: an act. To approach the perception of Islam by the French elites between 1830 and 1914, we initially, in our first book, made a compilation of presentations that "scholarship" elites - historians, writers, religious, linguists, philologists, artists - made of Islam; of the data they could receive from their memory, since we talked about Islam since Peter the Venerable; and of these ways of thinking that characterized the era by studying the evolution of the meaning of concepts like civilization, race, and political economy. We then, in a second book attempted to understand how and why the thus formed image had resulted in the colonization of Islamic lands by politicians, their advisors, their supporters, officers, industrialists, investors and administrators. Finally, in a third book, we tried to follow to this day the judgements that are made about these orientalist works. It seems to us that the process of an image, deliberately, and from the beginning, truncated by men convinced that early techniques of natural science could be applied to human sciences has led to a misunderstanding of both worlds
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张Zhang, 金岭Jinling. ""法"眼看中国 : 文化想象中的"他者" 研究Fa yan kan zhong guo." Lyon 3, 2007. https://scd-resnum.univ-lyon3.fr/out/theses/2007_out_zhang_j.pdf.
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Cette étude se penche sur la représentation de la Chine culturelle dans l'imaginaire dominant des Français. Sa perspective scientifique est constituée dans trois dimensions : historique, spatiale et discursive. L'image de la Chine n'a été historiquement ni invariable, ni homogène en France, et son évolution dépend du changement dans les méta-récits de chaque époque et des facteurs culturels. La Chine imaginée par des Français est un autre culturel marqué par des stéréotypes et des « traditions » chinoises, qui sont souvent réduites à un passé lointain et mythique. L'altérité de la culture chinoise satisfait aux intérêts français dans le contexte de la société contemporaine. Que la culture chinoise devient un «capital» constitue encore un nouveau méta-récit concernant la Chine. Produits de la société du spectacle, les imaginaires culturels français concernant la Chine sont également spectaculaires. En France l'imaginaire dominant contemporain concernant la Chine constitue une production d'une Chine imaginée autrementThis dissertation explores the image of cultural China in the imaginaries of “the French”. Its academic perspective is constituted by three dimensions: historical, spatial and discursive. The cultural image of China has historically neither been invariable, nor homogeneous in France, its evolution has depended on the change in meta-narratives in each epoch and on certain French cultural factors. The French- imagined China is a cultural Other marked by stereotypes, Chinese “traditions”, which are often reduced to a distant, mythical past. The otherness of Chinese culture satisfies certain French cultural interests corresponding to contemporary society. That Chinese culture has become “cultural capital” represents a new meta-narrative about China. Products of a spectacular society, the French cultural imaginaries concerning China are also spectacular. The contemporary dominant imaginary relating to China in France constitutes a production of a China imagined otherwise
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李Li, 岚Lan. "少数民族女性人力资源开发培训研究Shao shu min zu nv xing ren li zi yuan kai fa pei xun yan jiu." Lyon 3, 2007. https://scd-resnum.univ-lyon3.fr/in/theses/2007_in_li_l.pdf.
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La thèse porte sur la situation des femmes des minorités ethniques en Chine actuellement. La situation des femmes des ces ethnies est actuellement difficile: niveau éducatif faible, région pauvre, peu d'accès à des qualifications professionelles. Les autorités chioises ont du politiques de développement économique et culturel de ces minorités. La thèse montre en quoi une meilleure formation contribuerait à un avantage compétitif de ces régions. Elle étudie trois cas (ethinie Yi, ethnie Bai et Tibétain). La thèse conclut à une nécessaire adaptation des politiques de formation-développement en fonction des spécificités culturelles de ces minoritésThis dissertation researches on the current situation of ethnic women in China. This situation of Chinese ethnic women is difficult now: lower level of education, region with poverty, a few access of professional qualification. . . Chinese government has many policies for the economic and cultural development in ethnic regions. This dissertation has studied thress cases (Yi ethnic group, Bai ethnic group and Tibetan), and shows how a kind of excellent training has contributed on competitive advantage in ethnic regions. This dissertation concluded that is necessary for adaptation policies of developing training according to cultural specificities in ethnic groups
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Jung, Kum-Hee. "Les influences de l'Extrême-Orient dans les oeuvres du peintre Jean Degottex." Paris 1, 1995. http://www.theses.fr/1995PA010550.
