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The article is devoted to the analysis of the Semipalatinsk and Kuznetsk periods in the life and work of F.M. Dostoevsky. The purpose of the study is to reveal the Kazakh-Siberian periods in the fate of the Russian writer, their reflection in the letters and works of art by F.M. Dostoevsky. In the year of the 200th anniversary of the birth of the Russian writer, we cannot talk about the complete study of the indicated periods of the life of the prose writer, which, of course, to one degree or another, were reflected in his prose. This determines the degree of novelty of this article. Dostoevsky is dear to Kazakhstan. He not only served his exile, but also found a friend here, sincere and quivering - the historian, orientalist, ethnographer Ch. Valikhanov. The stories Uncle's Dream and The Village of Stepanchikovo and Its Inhabitant, the first chapters of Notes from the Dead House were written in Semipalatinsk. The story The village of Stepanchikovo and its inhabitants (1857-1859) has the author's clarification: From the notes of the unknown. Many works of fiction in world literature are the result of travel notes, diaries. Undoubtedly, the restoration of the history of the Kazakh-Siberian period of the life and work of F.M. Dostoevsky is of great value, because the greatest Russian writer experienced spiritual revival there, in Kazahstan. The works of F.M. Dostoevsky were included in the literature program of secondary schools in Kazakhstan, translated into Kazakh ( The Idiot, The Brothers Karamazov translated by N. Syzdykov). Dostoevsky scholars of Kazakhstan in the XXI century continue to study the writers works.

In Northern Cyprus, cultural festivals are increasingly popular. The routinely celebrated festivals transform small villages into colourful celebrations with lots of activities and great culinary experiences, offering opportunities for social contact between members of different generations. People meet in the streets, where traditional food and handicrafts are on display and traditional folk dance performances usually take place. Cultural events provide an important space in which older generations often nostalgically remember the past with others of their generation and share their memories with the young people. Bi‐communal interactions between Turkish Cypriots and Greek Cypriots in these public spaces also help leave behind and bury the violence of the past, nationalistic dogma, and intolerance. Drawing on ideas from postcolonial theory, cultural studies, sociology, and scholarship on public art, this article develops a post‐postcolonial approach to explore the politics and value of Turkish Cypriot cultural festivals and the ways in which Turkish Cypriots are bridging differences with Greek Cypriots. Through observations, conversations, and interviews conducted with Turkish Cypriots from June 2014 to October 2017, the article also discusses the ways in which public art encourages dialogue and multicultural tolerance in Cyprus. The article argues that the rise of interest in Turkish Cypriot folk arts and multicultural tolerance, as propagated by Turkish Cypriots, should be understood in more complex terms than simply that of positive inclusion, as an ambivalence closely connected to the East/West division. Accordingly, the article illustrates that the coexistence of inclu‐ sion and exclusion are at the heart of Turkish Cypriot society.

Aziyadé (1879) and Fantôme d’Orient (1891), an autobiographical debut novel and a travel narrative by Pierre Loti, are key texts in French exoticist literature. Set in the Ottoman Empire on the eve of its disintegration, Loti’s debut novel illustrates a young man’s discovery of life à la turque through an account of his stay in Istanbul and his liaison with Aziyadé, a young married Turkish woman from a harem. The affair ended with his departure, but Loti’s fondness for Istanbul remained. He returned to the city ten years later, as a best-selling literary writer and a member of the Academie Française, to seek the traces of his past. Fantôme d’Orient is the account of his three-day stay in search of his Turkish life and a self-reflexive meditation on memory, loss, death, and distance. Loti’s Turkish persona and profound attachment to the country raise questions on affect and affinity, or on what it means to write as a Turcophile. Taking its cue from the links among exoticism, imperialism and travel writing, this paper illustrates the personal, the political, and the poetic implications of Loti’s assumed Turkish identity. Focusing on affect and rhetoric, it seeks to answer how affinity shapes discourses conditioned by power and empire, highlighting its poetic potential and political sensibilities.

This article is devoted to the zoomorphic images of China and Japan in the caricatures published in the Russian periodical press from 1890 to 1905. The aim of the study is to analyze the mechanisms of building images of the Other by creating a comic effect, as a strategy for overcoming cultural aphasia. The study focuses on the caricature technique of zoomorphism, or giving the Other an animalistic form. Within the framework of the article, we examined the possibilities of caricature as a means of political communication and analyzed its tools for expressing the changing political situation, including opportunities for the actual transformation of the image. In addition, the reception of zoomorphism as a shift in the natural/innate domain in the gradation from “prey”, “noble animal” to “beast” was examined. According to the results of the study, the image of China as a dragon and the images of Japan as a dog or monkey as well as the symbolism of the yellow color and exotization as a method of alienation are of most interest. Furthermore, the issues of the imperial discourse of the Russian Empire, which was formed, among others, under the influence of the colonial discourse of the leading European powers of that time, the problem of orientalism as well as the question of self-identification of Russia within the framework of the “East-West” opposition, were discussed. The article is intended for everyone who is interested in the history of the development of political caricature in Russia and those who study the theoretical and practical issues of creation of the image of the Other.

