Suchergebnisse

Eliza Fay's Original Letters from India (1817), initially sold to the Calcutta Gazette to pay off her debts, aroused the curiosity and interest of Edward M. Forster, while he was doing research for his best-selling novel, A Passage to India. In his own words, "Eliza Fay is a work of art." (apud Fay 7) The value of E. Fay's travelogue, comprising not one, but three voyages to India (in 1779, 1784, 1796) can be easily explained if we take into account the scope of its geographical coverage, the hardships of its historical context (the political chaos brought about by the fall of the Mughal empire and the consolidation of the British rule in the Indian subcontinent) and the heroism of the first person-narrator that emerges behind the descriptive sketches and the scenes of adversity and imminent danger. Thus the current analysis will focus on the E. Fay's adventurous mode of narrating, e.g., the discursive situatedness of the traveller visà- vis the Other(s) (European and non-European peoples and loci) and the constraints imposed by the patriarchal idealization of the domestic Woman and their alleged feebleness.

This paper argues that Mohamad Bouazizi's self-immolation was a Pragmatic Act aimed at escaping Biopower formulated by the authoritarian Tunisian regime for the purpose of securitizing Structural Violence. It is a sensational form of suicide that awakens emotions and inspires resistance. Human emotions, not technological innovation, had the power to change regimes. Twitter and Facebook are methods of communication that helped transmit this rage, but did not cause these revolutions. Passions, lit by Bouazizi's flame, diffused naturally by human interface and may have occurred without such technological advances. This paper is divided into three main parts. The first is to theorize the act of self-immolation. The second theorizes about the power human emotion has on the international arena. Lastly, it highlights the discursive power of scholarship. Fundamentally, this paper seeks to illuminate these thoughts on Bouazizi's self-immolation, as well pursue self-reflexivity that exemplifies the subjectivity of intellectuality. It presents a novel argument as it describes what dominant theories of International Relations omit: how ordinary people influence the international politics. The Arab Revolutions were caused not solely by the emergence of social networks or news media, but by emotional diffusion. Raw human anger forms the uniting force that assembles and organizes oppressed populations. By using these concepts and describing this and other cases of self-immolation, one discovers a pattern: self-immolation is an extraordinary method of suicide that persons without agency use to securitize structural violence by means of human emotion. As such, emotions are an integral, but understudied part of International Relations.

The end of the Cold War brought with it a temporary euphoria about prospects for a worldwide "third wave" of democratization to sweep the globe. If civil society had triumphed in the former Soviet bloc, perhaps political liberalism would spread elsewhere. No sooner had the sweet taste of victory over communism subsided, however, than Western observers turned their attention to another, allegedly uniquely, antidemocratic current- Islam-whose civilizational values seem to clash with Western liberalism even more fundamentally than Marxism. Whereas people in other parts of the world crave civil society, so the argument goes, political openings in the Muslim world have only fanned the flames of religious extremism. This argument finds much support in Orientalist literature, scholarship, and journalism.

