The “Other”—source of fear and fascination; emblem of difference demonized and romanticized. Theories of alterity and cultural diversity abound in the contemporary academic landscape. Victor Segalen’s early attempt to theorize the exotic is a crucial reference point for all discussions of alterity, diversity, and ethnicity. Written over the course of fourteen years between 1904 and 1918, at the height of the age of imperialism, _Essay on Exoticism_ encompasses Segalen’s attempts to define “true Exoticism.” This concept, he hoped, would not (...) only replace nineteenth-century notions of exoticism that he considered tawdry and romantic, but also redirect his contemporaries’ propensity to reduce the exotic to the “colonial.” His critique envisions a mechanism that appreciates cultural difference—which it posits as an aesthetic and ontological value—rather than assimilating it: “Exoticism’s power is nothing other than the ability to conceive otherwise,” he writes. Segalen’s pioneering work on otherness anticipates and informs much of the current postcolonial critique of colonial discourse. As such _Essay on Exoticism_ is essential reading for both cultural theorists or those with an interest in the politics of difference and diversity. (shrink)

As such "Essay on Exoticism" is essential reading for both cultural theorists or those with an interest in the politics of difference and diversity.

This article aims at highlighting the specificities of Gaston Bachelard’s «La poétique de la rêverie», seen as the pivot of Motesquieu’s imaginary creation in Persian Letters. The Same and the Other are two essential terms when trying to find the place imagology plays in an intercultural approach where France and Persia are associated with an enchanted exoticism. Criteria such as space, taste, the marvellous and verisimilitude will be examined in order to analyse the images vehiculated by the perceived society (...) and by the perceiving one and to evaluate Montesquieu’s genius for social irony. (shrink)

It is the nature of the earth to lie ‘wholly spread out under the sky’: hapasê hê hupo tô kosmô keimenê (Isocrates); and the sky determines the World. Indeed it is the same as the World, as Plato states in the final words of Timaeus: ‘the World was born: it is the Sky, which is one and alone of its race’ (ho kosmos … gegonen heis ouranos hode monogenês ôn). What is thus clearly ‘one and alone of its race’ dominates (...) by its very nature what is subjected to it: the earth. With the coming of the age of modernity, and today more than ever, the West has indeed subjected the Earth and its peoples by imposing its World on them. But it is the nature of worlds, as it is of heavens, to be limited by a horizon; and there is no sky, nor world, that is not supported by an earth. By the Earth, we mean to say nature. This ancient certainty, this primary metaphor, has been inscribed in us since the first creatures to become human, standing with both feet on the ground and head turned towards the sky, first saw the horizon. As paleo-anthropology tells us, it is in effect in the same movement that they began to create technical and symbolic systems from which the ecumene would spring; and this prime metaphor that was the basis for the ecumene and its worlds has continued to work on the generation of secondary metaphors that govern the history of human thought through the unconscious - from Aristotle when, inventing the notion of subject, he called it hupokeimenon, ‘what lies below’ (as the earth lies below the sky), to Heidegger when he imagined The Origin of the Work of Art as a ‘dispute’ (Streit) between a world and the earth. Indeed there is Streit because the earth denies itself and withdraws into its interior, in the very exteriorization that opens it into a world. (shrink)

Cet article étudie la réinterprétation et l’appropriation de l’exotisme dans les traductions-adaptations des voyages imaginaires du xviiie siècle, tout particulièrement celles de Desfontaines (Les Voyages du capitaine Lemuel Gulliver), de Berault-Bercastel (Voyages récréatifs du chevalier de Quevedo) et de Louis de Mailly (Les Trois Princes de Sarendip). Les traducteurs ont comme objectif d’adapter l’oeuvre au « goût de la France » : ils sont aux prises avec un double exotisme, celui décrit dans le voyage et celui intrinsèque à l’oeuvre. Leur (...) travail d’adaptation repose sur la recherche des équivalences culturelles, sur la suppression des passages subversifs et sur la conservation d’une représentation convenue de l’ailleurs et du merveilleux. Certains traducteurs vont jusqu’à réécrire une grande partie de ces ouvrages afin que le genre littéraire corresponde à celui du voyage. (shrink)

