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A groundbreaking critique of the West's historical, cultural, and political perceptions of the East that is—three decades after its first publication—one of the most important books written about our divided world. "Intellectual history on a high order ... and very exciting." —The New York Times In this wide-ranging, intellectually vigorous study, Said traces the origins of "orientalism" to the centuries-long period during which Europe dominated the Middle and Near East and, from its position of power, defined "the orient" simply as "other than" the occident. This entrenched view continues to dominate western ideas and, because it does not allow the East to represent itself, prevents true understanding.
A thrilling page-turner of epic proportions, Tom Reiss’s panoramic bestseller tells the true story of a Jew who transformed himself into a Muslim prince in Nazi Germany. Lev Nussimbaum escaped the Russian Revolution in a camel caravan and, as “Essad Bey,” became a celebrated author with the enduring novel Ali and Nino as well as an adventurer, a real-life Indiana Jones with a fatal secret. Reiss pursued Lev’s story across ten countries and found himself caught up in encounters as dramatic and surreal–and sometimes as heartbreaking–as his subject’s life.
The Orientalist unravels the mysterious life of a man born on the border between West and East, a Jewish man with a passion for the Arab world. Tom Reiss first came across the man who called himself 'Kurban Said' when he went to the ex-USSR to research the oil business on the Caspian Sea, and discovered a novel instead. Written on the eve of the Second World War, Ali and Nino is a captivating love story set in the glamorous city of Baku, Azerbaijan's capital. The novel's depiction of a lost cosmopolitan society is enthralling, but equally intriguing is the identity of the man who wrote it. Who was its supposed author? And why was he so forgotten that no one could agree on the simplest facts about him? For five years, Reiss tracked Lev Nussimbaum, alias Kurban Said, from a wealthy Jewish childhood in Baku, to a romantic adolescence in Persia on the run from the Bolsheviks, and an exile in Berlin as bestselling author and self-proclaimed Muslim prince. The result is a thoroughly unexpected picture of the twentieth-century - of the origins of our ideas about race and religious self-definition, and of the roots of modern fanaticism.
Shafik Gabr started his collection of Orientalist art in 1993. His collection comprises some of the finest examples of the greatest masters of Orientalism.
The Orientalists pursues the mid to late 19th century, when American and European artists traveled and painted throughout the Holy Land and India. The highly cinematic images they created suggest a great influence on modern visual culture.
Since Edward Said’s foundational work, Orientalism has been singled out for critique as the quintessential example of Western intellectuals’ collaboration with oppression. Controversies over the imbrications of knowledge and power and the complicity of Orientalism in the larger project of colonialism have been waged among generations of scholars. But has Orientalism come to stand in for all of the sins of European modernity, at the cost of neglecting the complicity of the rest of the academic disciplines? In this landmark theoretical investigation, Wael B. Hallaq reevaluates and deepens the critique of Orientalism in order to deploy it for rethinking the foundations of the modern project. Refusing to isolate or scapegoat Orientalism, Restating Orientalism extends the critique to other fields, from law, philosophy, and scientific inquiry to core ideas of academic thought such as sovereignty and the self. Hallaq traces their involvement in colonialism, mass annihilation, and systematic destruction of the natural world, interrogating and historicizing the set of causes that permitted modernity to wed knowledge to power. Restating Orientalism offers a bold rethinking of the theory of the author, the concept of sovereignty, and the place of the secular Western self in the modern project, reopening the problem of power and knowledge to an ethical critique and ultimately theorizing an exit from modernity’s predicaments. A remarkably ambitious attempt to overturn the foundations of a wide range of academic disciplines while also drawing on the best they have to offer, Restating Orientalism exposes the depth of academia’s lethal complicity in modern forms of capitalism, colonialism, and hegemonic power.
Lily is the daughter of a humble farmer, and to her family she is just another expensive mouth to feed. Then the local matchmaker delivers startling news: if Lily's feet are bound properly, they will be flawless. In nineteenth-century China, where a woman's eligibility is judged by the shape and size of her feet, this is extraordinary good luck. Lily now has the power to make a good marriage and change the fortunes of her family. To prepare for her new life, she must undergo the agonies of footbinding, learn nu shu, the famed secret women's writing, and make a very special friend, Snow Flower. But a bitter reversal of fortune is about to change everything.
Kitty Fane's affair with Assistant Colonial Secretary Townsend is interrupted when she is taken from Hong Kong by her vengeful bacteriologist husband to work in a cholera epidemic.
The Middle East played a critical role in the development of photography as a new technology and an art form. Likewise, photography was instrumental in cultivating and maintaining Europe’s distinctively Orientalist vision of the Middle East. As new advances enhanced the versatility of the medium, nineteenth-century photographers were able to mass-produce images to incite and satisfy the demands of the region’s burgeoning tourist industry and the appetites of armchair travelers in Europe. In this way, the evolution of modern photography fueled an interest in visual contact with the rest of the world. Photography’s Orientalism offers the first in-depth cultural study of the works of European and non- European photographers active in the Middle East and India, focusing on the relationship between photographic, literary, and historical representations of this region and beyond. The essays explore the relationship between art and politics by considering the connection between the European presence there and aesthetic representations produced by traveling and resident photographers, thereby contributing to how the history of photography is understood.