Focus on the internalization of Western images in the Balkans has special significance in researching Serbian art. The functioning of Balkanism as it overlapped and intersected with Orientalism is indicated in the text by an examination of the cases of Petar Konjović, Miloje Milojević and Josip Slavenski, the three significant composers working in Serbia during the first half of the twentieth century. Their modernistic projects present different metaphors of the Balkans. Nevertheless each of them is marked by desire to change the Balkan image into a 'positive' one and thus stands as a special voice for Serbian and regional placing in European competition for musical spaces. ; U proučavanju srpske muzike prve polovine XX veka ne mogu se ignorisati iterpretativne strategije o Balkanu koje je Zapadna Evropa, shodno sopstvenim pozicijama moći i ideologijama oslonjenim na ideju progresa stvarala i plasirala kao objektivne i nepromenljive datosti. Stereotipne predstave o ovom regionu kao kulturno inferiornom, prelaznom svetu između Istoka i Zapada, posebno su kulminirale u istorijskom kontekstu prvih decenija XX veka. One su bile deo geopolitičkih, ekonomskih i kulturnih frustracija ugrađenih u pozitivnu sliku 'civilizovane Evrope', pa tako i jedan od simptoma krize zapadnog liberalno-buržoaskog društva i njegove modernosti. Iako su direktno povezane sa padom Otomanskog carstva, nastankom nacionalnih država na Balkanu i aktuelizovanjem njihovog statusa u Evropi one upućuju na kontinuitet različitih, ali uvek prisutnih podela u kojima su se slike o Balkanu, kao religijskoj, kulturnoj, ideološkoj i/ili političkoj drugosti uže Evrope međusobno smenjivale i snažile u istorijskom kontinuumu od srednjeg veka do današnjeg vremena. U tekstu se ispituje mogućnost proučavanja i razumevanja srpske muzike prve polovine XX stoleća u kontekstu kritike balkanizma i orijentalizma. Pažnja je posvećena opusima i/ili pisanoj reči Petra Konjovića, Miloja Milojevića i Josipa Slavenskog, a stvaralačke reakcije ovih kompozitora na liminalni status regiona sagledane su kao tri različite metafore Balkana. U modernističkim konceptima Konjovića i Milojevića, predstave o regionalnoj muzici i njenom mestu u relacijama simboličke geografije Evrope ukazuju na kritički odnos prema negativnim slikama Balkana, ali u pojedinim aspektima otkrivaju i reprodukciju i variranje balkanističke i orijentalističke perspektive. Vezivanje za 'Istok' ili za 'Zapad' delimično je rešavalo problem percepcije Balkana kao 'prelaza', a stavove o životu na raskršću ili granici svetova gde su balkanski narodi zasnivali smisao sopstvenog identiteta, bilo je zapravo veoma teško izmestiti u neke nove, drugačije kognitivne dimenzije. U tom kontekstu, modernistička percepcija koju je ponudio Slavenski, konstruišući integralnu sliku Balkana kao potencijalnog muzičkog centra Evrope mogla bi se protumačiti ne samo kao kritika već i kao umetnička inverzija ustaljenih stereotipa o regionu.

This article examines the oriental project of imagining migrant women through commercially arranged cross-border marriages. Taking the 'foreign bride' in Singapore as a subject of 'oriental simplicity', it shows how contemporary orientalism continues to shape practices and beliefs in something as familiar as searching for a wife and having a family. The article questions the gendered, classed and sexualised politics that render the migrant woman from less developed nations an ambivalent figure of desire, further complicating the already problematic articulation of womanhood and selfhood in the post-colonial state. By reinforcing a cultural marketability of 'oriental simplicity', commercially arranged cross-border marriages serve to naturalise patriarchal family structures and strengthen the hegemonic ideology of the Asian family.