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Le sujet de notre thèse concerne les influences extrême-orientales qui ont amené le peintre français Jean Degottex à peindre l'écriture et à écrire la peinture. En effet, l'artiste définit dans son oeuvre ses propres signes et les utilise dans sa propre écriture. Du signe inexpressif et signifiant, il passe au signe expressif et signifié. Comment peut-on définir sa peinture ? L'action painting, la peinture surréaliste et la calligraphie extrême-orientale apparaissent partout presentes dans ses toiles. Utilisant les materiaux et les techniques de la peinture zen et sumi, Degottex s'informe sur les philosophies zen, taoïste, samouraï et pratique la méditation. Degottex, en explorant les notions de vide et plein, de yin et de yang et de l'économie du trait donne naissance à une expression abstraite et novatrice de la peinture contemporaineThe subject of this thesis concerns the influence of orient which lead the french painter Degottex to paint the writing and to write the painting. In effect, the artist define in his work his own signs and uses them in his own writing. From inexpressive sign and significant, he passes to expressive sign and meaning. How can we dfine his work ? Action painting, surrealism and oriental calligraphy are present everywhere in his work. Using the tools and technics of the zen and sumi painting, degottex learns about the zen, taoiste, samourai philosophy and practices the meditation. Degottex, by studying the concepts of emptyness and filling, of yin and yang, and using very few lines, give birth to a new abstractional expression of contemporary painting
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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 refluxPopular 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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Bovio, Maéva. "Les voyages en Orient des écrivains français de 1919 à 1952 : l'Orient romantique à l'épreuve du nouveau siècle." Thesis, Université Grenoble Alpes (ComUE), 2016. http://www.theses.fr/2016GREAL020/document.
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Au lendemain de la Première Guerre mondiale, le Moyen Orient connaît de profonds bouleversements : la carte géopolitique est entièrement modifiée et de nouvelles problématiques se font jour (sionisme, montée des nationalismes arabes). La France s'implante politiquement dans la région en tant que puissance coloniale, par le biais des mandats qui lui sont confiés par la Société des Nations en Syrie et au Liban. Le Moyen Orient de 1952, où figurent désormais l’État d'Israël et de nombreux pays indépendants réunis au sein de la Ligue arabe, n'offre plus le même visage qu'avant 1914.Ces renversements politiques, joints aux progrès de la modernité technique et matérielle et au développement du tourisme de masse, affectent directement la tradition littéraire française du Voyage en Orient, qui a connu son âge d'or au siècle précédent avec les productions de Chateaubriand, Lamartine, Nerval, Flaubert et Loti. Force est de constater que les voyageurs ne désertent pourtant pas les lieux. De Maurice Barrès à Roger Vailland en passant par Paul Morand, Louis Bertrand, Myriam Harry, Roland Dorgelès, Joseph Kessel ou encore Albert Londres, nombreux sont les écrivains et reporters qui se rendent dans la région et lui consacrent un ou plusieurs ouvrages.Notre travail a donc d'abord consisté à constituer un corpus, c'est-à-dire à identifier et classer un vaste ensemble de textes (ouvrages et articles), dont certains fort méconnus aujourd'hui alors qu'ils ne l'étaient pas à l'époque, afin de pouvoir les analyser dans une démarche d'histoire littéraire et selon un point de vue en partie inspiré des études postcoloniales.Il s'est agi de rendre compte d'une production dans son ensemble, tiraillée entre rétrospection mélancolique et description enthousiaste de la modernité : l'Orient romantique fait alors l'objet de vifs débats et le Voyage en Orient se teinte d'une coloration polémique de plus en plus marquée. Loin de l'abandonner, les écrivains voyageurs tentent de redonner vie à cette tradition littéraire en réinventant ses formes et en adoptant une posture parfois moins européocentrée, à rebours de l'acmé coloniale des années trente.L'étude de ces textes qui n'avaient pas encore fait l'objet d'une approche synthétique nous a ainsi permis d'écrire un chapitre nouveau de l'histoire de l'orientalisme littéraireThe First World War has changed the face of the Middle East. As the geopolitical map is fully modified, new issues emerge (zionism, rise of Arab nationalisms, etc.). France sets up politically in the region as a colonial power through mandates in Lebanon and Syria. In 1952, the Middle East, where the state of Israel and numerous independent countries reunited in the Arab League can be found, no longer offers the same face as before 1914.Along with technical progress and modernity hardware and with the development of mass tourism, these political upheavals directly affect the french literary tradition of the Journey to the East. It experienced its golden age during the XIXst century, with the artworks by