Intelligent machines are no longer distant fantasies of the future or solely used for industrial purposes; they are real “living” things that operate similarly to humans with verbal and nonverbal communication capabilities. Humans see in such technology the horrifying dangers and the bliss enabled by the saving power. Entrenched in the emotions of hope and fear concerning intelligent machines, humans’ attitudes toward intelligent machines are not free of expectations, judgments, strategies, and selfish agendas. As the discovery of the New Worlds (...) has led to the development of an understanding of self as distinct from the other, narratives on intelligent robots have taken on similar forms of colonial discourse: contradictory manifestations of ethnocentrism (anthropocentrism) and exoticism. Similar to colonial encounters, the racialized Mechanical _Other_ operates like any other marginalized group. Colonial discourse often regards the mechanical _Other_ as both inferior yet exotic, which usually produces a mixed sense of blessing and curse, ambivalence composed of both desire and aversion. In these representations of machinic _otherness,_ one should not miss the fundamental injustice of creating the “Machinic Other” and imposing humans’ viewpoints. The field must expand the purview of intelligent machines to consider the larger historical and cultural forces shaping our understanding of who we are as reflected in the mirror of intelligent machines. (shrink)

Le premier cycle de diffusion internationale du tango, dans les années immédiatement antérieures à la Grande Guerre, a eu Paris pour épicentre et les milieux aristocratiques et mondains de la capitale française comme lieu privilégié et premier d’inscription sociale. Un fort engouement pour la « nouvelle danse»s’ensuivit, ce qu’on appelle à l’époque « tangomanie»s’installa et, avec elle, sont nées des polémiques opposant partisans et adversaires d’une danse venue d’ailleurs et aux accents sexuels troubles. C’est ainsi en tout cas qu’elle est (...) perçue, au croisement de deux axes de réception principaux : érotisme et exotisme. Or ils sont étroitement liés. On en examinera les figures et leurs interactions dans la construction d’une image publique du tango promise à une réappropriation au-delà du seul contexte parisien et à une longue postérité qui se prolonge, à certains égards, jusqu’à aujourd’hui. (shrink)

This essay considers Moscow’s simultaneously peripheral and central position on the global fashion map. It is predicated on a study of imaginary Russian geographies presented in Vogue and other fashion media, advertisements and promotional activities by important fashion brands, as well as the promotional texts and visuals of several new Russian fashion designers. While these different players all contribute to shaping the imagery of Russian fashion today, their agendas and aesthetics differ. This essay identifies three main approaches within the field (...) of the symbolic production of Russian fashion. Western fashion designers and fashion media mainly rely on Russian imperial sartorial heritage in their orientalizing approach to Russian fashion. Secondly, Russian Vogue perpetuates Moscow’s peripheral international fashion position either by passively transmitting derivative Western representations of Russianness, or by reconstructing its own high-fashion versions of traditional Russian decorative style. Finally, several young Russian fashion designers deconstruct both traditional Russian and socialist iconography, in a fundamentally new development for the country’s fashion scene. (shrink)

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

If the end of exoticism is one of the characteristics of our time, and if classical anthropology based its study of alterity on this exotic distance from the other, is anthropology still possible, and if so, to what end? The author uses these questions as a point of departure for a probing interrogation of ethnological practice, starting with Le;vi-Strauss. The author advocates an anthropology of 'proximity' in place of the usual anthropology of distance. He has studied such emblematic places (...) of Western modernity as the Parisian Metro, or such emblematic 'non-places' as airports, treating as valid anthropological objects phenomena that others might judge less 'pure' or 'significant' than systems of filiation or matrimonial alliance. He outlines an approach to anthropology that focuses on negotiating the social meanings we and others use in making sense of the world, and on the processes of identification that create the difference between same and other. (shrink)

A central metaphilosophical project seeks to evaluate the reliability of the types of evidence that figure in philosophical arguments and, relatedly, the justificatory status of relying on those types of evidence. Traditionally, metaphilosophers have approached this project via an analysis of intuition. This article argues that the category picked out by “intuition” is both too broad and too heterogeneous to serve as the appropriate target for metaphilosophical inquiry. Intuition is a gerrymandered and disjunctive kind, undeserving of the widespread attention it (...) receives in the literature. Instead, metaphilosophers should examine more finely grained mental states. Three promising strategies for parsing intuitions more finely are proposed: by their causal origins, by their context of employment, and by the exoticism of their content. This more narrow focus may significantly alter the dialectic in three prominent metaphilosophical arguments: the argument from calibration, the argument from self-defeat, and the argument from intuitional sensitivity. (shrink)

