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Copyright of Alternative Politics / Alternatif Politika is the property of Alternatif Politika and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article argues that Hebrew theatre is defined by a hegemonic Ashkenaziness that has been present from its beginning and which continues today. It identifies four main components of this hegemony, each of which is examined in turn. The first two components, Hebrew culture and Eurocentrism, are analyzed in relation to the repertoire of plays presented at such theatres as Habima, Ohel, and Cameri. This repertoire combines Yiddish plays and translations of European plays, while also reproducing Orientalist attitudes towards Mizrahi culture. The third component, privileged citizenship, centres on the privileges afforded to Ashkenazi artists and actors in the theatre when compared to Mizrahi actors, especially in terms of casting decisions. Finally, hegemonic Ashkenaziness is defined by membership of the middle class, which, in the theatre, leads to productions being targeted at an Ashkenazi audience and its cultural capital. [ABSTRACT FROM AUTHOR]

Gastronomic tourism is a developed research stream in tourism studies. Previous literature, however, has mainly shed light either on the micro-context of food itself or on meso-contexts such as heritage and regional food sourcing. Given this situation, previous research has called for examining this aspect of food tourism, aptly named the 'cultural turn' in food tourism. This paper adds to extant theoretical conversations by studying popular international gastronomic tourism videos. As the world becomes increasingly globalized and cultural products suffuse across borders, travellers, particularly those from the Global North, sample and judge local cuisine and this incurs reactions from onlookers. Watched by millions of people, vlogs provide a virtual immersive socio-cultural experience to a tourist site. In this regard, this article asks the following research question: how does the Global North-South divide manifest in vlogged gastronomic tours and what responses do such phenomena provoke among international audiences? Using the approaches of textual analysis, content analysis and sentiment analysis, this study explores the afore-mentioned research question using the canvas of nine gastronomic vlogging tours as played out on YouTube. The authors analyse the most popular food vlogs of all time and use a gamut of more than three hours of video (with more than 215 million views) and more than 128,000 comments. The results show how vlogs may provide authentic cultural experiences and how the Global North-South divide is ameliorated through vlogging gastronomic tours. The question is important not only helpful for guiding destination marketers and tourism service providers about the multifaceted aspects of a destination, but also for understanding how particular social phenomena can foster connections among different peoples. [ABSTRACT FROM AUTHOR]

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Turandot has long been criticized as artificial, anti-feminist, and most notoriously, Orientalist. The goal of this paper is to show from a survey of its numerous adaptations and transformations worldwide, that it has been proven more productive to treat it as a case for the complexity of the discussion on authenticity of a piece of art in an ever-changing and global world, instead of simply dismissing it as an attestation of Puccini’s inability to produce an authentic montage of a place no different than “a galaxy far, far away” for a Nineteenth century Italian. The paper concludes that over the course of the last two decades, Turandot has transformed from a piece used by the West to appropriate Chinese, to a self-appropriating piece that helped mainly China to assert its “cultural soft power,” and eventually to a vehicle for Chinese domestic audience to understand more about both themselves and the West, and the common thread uniting both cultures: humanity and love.

Over the past decades orientalism as an approach adopted in Western studies of nonWestern cultures has been subject to major philosophical analysis. The critical impulse that was transmitted by Edward Said to the scientific community in 1978 was powerful enough to create a universal framework. This conceptual framework makes possible both a revisionist point of view toward the West and a Western offensive discourse toward the so-called internal colonization. When we decompose Orientalism into components, for example through hermeneutic analysis, this phenomenon turns out to be one of the justifiably commonplace problems of the representation of nonWestern cultures in Western academic studies. Orientalists and researchers of non-Western cultures are criticized for mechanistic constructivism applied to the Other, but at the same time, conservative ideologists (René Guénon, Oswald Spengler, etc.) tend to draw attention to the fundamental crisis of Western science, its epistemological dysfunction and unnecessitated plurality that does not bring us closer to understanding the essence. However, both approaches unfairly overlook the factor of already exerted constructive influence on non-Western cultures. Orientalism can be seen not only as a form of exploitation, but also as a form of providing a language of self-interpretation, which have had a visible effect on non-Western cultures' understanding of themselves. This article examines the evolution of perceptions of the possibility and necessity of representations of non-Western cultures, as interpreted by the authors who are commonly classified as equally leftand right-wing ones.