Chateaubriand, Lamartine, Nerval, Flaubert and Loti. But it must be observed that French travelers don't stop coming in the region for all that. From Maurice Barrès to Roger Vailland, passing by Paul Morand, Louis Bertrand, Myriam Harry, Roland Dorgelès, Joseph Kessel or Albert Londres, a lot of writers and reporters go to the Middle East and dedicate a book to this experience.Our work was to build a corpus, which means identify and classify a wide range of texts (books and journalistic articles) – some of which are not well known today – in order to analyze them in a process of literary history and according to a postcolonial perspective.The goal was to give an account of a whole production torn apart melancholic retrospection and enthusiastic description of the modern oriental realities. The Romantic “East” is then the subject of an intense debate and the Journey to the East is tinged with controversy colouring. Travel writers try to revive this literary tradition, reinventing its forms and adopting a less eurocentric point of view, contrary to the colonial acme of the thirties.The analysis of these works which were never studied together before allowed us to write a new chapter of the history of french literary orientalism
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Kis, Zsuzsa Eszter. "L' Orient dans les contes philosophiques de Montesquieu et de Voltaire." Lyon, Ecole normale supérieure, 2010. http://www.theses.fr/2010ENSL0081.
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Les contes philosophiques de Montesquieu et de Voltaire se déroulent le plus souvent en Orient. Le but de cette thèse est d’une part confronter les contes des deux auteurs; et d’autre part examiner l’aspect oriental des contes philosophiques. Comment les deux auteurs utilisent-ils l’image et l’esthétique de l’Orient ? Est-ce un décor, un piment exotique ou a t-il d’autres fonctions ? Dans quelle mesure l’Orient est-il un vecteur qui permet d’exprimer des pensées philosophiques ? L’Orient est un espace peu connu dans l’Europe des Lumières, il est donc propre à l’évasion, à la rêverie, dimension que le genre du conte peut intégrer. La magie orientale doublée d’un éloignement géographique, ainsi que le genre du conte lui-même garantissent une certaine liberté à l’écrivain. Nous avons tenté de comprendre de quelle manière l’image de l’Orient et le genre du conte, c’est-à-dire le genre du conte oriental, assure la liberté à son auteur, et comment le conte oriental se transforme ainsi peu à peu en conte philosophique. L’Orient, grâce à cet éloignement géographique permet d’une part l’atténuation de la critique, mais l’absence de la localisation concrète ou connue est un moyen d’universaliser, de généraliser les propos et de les appliquer au genre humain. Les contes philosophiques orientaux ne sont pourtant pas bien entendu des modélisations du système de la France de l’époque, ils l’évoquent plutôt par les métaphores. Bien évidemment, les auteurs traitent des problèmes et des sujets brûlants de leur société comme le despotisme, le fanatisme, l’injustice, car ce sont les sujets qui les préoccupent, et qui sont aussi les dangers réels pour la société de l’époque. Le conte philosophique éduque donc le lecteur tout en l’amusant, il élargit l’opinion publique de son temps et continue à l’amuser et le former à travers le tempsPhilosophical tales by Montesquieu and Voltaire most often take place in the “Orient. ” The goal of this thesis is to underline and explain the “oriental” aspect of both authors’ short stories. How do Montesquieu and Voltaire use both the Orient’s image and aesthetic? Is it mere decoration—an exotic bit of local color—or are there other functions? How might the idea of the “Orient” emerge as a vehicle of philosophical thought? During European Enlightenment, the “Orient” was a relatively unknown space, thus making it amenable to themes of escape and dreaming—themes that are also inherent to the short story genre. The “Orient” as a magical, distant space, coupled with the short story genre itself guarantees a certain freedom for authors. In the following thesis, I show the articulation between the image of the “Orient” and the short story, and specifically how the “Orientalness” of the short story allows writers to transform traditional short stories into philosophical tales. The “Orient”, thanks to its geographical distance, alleviates the harshness of criticism, but at the same time, the lack of a concrete location is a way for writers to universalize, to generalize principles for all of humankind. Philosophical tales, however, do not mirror France—they evoke it through metaphor. Montesquieu and Voltaire take on vital problems from the period, including despotism, fanaticism, and injustice—these are the exact subjects that both interested authors and emerged as the most paramount of the period. The philosophical tale educates and amuses the reader, influenced public opinion at the time, and perhaps most importantly, continues to amuse and teach us at present
Books on the topic "Orientalisme, Orient"
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Orient et orientalisme chez Ahmet Mithat Efendi. Istanbul: Les Éditions Isis, 2012.
