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#poetry #orientalism

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The Indiscreet, Megara (Greece) (1895–1900) - Théodore Jacques Ralli (1852-1909) #academic_realism #orientalism

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Did Disney Really Steal Aladdin?
Did Disney Really Steal Aladdin? YouTube video by Lindsay Ellis

@lindsayellis.bsky.social | Lindsay Ellis: "Did Disney Really Steal Aladdin?" | #Plagiarism? #TheThiefAndTheCobbler #RichardWilliams #1001Nights #ArabianNights #Orientalism #Complicated #Animation
www.youtube.com/watch?v=44ch...

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Orientalism and the Denial of Muslim Political Agency A critique of Orientalism in Western political frameworks and how it denies Muslim political agency and dehumanises Islamic resistance.

"Muslims are not neutral subjects in the global order, and Islam is already positioned as suspect within it. The conversation about hijab does not happen in a vacuum. Take authoritarianism in Iran, for example."

Share this with your imperial feminist friends.

wrzky.com/tizr/

#orientalism #marxism

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Original post on digitalcourage.social

Statements such as this reveal a lot about the cultural biases of their authors: „The whole social contract of Dubai involves a wilful blindness to the proximity of suffering and violence. After all, Gaza is geographically close.“ While the first statement is obviously true with regards to the […]

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Jameson sung Frank Herbert's praises in the mid-00s (see: 1st image), overlooking the man's blatant #Orientalism, #sexism and #homophobia (e.g., the Baron). In particular, Herbert was so homophobic he refused to speak to his gay son, an activist who died from AIDS.

www.ebar.com/story/309782...

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Responding to Yousef Abdul Husain "Every Offensive Arab Stereotype In #Aladdin" (2026).

tl;dr - Persephone is a postcolonialist, sex worker and intersectional feminist, pushing for universal liberation through subversive #Gothic context

youtu.be/BLq1ozBouN8

#Communism #transrights #Orientalism

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#orientalism

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'Dune' Through the Lens of Edward Said: Examining Orientalism and its Impact It has been repeated numerous times that art is a reflection of society but also a tool to reshape it. This strength comes with great responsibility for artists. While it can educate, raise awareness,...

#Orientalism #Dune #DenisVilleneuve #Art
I am reading this article : Dune' Through the Lens of Edward Said: Examining Orientalism and its Impact (www.artshelp.com/dune-through...) written by Rasha Hamade, Lebanese Queer writer/painter, devoted to intersectional human rights.

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I take this article of the U.S. media journal 'NVP' as a chance to talk about the current trend of "Chinamaxxing" and its relation to the practice of Orientalism of the West - in this case the U.S. in specific.

#chinamaxxing #orientalism #china #US #West #East #culture #chinese #powerimbalance

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None of these statements fully explains contemporary China and carries #Orientalism.

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Why companies often get Lunar New Year wrong in the workplace Many employees with Asian backgrounds say employers lose the nuance behind Lunar New Year celebrations – if they acknowledge the festival at all.

Today I read an article from the BBC, which discusses the representation of the Lunar New Year in the workplace and why companies get it wrong. I will analyse it through the perspective of #Orientalism and how does it affect Asian coworkers.

#LunarNewYear
www.bbc.com/worklife/art...

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The article labels Japanese people as economic problems. It's all about GDP and birth rates, but it forgets the actual humans.
This is classic #Orientalism. It makes it feel like people in the East don't have "real" emotions like we do. They aren't robots

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Some Gen Z Americans can't stop 'Chinamaxxing' Despite rising tensions between the world's two largest economies, a growing number of young Americans are becoming captivated by China, as seen in the online trend "Chinamaxxing."

#Orientalism #WackyJapan #ChinaMaxxing #GenZ #NPR #AsianStudies
www.npr.org/2026/03/13/n...

I read an article about a trend of ‘Chinamaxxing’ in Gen Z Americans from NPR.

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Opinion | You’re not ‘at a very Chinese time of your life’ - The Daily Illini Online trends appropriating non-Western cultures have harmful repercussions that can promote divisiveness and judgment instead of diversity and inclusivity.

We’re gonna analyze today’s article through the lens of #Orientalism.