أهداف البحث: يهدف البحث إلى تحليل تداوليّة الاستغراب في الفكر الغربي المعاصر من خلال اتّجاهين أساسيّين، هما؛ الاستغراب التأسيسي، والاستغراب الانعكاسي، ثمّ مقارنته بالاستغراب في الفكر الياباني الحديث والمعاصر؛ للنظر في أهم أسسه، ومقوّماته، وبُناه، ونظريّاته. منهج البحث: اعتمد البحث على المنهج الاستقرائي التاريخي؛ لاستقراء أهم اتّجاهات الاستغراب في الفكر الغربي، ثمّ المنهج التفكيكي؛ لدراسة الأسس الفكرية، والمنهجيّة للمقاربة الاستغرابيّة، ثمّ اتّبع المنهج النّقدي المقارن في دراسة التجربة التحديثيّة اليابانية مقارنة بالتجربة الغربيّة. النتائج: من أبرز النتائج التي توصّل إليها البحث: أن تداوليّة الاستغراب في الفكر الغربيّ المعاصر يتنازعها تيّاران اثنان: تيّار يؤسّس للاستغراب؛ باعتباره "مقاربة منهجيّة، نقديّة، جذريّة" تشكّلت بصفتها نقدًا للمركزيّة الغربيّة في كلّ تجلّياتها، ويتزعّم هذا التيّار؛ كوز فان، وفيرننادو كورونيل؛ وتيّار يسعى إلى تقزيم الاستغراب، وإفقاده أيّة أصالة منهجيّة، أو معرفيّة مبدعة، ويرى فيه مجرّد ردّة فعل "أيديولوجية - نفسيّة"، أو استشراقًا معكوسًا، ويتزعّم هذا التيّار أفيشاي مرغليت، وإيان بوروما. ثمّ بيّن البحث تفرّد التجربة التحديثيّة اليابانيّة، باعتبارها تجربةً استغرابيّة، تشكّلت، وتطوّرت خارج إطار المركزيّة الغربيّة، ومفاهيمها، ومقولاتها، ونظريّاتها. أصالة البحث: أصالة البحث كامنة في تأصيله للاستغراب في تداوليّته الغربيّة الأصيلة، من خلال نماذج دقيقة، وبالاعتماد على مصادر أصيلة يتمّ استقراء كثير منها لأوّل مرّة في الدّراسات العربيّة، بالإضافة إلى دقّة تحليله لمكوّنات الاستغراب الياباني، تنظيرًا وتطبيقًا. Purpose: This research aims to analyze the deliberation of Occidentalism in contemporary Western thought in its major trends, namely, foundational and reflexive Occidentalisms. Then, it deals with Occidentalism in modern and contemporary Japanese thought and tackles its constituents, structures and theories. Methodology: The research adopted the historical inductive approach to extrapolate the most important trends of Occidentalism in Western thought, then the analytical-critical approach to analyze its intellectual and methodological backgrounds. Finally, the paper adopted the comparative critical approach in studying the Japanese modernizing experience compared to the Western one. Findings: Among the most prominent findings, the paper showed two major trends of Occidentalism in Western thought. The former considers Occidentalism a “methodological radical critical approach” of Western thought as a critique of Western Centrism in all its manifestations. The latter, by contrast, seeks to dwarf Occidentalism and make it lose any innovative methodological or epistemological authenticity and sees it as a mere “ideological-psychological” reaction to or an inversion of Orientalism. Then, the research showed the uniqueness of the Japanese modernizing experience, as it was formed and developed outside the frameworks, concepts, and visions of Western Centrism. Originality: The research is original in terms of its analysis of Occidentalism in its native Western milieu through accurate models, most of which are introduced for the first time in Arabic studies. The second axis of originality lies in the accuracy of the analysis of the components of Japanese Occidentalism in theoretical and practical horizons.

Of Mountains and Seas (1989) and Snow in August (1997) are two plays which Gao Xingjian completed in France and contain direct references to ancient Chinese cultures. With reference to Gao’s “cold” theatrical techniques of suppositionality and tripartite acting, I argue such plays not only expose the Orientalist impulses in their portrayals of Chinese mythology and Zen Buddhism but also breathe new life into these ancient Chinese traditions. By highlighting Gao’s emphasis on observation, this paper demonstrates how his “escape” from Orientalism via literature is less about the avoidance of Orientalism than the reflexive observation of Orientalism.

Hollywood is an important media for the United States in spreading Western ideology. The hundreds years, Hollywood has featured various characters from different cultures and countries. However, they have suffered from cultural racism along with other minority groups. In American movie, the East depicted as ignorant and backward with a considered inferior culture compared to the west. This situation is known as orientalism, has influenced and controlled the mass media (films) and Western society's perceptions. This study aims to determine how eastern culture is depicted in the American film, The Karate Kid. This study uses Edward Said's Orientalism theory, which explained how the westerner views the east. The analysis concludes that the Hollywood industry reflects the superiority of the west over China through the character of Dre Parker. Hence, the portrayal of Chinese characters is displayed with stereotypes such as yellow faces, skin color racism, slanted eyes, bullying, and alcoholic habit.

French Islamic studies, which have traditionally been at the forefront of humanitarian knowledge, have experienced their ups and downs: Orientalism generated by the era of the Crusades, colonial politics and the postcolonial period of the crisis of recovery, in which migrants live, “border” on the once advanced concept of multiculturalism, the search for an inclusive education and tolerant social and labor policies. Scientists note that the historiographic works of the early 20th century authored by French researchers focus on the negative consequences of the Arab-Muslim conquests for the development of the classical culture of the North African region. Later, with the study of the intellectual heritage of Muslim cultural figures, scientific knowledge came to understand the role of Islamic culture in ensuring the preservation of ancient traditions and the continuous development of humanistic thought. Historiographic and geopolitical work has been replaced by interdisciplinary research based on a cross-cultural approach. In this regard, Islamic scholarly discourse is enriched by the research of Muslim authors who speak Arabic, Turkish, Farsi, who are able to reveal the problems under study related to Islam from the inside, and not from the standpoint of subject-object relations.

Throughout history, it can be seen that the Western countries have had imperial concerns in order to be the colonialist powers of the world. It won’t be wrong to state that the expansion of the West resulted in the East’s being dominated and oppressed by the Western countries to create a powerful domain for themselves by destroying the freedom of the Eastern countries. In this sense, it can be pointed out that the suppressing and isolating practice of orientalism comes to the fore as an influential term by means of its power of forming a perspective about the East under the Western eyes. In relation to that, literature can be regarded as one of the most important instruments in the creation of the Orientalist West. As it is the Western discourse that lies behind the term orientalism, it can be said that the Westerners wanted to describe their colonial subjects in an imaginative and discriminative way as Edward Said supports in his Orientalism (1979). In Orientalism, Said sheds light on the discriminative and influential orientalist discourse by the Eurocentric stance and emphasizes that the Easterners should get rid of such a biased discourse by creating their own discourse. It is known that the Easterners became successful in the post-colonial era in terms of reflecting their cultures, voices, and the racial problems that they had to struggle with. Buchi Emecheta’s well-known post-colonial novel, Second Class Citizen (1975), shows these struggles with a conscious narration. For this reason, the novel can be regarded as an example of the Eastern discourse. In this article, Edward Said’s Orientalism will be examined in terms of his views on the Western discourse and will be adapted into Emecheta’s Second Class Citizen.