Forty years ago Roland Barthes defined a mythology as those “falsely obvious” ideas which an age so takes for granted that it is unaware of its own belief. An illustration of what he meant can be seen in his 1957 critique of the photographic exhibition, The Family of Man . Barthes declares that the myth it promotes stresses exoticism, complacently projecting a Babel of human diversity over the globe. From this image of diversity a pluralistic humanism “is magically produced: (...) man is born, works, laughs and dies everywhere in the same way....” The implicit mythological background of the show postulates “a human essence.” Barthes exhorts us instead to probe beneath the facile implications of a universal human nature implied by the exhibition’s sentimental juxtapositions. We must try “constantly to scour nature, its ‘laws’ and its ‘limits’ in order to discover History there, and at last to establish Nature itself as historical” (1972:100-102). (shrink)

This paper seeks to provide a renewed meaning to the idea of truth by enclosing it within Gandhi’s rhetorical use of the term religion. The religion that he seeks to present to us as Hinduism is absurd on all fronts, it is argued here. It is through such absurdity that he infuses notions of validity and obeyance on his own terms to take us to profuse criticisms of not only colonial but civilizational modernity as well. Further a newer meaning is (...) given to Hinduism in a rather unexpected manner even in the context of the Indian national movement. The point about political conservatism, the element of exoticism and God takes us to adventures around truth by a thinker-activist speaking as a colonial subject. (shrink)

This paper presents an attempted pastiche of the writing and thinking style of the distinguished anthropologist Marilyn Strathern. The claim about the consequence of avoiding the charge of exoticism resembles the paradox of analysis.

The study of the post-Communist towns of East Europe and Russia does not only present the social sciences with the opening of a new field and the attraction of exoticism close at hand. They are a remarkable observatory of the complex relations which unite the material facets of urban life (extension of the built-up area, architectural forms, types of distribution of infrastructures and services) and the social structures (mode of government, nature of the economic initiative, expressions of sociability). In (...) three-quarters of a century for Russia, in fifty years for the countries of East Europe, cities many ages old were to have two changes of system: from liberal industrial capitalism to the controlled Communist economy, from interventionist autarchy to the globalized market. To give the lie to the poet (Baudelaire), towns change no faster than the hearts of mortals but beat to the rhythm of their continuities, their aspirations and their dreams. (shrink)

From the earliest days of its history, Brazil has been a favoured ‘laboratory’ for ethnic, cultural and religious hybridization. The absence or scarcity of white women and the temptations of sexual exoticism drove the Portuguese discoverers, and with them sailors from Normandy, Brittany and Poitou, to have relations with Indian women they chanced to meet, thus creating a race of coloured people, oddly called mamelucos, later cabocles (of mixed white and Indian ethnicity). Afterwards, the very substantial recourse to the (...) Negro slave trade and to manpower of African slave origin because of the requirements of the sugarcane economy (which remained predominant for a long time, especially in the Nordeste region of Bahia and Pernambuco), as well as the numerical imbalance of the sexes, characterized by a great predominance of men, popularized concubinage - all the more so because the Catholic Church was extremely reluctant to sanction interethnic unions with the sacrament of marriage. The Jesuits even recommended the despatch of white prostitutes or women condemned by common law (degredadas), for whom Brazil would furnish the opportunity for redemption, in order to avoid or reduce the number of unions of this kind. Thus, concubinage was the most common vehicle of miscegenation in Brazil. (shrink)

Alterity is in danger. It is a masterpiece in peril, an object lost or missing from our system, from the system of artificial intelligence and the system of communication in general.--from Radical AlterityWhere is the Other today? Can Otherness challenge our arrogant, insular cultural narcissism? From artificial intelligence to the streets of Venice, from early explorers to contemporary photographers, Jean Baudrillard and Marc Guillaume discuss the traces of radical alterity in our world. These provocative seminars, held in 1990 and 1991, (...) follow the multiple, intertwined trajectories first projected in Baudrillard's work and his reading of the "radical exoticism" posited by Victor Segalen--ideas Baudrillard extends into the realms of mass media, pseudonyms, technology, and that illusorily close yet radically foreign "primitive society of the future," America. In a world where no corner is unexplored, the Other remains a challenge to thought, a crack in the shell of universal understanding, impossible to communicate but potentially the linchpin of communication itself. Together, Baudrillard and Guillaume explore the threatened and fatal figures of radical alterity. This collection is no longer available in French, and this English edition includes an additional essay by Baudrillard, "Because Illusion and Reality Are Not Opposed."Jean Baudrillard will be remembered as one of the most provocative and renowned social theorists of the twentieth century. Economist and professor at the Université de Paris-Dauphine, Marc Guillaume has published several works in French rethinking contemporary socioeconomics and has collaborated with such thinkers as Jacques Derrida and Jacques Attali. (shrink)