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Said, Edward W. Orientalism: Western conceptions of the Orient. London: Penguin, 1995.
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Said, Edward W. L'orientalisme: L'Orient cre e par l'Occident. Paris: le Grand livre du mois, 2005.
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Representations of the Orient in Western music: Violence and sensuality. Burlington, VT: Ashgate, 2010.
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Peiresc's Orient: Antiquarianism as cultural history in the seventeenth century. Farnham, Surrey, England: Ashgate Pub. Limited, 2012.
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Mounira, Khemir, Prunster Ursula 1950-, Thornton Lynne, Auckland Art Gallery, and Art Gallery of New South Wales., eds. Orientalism: Delacroix to Klee. [Sydney]: Art Gallery of New South Wales, 1997.
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Giorgio, Fedalto, ed. Hierarchia ecclesiastica orientalis: Series episcoporum ecclesiarum christianarum orientalium. Padova: Messaggero, 1988.
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German orientalism: The study of the Middle East and Islam from 1800 to 1945. New York: Routledge, 2009.
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Orient baroque, Orient classique: Variations du motif oriental dans les littératures d'Europe (XVIe-XVIIe siècle). Paris: Éditions Bouchène, 2010.
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Critical terrains: French and British orientalisms. Ithaca: Cornell University Press, 1991.
Find full textBook chapters on the topic "Orientalisme, Orient"
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Schiffl, Benjamin. "Orientalismus." In Nation zwischen Orient und Okzident, 9–12. Wiesbaden: Springer Fachmedien Wiesbaden, 2023. http://dx.doi.org/10.1007/978-3-658-41343-9_2.
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Schiffl, Benjamin. "Der Orientalismus gegenüber Japan." In Nation zwischen Orient und Okzident, 347–48. Wiesbaden: Springer Fachmedien Wiesbaden, 2023. http://dx.doi.org/10.1007/978-3-658-41343-9_11.
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Berman, Nina. "Einleitung: Deutschland und der Orient." In Orientalismus, Kolonialismus und Moderne, 11–40. Stuttgart: J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-04258-3_1.
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Barber, Tamsin. "Orientalism, Counter-Orientalism and Identity in Multicultural Britain." In Oriental Identities in Super-Diverse Britain, 55–96. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137275196_3.
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"Le Voyage en Orient de Nerval, ou la possibilité d’un orientalisme hybride." In Orient - Zur (De-)Konstruktion eines Phantasmas, 151–66. transcript-Verlag, 2017. http://dx.doi.org/10.14361/9783839435021-008.
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Moussa, Sarga. "Le Voyage en Orient de Nerval, ou la possibilité d’un orientalisme hybride." In Orient - Zur (De-)Konstruktion eines Phantasmas, 151–66. transcript Verlag, 2017. http://dx.doi.org/10.1515/9783839435021-008.
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Issiyeva, Adalyat. "Nikolai Rimsky-Korsakov and His Orient." In Rimsky-Korsakov and His World, 145–76. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691182711.003.0004.
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This chapter discusses Rimsky-Korsakov's last opera, The Golden Cockerel, in the context of his Orientalism, looking at its musical sources and more generally at the complexity of influences at work on an artist working in the capital of a Russian Empire that directed much of its energy and ingenuity to the task of keeping its Asian territories under control. Despite being raised on nineteenth-century Orientalist musical conventions, Rimsky-Korsakov's view of the East underwent a profound transformation and departed from Orientalism; it developed from simple imitation and reliance on the Orientalist truisms to the critique of these very truisms. His last opera's two most fantastic and undeniably eastern characters help to reveal not only the absurdity of Russia's political system but Rimsky-Korsakov's own skepticism vis-à-vis Eurocentric legitimations of colonial conquest.
