Orientalism, as explored by Edward Said in 1978, was a far more complex phenomenon than many suspected, being homogenous along the lines of neither culture nor time. Instead, it is deeply embedded in the collective reimaginings that were—and are—nationalism. The dozen essays in Genealogies of Orientalism argue that the critique of orientalism, far from being exhausted, must develop further. To do so, however, a historical turn must be made, and the ways in which modernity itself is theorized and historicized must be rethought. According to Joan W. Scott, author of The Politics of the Veil, the essays in this collection “develop a remarkable perspective on Edward Said’s Orientalism, placing it in a long historical context of critiques of colonial representations, and deepening our understanding of the very meaning of modernity.” Looking beyond the usual geography of colonial theory, this work broadens the focus from the Middle East and India to other Asian societies. By exploring orientalism in literary and artistic representations of colonial subjects, the authors illuminate the multifaceted ways in which modern cultures have drawn on orientalist images and indigenous self-representations. It is in this complex, cross-cultural collision that the overlapping of orientalism and nationalism can be found.
Format: CONTRIBUTORS: Edmund Burke III, David ProchaskaEAN: 9780803213425COUNTRY: United StatesPAGES: WEIGHT: 612 gHEIGHT: 229 cm
PUBLISHED BY: University of Nebraska PressDATE PUBLISHED: 2008-07-01CITY: GENRE: HISTORY / Europe / France, HISTORY / Asia / India & South Asia, HISTORY / EssaysWIDTH: 152 cmSPINE:
Book Themes:
France, South Asia (Indian sub-continent), General and world history, European history, Asian history
“This collection offers a heretofore unavailable genealogy of the global through the prism of orientalism. The result is both a primer for students, and a provocation to History—as a discipline and as an instrument of imperial power.”—Antoinette Burton, author of Burdens of History and Dwelling in the Archive, “A terrific group of essays. And the introduction is magisterial.”—James Clifford, author The Predicament of Culture and Routes, “This book responds critically to the influence of Said's Orientalism, assessing its achievements and limitations. It makes a valuable contribution to the debate on orientalism.”—Talal Asad, author of Genealogies of Religion and Formations of the Secular, “These essays develop a remarkable perspective on Edward Said’s Orientalism, placing it in a long historical context of critiques of colonial representations, and deepening our understanding of the very meaning of modernity.”—Joan W. Scott, author of The Politics of the Veil, "Genealogies of Orientalism remains an interesting and extremely valuable addition to the growing oeuvre of collections devoted to orientalism and its critical interrogation."—Michael S. Dodson, Journal of World History
Edmund Burke III is a professor of history and the director of the Center for World History at the University of California, Santa Cruz. He is the editor (with David N. Yaghoubian) of Struggle and Survival in the Modern Middle East, second edition. David Prochaska is an associate professor of history at the University of Illinois at Urbana-Champaign. He is the author of Making Algeria French: Colonialism in Bône, 1870–1920. Contributors include: Edmund Burke III, Zeynep Çelik, Alan Christy, Bernard S. Cohn, Fanny Colonna, Nicholas Dirks, Arif Dirlik, Leila Kinney, David Ludden, David Prochaska, Jenny Sharpe, Ella Shohat, and Julia Clancy-Smith.
Orientalism, as explored by Edward Said in 1978, was a far more complex phenomenon than many suspected, being homogenous along the lines of neither culture nor time. Instead, it is deeply embedded in the collective reimaginings that were—and are—nationalism. The dozen essays in Genealogies of Orientalism argue that the critique of orientalism, far from being exhausted, must develop further. To do so, however, a historical turn must be made, and the ways in which modernity itself is theorized and historicized must be rethought. According to Joan W. Scott, author of The Politics of the Veil, the essays in this collection “develop a remarkable perspective on Edward Said’s Orientalism, placing it in a long historical context of critiques of colonial representations, and deepening our understanding of the very meaning of modernity.” Looking beyond the usual geography of colonial theory, this work broadens the focus from the Middle East and India to other Asian societies. By exploring orientalism in literary and artistic representations of colonial subjects, the authors illuminate the multifaceted ways in which modern cultures have drawn on orientalist images and indigenous self-representations. It is in this complex, cross-cultural collision that the overlapping of orientalism and nationalism can be found.