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“One Way Street”

#magic #witch #caption #spellcaster #spellcasting #spell #magicspell #magicaltransformation #magictransformation #tgtransformation #pelviccurtain #satindress #genderchange #transgender #oriental #orientalfantasy #orientalism #barefoot #barefeet #barefootgirl #barefeetgirl

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Constantinople - a view across the Bosphorus towards Leander's Tower by night (1848) - Carlo Bossoli (1815-1884) #romantic_realism #orientalism

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French artist Eugène Delacroix painted this work after his 1832 journey to North Africa, and it quickly became one of the best-known images of 19th-century French Orientalism. Its brilliance lies in color, surface, and mood as burnished reds, smoky greens, mauves, and pearly whites create a suspended moment that feels private rather than dramatic. 

Four women occupy an intimate interior, though only three are seated together at the center of the scene while a fourth, a Black “attendant,” walks by at right in profile, her body turned as if she has just paused mid-step. At left, one woman reclines against stacked cushions, looking at us with a calm, slightly tired gaze. She wears layered necklaces, a low white chemise, and richly trimmed garments in cream, gold, coral, and blue. The two women in the middle sit cross-legged on a carpet, leaning subtly toward one another. One wears a translucent blouse and abundant jewelry. The other, dressed in white with pink trim and green trousers, lowers her head toward a hookah placed on the tiled floor. Slippers, a small brazier, patterned rugs, ceramic wall tiles, a red cabinet with glass vessels, a gilt mirror, and a heavy curtain deepen the room’s textured quiet. Light skims skin, silk, gauze, and metal, making the atmosphere feel both hushed and sensuous.

The painting also asks for careful viewing. This is not a neutral document of Algerian life, but a French artist’s constructed vision shaped by colonial-era fascination, selective access, and unequal power. The women are presented as inward, self-contained presences rather than active performers, which gives the scene unusual psychological depth. The standing attendant complicates the picture further, drawing attention to race, labor, and hierarchy inside this luxurious space. Acquired by the French state in 1834, the painting later became a touchstone for generations of artists, including Picasso, who returned to it repeatedly.

French artist Eugène Delacroix painted this work after his 1832 journey to North Africa, and it quickly became one of the best-known images of 19th-century French Orientalism. Its brilliance lies in color, surface, and mood as burnished reds, smoky greens, mauves, and pearly whites create a suspended moment that feels private rather than dramatic. Four women occupy an intimate interior, though only three are seated together at the center of the scene while a fourth, a Black “attendant,” walks by at right in profile, her body turned as if she has just paused mid-step. At left, one woman reclines against stacked cushions, looking at us with a calm, slightly tired gaze. She wears layered necklaces, a low white chemise, and richly trimmed garments in cream, gold, coral, and blue. The two women in the middle sit cross-legged on a carpet, leaning subtly toward one another. One wears a translucent blouse and abundant jewelry. The other, dressed in white with pink trim and green trousers, lowers her head toward a hookah placed on the tiled floor. Slippers, a small brazier, patterned rugs, ceramic wall tiles, a red cabinet with glass vessels, a gilt mirror, and a heavy curtain deepen the room’s textured quiet. Light skims skin, silk, gauze, and metal, making the atmosphere feel both hushed and sensuous. The painting also asks for careful viewing. This is not a neutral document of Algerian life, but a French artist’s constructed vision shaped by colonial-era fascination, selective access, and unequal power. The women are presented as inward, self-contained presences rather than active performers, which gives the scene unusual psychological depth. The standing attendant complicates the picture further, drawing attention to race, labor, and hierarchy inside this luxurious space. Acquired by the French state in 1834, the painting later became a touchstone for generations of artists, including Picasso, who returned to it repeatedly.

“Femmes d’Alger dans leur appartement” (Women of Algiers in Their Apartment) by Eugène Delacroix (French) - Oil on canvas / 1834 - Musée du Louvre (Paris, France) #WomenInArt #EugeneDelacroix #Delacroix #EugèneDelacroix #LouvreMuseum #MuseeDuLouvre #LeLouvre #arte #artText #FrenchArt #Orientalism

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A Black Woman (1884) - Anna Bilińska (1854–1893) #realism #orientalism

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A Lady Receiving Visitors (The Reception) by John Frederick Lewis. The house in this painting was based on his Lewis's own residence in Cairo.

#Orientalism #art #classical #realism #NorthAfrica #WestAsia #Copt #Arab

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Judah and Tamar (1840) - Horace Vernet (1789–1863) #orientalism #biblical_painting

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There's Europe, Central Asia, the Gulf Region and Asia.