Suchitra Choudhury's monograph is an impressive and extensive study on the cashmere shawl in British literature, anatomizing it as both a valuable commodity and a rich metaphor in literature. In his seminal work on commodities, Arjun Appadurai determines that objects enjoyed a social and cultural "life", as they were traded and absorbed from and into varying cultures and traditions transnationally.[1] In I Textile Orientalisms i (Figure 1), Suchitra Choudhury unravels the multivalent and polymorphic "life" of one such fashionable, imperial object - the Cashmere shawl and its Scottish imitation, the Paisley. [Extracted from the article]

This paper explores the early history surrounding chinoiserie artworks in the 18th century and earlier to argue that an Orientalist relationship exists between the East and West. I will first analyze how the reliability of chinoiserie artists' sources affected how China is stereotyped. Then, the focus will turn to the role of patronage in chinoiserie and europeanerie and how the West and East developed a complicated power relationship through their artistic treatment of foreign culture. Throughout the paper, Said's theory of Orientalism and Spivak's theory of the subaltern will apply to visual art produced by Chinese and European artists. As part of the conclusion, I will discuss early chinoiserie's legacies in the modern and contemporary world. [ABSTRACT FROM AUTHOR]

The proposal presented here sought to identify the conceptual and methodological potentialities that are summarized in "Periodistan - An Argentine on the Silk Road". To do this, we sought to bring closer the author's perspective and situated experience through his journey to address it from and through an analytical-conceptual framework in as a geographical interpretation. The proposed methodology focused on addressing the author's stories as an ethnographic roadmap, to identify the perspective of the inhabitants of distant spaces on the scale of the place. It should be noted that this type of work allows us to approach and understand the (New) Silk Road from a (dis-orientalized) perspective of the actors who inhabit and experience these territories. The work invites us to get out of the stereotypes and geographic otherness of non-Western territories. The difficulty of approaching distant spaces leads us to present this type of proposal to collaborate with new perspectives on the cultural configurations imposed by the media. In this sense, "Periodistan" allows us to activate our geographical imagination, discovering distant spaces, crossing borders, knowing cultures, dismantling stereotypes, and learning from history. [ABSTRACT FROM AUTHOR]

When the Western-centered discourse is analyzed based on literary texts, a new intellectual profile appears, who has the problem of having commitment to her own culture and tradition. Considering the spread of this discourse on the literary texts, we encounter a kind of fiction that creates the text based on the Western canonic and cultural codes. Elif Safak's novels which we examine in terms of the means of culture and tradition points out the problem of commitment and assimilation of the intellectual profile that is isolated from her own value criteria and has formed her cultural borders on a European level. In this context, the author's way of establishing Western-centered text and developing unilateral discourse can be read as the influences of orientalism on Turkish intellectuals. With the image of 'other', the novels of the author who creates Western-centered text seem far from objectivity due to its source and a deviated structure. In this article, we will examine Elif Safak's motivation for creating Western-oriented texts and her unilateral approach to events with text-based analysis of the novels Ask, Araf, Baba ve Pic and Iskender. [ABSTRACT FROM AUTHOR]

Edward Said, who is a key intellectual figure in the theory and interpretation of western European colonization and decolonization, sees criticism as personal engagement and a matter of character and not simply scholarship. He is highly influential in the fields of colonialism, postcolonialism, representation and interpretation. Of the many influences Said in turn has undergone, those in French deserve specific exploration. This article explores some of these influences, but it also looks at some of Said's own representations of French and French-speaking culture. To this end I will examine how Said in some of his key works addresses, among other things, the role of the intellectual, Orientalism, colonialism, and literary theory. My approach is chronological. I will first turn to the role the French-speaking world plays in Said's first published book, Joseph Conrad and the Fiction of Autobiography (1966), and then to a couple of Said's most celebrated works: Orientalism (1978) and Culture and Imperialism (1993). [ABSTRACT FROM AUTHOR]

