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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).
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Christy, Rossi Amelia, Taufan Teguh Akbari, and Muhammad Fajar Satriya. "Analisis Dramatistic Pentad pada Film Crazy Rich Asians (2018) sebagai Antitesis Pandangan Orientalisme." Communicare : Journal of Communication Studies 7, no. 1 (November 30, 2020): 89. http://dx.doi.org/10.37535/101007120206.
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Penelitian ini berfokus pada film Crazy Rich Asians (2018) sebagai representasi antitesis akan konsep orientalisme yang dikritik oleh Edward Said. Metode penelitian yang digunakan adalah metode kualitatif dengan teknik analisis dramatistik pentad dari Kenneth Burke. Melalui penelitian ini disimpulkan bahwa bangsa Asia mampu merepresentasikan dirinya dalam perfilman Barat. Melalui film sebagai industri media yang efektif untuk menyebarkan pesan bahwa Singapura bukanlah bangsa yang terbelakang, biadab, eksotis, dan berbahaya serta adanya benturan kebudayaan antara Barat (occident) dan Asia (orient).
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Plamondon, Jean-François. "Mounia Benalil et Janusz Przychodzen (dir.), Identités hybrides. Orient et orientalisme au Québec." Studi Francesi, no. 159 (LIII | III) (December 1, 2009): 681–82. http://dx.doi.org/10.4000/studifrancesi.7756.
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El Mitry, Abdelghani. "THE OTHER MOROCCO: HOW AMERICA PERCEIVES THE ORIENT." International Journal of Language and Literary Studies 5, no. 2 (July 15, 2023): 101–17. http://dx.doi.org/10.36892/ijlls.v5i2.1314.
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This paper examines the portrayal of Morocco in American culture throughout different historical periods. Its main objective is to provide a critical analysis of cultural encounters, particularly focusing on how the American perspective shapes the representation of Morocco as the “Other.” The aim of this paper is not only to highlight the various textual and visual depictions influenced by Orientalist discourse used to represent the country and its people, but also to explore America's historical involvement in the narrative of Orientalism. The examination of American and Western perceptions of Morocco leads to a discussion on Edward Said’s Orientalism, reconsidering some of its theoretical limitations. Specifically, Said's neglect of American Orientalist knowledge systems and the oversight of American fair exhibits in shaping popular Victorian perceptions of the Orient. The paper also addresses Orientalism’s failure to critically engage with the agency of natives within an orientalized context and its limited exploration of how the Oriental Other, when displaced to the center, reacts and acts, as well as the implications of the Orient transitioning from the “Other” to the “Self” and from the margins to the center of the paradigm
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Mudure, Mihaela. "Orientalism and the Eastern European Periphery." Linguaculture 13, no. 2 (December 31, 2022): 105–21. http://dx.doi.org/10.47743/lincu-2022-2-0319.
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This paper starts by discussing the specific use of Orientalism in the Romanian culture. Focus is laid upon the Romanian scholar Dimitrie Cantemir (1673-1723), the first Christian historian who was allowed to use the Ottoman archives for his work. Then Ienăchiţă Văcărescu or Kelemen Mikes offer alternative Orientalist discourses. Unfortunately, Said’s seminal essay neglects everything that is East of Vienna in terms of Orientalism. Criticizing the binary opposition West-Orient, in fact Said reiterates it in his work by neglecting the Eastern European periphery. The conclusion is that Central and Eastern Europe (CEE) offers interesting examples of Orientalisms where the power relationships are constructed differently.
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Shabanirad, Ensieh, and Seyyed Mohammad Marandi. "Edward Said’s Orientalism and the Representation of Oriental Women in George Orwell’s Burmese Days." International Letters of Social and Humanistic Sciences 60 (September 2015): 22–33. http://dx.doi.org/10.18052/www.scipress.com/ilshs.60.22.
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Edward Said’s groundbreaking text, Orientalism is a contrapuntal reading of imperial discourse about the non-Western Other. It indcates that the Western intellectual is in the service of the hegemonic culture. In this influential text, Said shows how imperial and colonial hegemony is implicated in discursive and textual production. Orientalism is a critique of Western texts that have represented the East as an exotic and inferior other and construct the Orient by a set of recurring stereotypical images and clichés. Said’s analysis of Orientalism shows the negative stereotypes or images of native women as well. As a result, Orientalism has engendered feminist scholarship and debate in Middle East studies. For Said, many Western scholars, orientalists, colonial authorities and writers systematically created the orientalist discourse and the misrepresentation of the Orient. George Orwell as a Western writer experienced imperialism at first hand while serving as an Assistant Superintendent of Imperial Police in Burma from 1922 to 1927. One of Orwell’s major concerns during his life was the issue of imperialism and colonialism which is reflected in his first published novel, BurmeseDays. Orwell’s own political purpose in this novel was to convince the reader that imperialism was morally wrong. Although he saw imperialism as one of the major injustices of his time and had declared himself against Empire, in Burmese Days, Orwell, consciously and unconsciously, repudiated his views and followed the Orientalist discourse. In this study, the authors demonstrate how Orwell maintains a white male Eurocentric imperialist viewpoint. The authors attempt to examine how the ‘female subalterns’ are represented in Burmese Days. While Oriental women are represented as the oppressed ones, they are also regarded as being submissive, voiceless, seductive and promiscuous.
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Chittiphalangsri, Phrae. "The Author in Edward Said’s Orientalism: The Question of Agency." MANUSYA 12, no. 4 (2009): 1–17. http://dx.doi.org/10.1163/26659077-01204001.
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Edward W. Said’s Orientalism has long been celebrated for its ground-breaking analysis of the encounters between Western Orientalists and the Orient as a form of ‘othering’ representation. The success, undeniably, owes much to the use of Foucauldian discourse as a core methodology in Said’s theorisation of Orientalism which allows Said to refer to the massive corpus of Orientalist writings as a form of Orientalist discourse and a representation of the East. However, the roles of Orientalist authors tend to be reduced to mere textual labels in a greater Orientalist discourse, in spite of the fact that Said attempts to give more attention to the Orientalists’ biographical backgrounds. In this article, I argue that there is a need to review the question of agency that comes with Foucauldian discourse. By probing Said’s methodology, I investigate the problems raised by concepts such as “strategic formation,” “strategic location,” and the writers’ imprint. Borrowing Pierre Bourdieu’s sociology, I critique Said’s notion of ‘author’ by applying the question of objectivity/subjectivity raised by Bourdieu’s concepts such as “habitus” and “strategy,” and assess the possibility of shifting the emphasis on “texts” suggested by the use of Foucauldian discourse, to “actions” which are the main unit of study in Bourdieu’s sociology.
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Munji, Ahmad, and Hasyim Muhammad. "Sir William Jones (1746–1794) and the Early Orientalist Discourse on Sufism." Teosofia: Indonesian Journal of Islamic Mysticism 10, no. 1 (April 27, 2021): 89–110. http://dx.doi.org/10.21580/tos.v10i1.9190.
