Avant Garde Orientalism
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| Author | : David LeHardy Sweet |
| Publisher | : Springer |
| Total Pages | : 326 |
| Release | : 2017-01-20 |
| Genre | : Literary Criticism |
| ISBN | : 3319503731 |
This study explores the work of Western avant-garde writers who traveled to and wrote about Asia and North Africa. Though exoticist in outlook, many of these writers were also anti-colonialist and thus avoided some of the pitfalls of academic orientalism by assuming an aesthetics of diversity while employing strategies of provocation and reciprocity. As a survey of works on travel (including essays, novels, poems, and plays), the book challenges or modifies many postcolonial assumptions about Western writers on the Orient: from the French Surrealists to the American Beats and even transnational authors of the new millennium. Through a synthesis of avant-garde, postcolonial, and travel literature theories, Avant-garde Orientalism works in the best tradition of comparative literary study to identify and analyze a distinct category of world literature.
| Author | : Audrey Wu Clark |
| Publisher | : Temple University Press |
| Total Pages | : 248 |
| Release | : 2015-10 |
| Genre | : Art |
| ISBN | : 1439912270 |
The Asian American Avant-Garde is the first book-length study that conceptualizes a long-neglected canon of early Asian American literature and art. Audrey Wu Clark traces a genealogy of counter-universalism in short fiction, poetry, novels, and art produced by writers and artists of Asian descent who were responding to their contemporary period of Asian exclusion in the United States, between the years 1882 and 1945. Believing in the promise of an inclusive America, these avant-gardists critiqued racism as well as institutionalized art. Clark examines racial outsiders including Isamu Noguchi, Dong Kingman and Yun Gee to show how they engaged with modernist ideas, particularly cubism. She draws comparisons between writers such as Sui Sin Far and Carlos Bulosan with modernist luminaries like Stein, Eliot, Pound, and Proust. Acknowledging the anachronism of the term “Asian American” with respect to these avant-gardists, Clark attempts to reconstruct it. The Asian American Avant-Garde explores the ways in which these artists and writers responded to their racialization and the Orientalism that took place in modernist writing.
| Author | : Professor and Head of Art History Steve Edwards |
| Publisher | : Yale University Press |
| Total Pages | : 476 |
| Release | : 2004-01-01 |
| Genre | : Art |
| ISBN | : 9780300102307 |
02 This gorgeous book presents and discusses the oils, works on paper, and other artistic creations of William Holman Hunt, one of the three major artistic talents of the Pre-Raphaelite brotherhood. This gorgeous book presents and discusses the oils, works on paper, and other artistic creations of William Holman Hunt, one of the three major artistic talents of the Pre-Raphaelite brotherhood.
| Author | : Emily A. Haddad |
| Publisher | : Routledge |
| Total Pages | : 248 |
| Release | : 2001 |
| Genre | : Art |
| ISBN | : |
Orientalist Poetics is the only book on literary orientalism that spans the nineteenth century in both England and France with particular attention to poetry and poetics. It convincingly demonstrates orientalism's centrality to the evolution of poetry and poetics in both nations, and provides a singularly comprehensive and definitive analysis of the aesthetic impact of orientalism on nineteenth-century poetry. Because it examines the poetry of the entire century across both national literatures, the book is in a unique position to articulate the essential part orientalism plays in major developments of nineteenth-century poetics. Through probing discussions of an array of prominent nineteenth-century poets-including Shelley, Southey, Byron, Hugo, Musset, Leconte de Lisle, Wordsworth, Hemans, Gautier, Tennyson, Arnold and Wilde-Emily A. Haddad reveals how orientalism functions as a diffuse avant-garde, a crucial medium for the cultivation and refinement of a broad range of experimental positions on poetry and poetics. Haddad argues that while orientalist poems are often viewed mainly as artefacts of European attitudes towards the East and imperialism, poetic representations of the Islamic Orient also provide an indispensable matrix for the reexamination of such aesthetically fundamental issues as the purpose of poetry, the value of mimesis, and the relationship between nature and art. Orientalist Poetics effectively bridges the gap between the analysis of poetics and the analysis of orientalism. In showing that major poetic developments have roots in orientalism, Haddad's book offers a valuable and innovative revisionist view of nineteenth-century literary history.
| Author | : Wael B. Hallaq |
| Publisher | : Columbia University Press |
| Total Pages | : 364 |
| Release | : 2018-07-03 |
| Genre | : Political Science |
| ISBN | : 0231547382 |
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.