Alma Karlin (1889–1950), a round-the-world traveller, intellectual, and writer from Celje, Slovenia, arrived in Japan and lived in Tokyo in the early 1920s, an era which historians consider to be an interim period between the initial expansion of the Japanese Empire to mainland Asia and its end in 1945. The writer’s fascination with the land can be inferred, among other things, from a 35-page description of Japan and the Japanese in her most famous book, Einsame Weltreise. Die Tragödie einer Frau (The Odyssey of a Lonely Woman), and passages in Reiseskizzen (Travel Sketches), an earlier work. The article aims to place these travel accounts in the historical and ideological contexts of their time while highlighting some similarities and differences between the representations of the land and its people by Karlin and those by Isabella Bird (1831–1904). Although Karlin makes no explicit reference to the famous British traveller in her writing on Japan, the article demonstrates that she must have known about Bird’s book Unbeaten Tracks in Japan. It is, above all, her decision to introduce her (German) readers to topoi that were typical of Victorian women’s travel writing which suggests that Karlin partly based her image of Japan, if not even the itinerary of her journey there, on Bird’s bestselling work. Nevertheless, Karlin does not seem to have conformed to the then dominant orientalist discourses on Japan, her representations generally showing none of the Western arrogance that was so typical of her fellow travellers of both sexes. Celjska svetovna popotnica, intelektualka in pisateljica Alma Karlin (1889–1950) je japonsko otočje obiskala in v Tokiu prebivala v zgodnjih dvajsetih letih 20. stoletja, ki v zgodovinopisju veljajo za vmesno obdobje med začetkom širjenja japonskega imperija na azijsko celino in njegovim neslavnim koncem leta 1945. Pisateljičino fascinacijo nad deželo je mogoče razbrati tudi iz približno 35 strani dolgega opisa Japonske in Japoncev v njenem najbolj znanem delu Einsame Weltreise. Die Tragödie einer Frau (Samotno potovanje v daljne dežele: tragedija ženske) ter iz odlomkov iz predhodno objavljenih podlistkov z naslovom Reiseskizzen (Popotne skice). Avtor te opise postavi v zgodovinski in ideološki kontekst časa njihovega nastanka, hkrati pa opozori na nekaj vzporednic in nasprotij med reprezentacijami dežele ter njenih prebivalcev izpod peresa Alme Karlin in tistimi slovite britanske popotnice Isabelle Bird (1831–1904). Čeprav v japonskem delu svojega potopisa tega eksplicitno ne omenja, prispevek dokazuje, da je Alma Karlin nedvomno poznala knjižno uspešnico Isabelle Bird Unbeaten Tracks in Japan. Posledično lahko upravičeno sklepamo, da si je svoje podobe Japonske, mogoče celo itinerarij, ustvarila tudi na podlagi tega dela, kar je po avtorjevem mnenju najbolj razvidno iz izbire (klasičnih) tem ženskih potopisov iz viktorijanskega obdobja, ki jih je želela približati svojemu (nemškemu) bralstvu. Kljub temu se zdi, da se Alma Karlin ni podredila tedanjim orientalističnim diskurzom o Japonski, saj v njenih reprezentacijah praviloma ni mogoče zaznati tipične zahodnjaške oholosti, tako značilne za njene popotniške pendante obeh spolov.

For more than two centuries, Egypt was clearly suffering from the pressure of the British occupation, the Western European domination, the influence of foreign interference in its cultural affairs, and the claims of alienation and differentiation between different Egyptian communities from the colonialist and orientalist perspective, which were all aspects that could have pushed the Egyptian art movement into a long tunnel of desperation, loss of identity and fragmentation of the cultural components that emerged with successive civilizations. However, what happened was the exact opposite. Egypt's belonging to the traits of ancient Egyptian, Coptic Christianity, and Arab Islamic cultures has not lost its influence. Rather, it can be said that religion did not prevent painting from flourishing, unlike what happened in Europe during the Middle Ages, or What Protestant Britain witnessed during the nineteenth century, and what followed the religious ban of painting from the migration of painters, or their search for sources of inspiration far from their homelands. While this was the case in Europe in the recent past, a large number of artists in Egypt were able to employ the Arab-Islamic component And the Arabic calligraphy in its various formations to execute paintings that reflect the Egyptian personality with a unique Islamic spirit, without religion being an obstacle to the continuation of creativity and the flow of art streams. The schism between modernism and traditional values ​​has always been present in the cultural and artistic scene in Egypt, but it was the major factor in propulsion the artistic movement, nourishing the spirit of research and developing awareness. Egyptian artists often found themselves among various and partly opposing streams, so each of them took part, for the sake of building national and cultural entity within the modern Egyptian nation. This state of schism was not a spur of the moment, but it has deep origins that began from the moment Egyptians opened their eyes to the traits of the modern renaissance during the reign of "Muhammad Ali" and his successors, for example, the prosperous movement of translation, the establishment of printing houses, the rise of scientific missions, The emergence of the intellectual works of "Qassim Amin", "Al-Tahtawi", "Lotfi Al-Sayed", "Al-Akkad" and others, and the determination of reviving the ancient Egyptian identity as the basic component of the Egyptian personality. On the other hand, religious and conservative streams were witnessing an upsurge in the formation of civil societies. Jurisprudential, legislative and - even - literary works, saw that the true value of Egypt is in being part of the Islamic world, in favor of the idea of ​​the Arab identity. The recurring momentum of intellectual and political events and conflicts inside Egypt in the modern era, in addition to the influence of the Arab region and the African continent affairs, which resulted in several wars, had a role in shaping the artistic movement in a rich and pluralistic way, Starting from depicting national sentiments towards the ancient heritage, then, the artistic movements expressing the changes of the era during the two world wars and the internal political movement, to contemporary impressionist and abstract movements. This research aims to highlight the role played by intellectual and heritage pluralism in the art of contemporary Egyptian painting, through a historical review of the journey of the modern art movement in Egypt, and to shed light on examples of the most important artworks that emerged during the twentieth and the beginning of the twenty-first century, and their art analysis century in the context of depicting the cultures and cultural heritage production that has grown and flourished over successive eras, which formed the cultural and artistic climate in Egypt. Research Problem:Highlighting the intellectual and cultural diversity that led to the enrichment of the artistic movement in Egypt, in order to answer the query about whether the Egyptian artist succeeded in absorbing all forms of Egyptian heritage, and expressing them with a special vision that fits with the cultural component on one hand, and the issues of this era on the other hand. Research Objectives:The research focuses on the following points: 1- Highlighting the different intellectual dimensions that have shaped the contemporary Egyptian painting. 2- Analyzing some contemporary Egyptian artworks that reflect a multiplicity of sources, ideas, and cultural roots. 3- Outlining the characteristics of the Egyptian personality in contemporary Egyptian painting in the context of global changes. 4- Explain the development that occurred in the art of Egyptian painting starting from the pioneers to the contemporary generations, by drawing inspiration from the Egyptian heritage in its various forms. Research Methodology:The researcher applied the analytical historical method. Research Results: - There was an urgent necessity for the existence of an Egyptian artistic movement during the project of building a modern Egypt in the reign of Muhammad Ali and his successors. - Modern Egyptian art was taking its first steps through Western Orientalist concepts. However, it was able to create a distinct personality for itself by re-assimilating the Egyptian heritage. - The multiplicity of Egyptian intellect in the modern era between liberal streams and the claims of religious fundamentalism had a great role in grabbing the artists' attention to the ancient Egyptian heritage in its many forms: Ancient Egyptian, Coptic, and Islamic. - Contemporary artistic experiences came to be more accommodating to the spirit of the Egyptian heritage, with a vision that does not lack academic foundations, and openness to world cultures. - The ancient Egyptian civilization was an important source in the work of many contemporary Egyptian artists, through the use of artistic vocabulary, myths, and symbols through a contemporary vision, and various techniques. - Coptic heritage represents an important link in the journey of Egyptian civilization and culture, by preserving the spirit of the ancient civilization and preserving many of its artistic and intellectual features, and creating values, models, and symbols related to the concept of conflict and heroism. - The contemporary Egyptian artist detached the figurative painting from the traditional two-dimensional framework to the space of technologies and materials developed in three dimensions in a rich, multi-level visual language, which made the artwork a global language in its content. - Many Egyptian artists absorbed the spirit of Islamic culture and heritage through their upbringing, studies, and their connection to Islamic architecture and arts. As a result, their work came as a true expression of their association with this heritage, without falling into the trap of repetition, and superficial directness. - The modern artistic climate was an important factor that contributed to the emergence of a generation of Egyptian artists who took upon themselves the idea of ​​reviving the Egyptian heritage in its many forms in more than one artistic experience.

