Search

Durch den positiven Bezug auf die europäische Zivilisation und die kulturalistische Interpretation demokratischer Werte gelingt es der äußeren Rechten, Unterstützer: innen zu mobilisieren, die klassische Elemente rechtsextremer Ideologie ablehnen und negative Einstellungen gegenüber insbesondere islamischer Migration nach Europa vertreten. Dieser Artikel ordnet den „Zivilisationismus“ ideengeschichtlich ein und stellt dabei fest, dass der positive Bezug auf die europäische Zivilisation in der äußeren Rechten historisch und in der Gegenwart keineswegs unumstritten ist. Der Artikel untersucht daher alternative Konstruktionen historischer Subjektivität und fragt, wie diese die äußere Rechte in der Gegenwart prägen. Augenmerk liegt dabei auf dem völkischen Abendlanddenken und der Ideologie des politischen Dezisionismus, die sich im Ethnopluralismus der Neuen Rechten widerspiegeln.

Copyright of Zeitschrift für Rechtsextremismusforschung is the property of Verlag Barbara Budrich GmbH 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 Museum: Museum & Regional Studies is the property of National Museum 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.)

Medievalists frequently approach Johannes Marignola's Chronicle of Bohemia (Cronica Boemorum) from two distinct angles, as a travelogue and as a historiographical work, and tend to separate these two aspects. This study focuses on an analysis of the functions of the travelogue elements in the chronicle as a whole. Marignola associates the historical narrative of the first and second ages of the world with reflections on his own journey to the East. However, the stylized narrator is in evidence throughout the chronicle, both as a historian and as a witness. With the aid of Old Testament and Gospel quotations, Marignola witnesses the reality of an earthly paradise in the East and the miracle at the court of Charles IV, connecting the narrative of Czech and of world history. [ABSTRACT FROM AUTHOR]

Im Aufsatz werden die literarischen Bilder der Kleopatra VII analysiert, der Königin des antiken Ägypten, welche die Verbündete des Antonius in seiner Auseinandersetzung mit Oktavian war. Oktavian hat Antonius und Kleopatra in der Schlacht bei Actium im Jahr 31 v. Chr. besiegt und Alexandrien im drauffolgenden Jahr erobert. Er propagierte Antonius als den verweiblichten Ehemann der Orientalin Kleopatra, der vermeintlich in Ausschweifung und außerordentlichem Luxus gelebt und eine drohende Gefahr für das römische Imperium und den Westen verkörpert habe. Darüber hinaus werden die Transformationen untersucht, die Kleopatras Bild in verschiedenen literarischen Gattungen in der Antike unterlief, seine Rezeption in der Renaissance-Malerei und im modernen Film. Dabei wird der Orientalismusbegriff von Edward Saïd in Bezug auf Aischylos’ Perser nuanciert, um herauszustellen, dass er die Perser nicht nur als mit griechischen Sitten vertraut darstellt, sondern auch als Barbaren. Weiter wird diskutiert, wie Oktavian durch seine politische Invektive gegen Antonius das Bild von Kleopatra beeinflusst hat. Augusteische Dichter arbeiteten in ihre Gedichte einige Reflexe von Oktavians Bild der ägyptischen Königin im Einvernehmen mit den Tropen ihrer jeweiligen literarischen Gattung ein. Horaz stellt in der Epode 9 Kleopatras Ehemann Antonius in einer der Invektive ähnlichen Weise als ihren Sklaven und Eunuchen dar. Im ersten Teil der Ode 1.37 suggeriert Horaz, Kleopatra sei ein Monster und eine verruchte Königin, wohingegen er im zweiten Teil betont, dass sie ihre Niederlage mit der Würde einer guten Herrscherin angenommen habe. Römische Elegiker schildern Kleopatra passend zu den Tropen der Liebeselegie als elegische Herrin und Antonius als ihren Sklaven. Vergil inszeniert in seiner Aeneis den Zusammenprall zwischen Kleopatras Osten und dem Westen, welcher durch Augustus repräsentiert ist, aber der epische Erzählrahmen der Episode, die Ekphrasis von Aeneas’ Schild, betont ihren fiktiven Charakter und hebt die Fluidität der stereotypen Zuschreibung von Fremdheit und Weiblichkeit hervor. In der europäischen Malerei und in Filmen eignete man sich stereotype und orientalisierende Kleopatra-Bilder an. Seit der Neuzeit ist Kleopatra zu einer konstruierten Figur geworden, die häufig im Dienste der orientalistischen Machtdiskurse, des nationalstaatlichen Imperialismus und im letzten Jahrhundert auch der Käuferlenkung steht.