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Many theories have been proposed to discuss Sufism in terms of its linguistic origins and its role in spiritual knowledge, its concepts and ideas, and cultural influences. Both Muslim and orientalist scholars have offered opposing views on the beginnings of Sufism. Unfortunately, Western orientalists were the first to research this topic, and their ideas greatly influenced later scholars. This study examines how early British orientalists, particularly Sir William Jones, approached the study of Sufism. Jones represents the early development of British orientalism, which started in the form of personal travel accounts long before orientalist societies were established to support them. Only the later ‘experts on the Orient’ created scholarly circles that followed a more objective and systematic approach to studying Muslim cultures, yet often persisted in the erroneous claim that Sufism was an external and foreign element in Islamic culture.
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Soukup, Václav. "Orientalismus jako paradigma moci: Antropologická perspektiva." Anthropologia integra 2, no. 1 (January 1, 2011): 75–80. http://dx.doi.org/10.5817/ai2011-1-75.
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Předmětem studie je teoretická analýza historických a sociokulturních vztahů mezi euroamerickou západní kulturou (Okcident) a východní islámskou kulturou (Orient). V článku jsou popsány a interpretovány příčiny a důsledky akulturačních procesů, které mezi Orientem a Okcidentem probíhají po dlouhé období. Základní historický zlom ve vztahu křesťanské a islámské kultury znamenala koloniální expanze Západu ústící ve vojenskou, politickou a ekonomickou nadvládu nad zeměmi Orientu. K nastolení hegemonie Západu nad Východem však výrazně přispěla také západní věda. Zájem vědců, spisovatelů a umělců o orientální kultury vedl již v koloniálním období ke zrodu orientalismu jako nové vědní disciplíny usilující o popis a interpretaci Orientu. Jak upozornil palestinský literární kritik Edward W. Said, orientalismus nikdy nebyl objektivní a ideologicky nezaujatou vědou, ale diskurzem moci, neboť prostřednictvím vědeckých a literárních textů vytvářel zkreslený, falešný a stereotypizovaný obraz Orientu, který legitimoval nadvládu Západu. Zamyslíme-li se nad problémem střetu civilizací z perspektivy orientalismu jako diskurzu moci, je zřejmé, že k optimalizaci vztahu mezi Západem a Východem nestačí nastolit rovnoprávnost v oblasti politických a ekonomických vztahů. Neméně důležitá je dekonstrukce kulturního diskurzu orientalismu, který v sobě odráží tradiční koloniální a postkoloniální nerovnost.
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Kemper, Michael. "Red Orientalism: Mikhail Pavlovich and Marxist Oriental Studies In Early Soviet Russia." Die Welt des Islams 50, no. 3 (2010): 435–76. http://dx.doi.org/10.1163/157006010x544278.
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AbstractMarxist Oriental Studies in early Soviet Russia emerged in opposition to the 'bourgeois' Russian tradition of classical Oriental scholarship; rather than studying texts and history, Bolshevik Orientalists saw their task in providing the Soviet government with the necessary political and socio-economic knowledge to support the liberation of the contemporary East from colonialism and imperialism. After a failed attempt to stir revolutions in the Muslim World via a 'Congress of the Peoples of the East' in Baku in 1920 and a 'University of Social Sciences for Workers of the Orient' in the same city, the Bolsheviks established an Oriental Studies teaching institute as well as an Oriental Studies Association in Moscow, both under Stalin's Commissariat for Nationalities. The article traces the biography of the key figure in these organizations, Mikhail P. Pavlovich (1871-1927). Pavlovich was not a professional Orientalist but a prolific Marxist writer and propaganda lecturer on military affairs, world transportation lines, imperialism and colonialism—arguably the issues that made the Bolsheviks interested in the Orient. While Pavlovich's Marxist Oriental Studies (and his journal Novyi Vostok, 'The New Orient') were 'anti-Orientalist' in their rhetoric, it can be shown that they used the same notions and methods for which they condemned Western Oriental Studies.
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Raz-Krakotzkin, Amnon. "Orientalism, Jewish Studies and Israeli Society: A Few Comments." Philological Encounters 2, no. 3-4 (August 16, 2017): 237–69. http://dx.doi.org/10.1163/24519197-12340034.
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One of the claims that was voiced in the debate over Edward Said’s book Orientalism was that the author ignored German Orientalist research. This essay does not discuss this claim itself, but rather uses this debate as a starting point for investigating different aspects of Israeli consciousness. Indeed, German Orientalism was not directly connected to colonialist activity, but it encompassed the discourse regarding the relation between Germany and Judaism and “the Jewish Question.” The question was whether Jews were Oriental and therefore foreign to European culture, or rather a religious group that could be integrated into that culture. The modern national definition of the Jewish collective was based on adopting this worldview and on accepting the Orientalist paradigm. The tendency was to define the Jews as a European nation, emphasizing the difference between the new entity and the Orient. This tendency was manifested both in the attitude towards Arabs and towards the history of “the land” [Palestine/“Land of Israel”], and in the attitude to Oriental Jews [Mizraḥim]. Nonetheless, other directions for the definition of Jewish thought and identity can also be found in the Orientalist literature.
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Hussein, Ibrahim. "German Orientalism and its Attention to Quranic Readings." Islamic Sciences Journal 11, no. 10 (March 17, 2023): 327–44. http://dx.doi.org/10.25130/jis.20.11.10.14.
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The orientalists have great efforts in studying the Islamic and Arab heritage, and the Germans have a special interest in the Holy Qur'an, its history, readings, and drawing. This research is an attempt to show the care of the oriental orientalism of the Qur'anic readings since the beginning of the orientalist movement. The printing of the Holy Quran in Arabic, and the translation of its meanings into German. The research reached important results, including: that most of the reasons and motives behind the Orientalism are religious reasons, economic colonialism reasons, and there are real scientific reasons, but they are very few as compared to other reasons and motives.
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Chistalev, Mark S. "Rethinking E. Said’s “Orientalism” in modern Western and Russian scientific discourse." Tambov University Review. Series: Humanities, no. 5 (2022): 1352–64. http://dx.doi.org/10.20310/1810-0201-2022-27-5-1352-1364.
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We consider the perception of the orientalist concept formulated by E. Said in modern Western and Russian science. The key works that have been published over the past 10-15 years are analyzed, inasmuch as the thirty years that have passed since the publication of E. Said’s monograph is a sufficient period for rethinking both the main postulates of his book and critical remarks addressed to it. It is concluded that the debate in the Western scientific community, caused by the publication of “Orientalism” is still mainly focused on the personality of the author himself, and sometimes on the opposition to his contemporary, the American historian and orientalist Bernard Lewis. It is emphasized that after the death of E. Said, the revisionist-minded part of the American and British oriental schools received a new reason to criticize not only “Orientalism”, but also the author himself in order to forget the work, which became the starting point for many Western orientalists to revise their attitude to the object of study. As for Russian Oriental studies, the research of orientalism in the humanities in Russia continues, despite the time that has passed since the publication of the Russian translation of the book by E. Said, and the understanding of the image of the “other” fits into the global trend of the discourse of orientalism, although with some specific features associated with the historical past of Russia.
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Sharp, Joanne P. "Writing Travel/Travelling Writing: Roland Barthes Detours the Orient." Environment and Planning D: Society and Space 20, no. 2 (April 2002): 155–66. http://dx.doi.org/10.1068/d220t.