Stereotypes about exotic peoples and animals of the Orient shaped popular origin stories about COVID-19 in media reports. Outbreak narratives centred on the seafood market in Wuhan began to fall apart as new evidence was published by medical doctors, virologists, and epidemiologists. No viruses in bats or pangolins have been found that are direct ancestors of SARS-CoV2, the virus responsible for COVID-19 symptoms. Viruses are also being transformed as they interact with the human institutions, infrastructures and behaviours that facilitate their spread. Epidemiological growth curves are shaped by national and foreign capital, cosmopolitanism, aspirations for independence and ongoing interdependence, the discourse of power and the discourse of resistance, as well as coexistence and violence. In reckoning with SARS-CoV2, we need to anticipate disruptive surprise of viral emergence rather recursively search for origins. Departing from Foucault’s foundational insights, this article gestures towards genealogies of possible viral futures.

The Orientalist scenario that Agatha Christie’s Murder in Mesopotamia displays is an incontestable representation of the ‘Orient’ as an exoticised ‘Other’ that menaces Western civilization with its inherent tendency towards depravation and savagery. In Christie’s novel, the archaeological site configures a terrain wherein civilisation is safeguarded because controlled by Westerners and yet, civilisation is disrupted the moment a murder is committed and everything indicates that the murderer is ‘one of us’, not the oriental ‘Other’. However, the stranger that endangers the civilising integrity of an otherwise unpolluted, commendable Orientalist enterprise by murdering ‘one of us’ is none other than the victim, Mrs Leidner, who goes through an orientalising process that premeditatedly transforms her into the essential Oriental female, the Belle Dame sans Merci. This article aims at unmasking how the Orientalist plot of Murder in Mesopotamia is strategically used to condemn the woman, the victim, and exonerate the murderer, the husband. Hence, the ‘Oriental’ female that lurks behind Mrs Leidner’s ‘blonde, Scandinavian fairness’ ( Mesopotamia 28) is exposed whereas Dr Leidner’s past as a German spy is conspicuously undermined. What this Orientalist plot ultimately unveils is the prescience of ‘whiteness’ as a discursively constructed category just as elusive as gender.

James Justinian Morier’s The Adventures of Hajji Baba of Ispahan (1824) shaped orientalist stereotypes until the early twentieth century. Scholars have examined the novel’s racism separately from gender and class anxieties in the often-neglected sequel, The Adventures of Hajji Baba of Ispahan in England (1828). Reading these two novels jointly reveals a British imperial masculinity in crisis during a precarious period in Anglo-Persian relations: the embassy of Mirza Abul Hassan Khan Shirazi Ilchi from Qajar Iran to late Georgian Britain in 1809–10 and 1819–20. This essay argues that Abul Hassan’s celebrity status in the tabloid news media inspired Londoners to adopt Persian fashions queerly, their gender deviancy informing Morier’s fiction about a foppish cross-dressed upstart from Ispahan. I argue that Abul Hassan’s mediatized body drove Morier to satirize fashionable Englishmen as a foreign race, allowing him to claim British gentility. Less concerned with Persians than with their effeminate admirers in England, his satire suggests that the “Orient” was constituted by intersectional gender, class, and racial identities in flux.

This article deals with the autobiography Livsdrömmen rena (1982; The Clear Dream of Life), written by the Finland-Swedish author Christer Kihlman. It is his second so-called South America book and is based on the writer’s own experiences from the early 1980s, when he visited several South American countries. The text is seen in a theoretical-methodological frame of postcolonial studies, i.e. the 1978 book Orientalism by Edward W. Said, which describes, how “the Orient”, Oriental people and nations were viewed by their western colonizers. The analysis, which also takes into account Latin American postcolonial specificities, follows the article author’s already performed interpretation of Kihlman’s first South America book, Alla mina söner (1980; translated as All My Sons, 1984).

This essay offers a reading of German philosopher Ernst Bloch’s 1952 essay Avicenna and the Aristotelian Left in relation to the question of orientalism. Bloch’s study of first-century Islamic philosopher, scientist and doctor Ibn Sina (Avicenna) relies on orientalist sources and authors also discussed in Edward Said’s Orientalism. Yet, it challenges many stereotypes and ‘structures of attitude and reference’ that are recurrent in European representations of the Middle East. Bloch presents Avicenna as a secular thinker and situates him in a complex economic and social conjuncture, refusing to see his work as manifestation of a non-Western pre-modern ‘essence.’ This perspective avoids both primitivism and essentialism; rather, it aims to recuperate the vast influence of Islamic thought on European philosophy, especially the European Enlightenment. Avicenna’s heterodox naturalism and rebellious interpretation of Aristotle is hence reframed as the source of a materialist line of descent to which Bloch himself belongs. Bloch hence sketches a concept of philosophical heritage grounded into the legacy of Avicenna’s teaching, thereby anticipating Edward Said’s critique of the metaphysics of exteriority proper to Orientalist discourse and its colonial underpinning.

Batı'da oluşan ve bugün hala kullanılmaya devam edilen Türk imajının kökenleri tarihsel gelişmelerle bağlantılıdır. Her ne kadar Türklerin Avrupa'ya yerleşmeleri İkinci Dünya Savaşından sonra olsa da Batı'nın Türklerle tanışması eski tarihlere dayanmaktadır. Farklı tarihlerde Batılılar ve Türkleri karşı karşıya getiren savaşlar ve özellikle Haçlı Seferleri sonrası Türkler hakkında olumsuz imaj oluşmaya başlamaktadır. Oryantalist düşünce çerçevesinde Türkler, Doğulu ve Müslüman olarak tanımlandığından Batı'nın algısında Türk ve Müslüman kavramlarının aynı anlamı taşıdığı görülmektedir. İlişkiler, "Türkler her şeyden önce bir düşmandır" algısı üzerine kurulmaktadır. Batı dillerinde Türkler hakkında oluşmuş ötekileştirici ve küçümseyici türkofobik deyimler de tarihten gelen Türk korkusuna vurgu yapmaktadır. Türkiye ve Türklere yönelik önyargılar aynı zamanda Türkiye'nin Avrupa Birliğine üyelik sürecini de etkilemektedir.

This article examines the discursive roots of current attitudes towards the People’s Republic of China (PR-China; PRC) in the United States of America’s (US-America; USA) public sphere. Through a discourse analysis employing a wide range of twenty-first century bestsellers, the development of discursive “China” is traced from the beginning of the new millennium until today. The article finds two dominant modes of writing the “other” in popular US-American PR-China literature. In contradictory discourses, PR-China is seen as a “Communist Evil Empire” in the one mode, and it is seen as an “Orientalist Wilderness” in the other. Both modes are driven by pre-established patterns of sense-making and stay ignorant to a large degree of the PRC as a thing in and by itself, the article concludes.