Der Orient ist als kulturelle Antithese eine Projektionsfläche europäischer Denkweisen und Phantasmen. Besonders in der französischen und frankophonen Literatur und Kunst ist er seit dem 19. Jahrhundert ein allgegenwärtiges Thema. Die Beiträge des Bandes machen diese Konstruktionen des Orients in ihrer Komplementarität und in der medialen Differenz von bildender Kunst und Literatur sichtbar. Als ein interdisziplinärer Beitrag zur Orientalismus-Debatte werden die literarischen und künstlerischen Werke des sogenannten Orientalismus nicht länger einer versatzstückhaften Ideologiekritik durch Wissenschaft unterzogen. Vielmehr wird gezeigt, dass einem Teil dieser Werke die Dekonstruktion des Orients als ästhetische Praxis bereits selbst eingeschrieben ist

International audience ; Die Vermessung Kleinasiens Der Deutsche Orientalismus im Feld, 1835-1895 Edward Said hat geltend gemacht, dass der deutsche Orientalismus des 19. Jahrhunderts als eine Art 'Orientalismus der Studierstuben' einen weniger realen und greifbaren 'Orient' vermittelt habe als die britischen und französischen Orientalismen. Entgegen dieser Auffassung zeigt dieses Buch auf, dass die deutschen Orientalisten unmittelbar mit ihren Studienbereichen in Berührung kamen. Das Buch widmet sich den zwischen 1830 und 1890 in Berlin publizierten Karten Kleinasiens. Von den Gestaltern über die Zeichner und Übersetzer bis zu den Auftraggebern nimmt das Buch jenes Netzwerk von Akteueren in den Blick, das an deren Entstehung beteiligt war und zeichnet so das Bild einer transnationalen Produktion von kartografischem Wissen. Zwischen Pera und der Wilhelmstraße, Trapezunt und Leipzig, Smyrna und Paris, London, St. Petersburg und Wien entwickelte sich durch Reisen, persönliche Zusammenkünfte und briefliche Korrespondenzen ein reger Austausch zwischen einheimischen und ausländischen Akteuren. Als Grundlage für philologische, archäologische, kommerzielle und militärische Unternehmungen stand die Kartographie im Zentrum des Interesses von Wissenschaftlern, Geschäftsleuten und dem Militär. Zwischen 1835 und 1895 – einem Zeitraum, der von zwei großen offiziellen und von Berlin finanzierten Militärmissionen ins Osmanische Reich gerahmt wird – verbanden sich strategische und akademische Interessen im Deutschen Reich mehr und mehr miteinander ; gleichzeitig wurden diese aber auch von militärischen und zivilen Projekte der osmanischen Seite beeinflusst. Bei genauer Analyse erweisen sich die Karten von Kleinasien daher nicht nur als ein Produkt des deutschen Imperialismus im Osmanischen Reich. Es wird vielmehr deutlich, dass sie von beiden Seiten als Werkzeug eingesetzt und das gemeinsame Terrain einer transimperialen Geschichte wurden. ; Mapping Asia Minor German Orientalism in the field, 1835-1895 Edward Said claimed that nineteenth century German Orientalism conveyed a less real and tangible "Orient" – a rather bookish Orient -- than British and French Orientalisms did. In contrast to this conception, this book shows that German Orientalists did engage in concrete fieldwork. Drawing on the maps of Asia Minor that were published in Berlin between the 1830s and the 1890s, it brings to light the entire web of their producers, be they designers, draughtsmen, translators or patrons – thus delineating a transnational network of cartographic know-how. From Pera to the Wilhelmstrasse, from Trebizond to Leipzig, from Smyrna to Paris, London, St. Petersburg and Vienna, indigenous and foreign producers of knowledge about the Ottoman Empire travelled, met and interacted with each other. The task of mapping corralled philological, archeological, commercial and military