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This paper offers a contribution to the recent emergence in geography of studies of travel writers and the production of other representations of the non-Western world. I consider a rather different text to those normally studied in that the book, Empire of Signs by Barthes, purports not to represent any real place. A number of writers, influenced by Said's pathbreaking work Orientalism, have considered whether Barthes perpetuates Orientalist images. Rather than structure my argument around the binary of Orientalist/not-Orientalist I will consider the ways that Barthes subverts the structure of Orientalism from within. Barthes counterfeits travel: playing with the concept of ‘wonder’ which halted the representational language of more conventional travellers. Through the construction of his own ‘hyper-Orientalist’ account, Barthes produces a poststructural ethics which I argue offers some important reflections on the politics of representation both of travel writing and of academic critiques of it.
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Yasmin Khan, Mamona, and Umme Farwa. "Exploration of Re-Oriental Tendencies in Shamsie’s Burnt Shadows and Home Fire: Re-Orientalization of the Orient." Journal of English Language, Literature and Education 4, no. 3 (March 28, 2023): 1–16. http://dx.doi.org/10.54692/jelle.2023.0501149.
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Re-orientalization of the modern orient has become a new phenomenon in South Asian Literature. This research tended to analyze the re-oriental tendencies in Shamsie’s critically acclaimed novels Burnt Shadows and Home Fire. Lau’s (2009) framework of Re-Orientalism was selected for the analysis along with the basic concepts of Said’s (1979) Orientalism. Within this framework, the researcher selected ten random samples from both novels for textual analysis. The analysis reveals that the modern orient encounters more hate and prejudice in the host country for being an orient and a diaspora Muslim. The new orient has been labeled as a terrorist under the concept of Islamophobia. This representation, interestingly, was not given by the Occident but by the postcolonial writer itself. Post-9/11 fiction highlights the settling issues of the modern orients significantly which make it different from the traditional ways of writing. A linguistic and pragmatic analysis of both novels can be done. Both novels can be compared in terms of similarities and differences in the linguistic styles of diasporic male authors.
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Arsentyev, Nikolay M. "THE PARTICIPANT OF THE XXV INTERNATIONAL EAST CONGRESS MAGOMET G. SAFARGALIEV (1906–1970) AND HIS SCIENTIFIC HERITAGE." Humanitarian: actual problems of the humanities and education 19, no. 1 (March 30, 2019): 102–14. http://dx.doi.org/10.15507/2078-9823.045.019.201901.102-114.
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The congress of the Bicentennial of the Institute of Oriental Studies of the Russian Academy of Sciences held in Moscow on October 29–30, 2018 revisited Orientalism as a direction of scientific activity and social practice. It became an occasion to study the scientific heritage including regional centers and individual scientists working in this field. M. G. Safargaliev (1906–1970), the well-known orientalist, the participant of the XXV International Congress of Orientalists. Since 1997, fifteen Safargaliyev’s Scientific Readings devoted to his memory have been held at Ogarev Mordovia State University. His biography and scientific heritage allow us to continue the positive dynamics in the development of Oriental studies, the continuity of generations.
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Salhi, Zahia Smail. "The Arab World and the Occident: Toward the Construction of an Occidentalist Discourse." مجلة كلية الشريعة و الدراسات الإسلامية 39, no. 2 (October 2021): 205–22. http://dx.doi.org/10.29117/jcsis.2021.0306.
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Purpose: This article aims to engage in a meaningful discussion of Occidentalism as a discourse that draws its roots from Orientalism. It scrutinizes the limitations of Occidentalism in investigating the East-West encounter from the perspective of Orientals (Arab intellectuals) and the multifarious ways the latter relate to and imagine the Occident. It will cast a critical eye on the multiple and diverse constructions of Occidentalism as a discourse, arguing that unlike Orientalism, which homogenizes the Orient, Occidentalism does not Occidentalize/homogenize the Occident. Methodology: We take as a starting point Edward Said’s definition of Orientalism as a style of thought based upon an ontological and epistemological distinction made between ‘the Orient’ and ‘the Occident’, and we explore the limitations and the possibilities of Occidentalism as a method to construe the colonial mechanisms of misrepresentation of the Other as everything different from the Self. This article compares and contrasts a plethora of existing definitions of Occidentalism as formulated by scholars from both the Arab world and the Occident. Findings: This paper concludes that the Oriental’s encounter with the Occident cannot, and should not, be projected as a reverse relationship, or, as some claim, as an ‘Orientalism in reverse’. Instead, it should be projected as a diverse set of relationships of Orientals who have experienced the Occident in a variety of manners. Furthermore, while Orientalism derives from a particular closeness experienced between the Occident and its Orient, often through real or imagined encounters, Occidentalism is also the outcome of a long cultural relationship between the Orient and its Occident. What differs between the Orient and Occident, however, is the position of power and hegemony, which characterizes the Occident’s encounter with the Orient. Originality: This article takes an all-inclusive view to discuss the term Occidentalism from the perspectives of both the Orient and the Occident. It teases out the limitations of this term. It challenges Orientalist methods of misrepresentation, which continues to blemish the Arab world and its discourse of Occidentalism as a discourse of hatred of the Occident. Furthermore, through the discussion of Alloula’s Oriental Harem, it offers insight into the suggested Occidentalism method, which emphasizes the disfigurations of the Orient while tactfully writing back to the Occident.
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Ümit Necef, Mehmet. "Skrækken for kulturel forskellighed. Inspirationen fra Edward Said i dansk indvandrerforskning." Dansk Sociologi 20, no. 3 (September 3, 2009): 51–76. http://dx.doi.org/10.22439/dansoc.v20i3.3082.
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I dansk forskning om forholdet mellem indvandrere og danskere er det ganske udbredt at fremføre, at danskerne lider af skræk for indvandrernes kulturelle anderledeshed. Artiklens hovedtese er, at det i virkeligheden er de anklagende forskere selv, der lider af skræk for kulturelle forskelle. På det teoretiske plan skyldes dette i høj grad et ønske om ikke at virke essentialistisk, et ønske, hvis teoretiske inspiration ikke mindst har en kilde i Edward Saids anti-essentialisme, som den udlægges i bogen Orientalisme. Artiklen argumenter for, at det er Saids formaninger imod brugen af kultur til at forklare et fænomen i forbindelse med Orienten og islam, der har gjort en række danske forskere bange for at anerkende og italesætte kulturelle forskelle. Artiklen fremfører, at danske forskere må tage kulturelle forskelle mellem danskere og indvandrere alvorligt og gentænke den populære forestilling om, at danskernes reaktioner imod kulturel anderledeshed altid handler om racisme, fordomme, stereotyper, skræk og panik. Inddragelsen af alternative teorier for at analysere interaktionen mellem danskere og indvandrere, ikke mindst danskernes forskellige reaktionsformer over for indvandrere, vil gavne sociologisk forskning.