This article discusses how the Soviet Union perceived and related to Middle Eastern revolutionary movements, using a case study from South Yemen and the War in Dhofar. This specific Soviet encounter will be analysed through selected Soviet material from published and archival sources. The article highlights how Soviet representatives assessed prospects for socialism in Yemen, and how they interacted with their partners on the ground. The article is divided into three parts: the first discusses the theoretical debates in Soviet academia and the press, the second section contrasts these theoretical views with Middle Eastern ‘socialist’ theories during the Cold War and the third shows how a symbiosis developed between Soviet and Yemeni institutions and organisations. The article argues that due to an Orientalist take on South Yemen and Dhofar, the Soviet side could not appreciate the political importance and potential of socialist currents in the region, reducing cooperation to ‘pragmatism’.

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.

During the Ottoman Empire, which was established in Anatolia after the Seljuks, many developments were made in the name of art for 600 years. Especially thanks to the Ottoman Empire's value to the artist and art, very good works have been produced in many fields. In addition to branches such as calligraphy, illumination, miniature and marbling, fabrics, carpets and rugs, which attract the attention of the whole world in the field of textile, were also woven. The art of weaving experienced its brightest period in terms of weaving technique, color and pattern in the Ottoman Empire. It is understood that weaving, which continued to be produced traditionally in Ottoman cities, continued its existence as an important cultural element and sector. The clothes of the Ottoman sultans kept after their death and the qualities of the fabrics used in the palace convey very important information at the point of understanding the importance of weaving. The diversity and richness of the weavings and textiles produced in many documents belonging to the period can be clearly seen. In this context, this rich weaving and textile diversity has taken an important place in Turkish culture. Especially this rich variety of weaving and textiles has been painted by many painters in almost every period and has gained an important place in terms of conveying information about their periods. In this study, some of Halil Pasha's paintings in which he displayed an objective and objective approach with a realistic style, some of which are in an orientalist style, are discussed as subject. In the study, will focus on Halil Pasha's life, his understanding of art and the textiles and clothing he depicted in some of his paintings. The textiles and clothes in the paintings were discussed in terms of characteristics such as color, pattern, and texture. Key Words: Textile, weaving arts, clothing, painting, carpet.

Colonization takes over many dimensions of life, e.g., theology, economy, history, and the idea of humanity itself (anthropology). In Indonesia, colonization by the Dutch Empire has been determining the life of the Indonesian people since the eighteenth century. The twin gazes, namely of the European orientalists and of the colonized natives, have colluded to maintain certain ruptures in the mentality of the common Indonesian person, including how they treat other human beings. Such a malforming situation is obscured from historical analysis, given what history’s very construction owes to colonial influence. To retrace a more affirming and dignified history, I look elsewhere than the formal record and, by doing so, propose that such a decolonial task lies in availing contemporaneous literary works. In this essay, I present an analysis of the colonial-era novel Max Havelaar, wherein I parse the hidden historical archive offered both in and by the text. Through this analysis, I consider how such an alternative archive affects one’s theological imaginary and promotes the (re)construction of a theological anthropology that escapes the confinement of the white Western orientalist gaze.

Una de las contradicciones más llamativas al interior de lo que se conoce como la escuela Bauhaus se dio entre el futurismo tecnicista-humanista de Walter Gropius y el ocultismo orientalista de otros miembros, como Johannes Itten. Aunque ambos buscaban armonizar la existencia del ser humano con el entorno que habita, las teorías en las que ambas tendencias basaban sus prácticas llegaban a ser irreconciliables. Era inconcebible que el ideal artístico de Itten estuviera al servicio de la humanidad en su conjunto cuando defendía nociones protoracistas sobre la capacidad exclusiva de un grupo étnico para alcanzar dicha armonía. Muchas de estas ideas quedaron incluso plasmadas en su obra de arte y no sólo en escritos y discursos publicados. El propio interés de Itten por la cultura y el arte oriental convivió incómodamente con estas tendencias, dejando un legado ambivalente y problemático, el cual ha sido recientemente señalado por algunos estudiosos del movimiento. Aquí analizaremos algunas aristas de esta contradicción y sus implicaciones desde el punto de vista de la comparatística. Resulta necesario plantearnos cómo se deben ver estas inconsistencias si queremos evitar caer en una postura trivial y poco crítica de un movimiento cultural tan relevante como lo fue la escuela Bauhaus.

France’s connection to India dates back to the seventeenth century when the French came to establish trading relations with India and neighboring countries. Even in the heydays of Enlightenment, France, the champion and cradle of Reason and Rationality in Europe, was looking for an alternative and philosophers like Rousseau, Diderot and Voltaire looked towards India as a source of inspiration. That tradition was continued by the French Romantics who were even more influenced and inspired by Indian philosophy and wanted to change the course of French literature with the help of it. This paper aims to explore literary transactions between India and France culminating in the movement called Romanticism in French literature. The paper shall trace the trajectory of how Indian philosophy and thought traveled to Europe in the form of texts and influenced the works of the French from Voltaire in the eighteenth century to Jules Bois in the twentieth. The central argument of this diachronic study, based on the theory of influence, is to prove how significant the role of India and her literary/religious texts have been in the context of the Romantic Movement in French literature in the nineteenth century.

The Russian Oriental studies are rich and diverse in their disciplines. The focus of research activities conducted mainly at the university centres of St. Petersburg, Moscow, Kazan, and during Soviet times in the capitals of some republics (Azerbaijan, Kazakhstan, Tajikistan, Uzbekistan, etc.), was largely determined by the domestic political and geopolitical interests of the Russian Empire. Thus, a philosophical aspect in oriental studies, as well as university philosophical education practical^ did not exist. The changes brought by the revolution of 1917 have greatly affected all fields of social life, including the academic milieu. The article examines a complex and contradictory path of development of the national philosophy, on the example of the Institute founded in 1921 by Gustav Gustavovich Speth (1879-1937), nowadays the Institute of Philosophy of the Russian Academy of Sciences. The latter has become the main focal point of the philosophical research activities in the former Soviet Union. Particular attention is paid to the liberation from the Eurocentrism inherited from imperial times concerning the spiritual heritage of the peoples of the East as a whole, and in philosophy in particular. The pivotal points of its activity became “History of Philosophy” in 3 Volumes (19411943) and “History of Philosophy” in 6 Volumes (1957-1966). The real breakthrough was the encyclopedias, such as: “The New Philosophical Encyclopedia” in 4 volumes (2001); “Indian philosophy. Encyclopedia” (2009); “The Philosophy of Buddhism: Encyclopedia” (2011). The Orientalist aspect in higher philosophical education nowadays becomes more visible. The recent international recognition of the achievements of the Russian Orientalist philosophical studies regardless of a relatively small number of specialists is largely due to their collective efforts and close cooperation.

