Suchergebnisse

published_or_final_version ; Literary and Cultural Studies ; Master ; Master of Arts

Fokus penelitian ini adalah menjawab tiga permasalahan pokok, yaitu: pertama, bagaimana historis timbulnya Orientalisme? Kedua, bagaimana karakteristik dan dinamika perkembangan Orientalisme? Ketiga, bagaimana pandangan Islam terhadap Orientalisme? Penelitian ini merupakan studi literer (library research) dengan model faktual-historikal yaitu fakta sejarah tentang kebradaan Orientalisme, karakteristik dan dinamika serta perspektif Islam terhadap misi dan tujuan kelompok ilmuan Barat tersebut. Di satu sisi, para orientalist memiliki keistimean sebagai tugas misi suci zending berbekal karakteristik khusus, yakni tugas misi keagamaan, imperial, bisnis, politis dan ilmiah, bahwa Islam (doktrin dan umatnya) harus diperdayakan agar menjadi terpuruk. Di sisi lain syarat ilmiah yang diberikan justeru merupakan beban di mana kejujuran hati dan kemurnian obyektifitas yang harus ditegakkan. Buah pikiran para orientalist dan kitab suci Al-Qur'an, keduanya diletakkan sebagai obyek penelitian. Metode penelitian yang digunakan adalah pendekatan kualitatif, yakni nilai-nilai yang ada di balik kiprah mereka dan kitab suci tersebut. Temuan penelitian ini : pertama, Orientalisme merupakan suatu gerakan para ilmuan Barat yang ahli tentang dunia Islam (agama dan umat Islam), bertujuan mengkacaukan Islam dengan jalan penerbitan dan penyebaran referensi-referensi ilmiah tentang Islam dalam perspektif mereka. Kedua, timbulnya Orientalisme dimotivasi oleh lima hal: keagamaan, imperial, bisnis, politis dan ilmiah, ternyata yang terakhir disebut ini telah membuka mata agar Islam tidak dipandang sebelah mata oleh para oriuentalist. Ketiga, Islam memandang bahwa para Orientalist itu adalah ilmuan (Yahudi dan) Nasrani yang teridentifikasikan dalam Al Qura'an. Rekomendasi penelitian ini adalah bahwa dakwah amar ma'ruf dan nahy munkar menjadi kewajiban di atas pundak setiap insan mukmin untuk dihidup-hidupkan dan jangan pernah berhenti, termasuk kajian komparatif agama yang hendaknya selalu berujuk kepada al-Qur'an dan Sunnah Nabi Muhammad SAW yang shahih. Wa Allahu A'lam. Kata Kunci: Studi Kritis, Orientalisme, Imperialisme, Al-Qur'an, Islam

In addition to being characterised as a 'regime of truth', Orientalist discourses also display the general properties of confessional discourses outlined in Foucault's Will to Knowledge. The article argues that there is a similarity in the 'effects of power' made possible within these frameworks, particular regarding the legitimisation and application of discipline. Finally, the paper draws out a few implications for the analysis of power and resistance in confessional economies of power. The perspective this paper provides an insight into the internal structure of Orientalist discourse; connects this structure with Orientalism's 'effects of power'; affords purchase on both Orientalism's organisational and ontogenetic properties; helps explain the persistence of Orientalism – both overt and covert – despite three decades of post-Orientalist scholarship. In this sense, a confessional perspective on Orientalism affords a broad view of the contemporary politics of truth in which Orientalism plays such as an important part. Finally, a confessional perspective affords purchase on the nature of power, the formation of subjectivities, and the possibilities of resistance within Orientalist discursive contexts, which Said's own analysis is often said to lack.