ENGELSK ABSTRACT:
Mehmet Ümit Necef: Fear of Cultural Difference. Inspiration from Edward Said in Danish Research on Immigrants
Danish researchers who study the relations between Danes and Immigrants commonly claim that Danes suffer from the fear of immigrants’ cultural difference. The main thesis of this article is that it is really the researchers themselves who suffer from these cultural differences. At the theoretical level, this fear stems primarily from a desire of not being essentialist. This desire, and in particular its theoretical inspiration, stems in part from Edward Said’s anti-essentialism as it is constructed in his book Orientalism. This article argues that Said’s admonitions against employing the concept of culture to explain a phenomenon related to the Orient and Islam have contributed to a number of Danish researchers’ fear of recognizing and articulating cultural otherness. The article argues that Danish researchers should take cultural differences between the Danes and immigrants seriously, and not simply subscribe to the widespread idea that the reactions of Danes to cultural differences are always about racism, prejudice, stereotypes, fear and panic. Furthermore, the article argues that our sociological understanding of the relations between the Danes and the immigrants would be enriched by involving additional and alternative theories in analyses.
Key words: Orientalism, Edward Said, honour killing, essentialism, difference, racism.
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Shafranskaya, Eleonora F., and Tatyana V. Volokhova. "Orientalism poetics: story by Leonid Solovyov “The Nomad”." RUDN Journal of Studies in Literature and Journalism 25, no. 4 (December 15, 2020): 648–56. http://dx.doi.org/10.22363/2312-9220-2020-25-4-648-656.
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The article deals with the problem of orientalism in literature, narrowed to the question of Russian orientalism and its Soviet derivation. The names of Nikolai Karazin and Andrey Platonov are mentioned among Russian literary Orientalists. The researchers identify the differences between Soviet Orientalism and the Orientalism of the XIX century. The analytical paradigm presented in the article outlines the prospects for the scientific study of Uzbek impressions. Salir-Gul (1933) by Sigismund Krzyzanowski and Pavel Zaltzman's novel Central Asia in the Middle Ages (1930s). For the first time, the novel The nomad (Kochevye) by the Russian writer of the twentieth century Leonid Solovyov written in 1929 and published in 1932 is analyzed in detail. Appeal to the folklore, ceremonial, and ritual life of the peoples of Central Asia becomes one of the main techniques of Leonid Solovyov's Oriental poetics. Solovyov's narrator is not a traditional orientalist observer of an alien, and therefore exotic, picture of the world. In Solovyov's poetics, the subject of the story merges with its object and represents a single whole: Russian literature spoke in the voice of a stranger. The material of the article corresponds to the intentions outlined in modern postcolonial studies.
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Ismailinejad, Zahra Sadat. "Orientalist Paintings and said Orientalism." International Letters of Social and Humanistic Sciences 50 (March 2015): 68–81. http://dx.doi.org/10.18052/www.scipress.com/ilshs.50.68.
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Westerners came to this conclusion that to dominate Orient, they should gain sufficient knowledge about them. Therefore, they established the so-called field of Orientalism to study Orient since this knowledge gave them the power to rule. Based on this type of knowledge, they thought that there were sharp contrasts and differences between Orient and Occident and they tended to gain advantage from them. The problem started when Orient internalized these notions and embraced them with open arms due to the inferiority complex that was imposed on him. Orientalist painters also took their cues from the Orientalism to reflect their governments’ ideas and politics in disguise. These paintings began in nineteenth-century and different artists from Britain, France, Italy, Germany and Spain went to the East or started to paint based on others’ paintings or description of Eastern land. The problem is that some of these painters were first-hand observers but some others let their imaginations to shape their conceptions of Orient. Here, attempts have been made to review these paintings based on Said’s book, Orientalism.
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Turmudi, Imam. "Menimbang Gagasan Bryan S. Turner tentang Islam." Teosofi: Jurnal Tasawuf dan Pemikiran Islam 3, no. 1 (September 17, 2015): 60. http://dx.doi.org/10.15642/teosofi.2013.3.1.60-89.
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<p>This article explores the study of Islam by an orientalist, Bryan S. Turner. This study aimed to: <em>first</em>, to uncover the things that underlie the history of thought and movement of Orientalism. <em>Second</em>, to determine the thought Bryan S. Turner about Islam, which is specifically intended as a corrective to the thesis produced by Max Weber about his interpretation of Islam. The results of the study reveal that historically Orientalism, or the oriental studies movement emerged in the 18th century. This movement is often associated as a movement that pretend to control and weaken the East, especially Islam. It is not without basis, since the emergence of Orientalism has led to intellectual arrogance by claiming the West as a measure of civilization, because the East presented only in accordance with the construction used by the West.</p><p><strong><em> </em></strong></p><p><strong>Keywords:</strong> Orientalism, Orient, West, civilization.</p>
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Wissam, Bitari. "Feminist Occidentalist Discourse in ‘Shehrazad Goes West: Different Cultures, Different Harems’ by Fatima Mernissi." Feminist Research 5, no. 2 (October 22, 2021): 45–46. http://dx.doi.org/10.21523/gcj2.21050201.
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Occidental discourses tend to revise orientalist images about the orient. Many authors have taken the responsibility of giving a new voice to the occident and among those is Fatima Mernissi. In this regard, this paper aims at discussing the shift that has marked the writings of Fatima Mernissi with a particular focus on her book, ‘Shehrazad Goes West: Different Cultures, Different Harems’. It is undeniable that Fatima Mernissi‘s thoughts have known a radical change in terms of ideology and discourse. ‘Shehrazad Goes West’ seems to promote an Occidentalist discourse that isn’t based on appropriating orientalist rhetorical images of the orient but rather on revising/ reconsidering the tropes of essentialism, dehumanization and fixity that Orientalist texts usually opt for. From an auto-orientalist discourse that Mernissi advocated in her narrative Dreams of Trespass, we move to another discourse that manifests itself in ‘Shehrazad Goes West’, which is Occidentalism. In this article, based on a postcolonial feminist approach, I argue that Fatima Mernissi uses another approach of occidentalism in her construction of Western gender relations and the space of Western Harem. Instead of constructing a counter-hegemonic discourse to orientalism that based on misrepresenting the “other” and denying their voices, Eastern representation of the West in ‘Shehrazad Goes West’ does not keep with the same rhetoric of orientalism; rather it dismantles that logic which victimized people of the East and replaces it with a humane vocabulary. Moreover, the Occidentalist approach appropriated in the book does not only target the occident but also the orient resulting on what Abdelkbir Khatibi calls “double critiques”. The significance of this paper lies in highlighting such a potentially inclusive and democratic discourse that would counterbalance the politics of othering inherent in the discourse of orientalism.
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Bourenane, Abderrahmene. "Authenticity and discourses in Aladdin (1992)." Journal of Arab & Muslim Media Research 13, no. 2 (September 1, 2020): 235–50. http://dx.doi.org/10.1386/jammr_00021_1.