The aim of this paper is to explore how the Alberta Social Studies 30-1 textbook, Perspectives on Ideology (Fielding et al., 2009) can contribute to orientalist discourse in its presentation of Islam, especially with respect to terrorism, extremism, and illiberalism—three concepts that appear in the Alberta Social Studies Program of Study. Using a content and discourse analysis, the study found three central findings that contributed to an orientalist framing of Islam: a lack of nuanced discussion of Islam; positioning Islam as a source of terrorism; and a lack of acknowledgement of wrongdoing following injustices perpetrated towards Muslims in Canada. This study concludes by offering ways in which social studies curricular support materials may interrogate to disrupt orientalist discourse, and challenges social studies educators to critically examine the limitations of some of the most common resource materials at their disposal.

espanolLo llamado “oriental” siempre ha sido objeto de fascinacion “occidental”. Hoy en dia, la escenificacion de “Oriente” en la fotografia de modelos (por aficion) es uno de los temas mas populares: se combinan trajes y accesorios de diversos contextos culturales para formar un nuevo conjunto. Basandose en la observacion participativa y en las entrevistas, el articulo rastrea las posibles motivaciones individuales para encarnar lo “oriental”, entre ellas la nostalgia, que se corresponde con la descripcion de lo oriental como “intemporal”, la necesidad de espiritualidad, el deseo de expresar la feminidad y de trabajar la identidad con respecto a los ensayos de identidad y la definicion de la propia identidad con ayuda de su opuesto imaginado. Teniendo en cuenta la sociedad en su conjunto y su zeitgeist, el fenomeno se interpreta utilizando los conceptos de escapismo y kitsch, que tambien pueden observarse en la cultura dominante. Ademas, se discute la apropiacion cultural como una forma de evitar el conocimiento de otras culturas, pero al mismo tiempo, la sesion de fotos “oriental” tambien se ve como una oportunidad para generar interes y practicar la creatividad. El articulo muestra que el analisis de las fotografias escenificadas ofrece una base para entender el contexto cultural en el que se han tomado y/o circulan, y que los motivos de las fotos pueden verse como expresiones de motivaciones psicologicas. EnglishThe so-called “oriental” has always been a subject for “western” fascination. Today, the staging of the “orient” in (hobby) model photography is among the most popular themes: costumes and props from various cultural contexts are combined to form a new whole. Based on participant observation and interviews, the article traces back possible individual motivations for embodying the “oriental,” among them nostalgia, corresponding with the description of the orient as “timeless,” the need for spirituality, the wish to express femininity, and to work on identity with regard to identity trials and the definition of the own identity through the help of its imagined opposite. Considering society as a whole and its zeitgeist, the phenomenon is interpreted using the concepts of escapism and kitsch, which can be observed in mainstream culture as well. Furthermore, cultural appropriation is discussed as a way to prevent getting to know other cultures, but at the same time, the “oriental” photoshoot is also seen as a chance to generate interest and to practice creativity. The article shows that the analysis of staged photographs offers a base for understanding the cultural context in which they have been taken and/or circulate, and that the photo motifs can be seen as expressions of psychological motivations.

This article analyses Marx’s conviction that the expansion of the capitalist mode of production was a basic prerequisite for the birth of communist society. It overviews this idea through the whole...

يتناول هذا البحث واحدة من مدارس الاستشراق المتعددة, وهي « المدرسة الاستشراقية الفرنسية» ولقد عرفت من خلال هذا البحث بتلک المدرسة, وذکرت تاريخها وما هي الإرهاصات الأولى لظهور تلک المدرسة, ثم نضوجها کمدرسة استشراقية حتى وقتنا الحاضر وما هي أبرز المزايا التي تميزها عن مدارس الاستشراق الأخرى, و أبرز أعلام هذه المدرسة وعرفت بهم, وبينت جهود هؤلاء المستشرقين غي خدمة التراث الإسلامي من خلال أعمالهم التي قاموا بها من ترجمة, وتحقيق ونشر, وجمع للمخطوطات وفهرستها, والتأليف في مواضيع تخص المشرق الإسلامي, والقيام برحلات إلى بلدان المشرق الإسلامي لإتقان لغاته, ومحاولة فهمه ودراسته على أرض الواقع, وختمت بخاتمة ذکرت فيها أبرز نتائج هذا البحث وأهم التوصيات التي أوصى بها الباحث Abstract: This research deals with one of the many schools of Orientalism, which is the “French Oriental School.” The researcher defines that school, and shows its history and the first indications for the emergence of that school.Moreover, the research presents its maturity as an Orientalist school until the present time, and the most prominent advantages that distinguish it from the other schools of Orientalism. This research also introduces the most prominent figures of this school and their efforts to serve the Islamic heritage through the works that they carried out. Their works include: translation, investigation, publication, and collecting and indexing manuscripts. They also published topics related to the Islamic East and made trips to islamic countries to master their languages and to understand and study them on the ground . The conclusion of this research includes the most prominent results and the recommendations of the researcher. Keywords: Orientalism, the French Orientalist school, efforts, history, investigation, manuscript collection, flags, merits

Resume : L'article analyse l'evolution de l'image de la colonie de Libye au cours des annees trente, comme cela est represente dans deux des principaux magazines touristiques italiens de l'epoque : Le vie d'Italia et Libia. Si jusqu'au milieu des annees trente, il regne une vision orientaliste qui exaspere les aspects les plus exotiques et excentriques consideres, a la mi-decennie, les articles de magazine enoncent la modernisation progressive de la colonie, grâce au travail du regime fasciste. Mots cles : Libye – tourisme – colonialisme – orientalisme – propagande fasciste Abstract : The article analyzes the evolution of the image of the Libyan colony during the Thirties, as it is depicted in two of the main Italian tourist magazines of the time : Le Vie d'Italia and Libia. Until the mid-Thirties, in the description of the country prevails an orientalist vision, that tends to exasperate the most exotic and eccentric aspects of the Libyan colony. This approch changes in the mid-decade, when the magazine articles start to underline the progressive modernization of the colony, due to the work of the fascist regime. Key words : Libya – tourism – colonialism – orientalism – fascist propaganda