skills. Maps were therefore a common ground which brought Orientalist scholars, businessmen, and army officers together. Between 1835 and 1895, a period punctuated by two major Berlin-sponsored official missions to the Ottoman Empire, strategic and academic interests critically overlapped in the German Empire; but military and civilian projects evolved in parallel on the Ottoman side. Maps of Asia Minor were therefore no mere tool of German imperialism in the Ottoman Empire: rather, they served as a tool for both empires. As such, they play a pivotal role in the writing of a transimperial history. ; Cartographier l'Asie mineure. L'orientalisme allemand à l'épreuve du terrain, 1835-1895.Edward Said voyait dans l'orientalisme allemand un seul fantasme de cabinet: à rebours de cette conception, cet ouvrage montre qu'il se nourrit aussi d'expériences de terrain. Comment? Il redessine la toile des producteurs - concepteurs, réalisateurs, traducteurs, commanditaires - des cartes de l'Asie mineure publiées à Berlin au XIXe siècle. Apparaît alors une géographie savante transnationale: de Péra à la Wilhelmstrasse, de Trébizonde à Leipzig, de Smyrne à Paris, Londres, Saint-Pétersbourg ou Vienne. Les producteurs autochtones et étrangers d'un savoir sur l'Empire ottoman circulent, se rencontrent et correspondent. La cartographie est au centre de l'attention des orientalistes savants, des hommes d'affaires et des militaires. C'est un sésamepour la philologie, l'archéologie, l'art de la guerre et le commerce. Entre 1835 et 1895, période que jalonnent les deux principales missions militaires envoyées par Berlin dans l'Empire ottoman, les intérêts stratégiques et académiques s'imbriquent et évoluent conjointement avec les projets militaires et civils ottomans. Rouage d'une histoire transimpériale, la cartographie de l'Asie mineure ne fut pas un simple vecteur d'un impérialisme allemand mais bien un outil au service de deux empires. ; Anadolu'yu haritalamak 1835-1895 yılları arasında Alman Şarkiyatının saha çalışması ile imtihanı Edward Said, Fransız ve İngiliz geleneğine kıyasla, XIX. yüzyıl Alman Şarkiyatının daha soyut, daha az elle tutulur, kısacası çalışma odasında üretilmiş bir « Doğu » ile karşımıza çıktığını söyler. Bu görüşün aksine, işbu kitap, Almanların araştırma sahalarıyla somut şekilde yüzleştiklerini göstermektedir. 1830-1890 yılları arasında, Berlin'de yayımlanan Anadolu haritalarının hazırlanışında, tasarımcılardan yapımcılara, çevirmenlerden işverenlere, emeği geçenlerin arasındaki ağı yeniden kurarak coğrafya biliminin nasıl uluslar ötesi şekilde karşımıza çıktığını gözler önüne sermektedir: Pera'dan Wilhelmstrasse'ye, Trabzon'dan Leipzig'e, İzmir'den Paris, Londra, Sankt Peterburg ya da Viyana'ya Osmanlı İmparatorluğu hakkında bilgi üreten yerli ve yabancılar dolaşmış, birbirleriyle karşılaşmış ve fikir alışverişinde bulunmuşlardır. Dil bilimi, arkeoloji, savaş sanatı ve ticaret konuları için anahtar niteliğindeki haritacılık, şarkiyatçıların, iş adamlarının ve askerlerin dikkat odağında yer almıştır. Berlin'in maddi destek verdiği Osmanlı İmparatorluğu sınırlarındaki başlıca iki resmi görevin yürütüldüğü 1835-1895 yılları arasında, stratejik ve bilimsel çıkarlar, Alman saflarında birbiriyle örtüşüp kuvvetlenirken Osmanlıların askeri ve sivil projeleriyle de ortak bir seyir izlemiştir. Anadolu haritalarını yalnızca Osmanlı İmparatorluğu'ndaki bir Alman yayılmacılığı gereci olarak değerlendirmek indirgeyici olacaktır: derinlemesine bir inceleme, söz konusu haritacılığın tek bir imparatorluğun değil, ikisinin de hizmetindeki bir araç olarak imparatorluklar ötesi bir tarihi çizmektedir.