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Since the first encounters between the East and the West, many Western artistic productions have been produced to introduce the Orient to the Occident. Antoine Galland’s translation of the oriental folkloric tales, known as One Thousand and One Nights marked a cultural transfer through introducing an exotic, colourful and adventurous, yet unsafe, life-threatening and mysterious image of the Orient. Scholars question the authenticity of the translation, and reject the true belonging of the tale of Aladdin’s Wonderful Lamp to the oriental cultural heritage suggesting its Western construction. This fabrication suggests the existence of several discourses that are to be unfolded with the critical discourse analysis of the pictorial and textual discourse of the tale and its several filmic adaptations. The tale was fully or partially adapted in several cinematographic productions during the last century. For example, while Aladin (1906) faithfully adapted part of the original tale, the 1992 version directed by Clements and Musker is a loosely inspiration perceived through an orientalist filter. The aim of this article is to investigate the authenticity and disclose the discourses concealed in Galland’s translation and its 1992 filmic adaptation, the critical discourse analysis in addition to Edward Saïd’s Orientalism provide the theoretical framework to analyse the excerpts from the translation and scenes from the film, in order to disclose the colonial, orientalist and feminist discourses they encapsulate.
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Martínez Muñiz, Pablo. "Joseph-Philibert Girault de Prangey (1804-1892): el viaje a oriente de un pionero del daguerrotipo." Imafronte, no. 30 (June 7, 2023): 134–48. http://dx.doi.org/10.6018/imafronte.539771.
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This article analyzes the figure of Joseph-Philibert Girault de Prangey: traveler, orientalist scholar and daguerreotypist of the 19th century. His contribution to the History of Photography is fundamental since he was a pioneer in the use of the daguerreotype from 1842 on his trip to the East, traveling through the current countries of Italy, Malta, Greece, Egypt, Turkey, Syria, Palestine, Israel, and Lebanon. In addition, he was a great artist –watercolorist, draftsman–, he was interested in botany and gardening and stood out for his studies on Islamic architecture and archeology in the Middle East and in Andalusia, a region, the latter, which he visited in 1832. This research uses primary sources –his writings, writings of the time and his daguerreotypes– to build a biographical account in which the first moments of photography are interrelated –released in 1839, just three years before Girault de Prangey’s departure to the Near East– with the interest in Orientalism that existed in Europe in the 19th century. El presente artículo analiza la figura de Joseph-Philibert Girault de Prangey: viajero, erudito orientalista y daguerrotipista del siglo XIX. Su aportación a la historia de la fotografía es fundamental ya que fue un pionero en el uso del daguerrotipo a partir de 1842 en su viaje a Oriente, viajando por los actuales países de Italia, Malta, Grecia, Egipto, Turquía, Siria, Palestina, Israel y Líbano. Además, fue un gran artista –acuarelista, dibujante–, se interesó por la botánica y la jardinería y destacó por sus estudios acerca de la arquitectura islámica y la arqueología en Oriente Próximo y en Andalucía, región, esta última, que visitó en 1832. La presente investigación utiliza fuentes primarias –escritos suyos, escritos de la época y sus daguerrotipos– para construir un relato biográfico en el que se interrelacionan los primeros momentos de la fotografía –dada a conocer en 1839, apenas tres años antes de la partida de Girault de Prangey a Oriente Próximo– con el interés por el orientalismo que existía en la Europa del siglo XIX.
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Yazdani, Mina, and Omid Ghaemmaghami. "An Ante Litteram Critique of Orientalism: The Case of Abu’l-Faḍā’il-i-Gulpāyigānī and E.G. Browne." Religions 14, no. 6 (June 9, 2023): 765. http://dx.doi.org/10.3390/rel14060765.
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Since the late 1970s, the term Orientalism has been closely associated with Edward Said (d. 2003) and his influential monograph of the same name. First published in 1978, Orientalism advanced a number of critiques about the discipline of “Oriental Studies”, its frequently condescending portrayal and depiction of the Eastern world, and the complex relationship between knowledge and power in the context of the Middle East. As revolutionary as a number of Said’s theses have been, in his critique of Orientalism and in particular his penetrating analysis of the relationship between knowledge and power, Said was not breaking entirely new ground. In fact, seven decades earlier, a voice from the Orient itself, the Persian Bahā’ī scholar Mīrzā Abu’l-Faḍā’il-i Gulpāyigānī (d. 1914), expressed a similar, albeit embryonic, critique of Orientalism. Abu’l-Faḍā’il’s analysis, presented in the opening chapters of his final book Kashfu’l-Ghiṭā’, focused on one of the foremost Orientalists of his time, the Cambridge scholar Edward Granville Browne (d. 1926). Rather than studying the extent to which Browne fits the paradigm of Orientalism (a topic some scholars have previously expressed views on), this article explores ways in which Abu’l-Faḍā’il’s critique of Browne’s study of the Orient can be viewed as a nascent prefiguration of some of the theses developed and advanced by Said decades later. Gulpāyigānī’s precedence as a Bahā’ī scholar in discerning and addressing the link between Western scholars’ knowledge production and the colonial power relations of their respective governments with the countries or areas they studied, helps correct a misconception forged about Bahā’īs. Historical narratives produced in anti-Bahā’ī polemics decades after Gulpāyigānī’s death created a master-narrative that cast Bahā’īs as agents of colonial powers, sweeping under the rug counterarguments such as those posed by Gulpāyigānī’s critique. The authors of this article have been motivated by this corrective goal.
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Carneiro Dazzi, Camila Carneiro. "PELAS RUAS DO MAGREBE: ORIENTALISMO NO BRASIL AO FINAL DO SÉCULO XIX / Walk through the streets of the Maghreb: orientalism in Brazil at the end of the 19th century." arte e ensaios 26, no. 40 (December 2, 2020): 261–81. http://dx.doi.org/10.37235/ae.n40.18.
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O Magrebe central, cuja palavra de origem árabe e significa “onde o Sol se põe”, correspondia, ao final do século XIX, a um território que englobava a Tunísia, a Argélia e o Marrocos (STORA, 2004). Foi uma região fecunda em temas de inspiração, e ao final do Oitocentos, muitos artistas Europeus e Americanos consideravam uma estadia no Magrebe tão indispensável quanto uma permanência de estudos na Itália, destino eleito por inúmeros pintores para o desenvolvimento de pesquisas de renovação do uso da luz e da gama cromática. O Magrebe não só permitia novas possibilidades no uso da cor e de luz, mas possuía a vantagem de permitir uma exploração exótica, de ser uma terra oriental cheia de mistério e misticismo. O fascínio despertado pelo Magrebe conquistou alguns pintores brasileiros, como Arsênio Cintra da Silva, Pedro Américo, ou que aqui atuaram, como Johann Georg Grimm. O artigo busca contextualizar qual foi a importância do Magrebe no panorama mais amplo do Orientalismo Ocidental, bem como apresenta alguns dados, se não inéditos, bem pouco conhecidos sobre a produção Orientalista de Georg Grimm, um pintor que, embora pouco estudado, possui um papel relevo no cenário das artes do Rio de Janeiro, nos conturbados anos de 1880.Palavras-chave: Orientalismo; Magrebe; Johann Georg Grimm; Pintura do século XIX.Abstract The central Maghreb, a word of Arabic origin that means “where the sun sets”, corresponded, at the end of the 19th century, to a territory that included Tunisia, Algeria and Morocco (STORA, 2004). It was a fruitful region in terms of inspiration, and at the end of the 19th century, many European and American artists considered a stay in the Maghreb as indispensable as a stay in Italy, a destination chosen by countless painters for the development of research to renew the use of light and chromatic range. The Maghreb not only allowed new possibilities in the use of color and light, but had the advantage of allowing an exotic exploration, of being an oriental land full of mystery and mysticism. The fascination aroused by the Maghreb conquered some Brazilian painters, like Arsênio Cintra da Silva, Pedro Américo, or who worked here, like Georg Grimm. The article seeks to contextualize the importance of the Maghreb in the wider panorama of Western Orientalism, as well as presenting some data, if not unpublished, little known about the Orientalist production of Georg Grimm, a painter who, although little studied, has a role the art scene in Rio de Janeiro, in the troubled 1880s.Keywords: Orientalism; Maghreb; Johann Georg Grimm; 19th century painting.