From its publication in 1978, Edward Said's magnum opus Orientalism has generated fierce and unrelenting debates regarding its epistemology and scope, and the interpretive validity of its Western cultural representations of the self and other. Since then, however, the world has become increasingly governed by different sets of assumptions, ideologies, relations of production and reproduction, and matrixes of power relations. This article considers whether orientalism has kept its hold on Western public opinion, media presentations, political elites, and sections of the scholarly community's mode of thinking in the current neo-liberal, globalised, digitalised and securitised world. It also considers whether its mutation has shifted to engender a paradigmatic change and argues that alongside the old-style orientalism, a more sophisticated, subtle, and up-to-date perspective has appeared. Although its emphases, concerns and methodologies might represent a certain departure from old orientalist dogmas, its objective seems to remain largely intact. [ABSTRACT FROM AUTHOR]

This article sheds light on the Norwegian playwright Henrik Ibsen's interest in Egypt and the Arab world. It underscores the influence of his tour in Egypt during the opening of the Suez Canal on his works, drawing on the theoretical underpinnings established by Edward W. Said. The study foregrounds Ibsen's correspondence, plays, and other works that include references to his two-month stay in Egypt and to his encounter with the Arab culture. Ibsen's references validate the Western stereotyping and ideology that have influenced a wide array of Western writers in the ways they misrepresent and misinterpret the Arab culture, and concomitantly other references mirror a personal force of admiration. Additionally, the article discusses the idea that Ibsen's sojourn in Egypt did not alter his viewpoint of the Arab culture in general and the Egyptian one in particular which is markedly controlled by the Western stereotyped image of Arabs and their culture. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Confluências Culturais is the property of Fundacao Educacional da Regiao de Joinville - FURJ and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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In my study, I tried to give a brief description of how the Orient was perceived by the West, mainly focusing on the first hand experience that the Romantic currents leader in painting, Eugène Delacroix had before and during his travels to the Maghrebian lands. Also I analized and presented this East – West clash, based on of the paradigm launched by Edward Said, Orientalism.

RESUMEN: Este artículo tiene por objetivo analizar la novela Viento del este, Viento del oeste de Pearl S. Buck en la que se manifiestan de forma única las tesis sostenidas por Edward Said en su obra Orientalismo. Si bien Said se ha dedicado al estudio de las narrativas de los siglos XIX y primera mitad del XX que tienen por objeto el análisis del choque cultural, no ha extendido sus teorías a la dialéctica masculinidad-feminidad. Sin embargo, es posible reconocer estas mismas categorías epistemológicas orientalistas en la configuración de los relatos constitutivos de la esencia femenina. En este sentido, la novela pone de manifiesto cómo esta configuración de la esencia femenina se realiza a través de un proceso violento y cultural ejercido sobre el cuerpo. En particular, el artículo se centra en tres paralelismos entre las tesis orientalistas y la construcción de la esencia femenina: a) La dicotomía OrienteOccidente; b) la bipolaridad femenino masculino; y c) la dialéctica cuerpo-alma, que muestran la perspicaz manera en que la narrativa corporal subyace a la configuración de la autocomprensión existencial femenina. ABSTRACT: This article analyzes the novel East Wind: West Wind of Pearl S. Buck, in which the theses held by Edward Said in his work Orientalism are manifested in a unique way. Although Said has devoted himself to the study of the narratives of the Nineteenth and the first half of the Twentieth centuries that are aimed at the analysis of the cultural clash, he has not extended his theories to the dialectic masculinity-femininity. However, it is possible to recognize these same epistemological orientalist categories in the configuration of the constitutive accounts of the feminine essence. In this sense, the novel shows how this configuration of the feminine essence is realized through a violent and cultural process exercised on the body. In particular, the article focuses on three parallels between the orientalist thesis and the construction of the feminine essence: a) The East-West dichotomy; b) feminine-masculine bipolarity; and c) the dialectic body-soul, which show the insightful way in which the body narrative underlies the configuration of female existential self-understanding.

