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Said made a clear analogy between orientalism and colonialism.
To remind you of the famous aphorism: "the pen is mightier than the sword"
"Orientalism is fundamentally a political doctrine willed over the orient
because the orient was weaker than the west."
Though injustice has already been served and the...
Video games inherently provide a schematized image of the world. Apartfrom the heroes, who possess background and personality, often game charactersare depicted only by several distinctive symbols. Similarly, the in-gamesurroundings and setting are rendered frequently by iteration of a limitednumber of textures and schemes. This also applies to the considerable amount ofgames which adopt Middle Eastern settings in a quasi-historical or fantasymanner, such as Prince of Persia (Broderbund, 1989), The Magic ofScheherazade (Cultural Brain, 1989), Arabian Nights (Krisalis,1993), Al-Qadim: The Genie's Curse (SSI, 1994), Beyond Oasis (Sega,1995), Persian Wars (Cryo, 2001) and Prince of Persia: The TwoThrones (Ubisoft, 2005). Although some of these games stand out due totheir graphics or plot and are considered milestones within their genre, suchas Prince of Persia or Al-Qadim, they more or less share thevisual and narrative features of 'Orientalist' imagery.
Third, in contrast withclassical Orientalism, .
On Shifting Ground: Muslim Women in the Global Era - Fereshteh Nouraie-Simone
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First, whereas classical Orientalists were commonly male European savants, philologists, established writers and artists, neo-Orientalists tend to be ordinary Middle Eastern subjects whose self-proclaimed authenticity sanctions and authorizes their discourses.
Fourth,unlike the “will to knowledge” of classical Orientalism,
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Choreographic Politics: State Folk Dance Companies, Representation, and Power - Anthony Shay
Colonial Fantasies: Towards a Feminist Reading of Orientalism (Cambridge Cultural Social Studies) - Meyda Yegenoglu
Colors of Enchantment: Theater, Dance, Music, and the Visual Arts of the Middle East - Sherifa Zuhur
Dance as an Expression of Islamic Culture» in Dance Research Journal, 10, 2, Spring/Summer 1978, pp.6-14 - Al-Faruqi, Lois Ibsen
Dance Crazy: Star Turns from Ballet to Belly Dancing (True Stories) - Natalie Jane Prior
Dancing Fear and Desire: Race, Sexuality, and Imperial Politics in Middle Eastern Dance - Stavros Stavrou Karayanni
Danses du Maghreb d'une rive a l'autre (French Edition) - Viviane Lievre
Now, I want you, dear reader, to think carefully about how even today the West represents the East as devious, sensual, corrupt, tyrannical, and backward. Today, when people use phrases like "Arab stereotypes," they are really referring to Orientalism. These are all reductive and demeaning clichés dreamed up by the Western imagination. Let's put a stop to all the nonsense, shall we?
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It was while he was at Stanford that he wrote Orientalism.
The heart of the matter in understanding Orientalism is this power relationship and how the Occident has used and continues to use and understand the Orient on its own terms.
Does that make him a 'reversed-orientalist'?
Almost all of these games construct a 'fantastical' Middle East, using quasi-historical elements in order to give the playeran oriental impression. Only a few games are based on real historical events,such as Age of Empires 2 (Microsoft, 1999), which includes the campaignof Saladin. On the one hand, this is particularly remarkable when compared withthe number of European and American historical games, which usually provide theplayer with a substantial amount of factual information. On the other hand, the narrative ofthese games evokes the realm of A Thousand and One Nights, constructing the Middle Eastas a place without history. Thus, this prevalent 'Orientalist' mode ofrepresentation can be perceived as an exclusion from constructive discursive,overshadowing the represented contribution to contemporary reality.
Awareness of this "Orientalism" is an important first step.
Oriental Intermezzo, sheet music, 1908. Image courtesy of Duke University also in the William and Elsie Peck, and Jonathan Friedlander collections.
Do you think this is a perpetuation of an Orientalist view?
Instead of inquiring further into the poststructuralist mystification of what David Harvey (1996) calls the contemporary “geography of difference” configured by a complex dialectic of flows and permanences, I would like to comment briefly on Edward Said's (1994), in particular the refusal of the historical-materialist framework and its subsequent lapse into “ethical utopianism.”
Said, Edward. 1979. . New York: Vintage Books.
All this is good news, and would certainly be good news to Edward Said himself. Given that the field of modern Middle East Studies is only some 50 years old, that it had to extract itself from the hold of a first generation of scholars who still saw the Middle East in very reductionist, ahistorical terms, and that it takes time to build up a core of experts versed in language, history, local knowledge, and the social sciences, we finally have a set of praiseworthy scholars.
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