Copyright of Alman Dili ve Edebiyati Dergisi / Studien zur Deutschen Sprache & Literatur is the property of Alman Dili ve Edebiyall Dergisi / Studien Zur Deutschen Sprahe und Literatilr 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.)

Frauen spielten in den Protesten des sogenannten Arabischen Frühlings eine wichtige Rolle: Gemeinsam mit männlichen Demonstranten traten sie für mehr Freiheit und Demokratie in ihren Ländern ein. Dieser Artikel hinterfragt, inwiefern die Darstellung von Frauen im Zusammenhang mit dem sogenannten Arabischen Frühling sich an Geschlechterstereotypen orientiert und ob diese Darstellung sich seit Beginn der Revolutionen verändert hat. Dazu wurden Beiträge der Auslandsberichterstattung des Fernsehsenders ARD (Das Erste) aus der Zeit während des sogenannten Arabischen Frühlings – also vor circa zehn Jahren – im Vergleich mit Beiträgen aus 2021 mithilfe einer qualitativen Inhaltsanalyse betrachtet. Die Ergebnisse zeigen, dass sich weiterhin Stereotype in der Berichterstattung finden lassen. Allerdings ändern sich diese fast gänzlich im Verlauf der untersuchten zehn Jahre. Während in der untersuchten Phase der Proteste im Jahr 2011 wiederholt Expert:innen zu Wort kommen, um Ereignisse einzuordnen und zu erklären, treten zehn Jahre später vermehrt Individuen auf, die für sich selbst sprechen. In beiden untersuchten Phasen fällt auf, dass Frauen meist dann zu Wort kommen, wenn es um den Genderdiskurs geht. Sie werden kaum zu anderen Themen platziert. Das Verhältnis der Beiträge, in denen Frauen überhaupt nicht vorkommen, zu denen, in denen Frauen sichtbar sind und teilweise zu Wort kommen, hat sich im Laufe der Zeit sogar verschlechtert.

Copyright of Global Media Journal: German Edition is the property of Global Media Journal: German Edition 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.)

The paper deals with selected aspects of the studies of Orientalism, as it was introduced by E. W. Said in his monograph Orientalism, in the context of Russian colonial experience, with specific features of Russian "internal" and "outer" colonization, as well as with elements of Orientalism reflected in Russian literature. The applicability of E. Said' theory is demonstrated through an analysis of the poetic works of one of the founders of the Eurasian movement, P. N. Savickij. [ABSTRACT FROM AUTHOR]

Copyright of Staleta Praha is the property of Narodni Pamatkovy Ustav 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 Ars & Humanitas is the property of Ars & Humanitas 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.)

Even though computer games have been around since the 1960s, and their developers can now make stories as powerful and believable as filmmakers and book writers can, computer games are still considered more a means of entertainment than a work of art. For this reason, certain issues depicted in games are still not given enough attention in academic sphere. One of these is the issue of Orientalism, which was addressed by Edward Said in his book Orientalism: Western Conceptions of the Orient, and based on his article, I decided to research the orientalistic concepts in the game Jade Empire, created by the Canadian studio Bioware. This game, released on the Xbox in 2005 and on the PC in 2007, belongs to the genre of single player RPG (i.e., single player role-playing game). The game is set in a fictional realm called the Jade Empire, which is heavily inspired by Chinese historical realities and mythology. The player takes on the role of a martial arts student and sets out on a journey to rescue his master, who has been kidnapped by the mysterious Lotus Assassins and during his journey, the hero uncovers a vast conspiracy reaching to the Emperor himself. Given the setting of the game, a number of orientalistic concepts are present, namely the dualistic concept of complementary good and evil and reincarnation. Furthermore, this game was for a long time one of the few games created by Western game studio which story was set in purely Asian setting and included only Asian protagonists. [ABSTRACT FROM AUTHOR]