Este artigo trata da produção de sensibilidades no processo de gestar um corpo dançante na dança do ventre e das transformações políticas daí decorrentes. Este trabalho origina-se de dissertação de mestrado em Psicologia Institucional. O campo de investigação desta pesquisa-intervenção foi um projeto de extensão universitário oferecido a sete mulheres que desconheciam essa modalidade de dança. O recurso do registro das aulas em vídeo constituiu a metodologia, que incluiu ainda uma análise qualitativa deste material, norteada pela concepção deuleuzo-guattariana de arte e pela visão crítica acerca do Orientalismo. Um dos principais resultados obtidos foi a desconstrução da política dominante de sentir e mover-se, gerada pelas sensibilidades e gestualidades suscitadas no processo de aprender a dançar. Depoimentos das participantes presentes nos registros permitem concluir que o processo de gestar um corpo dançante porta uma potência de desestabilização das percepções e sentimentos culturalmente assentados., This article addresses sensitivity production in the process of developing a belly dancing body and the political changes resulting from that. This work comes from a Master’s thesis in Institutional Psychology. The research field of this intervention-research was a university extension project offered to seven women who did not know that dance style. Its methodology included recording the classes on video and conducting qualitative analysis of the material under Deuleuze-Guattari’s conception of art and the critical view about Orientalism. One of the main results obtained was deconstructing the dominant feeling and movement politics created by the sensitivities and gestures that arose in the dance learning process. Participants’ statements in these recordings allow us to conclude that the process of developing a dancing body bears power to destabilize culturally settled perceptions and feelings., Este artículo trata de la producción de sensibilidades en el proceso de gestar un cuerpo danzante en la danza del vientre y las transformaciones políticas de allí derivadas. Este trabajo tiene su origen en una disertación de maestría en Psicología Institucional. El campo investigativo de esta investigación-intervención fue un proyecto de extensión universitaria ofrecido a siete mujeres que desconocían esta modalidad de danza. El registro en video de las clases constituyó la metodología, que incluyó, además, un análisis cualitativo de este material, orientado por la concepción deleuzo-guattariana de arte y por la visión crítica del Orientalismo. Uno de los principales resultados obtenidos fue la desconstrucción de la política dominante de sentir y moverse, generada por las sensibilidades y gestualidades suscitadas en el proceso de aprender a bailar. Testimonios de las participantes presentes en los registros permiten concluir que el proceso de gestar un cuerpo danzante es portador de una potencia de desestabilización de las percepciones y sentimientos culturalmente asentados.

The article examines the creativity and activities of the Kazan scientist Damulla Mohammed Abdulkarim Hazrat and his great-grandson Hilmi Ziya Ulken. Damulla Muhamamad Abdulkarim Hazrat was known in Kazan in the 19th century as a religious figure and cleric (mudarris). Here are the differences in views between Muhammad Abdulkarim and the famous contemporary Muslim theologian and orientalist Shigabutdin Mardjani in terms of their religious views. In the article, from the point of view of a systematic approach and a historical method, the reasons for the disagreements created under the influence of time and events were considered, in connection with which Sh. Marjani spoke from the position of a reformist scientist in relation to the ideas of the conservative scientist Muhammad Abdulkarim. The article notes that Kazan scientists had relations with the Ottoman state in the 19th century, and the resettlement of Muhammad Abdulkarim to Istanbul with his family took place in 1863. Here, after his move to Istanbul, the Ottoman state paid him and seven members of his family a salary, which was noted in the documents of those times. In this document, Muhammad Abdulkarim was presented as a scientist of scholars and a creator of good deeds. The article says that the granddaughter of Damulla Muhammad Abdulkarim Hazrat - Musfika khanum (1881-1978) was the mother of Hilmi Ziya Ulken. Hilmi Zia Ulken (1901-1974) made a great contribution to the development of science and philosophy in Turkey with his works. The study examines the rich creative heritage of Hilmi Zia Ulken, presents the researches of the scientist on the history of Eastern philosophy, in particular, religion. The article says that the thinker presented the Koran as a valuable source, which is both sacred and vital for the ideology of all Muslims, especially the Turkic peoples living in the countries of the Near and Middle East. Hilmi Zia Ulken regarded the emergence of human religions as a revolutionary event, showing that these religions teach humanity to spiritual uplift and improvement. The study says that religious and philosophical issues also play an important role in the work of Hilmi Ziya Ulken, who, like his great-grandfather, Kazan cleric Damulla Muhammad Abdulkarim Hazret, became famous for his works in various fields of science. Key words: Muhammad Abdulkarim, Hilmi Ziya Ulken, Kazan, Istanbul, nineteenth century, twentieth century, scientist, philosophy, religion.

Max Müller 19. yüzyıl İngiltere’sinin önemli din araştırmacılarındandır. Dinler Tarihinin kurucusu olarak kabul edilen Müller Doğu Dinleri araştırmaları ile dikkati çeker. Onun Hinduizmle ilgili araştırmaları İngiltere’nin kolonist anlayışı ile aynı paralellikte devam eder. Dinî araştırmalarda bilimsel disipline önem veren Müller’in Doğu ile ilgili tanımlamaların çoğu yine Batı merkezlidir. İslam ve Türklerle ilgili değerlendirmelerinde de durum böyledir. Türklere dair olumsuz düşünceleri daha çok Osmanlı’nın Anadolu ve Balkanlardaki hâkimiyeti ile ilgilidir. Ancak Müller’in 1893 yılında eşi ile birlikte İstanbul ve Bursa’yı ziyareti tümüyle olmasa da pek çok önyargısını ortadan kaldırır. Bu ziyarette Müller, Sultan Abdülhamid’le görüşür ve sıcak ilişki kurar. Sultana editörlük yaptığı Doğunun Kutsal Kitapları’nı takdim eder ve Sultan Abdülhamid de Müller ailesine çeşitli hediyeler verir. Müller İngiltere’ye döndükten sonra da İstanbul’da yaşadıklarına ve Sultanla ilgili görüşmelerine sıkça yer verir. Osmanlı aleyhine zamanla Batı kamuoyunda değişen ortam Müller’in düşüncelerinde de değişikliğe neden olmaktadır. Ancak bu defaki tahlilleri tamamen siyah veya beyaz değildir. İstanbul’da gördüklerinden dolayı düşüncelerinde gri tonlar oluşmuştur. Bu anlamda Max Müller’in İstanbul ziyareti, oryantalist bakışa ve ötekini anlama açısından sahadan alınan verilerin ne kadar önemli olduğuna büyük katkı yapmaktadır., Max Müller is one of the most important religious researchers of 19th century England. Considered as the History of Religions founder, Müller draws attention with his studies on Eastern Religions. The general perspective of his comments on Islam and Turks is like this. His negative thoughts about Turks are mostly related to the domination of the Ottomans in Anatolia and the Balkans. However, Müller’s visit to Istanbul and Bursa with his wife in 1893 eliminated many of his prejudices but not all. In this visit, Müller meets with Sultan Abdülhamid and establishes a warm relationship. He presented the Sacred Books of the East to the Sultan, which he edited, and the Sultan Abdülhamid gave various gifts to the Müller’s family. After returning to England, Müller frequently mentions his experiences in Istanbul and talks with the Sultan. During the deprecation of Western media about the Ottomans, Müller’s thoughts changed. However, this time his analyzes are not entirely black or white. Due to what he saw in Istanbul, gray tones were formed in his thoughts. In this sense, Max Müller’s visit to Istanbul makes a significant contribution to the orientalist perspective and the importance of the data taken from the field in terms of understanding the other.