The lives and labour of migrants are increasingly shaped by political precarity and rightlessness in an unevenly globalized world. We argue that 'undesirableness' rather than mobility is constitutive of the 'migrant' position. Besides underscoring the asymmetrical power relations that define the position of the 'migrant' vis-à-vis the receiving state and society, an optic of 'undesirableness' also foregrounds the governmental techniques deployed to produce the figure of the 'migrant'. We suggest that the framing of migrants as 'unwanted' is pivotal to the European non-entrée regime, which parallels cultural exclusion through an Orientalization of the discourse on migration. The immutable cultural alterity of the (Muslim) 'migrant' is thus presumed to pose a perennial threat to Western 'liberal' values. Two assumptions undergird this narrative of the 'undesirable' migrant as the quintessential 'Other' of the European Self: cultural determination of behaviour in migrant communities, and incompatibility of 'migrant cultures' with those of 'host' societies. [ABSTRACT FROM AUTHOR]

Islamophobia is not just a fear of people ascribing to the religion of Islam, if that was the case simple religious conversions would erase hatred. In the world of surging Alt-Right movements, Islamophobia embodies racism, anti-migrant xenophobia, and orientalism. This article explores Alt-Right groups in the US and Europe, traces their ideological gurus, deconstructs political speeches, reports of rightwing think tanks to understand how Islamophobia is a process of disembodiment. Inspired by Bourdieu's habitus, and feminist work on embodiment/disembodiment, this article argues that the Muslim narrative thoroughly disembodies the Muslim body. Disembodiment is annihilation before corporeal death ensues, the Muslim does not get to mark her corporeal and intellectual existence. Disembodiment nullifies the Muslim's life, she is only valuable in death, because disembodiment reclaims her death as a vanquished terrorist, as a murdered jihadi, or a bombed city where weapons of mass destruction or uranium may have existed. [ABSTRACT FROM AUTHOR]

Research on algorithms tends to focus on American companies and on the effects their algorithms have on Western users, while such algorithms are in fact developed in various geographical locations and used in highly diverse socio-cultural contexts. That is, the spatial trajectories through which algorithms operate and the distances and differences between the people who develop such algorithms and the users their algorithms affect remain overlooked. Moreover, while the power of big data algorithms has been recently compared to colonialism (Couldry and Mejias 2019), the move from the colonial gaze (Yegenoglu 1998) to the algorithmic gaze (Graham 2010) has yet to be fully discussed. This article aims to fill these gaps by exploring the attempts to algorithmically conceptualize "the Other". Based on the case study of an Israeli user-profiling company and its attempts to sell its services to East Asian corporations, I show that the algorithmic gaze—algorithms' ability to characterize, conceptualize, and affect users—stems from a complex combination between opposing-but-complimentary perspectives: that it is simultaneously a continuation of the colonial gaze and its complete opposite. The ways in which algorithms are being programmed to see the Other, the ways algorithmic categories are named to depict the Other, and the ways people who design such algorithms describe and understand the Other are all different but deeply interrelated factors in how algorithms "see." I accordingly argue that the story of algorithms is an intercultural one, and that the power of algorithms perpetually flows back and forth—between East and West, South and North. [ABSTRACT FROM AUTHOR]

Copyright of Djoussour El-maarefa is the property of Association of Arab Universities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An analytical toolkit particular to English constructions of the Ottomans is needed to grapple with representations of Anglo-Muslim relations in the 18th century. That toolkit is a work in progress, but would include recognition of the following: (1) the current state of archival access reinforces a Eurocentric perspective; (2) the relative geopolitical power of England and the Ottoman Empire shifted drastically in the 18th century; (3) the necessity of a strategic post- Saidian theoretical framework; (4) a polemical repertoire of comparison and projection ("Mahometanism") often used stereotypically imagined Muslims as stand-ins for non- Muslim targets; (5) the politics of confessionalization meant that Islam's non-Trinitarian monotheism was a challenge to Anglican authority; and (6) polemical uses of Islam particularly focused on issues of political authority, religious toleration, and women's rights. [ABSTRACT FROM AUTHOR]