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Nash, Geoffrey. "Empire and Orient: Baha’is in Russian Transcaspia and Palestine." In Religion, Orientalism and Modernity, 123–55. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474451680.003.0006.
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In the final three chapters of this study, attention returns to the major issues raised in the Introduction: the rationale for deployment of Orientalist discourse in Baha’i writing and Baha’is’ connections to empire. In Chapter 6 two zones of contact are probed: Tsarist Transcaspia and British Palestine. In the former, Russian orientalists engaged with diasporic Baha’i communities enjoying a relatively secure haven beyond the hostility of the neighbouring Iranian authorities. The Russians, who were serving military officers, penetrated into Iran itself to reconnoitre the territory while meeting Baha’is there. How innocent was this fraternisation? Was Russian orientalism any less freighted with imperial nostrums toward minorities in Islamicate lands than British and French versions? In Palestine, where for historical reasons the Baha’is’ world centre was located, the British were establishing their Mandate at the same time as enabling the Zionists to carve out a Jewish ‘National Home’. How sympathetic if not complicit were Baha’is with these projects? Ahmadis were also under British protection in imperial India. Were Muslim thinkers like Muhammad Iqbal and Abul Ala Maududi right to see their separation from the majority Muslim community and closeness to the coloniser as an existential threat?
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"5.5 Orientalismen." In Kulturbegegnung mit dem Orient, 241–46. De Gruyter, 2004. http://dx.doi.org/10.1515/9783112402412-024.
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"The Orient’s medieval ‘Orient(alism)’: the Riḥla of Sulaymān al-Tājir." In Orientalism Revisited, 233–48. Routledge, 2012. http://dx.doi.org/10.4324/9780203079416-26.
Full textConference papers on the topic "Orientalisme, Orient"
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Dazzi, Camila, and Isabela Loureiro. "Do imaginário das pinturas orientalistas às propagandas turísticas do magrebe contemporâneo." In Colóquio do Comitê Brasileiro de História da Arte. Comitê Brasileiro de História da Arte, 2021. http://dx.doi.org/10.54575/cbha.40.14.
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Partindo do pressuposto de que todas as “viagens começam no momento que passam a ser imaginadas” (Rachid Amirou), e de que a percepção pelo sentido da visão tem um papel importante nas tomadas de decisão sobre destinos de viagem (Woodside e Lysonski), o presente artigo procura analisar as relações entre a arte orientalista do século XIX e o imaginário atual sobre o Oriente como destino turístico. Por meio da análise comparativa das imagens Oitocentistas e das propagandas turísticas atuais, apresentaremos uma reflexão sobre o modo como o imaginário orientalista do século XIX foi perpetuando, contribuindo para construção do brand image da Argélia como destino turístico.
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Xu, Chengkai, Weiting Li, Laila Zhong, Xuewei Li, Qingyuan Lyu, Yuran Guo, and Fang Liu. "Tradition, Desire, Techno-Orientalism and Popularity: Oriental Elements in the 21st-century Cyberpunk Video Games." In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002894.
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Cyberpunk is one genre with distinctive features, which depicts an apocalyptic world seeing technology as associated with capitalist oligarchy with highly solidified social identity and social class (Akşit and Nazlı, 2021). Nowadays, research about cyberpunk video games mainly focuses on the visual aesthetics of cyberpunk video games (Johnson, 2017). We adopted content analysis first to identify the oriental visual elements in 6 video games: Cyberpunk 2077 (CD Projekt RED, 2020) (CP2077), Gamedec (Anshar Studios, 2021), The Red Strings Club (Deconstructeam, 2018) (TRSC), VA-11 Hall-A: Cyberpunk Bartender Action (Sukeban Games, 2016) (VA-11 Hall-A), Shadowrun: Hongkong (Harebrained Schemes, 2015) (SRHK), and Tales of the Neon Sea (Palm Pioneer, 2019) (TNS), then analyze the historical and ideological reasons of using these elements on behalf of semiotic theory. This study reveals that using such elements in the 21st-century cyberpunk video games reinforces the stereotypes of Techno-Orientalism to a certain degree. However, these elements are mostly decontextualized as a representation of oriental culture and have no distinct error of oriental elements used but are mainly used to identify art style, which could be a helpful strategy for commercial selling.
