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The west's Orientalism - its construction of an Arab or Islamic 'Other' - has been exposed and examined under the critical theory microscope and thoroughly expelled, it seems, from academic thought. At the same time postmodern thinkers from Nietzsche onwards have employed the motifs and symbols of the Islamic Orient within an ongoing critique of western modernity, an appropriation which, this hugely controversial book argues, runs every risk of becoming a new and more insidious Orientalist strain.Ian Almond sensitively yet rigorously examines the work of Nietzsche, Jacques Derrida, Michel Foucault, Jean Baudrillard, Julia Kristeva and Slavoj Zizek, as well as that of postmodern writers Jorge Luis Borges, Salman Rushdie and Orhan Pamuk. In doing so he exposes the implications of this 'use' of Islam for both the postmodern project and for Islam itself. Taking apart the assumptions, omissions and contradictions inherent in these thinkers' approaches to Islam and to the Arab world, and drawing on the work of prominent Muslim thinkers including Ziauddin Sardar, Aziz Al-Azmeh and Bobby S. Sayyid, "The New Orientalists" highlights the difficulty of ever speaking truly about the 'Other'. In light of the current Western climate of fear and hysteria surrounding the Islamic world, this groundbreaking project could hardly be more timely.
Over the past few decades, a new form of Orientalism has been developing. As exemplified by Elie Kedourie and Bernard Lewis, it points to Islam as the West's archenemy. The rise of political Islam and its opposition to Western domination of the Islamic world are seen as evidence of a deep, abiding hatred of all things Western. Accordingly, the new Orientalists call for thorough reforms, among them regime changes, wars, and the imposition of 'democracy' on Islamic societies. They warn that if the West shrinks from this challenge, the Islamists will surely gain power and destroy the West. The essays in this book "written after 9-11" dispute the new Orientalist presumption of an unchanging Islam, opposed to "Western" values and incapable of adapting to the modern world. The not-so-hidden objective of the new Orientalism is to promote acceptance of the US and Israel's imperialist push into the Islamic world as both a security imperative and a civilizing mission. Alam argues that the new Orientalists claim of a categorical split between Islam and the West is based on a biased, inaccurate interpretation of history. While recognizing the political and economic failings of the Islamic world, Alam shows that they are legacies of two centuries of Western imperialism and are shared by all regions at the periphery of the prevailing global capitalism. If the Islamic world lags behind China and India, it is because of two factors that have given a new edge to Western involvement in West Asia and North Africa: oil and Zionism. In Alam's view, Israel is a powerful destabilizing force in the region, whose survival depends upon turning the Western-Islamic conflict into a hot war. Not surprisingly, many of the new Orientalists are strong partisans of Israel.
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 west's Orientalism - its construction of an Arab or Islamic 'Other' - has been exposed and examined under the critical theory microscope and thoroughly expelled, it seems, from academic thought. At the same time postmodern thinkers from Nietzsche onwards have employed the motifs and symbols of the Islamic Orient within an ongoing critique of western modernity, an appropriation which, this hugely controversial book argues, runs every risk of becoming a new and more insidious Orientalist strain.Ian Almond sensitively yet rigorously examines the work of Nietzsche, Jacques Derrida, Michel Foucault, Jean Baudrillard, Julia Kristeva and Slavoj Zizek, as well as that of postmodern writers Jorge Luis Borges, Salman Rushdie and Orhan Pamuk. In doing so he exposes the implications of this 'use' of Islam for both the postmodern project and for Islam itself. Taking apart the assumptions, omissions and contradictions inherent in these thinkers' approaches to Islam and to the Arab world, and drawing on the work of prominent Muslim thinkers including Ziauddin Sardar, Aziz Al-Azmeh and Bobby S. Sayyid, "The New Orientalists" highlights the difficulty of ever speaking truly about the 'Other'. In light of the current Western climate of fear and hysteria surrounding the Islamic world, this groundbreaking project could hardly be more timely.
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.
A thrilling page-turner of epic proportions, Tom Reiss’s panoramic bestseller tells the true story of a Jew who transformed himself into a Muslim prince in Nazi Germany. Lev Nussimbaum escaped the Russian Revolution in a camel caravan and, as “Essad Bey,” became a celebrated author with the enduring novel Ali and Nino as well as an adventurer, a real-life Indiana Jones with a fatal secret. Reiss pursued Lev’s story across ten countries and found himself caught up in encounters as dramatic and surreal–and sometimes as heartbreaking–as his subject’s life.
The Orientalists pursues the mid to late 19th century, when American and European artists traveled and painted throughout the Holy Land and India. The highly cinematic images they created suggest a great influence on modern visual culture.
Between 1843 and 1922, American artists travelled to the Near East and North Africa, painting all that they discovered. Edwin Lord Weeks and Frederick Bridgman are amongst the most famous but there was also Francis Bacon, Samuel Colman, Swain Gifford and
At a crucial moment in the history of relations of East and West, Orient and Occident, Christianity and Islam, Orientalism provides a timely account of the subject and the debate. In the 1960s and 1970s a powerful assault was launched on 'orientalism', led by Edward Said. The debate ranged far beyond the traditional limits of 'dry-as-dust' orientalism, involving questions concerning the nature of identity, the nature of imperialism, Islamophobia, myth, Arabism, racialism, intercultural relations and feminism. Charting the history of the vigorous debate about the nature of orientalism, this timely account revisits the arguments and surveys the case studies inspired by that debate.
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.