In contrast to most cultural histories of imperialism, which analyse Orientalist images of rather than by women, Gendering Orientalism focuses on the contributions of women themselves. Drawing on the little-known work of Henriette Browne, other `lost' women Orientlist artists and the literary works of George Eliot, Reina Lewis challenges masculinist assumptions relating to the stability and homogeneity of the Orientalist gaze. Gendering Orientalism argues that women did not have a straightforward access to an implicitly nale position of western superiority, Their relationship to the shifting terms of race, nation and gender produced positions from which women writers and artists could articulate alternative representations of racial difference. It is this different, and often less degrading, gaze on the Orientalized `Other' that is analysed in this book. By revealing the extent of women's involvement in the popular field of visual Orientalism and highlighting the presence of Orientalist themes in the work of Browne, Eliot and Charlotte Bronte, reina Lewis uncovers women's roles in imperial culture and discourse. Gendering Orientalism will appeal to students, lecturers and researchers in cultural studies, literature, art history, women's studies and anthropology.

In contrast to most cultural histories of imperialism, which analyse Orientalist images of rather than by women, Gendering Orientalism focuses on the contributions of women themselves. Drawing on the little-known work of Henriette Browne, other `lost' women Orientlist artists and the literary works of George Eliot, Reina Lewis challenges masculinist assumptions relating to the stability and homogeneity of the Orientalist gaze. Gendering Orientalism argues that women did not have a straightforward access to an implicitly nale position of western superiority, Their relationship to the shifting terms of race, nation and gender produced positions from which women writers and artists could articulate alternative representations of racial difference. It is this different, and often less degrading, gaze on the Orientalized `Other' that is analysed in this book. By revealing the extent of women's involvement in the popular field of visual Orientalism and highlighting the presence of Orientalist themes in the work of Browne, Eliot and Charlotte Bronte, reina Lewis uncovers women's roles in imperial culture and discourse. Gendering Orientalism will appeal to students, lecturers and researchers in cultural studies, literature, art history, women's studies and anthropology.

To what extent did white European women contribute to the imperial cultures of the second half of the nineteenth century?

This book offers an accessible and timely analysis of the ‘War on Terror’, based on an innovative approach to a broad range of theoretical and empirical research. It uses ‘gendered orientalism’ as a lens through which to read the relationship between the George W. Bush administration, gendered and racialized military intervention, and global politics. Khalid argues that legitimacy, power, and authority in global politics, and the ‘War on Terror’ specifically, are discursively constructed through representations that are gendered and racialized, and often orientalist. Looking at the ways in which ‘official’ US ‘War on Terror’ discourse enabled military intervention into Afghanistan and Iraq, the book takes a postcolonial feminist approach to broaden the scope of critical analyses of the ‘War on Terror’ and reflect on the gendered and racial underpinnings of key relations of power within contemporary global politics. This book is a unique, innovative and significant analysis of the operation of race, orientalism, and gender in global politics, and the ‘War on Terror’ specifically. It will be of great interest to scholars and graduates interested in gender politics, development, humanitarian intervention, international (global) relations, Middle East politics, security, and US foreign policy.

Originating in the collaboration of the international Research Network “Gender in Antisemitism, Orientalism and Occidentalism” (RENGOO), this collection of essays proposes to intervene in current debates about historical constructions of Jewish identity in relation to colonialism and Orientalism. The network‌’s collaborative research addresses imaginative and aesthetic rather than sociological questions with particular focus on the function of gender and sexuality in literary, scholarly and artistic transformations of Orientalist images. RENGOO’s first publication explores the ways in which stereotypes of the external and internal Other intertwine. With its interrogation of the roles assumed in this interplay by gender, processes of sexualization, and aesthetic formations, the volume suggests new directions to the interdisciplinary study of gender, antisemitism, and Orientalism.

In this 1998 book, Meyda Yegenoglu investigates the intersection between post-colonial and feminist criticism, focusing on the Western fascination with the veiled women of the Orient. She examines the veil as a site of fantasy and of nationalist ideologies and discourses of gender identity, analyzing travel literature, anthropological and literary texts to reveal the hegemonic, colonial identity of the desire to penetrate the veiled surface of 'otherness'. Representations of cultural difference and sexual difference are shown to be inextricably linked, and the figure of the Oriental woman to have functioned as the veiled interior of Western identity.

Orientalism and Literature discusses a key critical concept in literary studies and how it assists our reading of literature. It reviews the concept's evolution: how it has been explored, imagined and narrated in literature. Part I considers Orientalism's origins and its geographical and multidisciplinary scope, then considers the major genres and trends Orientalism inspired in the literary-critical field such as the eighteenth-century Oriental tale, reading the Bible, and Victorian Oriental fiction. Part II recaptures specific aspects of Edward Said's Orientalism: the multidisciplinary contexts and scholarly discussions it has inspired (such as colonial discourse, race, resistance, feminism and travel writing). Part III deliberates upon recent and possible future applications of Orientalism, probing its currency and effectiveness in the twenty-first century, the role it has played and continues to play in the operation of power, and how in new forms, neo-Orientalism and Islamophobia, it feeds into various genres, from migrant writing to journalism.

Ephraim Moses Lilien (1874-1925) was one of the most important Jewish artists of modern times. As a successful illustrator, photographer, painter and printer, he became the first major Zionist artist. Surprisingly there has been little in-depth scholarly research and analysis of Lilien's work available in English, making this book an important contribution to historical and art-historical scholarship. Concentrating mainly on his illustrations for journals and books, Lynne Swarts acknowledges the importance of Lilien's groundbreaking male iconography in Zionist art, but is the first to examine Lilien's complex and nuanced depiction of women, which comprised a major dimension of his work. Lilien's female images offer a compelling glimpse of an alternate, independent and often sexually liberated modern Jewish woman, a portrayal that often eluded the Zionist imagination. Using an interdisciplinary approach to integrate intellectual and cultural history with issues of gender, Jewish history and visual culture, Swarts also explores the important fin de siècle tensions between European and Oriental expressions of Jewish femininity. The work demonstrates that Lilien was not a minor figure in the European art scene, but a major figure whose work needs re-reading in light of his cosmopolitan and national artistic genius.

Questioning the Western stereotype about the women of the Muslim harem, the author argues that, whilst Orientalist thinking has been challenged, the Western understanding of Middle Eastern culture remains limited.

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.