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Borucu, Süleyman, and Uzay Karahalil. "Changes in Forest Biomass Carbon Storage Between 1971 and 2018 in Tonya." In 3rd International Congress on Engineering and Life Science. Prensip Publishing, 2023. http://dx.doi.org/10.61326/icelis.2023.32.
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Climate change is seen as one of the most common problems of the world today. Countries, organizations are making extraordinary efforts to reduce the negative effects of this phenomenon. Forests are accepted as the biggest mechanism with the advantage of storing large quantities of carbon as well as having the opportunity to increase their carbon content through increasing the size, apply rehabilitation in the degraded stands, or doing interventions. Therefore, monitoring the forests, taking measures and applying forestry activities when needed is utmost important. In this regard, temporal monitoring of the amount of carbon in forest biomass offers advantages as it is easy to implement and understand. In this study, forest biomass carbon was displayed for Tonya Planning Unit (PU), works under Trabzon Forest Enterprise for the periods between 1971 and 2018, meaning nearly half century. Tonya PU is covering a total area of 12,532.3 ha, of which 5620.7 ha (44.8%) is forested landscape. The vegetation type is primarily composed of Oriental Spruce (Picea orientalis Link), Oriental Beech (Fagus orientalis Lipsky) and Alder (Alnus glutinosa sub. barbata Mey). There is also certain amount of Anatolian Chestnut (Castanea sativa Mill.), and Hornbeam (Carpinus orientalis) dominated stands. Tree specific biomass expansion factors were used in the calculation of above and belowground biomass carbon content. In addition to determining the amount of total carbon, the outputs were handled in the context of forest dynamics represented by temporal changes of land cover. Quantitative evidence showed that there were drastic changes of carbon storage in above and below ground forest ecosystems between two periods.
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Baró Zarzo, José Luis, and Jovita Cortijo Ruiz. "Architecture and Music around the Alhambra. Reminiscences of a dreamlike world: La Puerta del Vino (Debussy)." In 3rd Valencia International Biennial of Research in Architecture, VIBRArch. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15464.
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Orientalism, as a variant of exoticism in the Romantic period, adopted a series of topics linked to distant countries and oriental cultures, including Spanish lands, especially Andalusian. This phenomenon was especially prolific in the world of the arts around the Alhambra, «doubly romantic for its medieval and oriental origin» (Raquejo, 1989).Alhambrism was developed by traveling writers in the early 19th century, eager for suggestive scenarios in which to recreate their poems and stories. Later it spread to the plastic arts, with painters such as François Antoine Bossuet, John Frederick Lewis, David Roberts, Gustave Doré or Jenaro Pérez Villaamil. In the case of architecture, Alhambrism was nourished by parallel sources. On the one hand, the awakening to the conservation of the Alhambra as a monument witness to a dreamy period in the history of Spain, and the first interventions by Rafael Contreras, still under babbling and unscientific criteria. On the other hand, the impulse to decorativism through the seminal studies of Owen Jones and Jules Goury, convinced that «in the Alhambra the exemplary paradigm of the most perfect ornamental and chromatic system of all historical styles had existed was hidden» (Villafranca).Music also found fertile ground for creativity in the Alhambra between the mid-19th and early 20th centuries, within the nationalist romantic movement. However, it was mainly the Spanish composers who chose the Alhambra to reflect the national identity: Tárrega, Turina, Albéniz, Bretón, De Monasterio, to which we should add a Debussy influenced by Falla.The communication aims ultimately to investigate through analysis the musical resources used by the last-mentioned composer, Claude Debussy, to evoke with sounds the architecture and the sensual atmosphere of the Alhambra in one of the most representative works of Alhambrism in music: La Puerta del Vino (The Wine Gate).