International audience ; Die Vermessung Kleinasiens Der Deutsche Orientalismus im Feld, 1835-1895 Edward Said hat geltend gemacht, dass der deutsche Orientalismus des 19. Jahrhunderts als eine Art 'Orientalismus der Studierstuben' einen weniger realen und greifbaren 'Orient' vermittelt habe als die britischen und französischen Orientalismen. Entgegen dieser Auffassung zeigt dieses Buch auf, dass die deutschen Orientalisten unmittelbar mit ihren Studienbereichen in Berührung kamen. Das Buch widmet sich den zwischen 1830 und 1890 in Berlin publizierten Karten Kleinasiens. Von den Gestaltern über die Zeichner und Übersetzer bis zu den Auftraggebern nimmt das Buch jenes Netzwerk von Akteueren in den Blick, das an deren Entstehung beteiligt war und zeichnet so das Bild einer transnationalen Produktion von kartografischem Wissen. Zwischen Pera und der Wilhelmstraße, Trapezunt und Leipzig, Smyrna und Paris, London, St. Petersburg und Wien entwickelte sich durch Reisen, persönliche Zusammenkünfte und briefliche Korrespondenzen ein reger Austausch zwischen einheimischen und ausländischen Akteuren. Als Grundlage für philologische, archäologische, kommerzielle und militärische Unternehmungen stand die Kartographie im Zentrum des Interesses von Wissenschaftlern, Geschäftsleuten und dem Militär. Zwischen 1835 und 1895 – einem Zeitraum, der von zwei großen offiziellen und von Berlin finanzierten Militärmissionen ins Osmanische Reich gerahmt wird – verbanden sich strategische und akademische Interessen im Deutschen Reich mehr und mehr miteinander ; gleichzeitig wurden diese aber auch von militärischen und zivilen Projekte der osmanischen Seite beeinflusst. Bei genauer Analyse erweisen sich die Karten von Kleinasien daher nicht nur als ein Produkt des deutschen Imperialismus im Osmanischen Reich. Es wird vielmehr deutlich, dass sie von beiden Seiten als Werkzeug eingesetzt und das gemeinsame Terrain einer transimperialen Geschichte wurden. ; Mapping Asia Minor German Orientalism in the field, 1835-1895 Edward Said claimed that nineteenth century German Orientalism conveyed a less real and tangible "Orient" – a rather bookish Orient -- than British and French Orientalisms did. In contrast to this conception, this book shows that German Orientalists did engage in concrete fieldwork. Drawing on the maps of Asia Minor that were published in Berlin between the 1830s and the 1890s, it brings to light the entire web of their producers, be they designers, draughtsmen, translators or patrons – thus delineating a transnational network of cartographic know-how. From Pera to the Wilhelmstrasse, from Trebizond to Leipzig, from Smyrna to Paris, London, St. Petersburg and Vienna, indigenous and foreign producers of knowledge about the Ottoman Empire travelled, met and interacted with each other. The task of mapping corralled philological, archeological, commercial and military skills. Maps were therefore a common ground which brought Orientalist scholars, businessmen, and army officers together. Between 1835 and 1895, a period punctuated by two major Berlin-sponsored official missions to the Ottoman Empire, strategic and academic interests critically overlapped in the German Empire; but military and civilian projects evolved in parallel on the Ottoman side. Maps of Asia Minor were therefore no mere tool of German imperialism in the Ottoman Empire: rather, they served as a tool for both empires. As such, they play a pivotal role in the writing of a transimperial history. ; Cartographier l'Asie mineure. L'orientalisme allemand à l'épreuve du terrain, 1835-1895.Edward Said voyait dans l'orientalisme allemand un seul fantasme de cabinet: à rebours de cette conception, cet ouvrage montre qu'il se nourrit aussi d'expériences de terrain. Comment? Il redessine la toile des producteurs - concepteurs, réalisateurs, traducteurs, commanditaires - des cartes de l'Asie mineure publiées à Berlin au XIXe