| Author | : Christine Peltre |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 1998 |
| Genre | : Art, European |
| ISBN | : 9780789204592 |
The romance and exoticism of the Orient, as captured by 19th-century European and American painters, are brought to life in this important volume. Nineteenth-century Europe was fascinated by the Orient. Napoleon's Egyptian campaign of 1798 initiated this phenomenon, and its history-the most notable episodes of which include the Greek uprising against the Turks in 1821 and the French taking of Algiers in 1830-was closely linked to changing attitudes toward the "Eastern question." Artists of the period, too, were captivated by these events, and the rich body of imagery they produced is the subject of this volume. Incorporating much recent research, author Christine Peltre's elegant text retraces Orientalism's artistic history, in which the French and British schools predominated. The "high poetry" of the Romantics' Orient, often inspired by Byron or Hugo, strove for dramatic effect, as the works of David Roberts, Alexandre-Gabriel Decamps, and Eugène Delacroix attest. A different brand of imagery was produced by the "ethnographic gaze" of the century's middle years, practiced by artists who visited the sites they represented, such as John Frederick Lewis, Eugène Fromentin, and Jean-Léon Gérôme, as well as by others who remained studio-bound, including J.-A.-D. Ingres and Adolphe Monticelli. Work of this kind was eventually superseded by a "third style,"a fusion of European and Eastern elements, as seen in the work of August Macke, Wassily Kandinsky, Paul Klee, and Henri Matisse. Witnesses to a history that they influenced in subtle ways through their imagery, the Orientalist painters also produced a history of their own, that of a spiritual and formal quest to find in the "East" the ideal of "primitive" purity. Illustrated with more than two hundred expertly selected Orientalist paintings and drawings, Orientalism in Art is an indispensable volume for art historians and anyone lured by the romance and exoticism of Orientalist art. AUTHOR Christine Peltre is professor of the history of contemporary art at the Université des Sciences Humaines in Strasbourg. The author of a book on the encounter of nineteenth-century European artists with Greece (Retour en Arcadie, 1997), she is also a specialist in Orientalism and has published widely on the subject (L'Atelier du voyage, 1995). ILLUSTRATIONS 220 illustrations
| Author | : Leah Feldman |
| Publisher | : Cornell University Press |
| Total Pages | : 352 |
| Release | : 2018-10-15 |
| Genre | : Literary Criticism |
| ISBN | : 1501726528 |
On the Threshold of Eurasia explores the idea of the Russian and Soviet "East" as a political, aesthetic, and scientific system of ideas that emerged through a series of intertextual encounters produced by Russians and Turkic Muslims on the imperial periphery amidst the revolutionary transition from 1905 to 1929. Identifying the role of Russian and Soviet Orientalism in shaping the formation of a specifically Eurasian imaginary, Leah Feldman examines connections between avant-garde literary works; Orientalist historical, geographic and linguistic texts; and political essays written by Russian and Azeri Turkic Muslim writers and thinkers. Tracing these engagements and interactions between Russia and the Caucasus, Feldman offers an alternative vision of empire, modernity, and anti-imperialism from the vantage point not of the metropole but from the cosmopolitan centers at the edges of the Russian and later Soviet empires. In this way, On the Threshold of Eurasia illustrates the pivotal impact that the Caucasus (and the Soviet periphery more broadly) had—through the founding of an avant-garde poetics animated by Russian and Arabo-Persian precursors, Islamic metaphysics, and Marxist-Leninist theories of language —on the monumental aesthetic and political shifts of the early twentieth century.
| Author | : Ibn Warraq |
| Publisher | : Prometheus Books |
| Total Pages | : 558 |
| Release | : 2010-06-03 |
| Genre | : History |
| ISBN | : 161592020X |
This is the first systematic critique of Edward Said's influential work, Orientalism, a book that for almost three decades has received wide acclaim, voluminous commentary, and translation into more than fifteen languages. Said's main thesis was that the Western image of the East was heavily biased by colonialist attitudes, racism, and more than two centuries of political exploitation. Although Said's critique was controversial, the impact of his ideas has been a pervasive rethinking of Western perceptions of Eastern cultures, plus a tendency to view all scholarship in Oriental Studies as tainted by considerations of power and prejudice. In this thorough reconsideration of Said's famous work, Ibn Warraq argues that Said's case against the West is seriously flawed. Warraq accuses Said of not only willfully misinterpreting the work of many scholars, but also of systematically misrepresenting Western civilization as a whole. With example after example, he shows that ever since the Greeks Western civilization has always had a strand in its very makeup that has accepted non-Westerners with open arms and has ever been open to foreign ideas. The author also criticizes Said for inadequate methodology, incoherent arguments, and a faulty historical understanding. He points out, not only Said's tendentious interpretations, but historical howlers that would make a sophomore blush. Warraq further looks at the destructive influence of Said's study on the history of Western painting, especially of the 19th century, and shows how, once again, the epigones of Said have succeeded in relegating thousands of first-class paintings to the lofts and storage rooms of major museums. An extended appendix reconsiders the value of 18th- and 19th-century Orientalist scholars and artists, whose work fell into disrepute as a result of Said's work.
| Author | : Partha Mitter |
| Publisher | : Reaktion Books |
| Total Pages | : 282 |
| Release | : 2007-11-15 |
| Genre | : Art |
| ISBN | : 1861896360 |
The tumultuous last decades of British colonialism in India were catalyzed by more than the work of Mahatma Gandhi and violent conflicts. The concurrent upheavals in Western art driven by the advent of modernism provided Indian artists in post-1920 India a powerful tool of colonial resistance. Distinguished art historian Partha Mitter now explores in this brilliantly illustrated study this lesser known facet of Indian art and history. Taking the 1922 Bauhaus exhibition in Calcutta as the debut of European modernism in India, The Triumph of Modernism probes the intricate interplay of Western modernism and Indian nationalism in the evolution of colonial-era Indian art. Mitter casts his gaze across a myriad of issues, including the emergence of a feminine voice in Indian art, the decline of “oriental art,” and the rise of naturalism and modernism in the 1920s. Nationalist politics also played a large role, from the struggle of artists in reconciling Indian nationalism with imperial patronage of the arts to the relationship between primitivism and modernism in Indian art. An engagingly written study anchored by 150 lush reproductions, The Triumph of Modernism will be essential reading for scholars of art, British studies, and Indian history.
| Author | : Sara Raza |
| Publisher | : |
| Total Pages | : 176 |
| Release | : 2022-08-30 |
| Genre | : Art |
| ISBN | : 9781912165391 |
Punk Orientalism explores the spaces and places associated with the former Soviet Union, focusing on the artists and ideas hailing from Central Asia and the Caucasus, which were long perceived as an extension, or "client" states, of the USSR. The theme of non-conformity and the punk rejection of state authority is a continuous thread throughout the book.