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Holdcraft, Robert. "Evaluating the behavior of oriental beetle (Anomala orientalis) in proximity to pheromone point sources used in mating disruption and attract-&-kill." In 2016 International Congress of Entomology. Entomological Society of America, 2016. http://dx.doi.org/10.1603/ice.2016.114908.
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Miranda Mas, Carlos. "Arte vs turistificación: Souvenirs de resistencia." In V Congreso Internacional de Investigacion en Artes Visuales ANIAV 2022. RE/DES Conectar. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/aniav2022.2022.15485.
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Esta comunicación plantea una investigación artística que atiende a uno de los efectos de la hiperconexión territorial global: los procesos de turistificación de que son objeto muchas ciudades, naturalizados como destino postcapitalista inalterable y que, aquí, propongo repensar mediante una serie de pinturas y esculturas. Así, éstas parten de la asimilación del consumo de recuerdos de viaje durante el primer fenómeno turístico (ss. XVIII y XIX), aquel Grand Tour que llevaba a potentados e intelectuales del norte de Europa hacia “exóticos” lugares del Sur y de Oriente. En el caso particular de Málaga, esos souvenirs se concretaban en los llamados “barros malagueños” (Malaga clay figures), pequeñas piezas de barro cocido y pintado que tuvieron entonces gran desarrollo comercial en la ciudad, las cuales representaban los tópicos culturales que la mirada orientalista de aquellos viajeros proyectaba sobre la Europa mediterránea. El desplazamiento que articulo toma aquella imaginería de bandoleros, manolas, bailaores, etc. para asociarla a la actual turistificación sistemática que sufren localidades históricas de todo el mundo, destacando el proceso malagueño por la rapidez y virulencia con la que este fenómeno de conversión en ciudades-marca como atractores de turismo masivo está modificando su estructura social, urbana, económica y política. Por tanto, estas obras articulan una relectura irónica de aquellos “barros malagueños” para, conservando intactas sus poses figurativas de marcado carácter goyesco, realizar una serie paralela de esculturas y pinturas que convierten los originarios tipos costumbristas en los actuales turistas “de fiesta y borrachera”, disfrutando de la culminación en clave perversa de aquella mirada romántica hoy devenida en devastadora ceguera consumista. El antiguo souvenir, pues, presta aquí su originaria iconología festiva y tópica a la reversión actualizada de su sentido: de recuerdo del viajero ilustrado pasa a ser arma representacional del indígena actual ante los desmanes de la actual turistificación.
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Kornberg, A., S. Kaufman, L. Silber, and J. Ishay. "THE EFFECT OF THE VENOM OF THE ORIENTAL HORNET ON COAGULATION FACTORS." In XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1644338.
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The extract from the venom sac of Vespa orientalis (VSE) inactivates exogenous and endogenous thromboplastin (Joshua and Ishay, Toxicon, 13:11-20,1975). The prolongation of both prothrombin time (PT) and recalcification time suggests inactivation of other factors. The aim of the present study is to investigate the effect of VSE on clotting factors. A lyophilized VSE with protein concentration of 5 mg/ml was used. Studies were performed in vitro with human plasma and in vivo in cats. Routine methods were employed for the assay of PT, activated tissue thromboplastin (APTT), thrombin time (TT), fibrinogen degradation products (FDP), fibrinogen and factors V,VII,VIII,IX,X. Human plasma was incubated with various concentrations of VSE (0,1,5,10,50,100 μg/ml) for 60 min and for various incubation times (0,5,15,30,+ 60,90,120 min) with 50 μg/ml VSE (n=8). 1 μg/ml VSE prolonged PT from 13.5 to 16 sec (p<0.05) and APTT from 62 to 180 sec. PT was maximal (17.7 sec) with 10 μg/ml and APTT (442 sec) with 50 μg/ml VSE. Factors V,VII,X decreased gradually from 94-105% to 11%,11% and 29% with 100 μg/ml VSE and VIII and IX to 1% even with 1 μg/ml VSE. After 5 min with constant concentration of VSE (50 μg/ml) PT was 14.9 sec (normal 13 sec) and APTT 165 sec (normal 54 sec). Both were maximal (17.5 and 298 sec) after 60 min. Factors VII and X decreased to 13% and 32% and VIII and IX to >1% after 60 min of incubation. Injection of 5 mg/kg VSE to cats (n=6-8) resulted in prolongation of PT from 9.4 to 11.2 sec and of APTT from 19.5 to 63 sec after 5 min. Both were maximal after 90 min (12.3 and 127 sec). Factors V,VII and X decreased from 100% to 7.6%, 13% and 37% and VIII and IX to 1% after 10 min. In all experiments TT and plasma fibrinogen were not affected and FDP were normal. Heating of VSE for 5 min at 80°C abolished completely the anticoagulant activity but dialysis for 24 hr at 4°C had no effect on it. The activity was eluted on Sephadex-25 both in void and post void volumes. The results show that VSE has a potent anticoagulant activity against various factors. Factors VIII and IX are markedly decreased. The effect on V, VII and X is moderate. Plasma fibrinogen is not affected. The nature and clinical significance of the anticoagulant activity merit further investigation.