This article reconstructs the history of the Indian YMCA's Orientalist knowledge production in an attempt to capture a significant, if forgotten, transitional moment in the production and dissemination of scholarship on the religions and cultures of the Indian subcontinent. The YMCA's three Orientalist book series examined here flourished from the 1910s to the 1930s and represent a kind of third-stream approach to the study of South Asia. Inspired by the Christian fulfillment theory, "Y Orientalism" was at pains to differentiate itself from older polemical missionary writings. It also distanced itself from the popular "spiritual Orientalism" advocated by the Theosophical Society and from the philologically inclined "academic Orientalism" pursued in the Sanskrit departments of Western universities. The interest of the series' authors in the region's present and the multifarious facets of its "little traditions," living languages, arts, and cultures, as well as their privileging of knowledge that was generated "in the field" rather than in distant Western libraries, was unusual. Arguably, it anticipated important elements of the "area studies" approach to the Indian subcontinent that became dominant in Anglophone academia after the Second World War. [ABSTRACT FROM AUTHOR]

Avrupa'da Bir Cevelan narrates a journey which Ahmet Mithat Efendi set out on for the 1889 Stockholm Congress on Orientalists. In the book, while, on the one hand, Ahmet Mithat describes the European culture in many ways, on the other hand, he mentions his impressions which he got during the congress and the issues handled in the meetings which he participated. Some of these issues are related to Turks. In addition to Turkish, Turkish history, Turkish literature, the Tatar and the Ottoman Turks, the developmental levels of other Islamic nations are among these matters. Apart from the congress, Ahmet Mithat makes comparisons between the Turkish and the European cultures for various reasons. Both at the congress and during their trips other than the congress, Ahmet Mithat sees that the general of the Westerners know neither "the East" nor the Turks well. Moreover, with his novel entitled Ahmet Metin ve Şirzad, which he wrote when he returned from his journey to Europe, he aims to reveal the greatness of our nation on the one hand and defends our culture and civilization on the other hand. [ABSTRACT FROM AUTHOR]

The representation of Asian women in popular media and cultural artifacts has historically underscored reductive and damaging stereotypes of hypersexualization and objectification. For Eurasian women (half white, half Asian), however, whose racial difference is only partial, media representation takes a starkly contrasting form that leads to entirely different popular perceptions. This article explores how forces of misogynistic objectification have disparate impacts on Eurasian and fully Asian women in contemporary American culture and society. Using contemporary media analysis, prominent celebrity case studies, and personal interviews, I argue that contemporary entertainment media objectify and sexualize both Asian and Eurasian women to generate public allure; however, these media use Otherness as a medium for the sexualization of fully-Asian women, whereas the ambiguous Eurasian racial appearance leads to a deracialized sexualization that allows both agency beyond race lines as well as cultural and racial erasure. This deracialization, however, comes with double-edged implications for Eurasian belonging: while it may seem that Eurasians have greater access to hegemonic American media and audiences, they lack a sense of belonging within pre-established racial paradigms. Their biracial identity thus has highly-nuanced implications for professional mobility, individual erasure, and community belonging. [ABSTRACT FROM AUTHOR]

Oriental feminism cannot be understood without understanding the wider perspective of Orientalism. Orientalism is a way through which the West controls the East by creating and controlling knowledge and power. The Orientals are represented as weak, stupid, mysterious, ferocious, barbaric, 'uncivilized' and incapable of self-representation, therefore, they must be represented and ruled over by the Orientalists. Feminist Orientalism poses that Oriental women are oppressed and de-humanized by their male counterparts, therefore, they need Orientalists to save them from the Oriental men. Through thematic analysis of the text 'City of Spies,' the character of Aliya--the protagonist, has been analyzed for themes regarding Oriental Feminism. It has been observed that Aliya's portrayal complies with the representation of Oriental women being timid, stupid, male-power fantasy and objects of intimacy and thus, in contrast with the Orientalist females who are powerful, and headstrong. It is concluded that the novel, through contrasting Aliya with Lizzy and Anne Simon, creates the binary between the two worlds, hence stressing on the inferiority of Oriental--Aliya and superiority of Orientalists--Lizzy and Anne Simon. [ABSTRACT FROM AUTHOR]

This aim of this article is to critically examine how the concept of culture is used in Sweden to explain the “failure” or the difficulties that Muslim immigrant families are experiencing with regards to their integration into the dominant society. Whereas, the Swedish society is often represented as ‘modern’, ‘progressive’, and ‘democratic’, immigrants with Muslim backgrounds are predominately described as ‘traditional’, ‘authoritarian’ and ‘pre-modern’. There is a widely held idea within Swedish social work research that immigrant families and the white mainstream Swedish society are situated within two different value systems with different world-views regarding family and gender relations. Due to this entrenched binary opposition, Orientalism becomes constitutive to social work research and practices.