siècle. Apparaît alors une géographie savante transnationale: de Péra à la Wilhelmstrasse, de Trébizonde à Leipzig, de Smyrne à Paris, Londres, Saint-Pétersbourg ou Vienne. Les producteurs autochtones et étrangers d'un savoir sur l'Empire ottoman circulent, se rencontrent et correspondent. La cartographie est au centre de l'attention des orientalistes savants, des hommes d'affaires et des militaires. C'est un sésamepour la philologie, l'archéologie, l'art de la guerre et le commerce. Entre 1835 et 1895, période que jalonnent les deux principales missions militaires envoyées par Berlin dans l'Empire ottoman, les intérêts stratégiques et académiques s'imbriquent et évoluent conjointement avec les projets militaires et civils ottomans. Rouage d'une histoire transimpériale, la cartographie de l'Asie mineure ne fut pas un simple vecteur d'un impérialisme allemand mais bien un outil au service de deux empires. ; Anadolu'yu haritalamak 1835-1895 yılları arasında Alman Şarkiyatının saha çalışması ile imtihanı Edward Said, Fransız ve İngiliz geleneğine kıyasla, XIX. yüzyıl Alman Şarkiyatının daha soyut, daha az elle tutulur, kısacası çalışma odasında üretilmiş bir « Doğu » ile karşımıza çıktığını söyler. Bu görüşün aksine, işbu kitap, Almanların araştırma sahalarıyla somut şekilde yüzleştiklerini göstermektedir. 1830-1890 yılları arasında, Berlin'de yayımlanan Anadolu haritalarının hazırlanışında, tasarımcılardan yapımcılara, çevirmenlerden işverenlere, emeği geçenlerin arasındaki ağı yeniden kurarak coğrafya biliminin nasıl uluslar ötesi şekilde karşımıza çıktığını gözler önüne sermektedir: Pera'dan Wilhelmstrasse'ye, Trabzon'dan Leipzig'e, İzmir'den Paris, Londra, Sankt Peterburg ya da Viyana'ya Osmanlı İmparatorluğu hakkında bilgi üreten yerli ve yabancılar dolaşmış, birbirleriyle karşılaşmış ve fikir alışverişinde bulunmuşlardır. Dil bilimi, arkeoloji, savaş sanatı ve ticaret konuları için anahtar niteliğindeki haritacılık, şarkiyatçıların, iş adamlarının ve askerlerin dikkat odağında yer almıştır. Berlin'in maddi destek verdiği Osmanlı İmparatorluğu sınırlarındaki başlıca iki resmi görevin yürütüldüğü 1835-1895 yılları arasında, stratejik ve bilimsel çıkarlar, Alman saflarında birbiriyle örtüşüp kuvvetlenirken Osmanlıların askeri ve sivil projeleriyle de ortak bir seyir izlemiştir. Anadolu haritalarını yalnızca Osmanlı İmparatorluğu'ndaki bir Alman yayılmacılığı gereci olarak değerlendirmek indirgeyici olacaktır: derinlemesine bir inceleme, söz konusu haritacılığın tek bir imparatorluğun değil, ikisinin de hizmetindeki bir araç olarak imparatorluklar ötesi bir tarihi çizmektedir.

Cover Page -- By the Same Author -- Title Page -- Contents -- Preface -- Introduction -- Part I: Beginnings -- 1. The Claims of Individuality (1966) -- 2. The Palestinian Experience (1968-1969) -- 3. Molestation and Authority in Narrative Fiction (1971) -- Part II: Orientalism and After -- 4. Orientalism (1978) -- Introduction to Orientalism -- The Scope of Orientalism -- 5. Zionism from the Standpoint of Its Victims (1979) -- 6. Islam as News (1980) -- 7. Traveling Theory (1982) -- 8. Secular Criticism (1983) -- 9. Permission to Narrate (1984) -- 10. Interiors (1986) -- 11. Yeats and Decolonization (1988) -- 12. Performance as an Extreme Occasion (1989) -- 13. Jane Austen and Empire (1990) -- 14. Intellectual Exile: Expatriates and Marginals (1993) -- 15. The Middle East "Peace Process": Misleading Images and Brutal Actualities (1995) -- Part III: Late Styles -- 16. On Lost Causes (1997) -- 17. On Writing a Memoir (1999) -- 18. The Clash of Definitions (2000) -- 19. The Virtuoso as Intellectual (2000) -- 20. Barenboim and the Wagner Taboo (2002) -- 21. Freud and the Non-European (2003) -- 22. Dignity and Solidarity (2003) -- 23. The Return to Philology (2004) -- 24. Timeliness and Lateness (2006) -- Notes -- Permissions Acknowledgments -- About the Editors -- Acknowledgments -- eCopyright.