The study of Islamic law has always been an interesting discourse to be discussed. Especially when Islamic law used as feedstock national legislation. Indonesian Islamic law reformers among the developing discourse that gave birth to the two groups with the character and tendency of thought is diametrically different. The first group, discuss the application of Islamic law with legalistic -textual approach, namely that Islamic law should be applied textually and enforced for all Indonesian Muslims . Islamic law - textual legally in Indonesia can be realized if supported by political struggle. Civic groups voiced discourse, among others, is Hizbur Tahrir Indonesia (HTI), and the Islamic Defenders Front (FPI). This group tends to struggle line radical - conservative by means of dialogue and anarchism combines street parliament. The second group, using substantial - cultural approach, namely that Islamic law does not need to be formalized in the form of legislation, but the most important is the absorption of Islamic values in the socio-cultural life of Indonesian Muslims. Acculturation Islamic values, such as honesty, liberty, justice, and equality before the law needs to be actualised in the daily life of Indonesian Muslim society is far more important than the formalization of the religious teachings . This group is represented by the Liberal Islam Network.

elaborated. The study of the orientalism is very complex (easterm affairs, particularly Islam)which is brought about by the motifs such as religious, scientific, economical, andpolitical matters.The terms orientalists and orientalism appeared in Andalusia (Spain) in the seventhcentury (Hijriah/ Islamic calender) or fourteenth century (AD) . They gnawed Islam byimmersing the moslems into the misieading school of thoughts primarily the younggeneration by turning them away from their religion with the teachings ofmaterialism, and secularism.The orientalism development phases are : (1) the missionary and anti Islamstarted in the sixteenth century (AD) . (2) the studies and distribes were in the seventeenth and eighteenth centuries, (3) studies and colonialisms were in the nineteenth century andthe first quarter of the tweentieth century (AD). (4) the study and politics were in thesecond half of the nineteenth century (AD). The main objective of the orientalisms is todisclose and reveal the symbolic significances of the profound Islamic Culturalexpressions, in which the Arabic language represents the primary medium.Key words : Orientalism, development, objective, history

In the early months of 2010, former French President Nicolas Sarkozy told Parliament that the burqa is "not welcome" in France, citing this as a step to defend France against extremists. Employing Edward Said's theoretical notion of "Orientalism" as means of discussing the "Other," I argue for a more critical look at France's role in limiting religious freedom and denying notions of female agency. More specifically, I urge a more diversified view of feminism and female identity outside of the Western paradigm. By viewing the veil as a rhetorically universal symbol of oppression, Western feminists and political figures are missing the opportunity to recognize the diversity of religious adherence and feminist agency that exist in a variety of forms, some of which are highlighted in this paper. While touting the ban's role in promoting gender equality, Sarkozy employs "faux feminism"–a specious appropriation of feminist sentiment to rationalize Orientalist aims. In effect, this approach reifies Muslim women as victims in need of Western "heroes" while promoting a unique form of sexist Islamophobia.

This thesis critically examines the roles and representations of Eastern spirituality in avant-garde classical music from the early twentieth century to the present. By examining the history of Asian religious traditions in the United States and their influence upon musical works that fuse Eastern and Western cultures, I argue that intercultural contemporary music often perpetuates pervasive attitudes and assumptions regarding the relationship between spirituality, Asia, and artistry that are historically amnesiac, culturally reductionistic, and perversely antithetical to the progressive egalitarian values typically associated with musical interculturalism. In Chapter 1, I outline how Asian religious traditions were adapted to suit a Western audience in the late 19th and early 20th centuries in response to the imperialist pressures exerted by European and American military forces, and how those adaptations related to art and aesthetics. Chapter 2 examines how the idea of "spirituality" coalesced in the popular imagination in the context of the political and social rebellion of the counterculture era, further establishing an imagined link between an ambiguous Eastern spirituality and creative ability, before becoming heavily commodified in the 1980s. Chapter 3 surveys how musical representations of Eastern spirituality today continue to systemically support and produce the attitudes and assumptions outlined in the first two chapters without confronting their historically dubious claims.

In the seventeenth century, France established plantation colonies in the islands of the Caribbean and Indian Ocean. Within fifty years these had become important sites of commerce that supplied valuable raw materials and agricultural commodities. But despite their economic and strategic importance the colonial world was sparsely represented in public discourses and debates. Sustained representation of the colonies would have entailed depiction of the regime of slavery and meant taking a position for or against an institution that was considered economically advantageous but which was also morally suspect. Only the closing decades of the eighteenth century when an abolitionist discourse supported by economic arguments gained momentum, did the colonies and slavery became subjects of representation in domains such as literature, philosophy and material culture. The silence that enveloped the colonial world had several dimensions. Besides silence in the strict sense of the term we can identify processes of shifting toward subjects related to colonialism yet far more visible, notably oriental exoticism and the theme of the 'noble savage'. These transfers took place, not only in literature and political debates but also in visual and material culture. They occurred, for example, in the sphere of furniture. In the seventeenth and eighteenth centuries French furniture underwent radical transformations as a result of the import of precious hardwoods and other tropical commodities from the Caribbean and the Indian Ocean. But these transformations did not give rise to a tropical or colonial brand of exoticism. Rather, it is possible to trace patterns of substitution by which colonial raw materials – mahogany and ebony, tortoiseshell and rosewood – were transformed into merchandise that appealed to the orientalist tastes of the period: sofas and ottomans, chests decorated with Asian lacquer, chairs with Egyptian motifs. In the eighteenth century, as today, consumers' attention was drawn to the cultural origins of merchandise rather than to the geography of production or the conditions of labor in "offshore" centers of production.