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Gholi, Ahmad, and Masoud Ahmadi Mosaabad. "Departure from Orientalist Norms in Arminius Vambery’s Travels in Central Asia." Dirasat: Human and Social Sciences 51, no. 2 (March 30, 2024): 333–46. http://dx.doi.org/10.35516/hum.v51i2.3199.
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Objectives: This article critiques Edward Said's Orientalism through a detailed examination of Arminius Vambery's "Travels in Central Asia" as a departure from traditional Western travel writing. By analyzing Vambery's work, the aim is to highlight instances where he deviates from the established principles of Orientalism. Methods: Drawing on Behdad's insights, this study explores the dynamic and flexible nature of Orientalist discourse. It investigates how travel writers like Vambery can deviate from the norms and conventions of Orientalism in their encounters with Eastern cultures and people. Results: The findings of this study demonstrate three notable instances where Vambery showcases his departure from Orientalism. Firstly, he recounts an encounter with two Afghans who discover his disguise during their shared journey. Secondly, Vambery refrains from depicting the harem of local Emirs in Turkistan as a place of hedonism, in contrast to prevailing Victorian travel writers. Lastly, he appreciates and celebrates the local cuisine, in contrast to the dismissive attitudes prevalent among his contemporaries. Conclusions: It is a mistaken assumption that Victorian travel writers exclusively followed Orientalist tropes when exploring the Islamic Orient. The study emphasizes the importance of recognizing these counter-Orientalist moments in travel literature to present a more nuanced and comprehensive understanding of the works.
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Naser, Azhar Waheed. "A Comparative Study of Oriental Literature from a Western View of Joseph Conrad." International Journal Papier Public Review 3, no. 2 (July 2, 2022): 26–34. http://dx.doi.org/10.47667/ijppr.v3i2.155.
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This article aims to examine and trace the growth of Oriental Literature and its subsequent influence on World Literature. In a period demarcated and dominated by two completely opposite ideologies, namely the ‘Anglicist and Orientalist’ theories, it becomes very interesting to observe how the Colonial and the Western Mindset looked at the ‘colonized’ especially through the lens of the literature of Joseph Conrad, one of the most influential and popular writers in the early 20th century. As an extended influence on English Romanticism, Oriental Literature was instrumental in giving birth to new themes and ideas, enriching the minds of English writers. The discerning theories of Orientalism by Edward Said and OP Kejriwal and of Sub Altern Studies by Gayatri Spivak seemed to bridge our understanding between the ‘orient’ and the ‘occident’. Initially thought to be a theory languishing on the fringe, orientalism slowly grew in prominence, even among British Colonial administrators and scholars who agreed with the idea that Indians should be ruled according to their own traditions and laws, as a direct opposition to ‘Anglicanism’. The colonizers did look down upon the colonized which was quite evident in the literature of that era, a phenomenon also visible in the works of Joseph Conrad. The research paper will therefore try to delineate and present a nuanced comparative analysis of Joseph Conrad’s Western view as part of his works of Oriental Literature
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Alfawa’ra, Loiy Hamidi Qutaish, and Jameel Ahmed Alghaberi. "American orientalism: A critical reading through Edgar Allan Poe." Studies in English Language and Education 10, no. 2 (May 31, 2023): 1103–18. http://dx.doi.org/10.24815/siele.v10i2.25564.
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To date, The Arabian Nights still create frames of reference outside its fictive core. The article critically examined the adaptations and appropriation of the classic Arabian Nights by Edgar Allan Poe and how he invested his interest in the Orient to advance his career as a writer. More specifically, the aim was to study the links between European Orientalism and the new version of the Orient constructed in the United States. Various modes of reading and approaches were used to critically interpret the primary texts. Orientalism and postcolonial theories provided a theoretical framework for the study, and the deconstructive approach was applied in certain contexts to deconstruct and dismantle the stereotyping and mythologizing of the Orient. The article contributed to the growing scholarship on American oriental discourse by offering a counter perspective. Poe’s poems and short stories all perpetuate negative oriental representations. His obsession with the Orient is not reflected as aesthetic appreciation but it is rather appropriation that distorts and never restores. Poe’s oriental discourse is only examined lately by Arab critics of American literature and more specifically it surfaced through translations of his works into Arabic. Through stereotypical duplication in the world of realism, a fake Orient has become there in the world of reality.
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Tavakoli-Targhi, Mohamad. "MEHRZAD BOROUJERDI, Iranian Intellectuals and the West: The Tormented Triumph of Nativism (Syracuse, N.Y.: Syracuse University Press, 1996). Pp 256." International Journal of Middle East Studies 32, no. 4 (November 2000): 565–71. http://dx.doi.org/10.1017/s0020743800002853.
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Mehrzad Boroujerdi's Iranian Intellectuals and the West explores the works of three generations of Iranian writers and academics who contributed to the formation of a counter-Western “nativist” discourse. It opens with an exposition of the concepts that constitute the theoretical grid of the book and provide the title of its first chapter. “Otherness, Orientalism, Orientalism in Reverse, and Nativism.” Informed by contemporary critical theories, Boroujerdi argues for the centrality of the “other” to the formation of modern self-identity. Re-encapsulating the main theses of Said's Orientalism, he recounts that “the Islamic world came to be perceived as the embodiment of all that was recently left behind in Europe: an all-encompassing religion, political despotism, cultural stagnation, scientific ignorance, superstition, and so on” (p. 7). He then explains “Orientalism in reverse,” a concept formulated by the Syrian critic Sadik al-Azm. Preferring this clumsy concept to “Occidentalism” or “self-Orientalizing,” Boroujerdi defines Orientalism in reverse as “a discourse used by ‘oriental’ intellectuals and political elites to lay claim to, recapture, and finally impropriate their ‘true’ and ‘authentic’ identity” (pp. 11–12). As a counter-narrative of Orientalism, this discourse “uncritically embraces orientalism's assumption of a fundamental ontological difference separating the natures, peoples, and cultures of the Orient and the Occident” (p. 12). Boroujerdi attributes the popularity of Orientalism in reverse to the “seductive lure of nativism,” which is defined as “the doctrine that calls for the resurgence, reinstatement, or continuance of native or indigenous cultural customs, beliefs, and values” (p. 14). Surprisingly enough, Boroujerdi does not divulge that this seductive and pervasive “ nativism” has no discursively significant equivalent in Iranian cultural politics.
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Wiedemann, Felix. "Der doppelte Orient Zur völkischen Orientromantik des Ludwig Ferdinand Clauß." Zeitschrift für Religions- und Geistesgeschichte 61, no. 1 (2009): 1–24. http://dx.doi.org/10.1163/157007309787376000.