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This essay explores the ways in which Abraham Shalom Yahuda (1877–1951) mobilizes Arabo-Islamic culture for the construction of Hebrew culture as manifested in his writings that treat Arabic literature. The essay's argument comprises two parts: first, that Yahuda's production of Arabic poetical literature endeavored to familiarize Jewish communities, in particular European Jews, with Arabic culture. As such, I argue that Yahuda did not Hebraize Arabic poetical texts nor he Judaize Arab figures that he treated. Rather, he preserved essential characteristics that were intended to acquaint European Jews with the otherness of Arabs and simultaneously with the Jewish self. Second, Yahuda's efforts also sought to draw a connection between contemporary Jews and their "Israelite brethren"—in Yahuda's words—as Yahuda concurrently urged his Hebrew-reading audience to embrace spiritual and moral values that characterized the Jewish forefathers. Prominent Arab figures, particularly poets, represented the perfect example to transmit moral values that Jews needed in order to restore their relation with the land of their ancestors. In advocating for embracing moral values such as bravery, loyalty, and hospitality, Yahuda's noble Arabs and heroes represented the Orientalism of Arabic culture and its relevance to the Jews of his time, highlighting the common denominators between Arabs and Israelites. [ABSTRACT FROM AUTHOR]

By arguing that a new 'School' is crystallising in the study of India, Deborah Sutton (2018, "So called caste: S. N. Balagangadhara, the Ghent School and the Politics of grievance." Contemporary South Asia 26 (3): 336–349) has brought to the surface phenomena that are typical of any encounter between competing research traditions. Some difficulties of understanding are caused by conceptual change: in the dominant research tradition, 'Hinduism' and 'the caste system' refer to structures that exist in Indian society; in the research programme developed by Balagangadhara, these terms designate experiential entities embedded in a western cultural experience of India. This conceptual divide also extends to the empirical: because the study of caste and Hinduism is collapsing under the weight of accumulated anomalies, certain problems are crucial to the alternative theorising of the Ghent School, whereas they seem irrelevant to the dominant tradition. Sutton engages in the polemics characteristic of confrontations between competing research traditions. She distorts and domesticates unfamiliar ideas from this School by mapping them onto notions familiar to her. Consequently, she confuses Balagangadhara's hypotheses about colonial consciousness with hackneyed stories about 'Orientalism'. The article concludes with a puzzle: Why does Sutton recognise a group of researchers as a new School, while trying to dismiss them as 'acolytes' who reproduce the 'mantras' and 'dogmas' of an Indian thinker? [ABSTRACT FROM AUTHOR]

In this article, I discuss the 2016 Brazilian surf movie Um Filme de Surfe by Bruno Zanin and Leandro Dora, featuring surfers Yago Dora, Yuri Gonçalves and Lucas Silveira. This small group of Brazilian surfers and their camera crew travel on a chartered boat to an island in the Indian Ocean to catch an incoming swell, where they pretend to find an unknown surf paradise. While doing so, they orientalise the local Indonesian culture as an exotic, pre-modern 'other' who they, the 'translocal' modern surfers, encounter and teach about modernity. I will also examine how they perform a 'bro' masculinity that forms a 'fratriarchy' based on hijinks and pranks. In Um Filme de Surfe, the Brazilian surfers neglect to establish a dialogue with the local Indonesian islanders. They do not represent themselves as postcolonial subjects visiting a fellow culture from the global South; they are the cosmopolitan translocal surfers and the locals are mistaken for Polynesian islanders. I will then discuss how this film broadly reflects the challenge of representing non-white, non-Western surfers in the genre of surf films. [ABSTRACT FROM AUTHOR]