Orientalism is a field of study that deals with Eastern and Islamic studies as it object of study. Being a discipline of knowledge it must have specific theory and methodology or framework of study. However, since it emerged in Western intellectual tradition, it is permeated by Western worldview. In other words, being a science orientalism is value laden. This paper tries to prove the correlation between the traditions of orientalism, where religious, cultural and political melieu permeated their framework, with the study of the Qur'an. The finding suggests that the framework of orientalis in their study of the Qur'an could be resumed into four: trying to employ previous sacred text as their standard of Qur'anic studies, preferring the textual studies rather than narration, questioning the process of compilation, examining the content of the Qur'an using their own logic and experience, and finally employing the Biblical methodology. Those frameworks inevitably has resulted incongruencies that could lead one to be misunderstanding the Qur'an

This article studies orientalism constructed in the novel of Digital Fortress that is written by Dan Brown. Orientalism discourse appears in the literary works through narrative events and conversations of the Western and the Eastern. Ensei Tankado, a Japanese character, will be presented in this study in the lens of Western. The aim is to explore orientalism discourse in the novel to get an understanding of the ideology interest as part of the Western power. Theory of Orientalism by Edward Said is applied in this study. It modifies Foucauldian discourse theory and Gramscian hegemony. The four concept of Orientalism discourse including political power, intellectual power, cultural power and moral power will be used in this study. How the Eastern subject is positioned by the Western in Digital Fortress becomes the focus. Japanese and the United States in the novel can be related to the contextual condition that cultural domination and hegemony still occur between Japan-USA since World War II. Orientalism in the literary works is a new imperialism. The goal of this study is to reveal that the novel brings cultural domination.

This study explores the theory underpinning Edward Said's Orientalism (1978) and applies it to a selection of India-focused texts – including some by Indian authors – with a view towards establishing whether or not Said's model would allow for Orientalism by "Orientals". Orientalism, Said's landmark postcolonial study, described an epistemological sequence in which the West had articulated, codified and – ultimately – politically determined the East through a hegemonic discourse that compared and contrasted Eastern "Otherness" with assumed Western normalcy. Racial and cultural essentialism was the animating dynamic for this process, and Said's model was predicated upon an ontological binary between a colonizing white subject (the British, French and American imperial powers) and a colonized brown object (the Orient). Said's particular focus in Orientalism was the Arab "Near East"; India was mostly absent from his account (as indeed were South Asia in general, Southeast Asia, and Northeast Asia). Beyond Said's work, moreover, there has been limited scholarly engagement with Orientalism as it pertains to India. Discussion of Orientalism has been dominated by the Near East. Despite the relative absence of India from debate around Orientalism, a number of India-focused texts (travel narratives and such) seem to present features that Said described as typical of Orientalism. Some of the more recent of these texts, moreover, have been written by expatriate Indians or people of Indic descent. These latter texts pose a conundrum: given the racial binary Said determined for Orientalism, how can Indian authors produce Orientalism? This study applies Edward Said's theory of Orientalism to a selection of key India-focused texts, including two examples of "classic" Orientalism by white authors – James Mill's The History of British India (1817) and Katharine Mayo's polemic Mother India (1927) – and two examples of cosmopolitan Orientalism by Indic authors – V. S. Naipaul's An Area of Darkness (1964) and Suketu Mehta's Maximum City (2004). Through these case studies, and others, this thesis seeks to: a) address the relative absence of India from critical writing about Orientalism; and b) test the effectiveness and relevance of Said's theory for contemporary postcolonial and cosmopolitan contexts, where the racial binaries of the colonial era are no longer so dominant. What would it mean for Said's model if Indian writers cannot be Orientalists? What would it mean if they can?