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Oktan, Ercan, and Neslihan Atar. "The Role of Monumental Trees in Carbon Storage." In 3rd International Congress on Engineering and Life Science. Prensip Publishing, 2023. http://dx.doi.org/10.61326/icelis.2023.47.
Full textAbstract:
Forest ecosystems are an important component of the global carbon cycle. Changes in the forest carbon cycle were determined by considering the biological structures at the leaf and stand level. However, there is no consensus on the nature of productivity at the individual tree scale. The mass growth rate of trees, and thus carbon deposition, differs depending on the size and age of the trees. In this study, the role of old monumental trees, which provide a wide variety of ecological functions and environmental benefits, in carbon storage was investigated. Because nowadays, the importance of monumental trees in carbon sequestration and protection of biological diversity in forest management has been better understood and accordingly, monumental old trees have become a significant research subject. Although monumental trees make up a small proportion of the number of stems in a given stand or vegetation, they contribute greatly to carbon biomass and help reduce global warming. Monument trees have special structures that allow long-term carbon accumulation to be sustained. Features such as slow growth, stress tolerances, mosaic structure, phenotypic plasticity, and rejuvenation potential allow for sustained age-related increases in growth, allowing for long-term carbon accumulation. In addition, changes in available resources due to global warming may be an indicator of increases in the biomass of these trees. However, these issues are still under discussion. The slow but continuous growth abilities of these trees in order to achieve longevity contribute significantly to the total carbon stock and wood production. In addition, when these trees are evaluated at the stand scale, they also make a significant contribution in terms of annual carbon sequestration. Monument trees are not just aging carbon stores. They are unique beings that can hold large amounts of carbon compared to young trees. Depending on the growth and development status, the carbon sequestration capacities show a high increase, although disproportionately. In some forest types, the largest and oldest trees continue to accumulate large amounts of biomass even though they are at the end of their natural life stages. On the other hand, there are many different opinions. These views are generally based on an assumption that older individuals have reduced biomass accumulation. Therefore, it is argued that younger trees can sequester more carbon. In line with the same view, there is a widespread opinion that carbon accumulation obtained by photosynthesis is lost by respiration due to stand development in old forests. This situation suggested that old forests are negligible as carbon sinks. There are studies showing that old forests can continue to accumulate carbon contrary to the long held view that they are carbon neutral. Numerous hypotheses have been developed to explain age- and size-related changes in biomass. In this context, the change in biomass; It has been attributed to the changing balance between photosynthesis and respiration, increased hydraulic resistance, decreased nutrient supply, differences in the access rates of resources necessary for growth, and genetic changes due to meristem age. However, these hypotheses expressing the change in growth may not be consistent as they vary depending on the species, vegetation period and growing environment. This situation falls short of explaining the physiological basis of the changes in the biomass size of these trees. The fact that the ecological role of these trees, which are rare in the world and disappear for various reasons, cannot be fulfilled by any other living thing, requires increasing the studies on these trees. In this context, when the average annual increase in diameter of a 2 m-diameter Oriental beech (Fagus orientalis) tree is assumed to be 0.5 cm, its annual increase is calculated as 0.182 m3. The fact that this value is not to be underestimated shows that these trees can be considered as carbon storage areas. Therefore, the role of monumental trees in carbon storage should be re-evaluated.