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Bulgaria is a Slavic nation, Orthodox in faith but with a sizable Muslim minority. That minority is divided into various ethnic groups, including the most numerically significant Turks and the so-called Pomaks, Bulgarian-speaking men and women who have converted to Islam. Mary Neuburger explores how Muslim minorities were integral to Bulgaria's struggle to extricate itself from its Ottoman past and develop a national identity, a process complicated by its geographic and historical positioning between evolving and imagined parameters of East and West. The Orient Within examines the Slavic majority's efforts to conceptualize and manage Turkish and Pomak identities and bodies through gendered dress practices, renaming of people and places, and land reclamation projects. Neuburger shows that the relationship between Muslims and the Bulgarian majority has run the gamut from accommodation to forced removal to total assimilation from 1878, when Bulgaria acquired autonomy from the Ottoman Empire, to 1989, when Bulgaria's Communist dictatorship collapsed. Neuburger subjects the concept of Orientalism to an important critique, showing its relevance and complexity in the Bulgarian context, where national identity and modernity were brokered in the shadow of Western Europe, Russia/USSR, and Turkey.
In Russia's cultural memory, the Caucasus is a potent point of reference, to which many emotions, images, and stereotypes are attached. The book gives a new reading of the development of Russia's perception of its borderlands and presents a complex picture of the encounter between the Russians and the indigenous population of the Caucasus. The study outlines the history of a region standing in between Russian reveries and Russian imperialism. (Series: Studies on South East Europe, Vol. 19) [Subject: History, Russian Studies, Ethnology]
What historical continuity, if any, existed between the practice of crucifixion in the early Islamic polity and crucifixion as practiced by the Byzantines in the Late Roman empire and by the Sasanids in Persia? Crucifixion and Death as Spectacle explores how the first caliphal dynasty of early Islam, the Umayyads, employed crucifixion in its sundry forms to punish brigands and heretics and to humiliate rebels and enemies, and how, while doing so, the Umayyads drew upon a late antique legacy of punitive practices associated with crucifixion in the Late Roman and Sasanid Persian worlds. Like their Roman and Persian predecessors, the Umayyads wielded crucifixion, and thus the symbolism of violence against the body, to attest to their impunity as caliphs and the legitimacy of their rule. Yet, as this study also argues, this is only one side of the story. Dissidents and political rivals mobilized stories of crucified rebels and martyrs, as told and memorialized by Christians and Muslims alike, against the Umayyads in order to contest and subvert the sublimation of crucifixion as an indubitable symbol of the caliphs' use of legitimate violence, and succeeded in propagating alternative religious and political ideologies of their own.
Description of a trip to the Holy Land in 1911 by Mrs. Alma White, founder in 1901 of the Methodist Pentecostal Union Church in Denver, Colorado--it later became the Pillar of Fire Church--and the first woman bishop in the United States. Alma White, who also headed the Pillar of Fire religious community at Zarephath, New Jersey, traveled to Palestine and Egypt in 1911 with her husband, Kent White, and their niece and nephew, Mr. and Mrs. A.L. Wolfram.
Introduction : mapping orientalism : representations and pedagogies / Diane Long Hoeveler and Jeffrey Cass -- Interrogating orientalism : theories and practices / Jeffrey Cass -- The female captivity narrative : blood, water, and orientalism / Diane Long Hoeveler -- "Better than the reality" : the Egyptian market in nineteenth-century travel writing / Emily A. Haddad -- Colonial counterflow : from orientalism to Buddhism / Mark Lussier -- Homoerotics and orientalism in William Beckford's Vathek: liberalism and the problem of pederasty / Jeffrey Cass -- Orientalism in Disraeli's Alroy / Sheila A. Spector -- Teaching the quintessential Turkish tale : Montagu's Turkish embassy letters / Jeanne Dubino -- Representing India in drawing-room and classroom : or, Miss Owenson and "those gay gentlemen, Brahma, Vishnu, and Co." / Michael J. Franklin -- "Unlettered tartars" and "torpid barbarians" : teaching the figure of the Turk in Shelley and De Quincey / Filiz Turhan -- "Boundless thoughts and free souls" : teaching Byron's Sardanapalus, Lara, and The corsair / G. Todd Davis -- Byron's The giaour : teaching orientalism in the wake of September 11 / Alan Richardson -- Teaching nineteenth-century orientalist entertainments / Edward Ziter
This volume features new research on Russia’s historic relationship with Asia and the ways it was mediated and represented in the fine, decorative and performing arts and architecture from the mid-eighteenth century to the first two decades of Soviet rule. It interrogates how Russia’s perception of its position on the periphery of the west and its simultaneous self-consciousness as a colonial power shaped its artistic, cultural and national identity as a heterogenous, multi-ethnic empire. It also explores the extent to which cultural practitioners participated in the discursive matrices that advanced Russia’s colonial machinery on the one hand and critiqued and challenged it on the other, especially in territories that were themselves on the fault lines between the east and the west.
Throughout history, Russia's geo-political and cultural position between the East and West has shaped its national identity. Representing Russia's Orient tells the story of how Russia's imperial expansion and encounters with its Asian neighbors influenced the formation and development of Russian musical identity in the long nineteenth century. While Russia's ethnic minorities, or inorodtsy, were located at the geographical and cultural periphery, they loomed large in composers' perception and musical imagination and became central to the definition of Russianness itself. Drawing from a long-forgotten archive of Russian musical examples, visual art, and ethnographies, author Adalyat Issiyeva offers an in-depth study of Russian art music's engagement with oriental subjects. Within a complex matrix of politics, competing ideological currents, and social and cultural transformations, some Russian composers and writers developed multidimensional representations of oriental "others" and sometimes even embraced elements of Asian musical identity. In three detailed case studies--on the leader of the Mighty Five, Milii Balakirev, Decembrist sympathizer Alexander Aliab'ev, and the composers affiliated with the Music-Ethnography Committee--Issiyeva traces how and why these composers adopted "foreign" musical elements. In this way, she provides a fresh look at how Russians absorbed and transformed elements of Asian history and culture in forging a national identity for themselves.