This is not another critique of Edward Said's Orientalism. We know that there is still some space for further discussion on this matter and that there are still people wanting to engage with it, but this is not our concern here. Nevertheless, the term has become inescapable for people like us, researching into and teaching on Arab and Islamic contexts and topics – and even more so when our strategic location is constantly under surveillance in times of Islamophobia and Islamophilia, wary eyes asking if we are with Muslims or against them, or, in a more sophisticated way, with good Muslims or their evil twins, bad Muslims (Mamdani 2004). Strangely, and dangerously, our position regarding Islam – as a monolithic and petrified religion – is presumed to be part of our own academic identity. Said's book or – as he wrote among other, very insightful things – his metabook – is timeless, both for good and for the wrong reasons. Here, however, we will be using the word 'Orientalism' in a narrow sense, referring to the production of humanities and social and cultural sciences on Arab and Islamic contexts and topics and, simply, discarding the nihilistic upshot of some post-Orientalist debates, assuming the political dimension of our researches and outputs. After all, and as Mitchell, appropriately out, Said's main (and often misunderstood) simple question addressed in Orientalism was 'How does one know the things that exist?' and 'To what extent are the "things that exist" constituted by the knower?' (Mitchell 2003, referring to Said, 1978: 5). And even if he was neither the first to address this nor, for sure, the last, we need to state it for the sake of transparency and, ultimately and paradoxically, for the sake of science. ; This article was funded by FCT - Fundação para a Ciência e a Tecnologia within the scope of the Project UID/ANT/04038/2013

This thesis is a critical analysis of memoirs and novels written by American women writers during the Republican era in China. This period was a time of social, cultural and political instability, which not only affected China internally but also altered the discourse of Sino-American relations. This thesis is interested in the changes and continuities in American literary representations of China. Building upon the existing discourse of western depictions of China, this thesis examines Alice Tisdale Hobart's Pioneering Where the World is Old, By the City of the Long Sand and Oil for the Lamps of China, in addition to Pearl Sydenstricker Buck's House of Earth trilogy: The Good Earth, Sons and A House Divided. As progressive women writers, the sentimental and middlebrow literary traditions are instrumental in enabling Hobart and Buck to subvert western perceptions of China and the Chinese. They deploy elements of American sentimental and middlebrow literature to cultivate emotional connections and points of identification to shape an accessible and familiar representation of China. Their depictions of China contribute to the project of challenging conventional Orientalist views of China and facilitate cross-cultural understanding. The writers gain traction with the American readership by creating characters and narratives that foster feelings of identification with China instead of alienation. Whereas popular attitudes towards China were marked by apprehension or misunderstanding, Hobart and Buck strive to depict China in a positive and sympathetic light. This thesis discusses the implications behind their sympathetic representations under the framework of 'Sentimental Orientalism,' which delves into the problematization of American sentimentalism towards China as yet another form of Orientalism. Chapter One explores the expatriate business experience in Alice Hobart's memoirs Pioneering Where the World is Old and supplemented by By the City of the Long Sand. It shows how Hobart negotiates among different visions of China as primitive, modern and spiritual at the same time, while also documenting the alienating experience of overseas Americans. In addition, this chapter explores the business perspective in her Oil for the Lamps of China. It argues that the character development of Stephen Chase, the novel's protagonist, reflects Hobart's critique of Western capitalism and increasing appreciation of the humanistic Chinese. Chapter Two discusses the development of Chinese identities and visions of China in Pearl Buck's trilogy, in which Buck writes from the voices of Chinese characters. The Good Earth demonstrates how Buck creates sympathetic representations of the Chinese peasant and an idyllic vision of the agricultural countryside, which symbolizes Buck's singular vision of China and Chinese identity. Sons and A House Divided, however, expand beyond the countryside into warlord and modern China. Buck's representations here encompass the landlord, the businessman, the warlord, the modern woman and the Western-educated scholar, and in doing so, she comes to terms with the diversity and multiplicity of Chineseness. ; published_or_final_version ; English ; Master ; Master of Philosophy