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AbstractOne of the main topics of the völkisch racial scientist Ludwig Ferdinand Clauß was the racial cartography of the Orient. Based on older discussions in anti-Semitic literature, Clauß constructed a racially divided – double – Orient and made a sharp distinction between Arabs and Jews. His depiction largely follows patterns of ascription from Orientalist as well as anti-Semitic discourses. By doing so he draws attention to structural overlaps and differences between Orientalism and anti-Semitism: a romanticized Arabic Orient served as an antipole to a “Nordic” Europe, and as such was finally able to advance to a positive alternative. The Jewish Orient, on the other hand, embodied for Clauß a threatening ambivalence and contrariety, which from the very beginning precluded romanticization and identification.
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Ahmed Hasan Al-Saidi, Afaf. "The East in the Western Perception: Orientalism in some selected Poems of Lord Byron." Arab World English Journal For Translation and Literary Studies 5, no. 3 (August 15, 2021): 17–26. http://dx.doi.org/10.24093/awejtls/vol5no3.2.
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Orientalism as a literary phenomenon has been recently focused on by different writers all over the world. Many of those who write about Orientalism have not the same understanding, and the divergences are reproduced due to different attitudes toward Orientalism. From various studies concerning Orientalism, there are apparent tributaries confronting the understanding of the concept of Orientalism from different perspectives. Edward Said is one of those who, according to what many Western and Eastern writers say, represent the negative attitude towards Orientalism, and tries only to make it appear ugly and offensive. Many writers, Arabs and non-Arabs, take, more or less, the same approach Said used towards the subject of Orientalism. Others have, to some extent, tried to give excuses for the writers, especially the Romantics, for the negative impression their writings reflected on the readers when going through what is supposed to be Oriental works. Nigel Leask, Sari Makdisi, Emily Haddad, Martin Bright, Tripta Wahi and Naji Oueijan are the significant writers of this group. British orientalists did not use the right approach to look or write about the East. What irritates Said is that these orientalists did not pay attention to find any possibility by which they could bridge the gap between the European and Asiatic parts of the world. This paper tries to trace and to define Lord Byron’s type of Orientalism in some of his oriental works and his chief work Don Juan.
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Ma, Xiaolu. "“The Orient” versus Dongfang." Prism 17, no. 2 (October 1, 2020): 430–56. http://dx.doi.org/10.1215/25783491-8690436.
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Abstract Since Edward Said published his seminal study on Orientalism, the notion of the Orient has been heavily discussed and hotly debated in both the Eastern and Western worlds. While early studies of Orientalism mainly underline Western fantasies of an exotic East as the West's “other,” Chinese scholars have also been inspired to reconceptualize the notion of the Orient in recent decades. By examining the formation of the notion of dongfang 東方 (the Orient) through journal publications, academic disciplinary construction, and the writing of oriental history, this article observes how the Chinese world of letters identified China with the Orient when China attempted to accommodate itself to a Eurocentric historical narrative in the 1920s. The article further investigates how the Chinese achieved a strategic alliance with Soviet Russia in the 1950s to confront the Western cultural centers of Europe and the United States and how Chinese academia repositioned itself in response to the adoption of Western criticism on Orientalism in the 1980s. This article also traces the institutionalization of oriental literature studies in modern China under the influence of both Soviet Russian and Western European academia to investigate how reimagining the Orient has enabled Chinese scholars to reorient Chinese literature within the genealogy of world literature. This article thus aims to shed light on the Chinese reconfiguration of Chinese cultural identity in an ongoing negotiation between East and West.
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Muzaffar, Mehvish, Dr Muhammad Asif, and Talha Bashir. "Fabricated Intellectual Hegemony of the Colonizers: A Comparative Analysis of Post-colonial texts." International Research Journal of Management and Social Sciences 3, no. 1 (March 31, 2022): 33–39. http://dx.doi.org/10.53575/irjmss.v3.1(22)5.33-39.
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The purpose of the research is to analyze the postcolonial texts from the perspective of “Orientalism” with its aspect of “Fabricated Intellectual Hegemony”. It is a process in which the Orients are constructed, represented, and described by Europe as the corporative institution. It deals with the Orient by making statements about the Orient, authorizing the views about it, describing it, teaching it, settling it, ruling over it. In “Orientalism” the binaries are set to maintain power over the colonized. “Strategic Location” is about the position of the writer in the novel and “Strategic Formation” deals with the relation of postcolonial texts with one another. The article applies Edward Said’s theory of “Orientalism” (2003)1 to three novels by different authors in order to highlight the fact how “Orientalism” exploits the colonized by fabricating reality. This study applied a qualitative approach with Catherine Belsey’s method of thematic content analysis with the conceptual framework of “Orientalism” in a Postcolonial context. The study is significant and unique because it showed a comparative analysis of the postcolonial writers and texts as well.
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Al-Shetawi, Mahmoud F. "Shakespeare’s Orientalism Revisited." Critical Survey 32, no. 4 (December 1, 2020): 21–35. http://dx.doi.org/10.3167/cs.2020.320403.
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This article attempts to document and examine the corpus of Arabic and Islamic allusions and references in Shakespeare’s drama and poetry in line with postcolonial discourse and theory. The works of Shakespeare incorporate a large body of Arabic/Islamic matters, which the Bard has gleaned from different sources, such as travel literature, narratives of pilgrims, history annals and common tales of the Crusaders. However, these matters are sporadic in Shakespeare’s works, woven into the fabric of various plays and poems. For example, Shakespeare has thematically used a set of allusions and references to the Arab world such as Arabian trees, the Prophet Mohammed, the Turk, Aleppo, Jerusalem, and many others. Shakespeare has also presented three Oriental characters in his plays: the Prince of Morocco, Shylock and Othello, each with distinctive ethnic and personal traits. A scrutiny of Arabic and Islamic matters in the works of Shakespeare from postcolonial critical perspectives reveals that Shakespeare has a vague idea about Arabs and the Orient at large. Therefore, Shakespeare represents the Orient as the other; his Orient is rather exotic and bizarre, posing as an impending menace to Europe.
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Nadel, Ira. "Oriental Bloomsbury." Modernist Cultures 13, no. 1 (February 2018): 14–32. http://dx.doi.org/10.3366/mod.2018.0192.
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The multiple and occasionally contradictory response of Bloomsbury to the Orient is the focus of this essay which also considers the reverse: the Orient's response to Bloomsbury and the promotion of their texts in the East. From Roger Fry to G. L. Dickinson, Virginia Woolf, and Vanessa Bell, the Orient became a source of aesthetic interest and problematized politics. French Orientalism and Proust initially corroborated the experiences of Woolf in Constantinople and Leonard Woolf in Ceylon, soon to be revised by new views of Imperial authority. Yet Bloomsbury and the Orient artistically depended on each other, at one point Fry scolding Bloomsbury and England that ‘we can no longer hide behind the Elgin marbles and refuse to look at the art of China’. And look they did, from attending museum shows to collecting Oriental art and furniture, while adopting Oriental fashions – and, when possible, traveling to China and Japan marked by visits by Bertrand Russell, William Empson, and Harold Acton. The response of individual Bloomsbury writers to the Orient mixes curiosity and jealousy. To her nephew Julian Bell, teaching at Wuhan University, Woolf wrote that ‘you are much to be envied. I wish I had spent three years in China at your age’.