In April of 2021, the French Senate chose to introduce added expansive legislation relating to the visibility of religious dress in public spaces to bolster the country's secular commitments. Though the existence of religious symbols in public spaces remains a matter of controversy, France's legislative body has over the past two-decades introduced a string of legislation which has a disproportionate effect of Muslim women and girls. Namely, the current proposed bill would ban the use of hijabs in public spaces for girls under the age of 18, and this severely restrictive decision has gathered both national and international condemnation within feminist circles as a perverse attempt at policing women's bodies. Therefore, this paper hopes to contribute to the rich field of intersectional feminist writing, drawing on the work of black feminist Kimberlé Crenshaw, and provide added consideration of religion and sexuality. More specifically, in addressing the unique positionality of Muslim women this paper identifies the interacting dynamics of gendered orientalism and women's sexual agency in Western neo-liberal states promotes further marginalisation and victimisation

An English aristocrat, poet and writer, Lady Mary Wortley Montagu (1689-1762) was a privileged and distinguished woman traveller in her time. During her sojourn in Ottoman Istanbul, she noted down significant details as regards the Constantinople and seraglio through her vivid descriptions as a liberated woman in her Embassy Letters. Another significant oriental work, Letters from Turkey by Kelemen Mikes (1690-1761), who was a Transylvanian-born Hungarian writer and political figure, is centered upon Mikes's life in exile between the years 1717 and 1758 within the boundaries of the Ottoman Empire. In Letters from Turkey, we can feel his strong sense of Hungarian identity and his steadiness in maintaining his cultural and religious customs and values in his elaboration of his own and the "other" culture, while his praising the benign and merciful ruling style of Ottoman Sultans offers a different view of orientalism in favour of the "other" culture (Ottoman Empire). Therefore, the purpose of this paper is to examine the Letters of Lady Mary Montagu and Kelemen Mikes from their political, ethnical, religious and personal perspectives and trace several relationships that has allusive discussion relativity in the discourse of Orientalism. After having explained the specific letters of both writers, I will attempt to use the scope of Edward Said's Orientalism and Enlightenment Orientalism discussed in Sirinivas Aravamudan's Enlightenment Orientalism: Resisting the Rise of the Novel, as a magnifying glass to different oriental images and conceptions contradictory with the reality in the eighteenth century. This study will mostly make use of Edward Said's account of orientalism as well as Stephen Greenblatt's theory of Self Fashioning in order to explicate the differences as to how the Orient is perceived by the authors from different cultures but from the same period. In order to highlight how the definition of Orient changes, this paper attempts to define the Orient in accordance with the works of Lady Montagu and Kelemen Mikes.

Edward W. Said (1935-2003) ranks as one of the most preeminent public intellectuals of our time. Through his literary criticism, his advocacy for the Palestinian cause, and his groundbreaking book Orientalism, Said elegantly enriched public discourse by unsettling the status quo. This indispensable volume, the most comprehensive and wide-ranging resource on Edward Said's life and work, spans his broad legacy both within and beyond the academy. The book brings together contributions from thirty-one luminaries--leading scholars, critics, writers, and activists--to engage Said's provocative ideas. Their essays and interviews explore the key themes of emancipation and representation through the prisms of postcolonial theory, literature, music, philosophy, and cultural studies. Contributors: Bill Ashcroft, Ben Conisbee Baer, Daniel Barenboim, Timothy Brennan, Noam Chomsky, Denise DeCaires-Narain, Nicholas Dirks, Marc H. Ellis, Rokus de Groot, Sabry Hafez, Abdirahman A. Hussein, Ardi Imseis, Adel Iskandar, Ghada Karmi, Katherine Callen King, Joseph Massad, W. J. T. Mitchell, Laura Nader, Ilan Pappe, Benita Parry, Rajagopalan Radhakrishnan, Jahan Ramazani, Jacqueline Rose, Lecia Rosenthal, Hakem Rustom, Avi Shlaim, Ella Habiba Shohat, Robert Spencer, Gayatri Chakravorty Spivak, Anastasia Valassopoulos, Asha Varadharajan, Michael Wood.