When Edward Wadie Said (1935–2003), a Palestinian literary theorist, published – from today’s perspective – a classic postcolonial study work Orientalism: Western Conceptions of the Orient in 1987, he literary opened a Pandora’s box. Since then, countless number of various forms and displays of Orientalism were defined based on the academic discussions, yet the original meaning that Said attributed to the concept of orientalism was negative. According to Said, Orientalism essentially tends to create a stereotypical and homogenized perception of the East and is often full of irrational prejudices towards the cultures and civilizations of Orient, which are depicted as rudimentary, traditional, and obsolete in comparison to the Western culture. And an animated cartoon Tokio Jokio (1943), which was created during the World War II. for the purposes of American propaganda, shows exactly those features. In this picture, the director Norman McCabe (1911–2006) has managed to sarcastically portray Japan and its inhabitants using the mentioned features of Orientalism. Moreover, Orientalism in this film is closely accompanied by racist stereotypical ideas about the Japanese, which were constructed by the combination of American war machinery supported by the Anti-Japanese sentiment deeply rooted in the American society already since the end of the 19th century. [ABSTRACT FROM AUTHOR]

Ninetail fox is a significant mythological creature varying across cultures of Eastern Asia, which is a fact widely reflected not just by local, but also by foreign cultural production. During last few years, there came into being two significant adaptations adding new contexts to story of a ninetailed fox, which achieved recognition across western globalized series market with respect to size of the audience. In 2019 Netflix TV station introduced Love, Death and Robots series, which is a compilation of animated short movies varying between genres of scifi, horror and fantasy. As a part of this series a project of Phillip Gelatto (screenplay) and Oliver Thomas (director) was introduced. Movie adaptation of Ken Liu’s novel is called Good Hunting and it addapts the myth of huli jing into new, cyberpunk environment. One year later an adaptation of kumiho, korean version of ninetailed fox, was introduced in series of HBO TV station Lovecraft Country, which was directed by Misha Green based a on novel of Matt Ruff. Both works were either praised or critised for more or less sensitive adaptation of the myth in terms of cultural significance and meaning. One of the hypothetical reasons for this reaction could be sexualization of the figure. That might be seen as a part of the trend of fetishization of asian women, which is one of consequences of western orientalising reprezentations of the region, as it was widely described for example by Kendall Matsumoto16. The aim of this essay is therefore a comparison of both pieces which should led to the possible revelation of how authentic both adaptations achieve to be and what possible representations of east-asian region they might reproduce. [ABSTRACT FROM AUTHOR]

Since 1978, when Edward Wadie Said wrote his critical book Orientalism: Western Conceptions of the Orient, the world has significantly changed. Western Orientalism, which Said criticized in his book, persists in various forms to this day. The following article will focus on Orientalist elements in various film adaptations of the Chinese legend of Mulan. A comparison of films from Walt Disney Pictures Mulan (1998) and Mulan (2020) with Chinese films Hua Mulan (2009) and Mulan congjun (1939) will be made. The comparison will focus on the similarities and differences in the individual film adaptations, focusing on the Orientalist elements in the American versions of the story. First, concepts such as Orientalism and the Orient will be explained. Subsequently, individual films will be presented. The analysis will focus on those elements that significantly affect the story, motivation, and the main character's abilities. The analysis must also consider the fact that these are different film genres that have their specifics. For fairy tales and adventure fantasy genres, the viewer does not expect historical accuracy. Thus, filmmakers have far more freedom to perform artistically, but this also creates space for creating an exotic and stereotypical Chinese environment. Movies are also greatly influenced by the time period in which they were shot. [ABSTRACT FROM AUTHOR]

This essay attempts to analyse the Czech movie Samotáři (The Loners) from the point of view of orientalism. The analysis focuses on the references to the Asian themes, mainly on the references to Japan, which are most numerous and have comparatively greater impact on the audience. Based on the analysis of the references thought through in relation to the context of their appearance, it will be argued that the orientalism is present in the movie mainly in the choice of themes which are stereotypical. However, it will be also argued that it is not orientalist in the Said’s sense of controlling “the other” by its stereotypical depiction for political purposes. Also, it will be argued that there is not a clear boundary between “ornamental” and “conceptual” orientalism as the movie do not utilize other concepts than that of “being Japanese”. [ABSTRACT FROM AUTHOR]