In the Italian public debate, the Mediterranean has represented a discursive formation employed to describe the South as the Other of the North. It has been associated with cultural representations and discourses of civicness that identify the South along a specific set of sociocultural elements, moral norms and forms of civic organization. The Italian city of Naples holds much empirical evidence as an originator of such discursive formation. Since the early 1990s, singer-songwriters attempted to transform stereotypical views of Naples and the South, and to popularize a positive idea of Mediterraneaness on a cultural, ethnic and political dimension. This article aims to explore this process through musical and ethnographic sources, and to discuss the way it is mobilized in forms of protest against racism, xenophobia and the rise of extreme-right in contemporary Italy. Neapolitan artists Eugenio Bennato, Almamegretta, 99 Posse and collective Terroni Uniti provide the case studies. [ABSTRACT FROM AUTHOR]

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This article focuses on the introduction of postcolonial theories and applications, aiming to stress the close relations between literature and cultural studies. The definitions of imperialism, colonialism, neocolonialism, and postcolonialism are discussed one by one in order to highlight the cultural factors of postcolonialism. Then Edward Said's Orientalism, Gayatri Spivak's subaltern voice, and Homi Bhabha's hybridity are mentioned together with the cultural factors in their postcolonial theories. Finally the author takes George Bryon's Don Juan, Charlotte Bronte's Jane Eyre, and Vladimir Nabokov's diasporic literature as specific samples for the three respective postcolonial theories, with the purpose to demonstrate the importance of cultural factors in literature studies. [ABSTRACT FROM AUTHOR]

Judith Gautier (1845-1917) is best known as muse to Victor Hugo and Richard Wagner. More recently, critics have started crediting her for bringing Asian culture to Parnassian-era Paris in her 1867 translations of Chinese poetry, Le Livre de jade. In most of her translations, Gautier adapted Chinese texts to suit personal and contemporary French poetic ideals, which were in turn appropriated by readers as models of Chinese ideals. Her poetic creations reveal an early modernist style, which is at once disorienting and familiarizing. This article reconsiders Gautier's translations to show how and why these adaptations replaced original Chinese sources for subsequent generations of modernist poets, including Stéphane Mallarmé, Ezra Pound, and Kenneth Rexroth. Orientalist tendencies in these eminent poets are products of Gautier's subjective, gendered, and inventive interpretation of the East, shaped not only by the translations themselves but also by Gautier's ways of understanding. [ABSTRACT FROM AUTHOR]

It seems that Orientalism is enjoying a resurgence, offering yet more distorted images of the Muslim world, and more specifically Muslim women. In this essay, I take Jan Goodwin’s Price of Honor as a case in point, a book which projects images that seem to galvanize around an inferior Muslim world where men are bloodthirsty, polygamous and helplessly oppressive of female members of their families. The book reiterates Edward Said’s views on the West’s creation of an “imagined” Orient, yet adds to it new charted cartographies of a reductionist Islamic world that allegedly possesses identical traits. First, the paratextual elements of Goodwin’s book are quite revealing: the cover picture of veiled Afghani women, the sensational title, chapter titles, epigraphs and maps are extremely telling of the preconceived ideas on which the book rests and which the text only supports. The language chosen and the “facts” listed in Goodwin’s account reflect an obvious Orientalist perspective and lead to erroneous overgeneralization that would in turn offer readers distorted images of Islamic cultures and peoples. Goodwin’s work unfortunately seems to offer a superficial understanding of Islam and is an example of the Islamophobia currently pervading the world. Thus, Goodwin fails in her mission to “lift the veil of silence” of Arab women and instead helps in propagating negative images of Muslim women through revisited Orientalist lenses. [ABSTRACT FROM PUBLISHER]