Western Orientalists works about Islam in Borneo can be divided into two groups, first, traveler, priest or journalist like Horace St. John and Snouck Hurgronje. Some of them can speak and write in Malay. Snouck Hogranje was one of the influential authors who contributed to the formation of many Dutch policies in Indonesia. The second group is the imperialist leaders comprising administrators or colonial officials such as Stamford Raffles, Spenser St. John and Hugh Low who made a policies but they also sometimes write a books that refered by travelers. James Brooke as an example makes Raffles works as a reference to understand the Malays and the situation in the archipelago. There are orientalists who elaborate or do an objective research about people of Borneo. Otherwise, there are many unobjective interpretations, bias, prejudice about ruling system, socio-cultural system, the Malay-Muslim community and Islam itself to discredit Islam and the indigenous population. One of the most prominent perspectives on Islam in Borneo is the use of the term "mohammadenism" to refer to Islam. This concept is also used in official meeting of colonial governments such as Sarawak State Council. Base on this premise, this work will describe an orientalist view of Islam in Borneo based on historical sources.

This article is devoted to the study of the painting of the Uzbek avant-garde, taking into account the role of the historical and cultural context of the early twentieth century. The study discussis the influence of such factors as the ideological background, the role of visiting artists in the formation of national art, and the absence of traditions of European painting in the region. The painting of Uzbekistan in the 1920s–1930s was the result of historical, political and cultural transformations that were formed in interaction with local and foreign cultural traditions. Several stylistic vectors and tendencies of this process interacting with the role of the historical and cultural heritage of Uzbekistan resulted in specific stylistic forms and distinctive features in the in images of that era. The scientific novelty of the research lies in the actualization of the issue of the typological specificity of the Uzbek phenomenon in comparison with the Russian avant-garde and European modernism. The article raises questions of updating the methodological aspects of the study of Soviet modernization and its results in art. Attention is drawn to the complex hybrid nature of these processes and the attempts of researchers to adapt postcolonial epistemology to the processes of the Central Asian region of the 20th century. The article considers the application of the terms avant-garde and modernism in relation to regional phenomena, the relevance of terminological clarification, limitations on the use of these terms, and correction in relation to the painting of Uzbekistan. In the conclusion, the article substantiates that the study of the art of Uzbekistan in the 1920s–1930s must be carried out on the basis of the deconstruction of dominant discourses in relation to the historical and political context of the era, and that there is a need to assert alternative perspectives on the change of cultural paradigms in the region.

Critics have argued that Charlotte Bronte’s Villette depicts queerness as a radically incoherent, subversive force. Against these readings, this article reconfigures queerness as a liveable concept...

This article discusses the Eurasia Film Company (hereafter Eurasia), which was established in Macau in 1954; the making of its film Long Way, released in 1955; and more generally the issue of film production in Macau in the 1950s. This was a period of crisis for Portugal: despite the beginning of decolonization in the post-war era, the regime's policy was to preserve the colonies. It appropriated ‘Luso-tropicalism’, a theory developed by Brazilian sociologist Gilberto Freyre, which argued that the Portuguese had created a harmonious hybrid civilization in the ‘tropics’ through biological and cultural miscegenation. Luso-tropicalism became a major propaganda tool used by Portugal to deflect decolonization. Eurasia, which had links to the colonial government, presented a Luso-tropical ideal not only in terms of the content of the film Long Way which celebrated interracial love but also by its very nature—it was a Sino-Portuguese enterprise that also had Eurasians as shareholders—and in its production method. Its main objective was to propagate a positive image of Macau, in response to its pervasive negative portrayal in the international press and films, which often characterized it as a centre of vice. Long Way specifically responded to Hollywood and French films set in Macau by using similar elements, plot, and characterization, but it transformed Orientalist tales of crime, smuggling, and sin into a Luso-tropical story of refuge, order, and interracial love. Eurasia aimed to cleanse Macau's image and thereby justify Portuguese sovereignty in the territory in a period of crisis and uncertainty marked by decolonization, the Cold War, and tense Sino-Portuguese relations.

The study of Islam in Central Asia has undergone enormous transformations in the 30 years since the Soviet era came to an end. Over the last three decades, a sizable corpus of literature on Islam i...

Anti-Asian xenophobia and discriminatory acts against Asian Americans have increased significantly as the COVID-19 pandemic has rapidly spread across the US. But connections between diseases, racis...

Hollywood’s Asian-centric romance comedy Crazy Rich Asians re-writes the immigrant narrative to the acclaim of American audiences. Adapted from Kevin Kwan’s bestseller, the description of the Chine...

The article pays special attention to the study of a new type of military formations — the so-called Hellenistic armies. The author examines the key battles involving one of the influential figures of the early Hellenistic era — Eumenes of Cardia. The analysis of the contingent of the armies, both of the diadoch and its opponents, is carried out. An important aspect of the study is the assessment of Eumenes as commander-in-chief, given his special position among the rest of the pleiad of heirs of Alexander the Great. An attempt is also made to determine the main tactical orientations of the commander, as well as his leadership qualities. The relationship between Eumenes and ordinary soldiers of his military formation is noted. The orientalist position of the commander is traced, his continuity in the conduct of battles like King Alexander. In addition, the analysis of the effectiveness of a new type of troops in the armies of the Macedonians — war elephants and their interaction with other units in the army of the Diadochis is carried out. The key to effective conduct of battles in the early Hellenistic era, according to the author, was the successful combination of "new" and "traditional" in the art of war., В статье особое внимание отведено исследованию нового типа войсковых формирований — так называемых эллинистических армий. Автором рассматриваются ключевые сражения с участием одного из влиятельных деятелей эпохи раннего эллинизма — Эвмена из Кардии. Проводится анализ контингента армий как диадоха, так и его противников. Важный аспект исследования составляет оценка Эвмена в качестве главнокомандующего, учитывая его особое положение среди остальной плеяды наследников Александра Македонского. Также производится попытка определить основные тактические принципы полководца, а также его лидерские качества. Рассматриваются взаимоотношения Эвмена с рядовыми солдатами его войскового формирования. Прослеживается ориенталистская составляющая тактики полководца, его преемственность ведения боев подобно царю Александру. Кроме того, проводится анализ эффективности нового рода войск в армиях македонян — боевых слонов и их взаимодействия с другими подразделениями в армии диадоха. Залог эффективного ведения битв в раннеэллинистическую эпоху, по мнению автора, заключался в успешном сочетании «нового» и «традиционного» в военном искусстве.

This article analyzes methodology of an Orientalist, G. H. A Juynboll in Hadīth. He is one of those western scholars who has focused on the second primary source of Islamic Law and has developed skeptical theories related to its authenticity and provenance. He relied on early scholars' theories in this discipline and supported their thesis with a bulk of arguments from the early Classical Islamic Sources. A follow-up of his methodology reveals some scientific methodological errors in his studies on Hadīth that led him to a false conclusion. This study discusses the loopholes in his methodology and supports every point with illustrative examples from his works, revealing that Juynboll followed a selective method in his studies and reached his desired/concocted conclusion.