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A new translation of Hesse's 1932 The Journey to the East (in German Die Morgenlandfahrt). Literally the title translates to "Tomorrowland" but historically it has been translated as "The Journey to the East". This edition also contains an epilogue by the translator, a philosophical glossary of concepts used by Hesse and a chronology of his life and work. Hesse won the Nobel Prize in Literature in 1947. He also received the Goethe Prize of Frankfurt in 1946 and the 1955 Peace Prize of the German Booksellers. Hesse himself said the point of the story was "the loneliness of the spiritual human being in our time and the need to classify his personal life and actions into a suprapersonal whole, an idea and a community, a longing for service, a search for community, liberation from sterile, lonely virtuosity of the artist." "The Journey to the East" is a narrative by Hermann Hesse, first published in 1932, which describes a journey into a spiritual East. Hermann Hesse began working on "The Journey to the East" in the summer of 1930, shortly before moving within Montagnola from Casa Camuzzi to a house newly built for him by Hans Conrad Bodmer, and just before his marriage to his third wife, Ninon Dolbin. His old eye ailment had worsened, and Hesse was on the verge of blindness. After painful surgeries, he had to lie in a darkened room for weeks. He dedicated the work, completed in April 1931, to his patron Bodmer and his wife Elsy. It was pre-printed in the magazine "Corona," edited by Bodmer's son, the same year, and the first edition was published by S. Fischer Verlag in 1932. Alfred Kubin designed the dust jacket, cover, and vignette on the title page. The Journey to the East"abandons the sublime style characteristic of "The Glass Bead Game" or "Siddhartha," and is instead written in a fresh, poetically enchanting, and sometimes almost youthfully naive language. It is a fairy-tale-like poem that directly addresses the reader. The narrative is full of symbols, metaphors, and parables, which are often incomprehensible to the reader without detailed knowledge of the biographical and contemporary historical background. Hesse himself wrote in a letter to Alice Leuthold: "The symbolism itself does not necessarily have to become 'clear' to the reader; he should not understand in the sense of 'explaining,' but rather he should absorb the images and their meaning, what they contain as a parable of life, and swallow it on the side; the effect then sets in unconsciously."
The Islamic Orient studies the travel accounts of four British travelers during the nineteenth century. Through a critical analysis of these works, the author examines and questions Edward Said’s concept of "Orientalism" and "Orientalist" discourse: his argument that the orientalist view had such a strong influence on westerners that they invariably perceived the orient through the lens of orientalism. On the contrary, the author argues, no single factor had an overwhelming influence on them. She shows that westerners often struggled with their own conceptions of the orient, and being away for long periods from their homelands, were in fact able to stand between cultures and view them both as insiders and outsiders. The literary devices used to examine these writings are structure, characterization, satire, landscape description, and word choice, as also the social and political milieu of the writers. The major influences in the author’s analysis are Said, Foucault, Abdel-Malek and Marie Louise Pratt.
A comparison between Russian and Polish texts of travels to the Orient in the Nineteenth-Century. This study analyzes and compares Polish and Russian texts of travel to the Romantic and Biblical Orient and situates Polish and Russian Orientalism within the broader context of contemporary post-colonial studies. At the same time, it elucidates the shortcomings that arise when such theories are applied whole cloth to the Polish and Russian cases. In the nineteenth century, scholarly and literary Orientalism enjoyed great popularity in Eastern Europe, in part because the 'East Europeans' desired to participate as equals in the intellectual life of Europe as a whole. Historically, both the Polish and Russian nations had always existed in close proximity to the Muslim world, and each of them had experienced extensive exposure to a fusion of Western and Eastern cultural traditions. But while the two cultures shared the intersection of Western and native cultural traditions that in turn played a determinative role in their encounters with the East, the growing political empowerment of Russia and the disenfranchisement of Poland differentiated the Polish and Russian perspectives. It is precisely this striking and fascinating power disparity between the two Slavic nations that has inspired this study's juxtaposition of Polish and Russian texts. The records of individual Oriental voyages provided in Polish and Russian works of literary Orientalism document a quest for cultural self-definition. This is the case with Adam Mickiewicz's 'Crimean Sonnets, ' Aleksandr Pushkin's Caucasian poetry, and with other nineteenth-century accounts that, in spite of their original popularity, subsequently underwent marginalization. East European records of travel constitute a work of interpretation and translation on several levels. As such they provide us with a fascinating repository of the authors' attempts to locate their own cultures in the intermediary space between the East and the West. Izabela Kalinowska is an assistant professor of Slavic literatures and cultures at Stony Brook University.
Examines the continuity of traditions over millennia in the Near East by focusing on the traditions of pilgrimage and household.
This book focuses on the images of Oman in British travel writing from 1800 to 1970. In texts that vary from travel accounts to sailors' memoirs, complete travelogues, autobiographies, and letters, it looks at British representations of Oman as a place, people, and culture. The study discusses the current Orientalist debate suggesting alternatives to the dilemma of Orientalism. It also outlines the historical Omani-British relations, and examines the travel accounts written by several British merchants and sailors who stopped in Muscat and other Omani coastal cities in the nineteenth century. Another focus is with the works of travellers who penetrated the Interior of Oman such as James Wellsted and Samuel Miles, and the travellers who explored the southern Oman and the Empty Quarter. Finally the book looks at the last generation of British travellers who were in Oman from 1950 to 1970 employed either by oil companies or the Sultan Said bin Taimur. The gap of knowledge that this book undertakes to fill is that most of the texts under discussion have not been studied in any context.
The 13 essays in this volume address topics including: world peace and nuclear war; the issue of blasphemy; the possibilities for dialogue between Buddhism and Christianity; and a painting by El Greco.
Well known photographer's travels in The Lebanon, Pakistan, India, Hong Kong, China, Japan and Thailand. Published in America as Journey through the Orient.
A groundbreaking critique of the West's historical, cultural, and political perceptions of the East that is—three decades after its first publication—one of the most important books written about our divided world. "Intellectual history on a high order ... and very exciting." —The New York Times In this wide-ranging, intellectually vigorous study, Said traces the origins of "orientalism" to the centuries-long period during which Europe dominated the Middle and Near East and, from its position of power, defined "the orient" simply as "other than" the occident. This entrenched view continues to dominate western ideas and, because it does not allow the East to represent itself, prevents true understanding.
The early modern era is often envisioned as one in which European genres, both narrative and visual, diverged indelibly from those of medieval times. This collection examines a disparate set of travel texts, dating from the thirteenth to the seventeenth centuries, to question that divergence and to assess the modes, themes, and ethnologies of travel writing. It demonstrates the enduring nature of the itinerary, the variant forms of witnessing (including imaginary maps), the crafting of sacred space as a cautionary tale, and the use of the travel narrative to represent the transformation of the authorial self. Focusing on European travelers to the expansive East, from the soft architecture of Timur's tent palaces in Samarqand to the ambiguities of sexual identity at the Mughul court, these essays reveal the possibilities for cultural translation as travelers of varying experience and attitude confront remote and foreign (or not so foreign) space.