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This paper participates in the contemporary discussion about literary texts that speculate on the future(s) of humanity with a view to commenting on the fears, anxieties, and drawbacks of the present. It looks at Karen Tei Yamashita's "Anime Wong" through the theoretical lenses of scholars debating the identity configuration model of a posthuman world in connection with the ethnoracial discourse. "Anime Wong" imagines a posthuman future inhabited by an exclusively Asian population of cyborgs and aliens. The mythological foundation of this Asian posthuman civilization draws on the cultural pillars of Western culture. Subtitled "A CyberAsian Odyssey," Yamashita's "Anime Wong" borrows the Homeric Odyssean pattern, filters it through the 'mythologies' of Star Trek and Battlestar Galactica, and mixes it with political comments and references to Western philosophy and popular culture. It then impregnates the result with distinctively Asian elements and uses the mixture as a figuration of an ethnocentric posthuman future, thus commenting both on the cultural implications of cybernetic technologies and on the ethnic clichés and stereotyping predispositions at work within contemporary culture. The aim of this paper is to look into how "Anime Wong" filters the Asian ethos through the cultural products of Western imagination to provide a critical ground for engaging the techno-orientalist discourse. [ABSTRACT FROM AUTHOR]

The hippy trail flourished in the 1960s: it was one of the most dramatic examples of the values of the counter-culture. This essay first presents a sociological sketch of typical travellers, and then considers how ordinary hippy trail travellers interacted with local people. It compares the attitudes of hippy trail travellers with the classical model of Orientalism, and notes that the travellers largely distanced themselves from imperialist culture. The essay establishes that there were a variety of reactions by travellers to their experience, ranging from racism, through fear, shyness and romanticization, to attempts to create reasonably egalitarian forms of cross-cultural communication. [ABSTRACT FROM AUTHOR]

InOrientalism(1978) Edward Said linked Western discourse on the Orient to projects of domination, arguing that for over two thousand years ‘the West’ had constructed ‘the East’ as an inferior and essentially unchanging ‘Other’. In this article, I will test his argument against the case of Western discourses on China. I will show that Said’s thesis, in its original form, applies only to some discourses, and that it cannot account either for the variety of discourses in each period or for the ways in which discourses have been transformed from one era to the next. At the same time, I will suggest that Said is right to connect discourses on China with the West’s images of itself, and that his emphasis on power helps us to understand how discourses serve the agendas of the varied groups that promote them. [ABSTRACT FROM AUTHOR]

The entire nineteenth-century, especially the second half of it, was a period of cultural and religious ferment in India under the influence of western culture and missions. Believing that the civilization of India is barbaric and superstitious, the Colonisers think Western epistemological structure -- culture, political ideology and philosophy, forms of government, educational and social infrastructure -- are needed to be implied to civilize their colonies which according to them were inhabited by humanist subclasses. But the Missionaries had different missions. They bring along with them a new world of Christendom who intervene into the interests - livelihood, work, cultural practices, life style, food habit, social behaviour, social infrastructure - of the bulk of the rural population - landless labour, small and marginal farmers, artisans, nomads and various aboriginal without caring to understand the social peculiarities of the place; ignoring the religio-cultural sensitivity of people. Their moral superiority and doctrine of monopoly miserably fails to understand the social solidarity, social cohesion and social integration of the wretched of earth. Moreover, with their aggressive imperialism, the Christian missionaries are perpetrating in nature who cannot recognise the dalits, marginalized, downtrodden and subaltern. And the indigenous people who is not a part or choose not to be a part of the course of Christianisation, fall victims to the seductive ideology of the missionaries. It is because their foundational principles and doctrines are alien, unreasonable and uncalled for and have been called into questions. They have been challenging and harmful to their sustainable living. In brief, the worst sufferers are the primitive people who live in isolation and are forgotten. Their liberty and equality and rights and justice are at stake. Those facilities are denied and gasping for breath. Needles to say, there has been a radical change in their ideas, value systems, beliefs, cultural practices and so on and so forth. And its abuses have been examined by the writers from varied backgrounds. One of the first authors to address such issues in literary works is Gopinath Mohanty. This is what Frantz Fanon says in his In Beginning Theory about the British Coloniser's "European practices" and cultural domination. To quote Fanon: Echoing Fanon, Edward Said in Orientalism comments that the British colonisers' agenda to educate the tribals in the name of civilizing them was a part of their cultural colonization, to which Said termed "Orientalism". Through this "Oriental" policy, the Westerns (the British Colonizers) establish their superiority over Easterns, identified as the "Other". They depicted to the Easterns as uncivilized, lazy and stupid (11). [ABSTRACT FROM AUTHOR]