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Silva, Leonardo Luiz Silveira da, and Jamerson Sérgio Passos Rezende. "A interpretação dos dogmas orientalistas por intermédio das imagens." Proa: Revista de Antropologia e Arte 10, no. 2 (September 21, 2022): 38–59. http://dx.doi.org/10.20396/proa.v10i2.16604.
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O Orientalismo foi construído por meio da experiência colonial e do estranhamento entre as cosmologias entre o Ocidente e o Oriente. Destaca-se como referência dos estudos orientalistas o autor Edward Saïd. Para ele, as práticas orientalistas são passíveis de serem identificadas por meio de quatro dogmas, a saber: as diferenças de desenvolvimento entre o Ocidente e o Oriente, a preferência pela descrição do Oriente clássico em detrimento do moderno, a visão utópica do Oriente visto como eterno o temor nutrido pelo Ocidente frente ao Oriente. A Arte Orientalista, exemplificada neste artigo por meio das pinturas temporalmente centradas no século vitoriano, constitui-se como importante ferramenta de interpretação dos dogmas descritos por Saïd. É objetivo deste artigo mostrar que o entendimento da manifestação dogmática do Orientalismo nas pinturas de artistas ocidentais nos capacita a projetá-lo em outras formas de linguagem, aperfeiçoando-nos a leitura crítica e qualificando as nossas relações interpessoais e análises políticas, baseadas, contemporaneamente, no exercício do estranhamento identitário.
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LAU, LISA. "Re-Orientalism: The Perpetration and Development of Orientalism by Orientals." Modern Asian Studies 43, no. 2 (March 2009): 571–90. http://dx.doi.org/10.1017/s0026749x07003058.
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AbstractThis article discusses the perpetration of Orientalism in the arena of contemporary South Asian literature in English: no longer an Orientalism propagated by Occidentals, but ironically enough, by Orientals, albeit by diasporic Orientals. This process, which is here termed as Re-Orientalism, dominates and, to a significant extent, distorts the representation of the Orient, seizing voice and platform, and once again consigning the Oriental within the Orient to a position of ‘The Other’. The article begins by analysing and establishing the dominant positionality of diasporic South Asian women writers relative to their non-diasporic counterparts in the genre, particularly within the last half decade. It then identifies three problems with the techniques employed by some diasporic authors which have exacerbated the detrimental effects of Re-Orientalism; the pre-occupation with producing writing which is recognisably within the South Asian genre, the problem of generalisation and totalisation, and the insidious nature of ‘truth claims’.
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Boroujerdi, Sarah. "Media Post-coloniality and the Ethereal Persian ‘Empress’: How Hollywood Weaponized the Nostalgia of Exile." International Journal of Social Science Studies 9, no. 6 (October 26, 2021): 76. http://dx.doi.org/10.11114/ijsss.v9i6.5393.
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The osmosis between Iranian exile, Oriental repertoires, and the commodification of nostalgia in film and contemporary1 culture alludes to the Disney reproduction of the East that is capitalized by Hollywood’s invisible hand. The commodification of Orientalist logic via nostalgia of old civilization and Achaemenid grandeur is conveyed by Hamid Naficy’s (1991) reference to Edward Said’s (1978) ‘imaginary2 geography’—the inventive tool of narration that augments tales and anecdotes of exilic narratives, while heightening essentialism of the East. The European modeling of coronation, bejeweled scepters of royalty under the Pahlavi period (1941-1979), and cinematic repertoires of Iranians in film are perpetuated for viewers via fetishization, lust, and enchantment. The televised 1967 coronation of Queen Farah (b. 1938) solidified the trope of the Persian ‘Empress’ through picturesque markers of Achaemenid rulership (550-330 BCE). Media3 propagations of nostalgia in the paradisiacal Pahlavi coronation can be paralleled to current illusions of the Orient presented in the film Paterson (Jarmusch, 2016), starring exiled Iranian actress Golshifteh Farahani. I refer to the Pahlavi coronation to expand on the spectacle of ‘nostalgia’, and the desire for a distant homeland. Naficy’s (1991) interpretation of ‘nostalgia’—a factor of exile, expounds how relics and objects induce a longing for the distant and ahistorical. Objects of nostalgia are inexplicably weaponized in Hollywood inventions of Near Eastern characters and serve as palpable symbols of the East via skewed representations of women, sexuality, and the exotic4 (Ahmed, 2006). Poetry, nostalgia, and fictional tales of the Orient in Paterson (Jarmusch, 2016) allude to Said’s (1978) vision of the imperialist project in Orientalism. The inventive and imaginary power of color media in the televised Pahlavi coronation and the fashioning of a politically permanent subject of interest—Iranians and the East, augured a pertinent era of media post-coloniality5 via the preservation of orientalism, rather than the Orient.
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Braga, Duarte Drumond. "CAMPOS, SÁ-CARNEIRO E ALMADA: ORIENTALISMO NO PRIMEIRO NÚMERO DE ORPHEU." Revista Desassossego, no. 15 (August 16, 2016): 17–29. http://dx.doi.org/10.11606/issn.2175-3180.v8i15p17-29.
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No primeiro número de Orpheu é possível encontrar três presenças bastante significativas do discurso orientalista, isto é, de uma tradição discursiva europeia de representação da alteridade “oriental”: «Opiário», de Álvaro de Campos; “Distante Melodia”, de Mário de Sá-Carneiro e «A Taça de Chá» de Almada Negreiros. Se o orientalismo é uma conhecida marca das estéticas finisseculares, importa contudo interpretar este fenómeno à luz do surto da estética modernista em Portugal. O presente ensaio procura fazer ver como, nos três casos, o que ocorre não é tanto a presença de uma herança finissecular, mas uma complexa desconstrução do discurso orientalista que poderia ser tomada como a principal característica de um Orientalismo Modernista Português.
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Roozbeh Koohshahee, Roohollah, and Alireza Anushirvani. "Representation of the Orient in Pasolini’s Arabian Nights." International Letters of Social and Humanistic Sciences 58 (September 2015): 123–29. http://dx.doi.org/10.18052/www.scipress.com/ilshs.58.123.
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This article aims at studying the representation of the Orient in Pasolini’s film Arabian Nights(1974). Since this film is a faithful adaptation of Thousand and One Nights it will be examined as carrying the same ideology which the text carries. The text of Thousand and One Nights established and legitimized orientalism in the west. Thus the movie follows suit in institutionalizing Orientalism. This is obtained by a close watching analysis and by looking at the images of the Orient, the plot itself, potential stylistic features which expresses images or attitudes in this regard. Our hypothesis is that the Orient in this movie is portrayed in accordance with notions of representation of the Other being depicted as, amongst other aspects, exotic, sexual, erotic and as a homogenous mass. Pasolini portrays Oriental men and woman as bodies in the duality of mind and body, and portrays them as a homogenous mass this is merely due to their belonging to a particular culture or race. The film represents the Oriental men and women as having a defining interest in sex and eroticism. It displays an exoticising Western view of the Oriental culture.