What is the purpose of calling the Gulf Region the Middle East? Whose ends are served?

#othering #Orientalism #dehumanizing

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Balkans imaginaires En kiosques // par Jean-Arnault Dérens (mars 2026)

#games #balkan #ruritania #orientalism #zelda #comics #comicbooks

#Mustread in @lemondediplomatique.cl.web.brid.gy by Jean Arnaud Dérens about an middle European essentialist fantasies about Balkan imaginary countries in Tin tin & 'The Prisoner of Zenda'

www.monde-diplomatique.fr/2026/03/DERE...

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Orientalism and the Denial of Muslim Political Agency A critique of Orientalism in Western political frameworks and how it denies Muslim political agency and dehumanises Islamic resistance.

Islam doesn't need defending. It's those who paint it as dangerous that need to explain themselves.

Read my critique of Western political frameworks. Consider it a mirror for those who claim to be allies in the West and “anti-imperialist.”

wrzky.com/orientalism-...

#orientalism #trotskyism

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The abundant light defines the opulent interior. Two figures occupy the preground: a man in rich, dark robes, and a red fez stands beside an elder in flowing cream garments, leaning on a cane. Intricate tile work adorns a central pillar, its geometric patterns drawing the eye. Smooth brushstrokes render the textures of fabric and polished stone with meticulous care. This refined handling of detail transports the viewer to a specific moment within a carefully constructed rientalist vision. The luminous atmosphere, achieved through careful layering of glazes, imbues the scene with an almost tangible warmth. Decorative grilles and elaborate woodwork suggest an established tradition of craftsmanship. The deep red carpet anchors the figures and guides the viewer's gaze across the polished floor. These elements construct a tableau of piety and learned discourse. The carefully rendered details speak to a fascination with exoticism. Ernst's precise execution constructs a palpable sense of place.

"After Prayer" belongs to the broader movement of Eastern European Jewish art that emerged in the late 19th and early 20th centuries. This art often focused on depicting the daily lives, religious practices, and struggles of Jewish communities the face of modernization, poverty, and rising antisemitism. It can be seen as a  precursor to Social Realism, though it retains a strong emotional and psychological depth. It also aligns with the Expressionist tendencies of the time, particularly in its focus on conveying inner states rather than objective reality.

The abundant light defines the opulent interior. Two figures occupy the preground: a man in rich, dark robes, and a red fez stands beside an elder in flowing cream garments, leaning on a cane. Intricate tile work adorns a central pillar, its geometric patterns drawing the eye. Smooth brushstrokes render the textures of fabric and polished stone with meticulous care. This refined handling of detail transports the viewer to a specific moment within a carefully constructed rientalist vision. The luminous atmosphere, achieved through careful layering of glazes, imbues the scene with an almost tangible warmth. Decorative grilles and elaborate woodwork suggest an established tradition of craftsmanship. The deep red carpet anchors the figures and guides the viewer's gaze across the polished floor. These elements construct a tableau of piety and learned discourse. The carefully rendered details speak to a fascination with exoticism. Ernst's precise execution constructs a palpable sense of place. "After Prayer" belongs to the broader movement of Eastern European Jewish art that emerged in the late 19th and early 20th centuries. This art often focused on depicting the daily lives, religious practices, and struggles of Jewish communities the face of modernization, poverty, and rising antisemitism. It can be seen as a precursor to Social Realism, though it retains a strong emotional and psychological depth. It also aligns with the Expressionist tendencies of the time, particularly in its focus on conveying inner states rather than objective reality.

After Prayer by Rudolf Ernst, 1917, Mathaf Gallery (London, UK)

#ArtHistory #ModernArt #Orientalism

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Nawal El Saadawi dismissed the term "Middle East" as a British colonial invention. She argued that labeling regions based on their distance from Europe erases local identity. To reclaim our history, she urged us to decolonize our language. 🌏
#WestAsia #Arab #feminism #orientalism #WomensHistoryMonth

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“It seems a common human failing to prefer the schematic authority of a #text to the disorientations of direct encounters with the #human.” - #EdwardSaid, #Orientalism

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The Ionian Pottery Seller (1881) - Edwin Long (1829–1891) #orientalism

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Arab Plowing with Dromedaries in an Evening Landscape (1887) - Gustave Achille Guillaumet (1840–1887) #orientalism

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Entering The Mosque (c.1885) - Edwin Lord Weeks (1849–1903) #orientalism

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