Format: CONTRIBUTORS: Edmund Burke III, David ProchaskaEAN: 9780803213425COUNTRY: United StatesPAGES: WEIGHT: 612 gHEIGHT: 229 cm
PUBLISHED BY: University of Nebraska PressDATE PUBLISHED: 2008-07-01CITY: GENRE: HISTORY / Europe / France, HISTORY / Asia / India & South Asia, HISTORY / EssaysWIDTH: 152 cmSPINE:
Book Themes:
France, South Asia (Indian sub-continent), General and world history, European history, Asian history
Edmund Burke III is a professor of history and the director of the Center for World History at the University of California, Santa Cruz. He is the editor (with David N. Yaghoubian) of Struggle and Survival in the Modern Middle East, second edition. David Prochaska is an associate professor of history at the University of Illinois at Urbana-Champaign. He is the author of Making Algeria French: Colonialism in Bône, 1870–1920. Contributors include: Edmund Burke III, Zeynep Çelik, Alan Christy, Bernard S. Cohn, Fanny Colonna, Nicholas Dirks, Arif Dirlik, Leila Kinney, David Ludden, David Prochaska, Jenny Sharpe, Ella Shohat, and Julia Clancy-Smith.
Dramatiese wisselwerking tussen 'n onderhandelaar en 'n skieter
“Ons het ’n gyselaarsituasie in Stellenbosch.” Blinde kol boei vanaf hierdie openingsin, met ’n spanningslyn wat deurgaans snaarstyf volgehou word. Dit is 2 Oktober 2025 en ’n man het sy pad ingeskiet in ’n dameskoshuis. Hy hou verskeie studente aan en kort-kort klap daar nog skote. Hy vra vir Karla Blanckenberg by die naam, wil spesifiek met háár praat.
Karla onthou dat die skieter, Altus, die seun is wat sy in 2019 oorreed het om nie van ’n dak af spring nie. Die storielyn wissel behendig en ongeforseerd tussen hierdie twee tydgleuwe, ook tussen die voorgeskiedenis van die skieter en dié van Karla.
Benewens die spanningsvolle gebeure, word daar sensitiewe dinge oopgeskryf, soos selfmutilasie. “Ink kan sê hoe sy voel. Maar bloed kan dit ’n ruk lank wegvat.” (p.156) Daar is ook Altus se obsessie met mooi meisies en seks wat hy voel dat hy verdien maar nie kry nie. Daar is baie bloedvergieting, maar Martin Steyn is ’n meester wat dit verteerbaar aanbied, selfs vir ’n redelike sensitiewe leser soos ekself.
Adjudant Karla Blanckenberg en haar spanlid, Adjudant Colin Menck, het verskyn in vroeëre boeke van hierdie skrywer, maar Blinde Kol kan op eie bene staan. Dit is ’n produk van Lapa Uitgewers.
'n Joernalis soek na 'n fonds op 'n roosplaas in Marokko, en ontbloot geheime
Om ’n laaste wens van haar pa te eerbiedig, vertrek Gemma na Marokko, en spesifiek na die roosplaas, Sangrose. Die Marokkaanse landskap daarheen word goed uitgebeeld en verklaar waarom Soet rose, donker geheime, deur Frenette van Wyk uitgegee is as ’n romanse in die Reis sub-genre. Die titel is ook goed gekies, want op die pragtige plaas met duisende roosbome, is daar beslis geheime opgesluit.
Gemma is ’n joernalis met ’n ondersoekende gees. Haar pogings om die geheime te ontbloot, bring haar in uiteindelik in konflik met die eienaar van die plaas, die wewenaar, Julien, terwyl daar vanuit die staanspoor ’n definitiewe aantrekking tussen hulle was.
Die storie herinner my sterk aan Daphne du Maurier se Rebecca, hoewel dit in verskillende tye en plekke afspeel. Dalk is dit die rosetuine, maar veral die antagonis, die hatige Mrs Danvers. In hierdie verhaal is dit Samira wat openlik vyandig is en soos ’n skim verskyn oral waar Gemma beweeg.
Soet rose, donker geheime is ’n publikasie van Lapa Uitgewers onder die Romanza druknaam.
Luke en Lilihanna is lank genoeg in ’n verhouding dat sy al ’n diamantring begin verwag. Drama sommer met die intrapslag: hy verlaat die prentjie op onbedagsame wyse en laat vir Lilihanna verslae agter. Die volgende man wat te voorskyn kom is die skatryk Sebastian. Ek het nie geweet wat om te maak met hierdie karakter nie. Is hy ’n gewillige held of ’n onwaarskynlike held? Of is die held dalk die fotograaf, Leo, met sy lang hare, sy motorfiets en sy byna rebelse aantreklikheid?
Voorkoms staan sentraal in die storielyn. Sebastian, wat ’n reeks haarsalonne en ’n holostiese spa besit waar oormaaksessies aan die orde van die dag is, verras met ’n stelling: “Liefde is die onwerklike opwelling van emosie wanneer jy onverwags daardie één sien, ongeag of hulle nou in aanddrag uitgevat is of in vodde.” (p.31)
Skrywer Beatrix Smith was ook nie haastig om al my vrae te beantwoord nie, en ek gaan dit net so aan lesers oorlaat om te bepaal wié Lilihanna se hart gaan steel. My bestemde beminde is ’n Romanza uit Lapa Uitgewers se stal.