The aim of this paper is to outline the history of the concept of Orientalism in the field of New musicology and to point out that musicological discussions of Orientalism significantly changed disciplinary profile of musicology in the direction of interdisciplinary or contextual musicology. The area of Postcolonial studies has been recognized by New musicology as a possible starting point for theorizing the new issues related to the questions of music, race, ethnic and national otherness, and European colonialism. In 1991, with the publication of Ralph P. Locke's text "Constructing the Oriental 'Other': Saint-Saëns's Samson et Dalila" in Cambridge Opera Journal, the musicological research of the European professional music tradition from the aspects of postcolonial theories has been institutionalized and the concept of Orientalism has been introduced into the field of research objects of musicology. What is present as the common aspects of all musicological studies that address the issue of musical representations of the Orient are interdisciplinarity and contextuality. Contrary to the reduction of the complex Western European music practices to the idea of an autonomous work of music devoted to an aesthetic enjoyment, postcolonial musicology proposed poststructuralist analytical models of text and discourse and affirm the interest in the context of work of music. In that manner, musicology has been updated as a discipline that autocritically approaches Western European professional music practice by seeing it/ self as only one of the possible historical formations of culture/knowledge in which there are visible clusters, conflicts, and aspirations to present (Western) European capitalist patriarchal politics as a universal economic, political and cultural power. ; Cilj je ovog teksta skicirati povijest koncepta orijentalizma u polju nove muzikologije i ukazati na to da su muzikološke problematizacije orijentalizma u glazbi znatno izmijenile disciplinarni profil muzikologije u smjeru interdisciplinarne ili kontekstualne muzikologije. Predstavnici nove muzikologije prepoznali su područje postkolonijalnih studija kao moguću polazišnu točku novih pitanja i problema koji su se ticali odnosa između glazbene, rasne, etničke i nacionalne drugosti te europskog kolonijalizma. Objavljivanjem teksta Ralpha P. Lockea "Constructing the Oriental 'Other': SaintSaëns's Samson et Dalila" u časopisu Cambridge Opera Journal 1991. godine, institucionalizirano je polje muzikološkog istraživanja elitne, kanonizirane europske glazbene tradicije sa stajališta postkolonijalnih studija, a koncept orijentalizma uveden je u krug objekata istraživanja aktualne muzikologije. Ono što se iskazuje kao zajednički aspekt svih muzikoloških istraživanja koja dotiču pitanje glazbenih reprezentacija Orijenta jest interdisciplinarnost i kontekstualnost. Nasuprot teorijskom svođenju složenih zapadnoeuropskih društvenih glazbenih praksi na idealnost autonomnoga glazbenog djela namijenjenog bezinteresnom estetskom uživanju, i feministička muzikologija i postkolonijalna muzikologija predložile su poststrukturalističke analitičke modele teksta i diskursa te afirmirale zanimanje za kontekst glazbenog djela. Time je aktualizirana muzikologija kao disciplina koja autokritički pristupa zapadnoeuropskoj profesionalnoj skladateljskoj praksi time što je/sebe vidi kao tek jednu od mogućih povijesnih formacija kulture/znanja u kojima su vidljivi rascjepi, sukobi i težnje za predočavanjem (zapadno)europske kapitalističke, patrijarhalne politike kao univerzalne ekonomske, političke i kulturalne moći.

If Orientalism is the critique of modernity, it can be rather considered in a postmodern discourse. New phenomena of global politics, changing moods of mind and cultural discourses again make Orientalism a topical subject. The East has always meant contrast for the West. Yet has it always meant the same? One should particularly note herein a philosophic approach to the problem is necessary instead of the usual and conventional political one, which mostly expresses a unilateral traditional characteristic of Orientalism and interprets it accordingly. There is an opinion Orientalism makes up a paradigm to study non-European histories and cultures using approaches coming after structuralism and postmodernism. As modernized, the East meets/clashes the West while there is no such an opposition in postmodernism, but is co-existence, which echoes the opposition characteristics of Orientalism, unlike the traditional one. At the same time, when analyzing orientalists' works, we often see not a unilateral, but a synthesized approach e.g in those by Turkish one, Hamdi. In any case, many panels by orientalist artists represent combinations which follow a well-known postmodernist motto, both that and the other, unlike the modern world's modernist logic, either that or this.