According to Michel Foucault or Brian S. Turner, the possibilities and ways of depicting the human body, its conception, as well as its discipline or control reflect the social norms. By understanding the body as an object and construct of social mechanisms, it is possible to understand specific parts of society, its structure, institutions and (meta) narratives with which it works. Understanding is based on dialogue, which should be based on clarifying starting points. In other words, objective research and interpretation of data requires (self) reflection and admission of one's own starting points, which can cause distortions, subjective interpretation of the obtained data. It is necessary to listen to the voices of those we "study". The emotional approach and the need to interpret phenomena in the context of how those we study understand them are also important. In her text, L. Abu-Lughod asks whether Muslim women really need the "West" to save them. And she points to the paradoxes of the "liberation" of Muslim women, which often do not reflect the needs of women themselves, but rather the narratives and the needs of Western scientists, activists, activists, etc. In my text, I focus on the work of Iranian artist Shirin Neshat, who, among other things, focused on depiction Muslim women. Neshat is not allowed to exhibit in Iran, and her testimony is often questioned by Western authors, or she is accused of orientalism and the promotion of stereotypes. Shirin Neshat does not consider herself an activist and in the interviews, she presents a broader, more-dimensional picture of the position of the Muslim woman in the society. At the same time, in her work she tries to capture the difficult position of a person divided between two cultures, both of which change over time. [ABSTRACT FROM AUTHOR]

Copyright of Czech Journal of Historical Heritage Preservation / Zpravy Pamatkove Pece is the property of Narodni Pamatkovy Ustav 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 Focus on German Studies is the property of University of Cincinnati Press 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 Berichte zur Wissenschafts-Geschichte is the property of Wiley-Blackwell 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.)

Orientalism, which was typical for Western authors and artists’ work in the 19th century, and which imitates elements of Eastern – Oriental cultures, is still abundant in the modern world, especially in films, music, computer games etc. According to Edward Said, this is a robust discourse that creates knowledge about the Orient. As a social science concept, it seeks to explain the unequal relationship between the (West) Occident and the (East) Orient. The American movie Memoirs of a Geisha (2005), based on the book of the same name (1997) written by the American writer Arthur Golden. He studied art history at Harvard University with a focus on Japan, therefore the story is set to an exotic and mysterious world of Japan before, during, and after WWII. It contains many Orientalism elements, with which this paper deals. It compares the film adaptation with reality and finds out the influence of WWII on the main heroines’ life. [ABSTRACT FROM AUTHOR]

Elements of Orientalism can be found in many spheres of human activity, whether in literature, fine arts, music or fashion. Thanks to the increasing globalisation of our world, a distant and unattainable East – Orient is beginning to get closer. These cultures, customs, and rhythms penetrate more and more into our lives every day, mainly through media: Internet, television and radio. In recent years, Orientalism elements have also begun to appear in fashion and music industries and advertising, where they are primarily intended to impress us visually. In Western communities, however, they are mostly based only on stereotypes about Oriental countries, and in the performance of Western artists, they often have little to do with reality. In the music video with the Chinese warrior Chun Li, portrayed by rapper Nicki Minaj (1982), I decided to analyse Chinese Orientalism and compare the Western concept with her original image. [ABSTRACT FROM AUTHOR]

In the introduction part of this paper, one will find definitions of terms Orient and Orientalism. Two conflicting views exist in Orientalism’s description – Edward Wadie Said (1935–2003) and George Paul Landow’s (1940) perspectives. An American movie intorduced to the public in 2013 47 Ronin is supposed to be an excellent example of Orientalism. It presents one of the most famous stories in Japanese history. In this film, we will find several orientalising elements, which are marked and subsequently analysed. One type of features offers a glimpse into the lives of samurai. An integral part of the movie are the Japanese martial arts and the fate of the ronin. It also points to the religious background of Japan. Despite all American filmmakers’ efforts to bring Japanese culture and historical events closer to the Westerners, there are moments in the movie that do not correspond to reality. The content and design are adapted to the eyes of the Occidental audience. This article therefore discusses the inspiration of Japanese culture and customs that used to be commonplace in the past. [ABSTRACT FROM AUTHOR]

In the following essay, I will analyse Orientalism in Walt Disney’s 1998 animated film Mulan. First of all, I will explain basic concepts such as Orientalism, Orient and Occident, then I will introduce the life and work of Walt Disney and The Ballad of Mulan, an inspiration for the movie. Later, I am going to explain Orientalism in different scenes of the film, including stereotypical views of the obedient Asian girl and her appearance, inaccurate depictions of clothing, and the presence of typically Japanese elements, which are balanced by portraying typically Chinese since it should take place in China. Another aspect of Orientalism is the values that the characters advocate. Finally, features typical for Chinese culture appear in the film, but they do not correspond to the time of the story neither Six Dynasties nor Tang. These shape, I believe, the stereotypical views of the Westerners on Asian culture. [ABSTRACT FROM AUTHOR]

In the chateau in Svätý Anton, a village near Banská Štiavnica, there is a luxurious Chinese salon established in the last quarter of the 19th century. The dominant element in it are undoubtedly the textile hangings on the walls decorated with embroidery: the boys arranged in small groups in Chinese garden architecture. The theme of playing children is very popular in China, especially in folk art, and also on ceramics or carved furniture, because it symbolises abundant offspring and family success. In the context of European chinoiseries and relevant historical interiors, the Chinese salon at the chateau is late and must therefore be seen as a retrospective of the late 17th and early 18th centuries. In the 19th century, deeper understanding of Chinese culture did away with to exotic exaggerations, and was represented in better taste than before. However, it can be assumed that the owners of the chateau did not understand the meaning of the installation. [ABSTRACT FROM AUTHOR]

Copyright of Journal of German Language & Literature / Istanbul Üniversitesi Alman Dili ve Edebiyai Dergisi / Studien zur Deutschen Sprache und Literatur is the property of Istanbul University, Faculty of Letters 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.)

Der Essay legt dar, dass das Gründungsdokument der postkolonialen Studien aufgrund ernsthafter logischer Inkonsistenzen überhaupt gar keine stringente, diskutierbare These aufweist. Stattdessen dient Saids rhetorische Strategie in erster Linie dazu den Islam gegen Kritik zu immunisieren, dabei bedient er sich ausgerechnet der Mittel, die er dem Orientalismus zum Vorwurf macht. The essay demonstrates, that the founding document of the field of Post-Colonial Studies, due to serious logical flaws, fails to formulate a stringent thesis, open to critical scrutiny. Instead, Said's rhetorical strategy primarily serves to immunize Islam against criticism, whereby he employs the same means of which he accuses Orientalism. [ABSTRACT FROM AUTHOR]

Obwohl Edward Saids Einfluss auf die Nahoststudien, und darüber hinaus auf die Sozial-, Geistes- und Kulturwissenschaften, aus vielen Perspektiven als glänzender Triumph oder als Tragödie betrachtet worden ist, stellen nur wenige die erstaunliche Reichweite und Durschlagskraft seines Werks Orientalismus in der akademischen Welt in Frage. Ich möchte hier die (unbeabsichtigte) Rolle Saids sowie die durch seine Arbeiten beförderte postkoloniale Lehrmeinung untersuchen, mithin auch die Art und Weise, wie der Westen bisher mit dem geistigen Krieg umgeht, den triumphalistische Muslime Eine Bemerkung zum Triumphalismus. Das ist eine ungebräuchliche Bezeichnung derjenigen, die glauben, ihre Gruppe sei allen anderen überlegen und solle zum Beweis ihrer Überlegenheit über diese herrschen: „Wir haben recht, unser Glaube ist wahr, weil wir über euch triumphieren werden." In Bezug auf den Islam ist damit eine Form der Religiosität gemeint, die glaubt, es sei ihre Bestimmung, die ganze Welt Allahs Willen (dem Gesetz der Scharia) zu unterwerfen; die Welt sei geteilt in den Dar al-Harb (das Reich des Schwertes) und den Dar al-Islam (das Haus der Unterwerfung) und dieser solle jenen ersetzen; im Idealfall stellten die Muslime die Ungläubigen vor die Wahl zwischen Konversion, Tod und Unterordnung. Moderne Demokratien, die auf der Trennung von Kirche und Staat beruhen, erfordern eine offizielle Absage an triumphalistische Religiosität (siehe Landes 2016). mit dem erklärten Ziel führen, demokratischen Verfassungen den Dar al-Islam zu oktroyieren. Although Edward Said's impact on the field of Middle Eastern Studies, and beyond, across the social sciences and the humanities, has been viewed from many perspectives as a brilliant triumph or as tragedy, few question the astonishing scope and penetration of Orientalism on the academic world. Here I wish to investigate the (unintended) role played by Said, and the post-colonial school of thought his works fostered, in the way that the West has so far handled the cognitive war that triumphalist Muslims wage in their stated goal of imposing Dar al-Islam on democratic polities. [ABSTRACT FROM AUTHOR]