Photographer Nacho Lopez was Mexico's Eugene Smith, fusing social commitment with searing imagery to dramatize the plight of the helpless, the poor, and the marginalized in the pages of glossy illustrated magazines. Even today, Lopez's photographs forcefully belie the picturesque exoticism that is invariably presented as the essence of Mexico.

As some artists discovered early in the century, there is a particular pleasure and stimulation to be derived from works of art created by cultures untouched by our own traditions of form. In part this is probably a delight in exoticism, in being away from home, and in part it possibly is our sentiment for cultures we look on as traditional, in a Jungian sense, or primitive in their unquestioning allegiance to simple cultural necessity. But more significantly, without indulging (...) in philosophical or anthropological speculation, we are forced, in looking at such objects as these elegantly designed boxes and bowls, to revise our visual thinking, our assumptions about unity and grace.Joshua C. Taylor, director of the National Collection of Fine Arts of the Smithsonian Institution, has written Learning to Look, William Page: The American Titian, and catalogues of exhibits of futurism and the works of Umberto Boccioni. Part 1 of this paper has been published in somewhat different form in Boxes and Bowls. (shrink)

“It is a noble task to try to understand others, and to have them understand you but it is never an easy one”, says Everett. This paper argues that a basic prerequisite for understanding others is to have some shared concepts on which this understanding can build. If speakers of different languages didn’t share some concepts to begin with then cross-cultural understanding would not be possible even with the best of will on all sides. Current Anthropology For example, Everett claims (...) that Pirahã has no word for “mother”, no words for “before’ and “after”, no words for “one”, “two” and “all” and no words comparable to ‘think” and “want”. These claims are based, I believe, on faulty semantic analysis, and in particular, on a determination not to recognize polysemy under any circumstances. As I see it, at many points this stance makes nonsense of Everett’s own data and distorts the conceptual world of the Pirahã. Since he does not want to recognize the existence of any shared concepts, Everett is also not prepared to address the question of a culture-neutral metalanguage in which Pirahã and English conceptual categories could be compared. This often leads him to imposing cultural categories of English on the conceptual world of the Pirahã. The result is a combination of exoticism and Anglocentrism which doesn’t do justice to Everett’s long and intimate engagement with the Pirahã people and their language. Sadly, it blinds him to what Franz Boas called “the psychic unity of mankind”, reflected in the common semantic features of human languages and fully compatible with the cultural shaping of their lexicons and grammars. (shrink)

In _The Curious Case of the Camel in Modern Japan_, Ayelet Zohar addresses issues of Orientalism, colonialism, and exoticism in modern Japan, through images of camels – the epitome of Otherness, and a metonymy for Asia in the Japanese imagination.

A focused exploration of Baudrillard's understanding and use of alterity and “otherness,” a crucial theme that appears and reappears throughout his work as a whole. Alterity is in danger. It is a masterpiece in peril, an object lost or missing from our system, from the system of artificial intelligence and the system of communication in general.—from Radical Alterity Where is the Other today? Can Otherness challenge our arrogant, insular cultural narcissism? From artificial intelligence to the streets of Venice, from early (...) explorers to contemporary photographers, Jean Baudrillard and Marc Guillaume discuss the traces of radical alterity in our world. These provocative seminars, held in 1990 and 1991, follow the multiple, intertwined trajectories first projected in Baudrillard's work and his reading of the “radical exoticism” posited by Victor Segalen—ideas Baudrillard extends into the realms of mass media, pseudonyms, technology, and that illusorily close yet radically foreign “primitive society of the future,” America. In a world where no corner is unexplored, the Other remains a challenge to thought, a crack in the shell of universal understanding, impossible to communicate but potentially the linchpin of communication itself. Together, Baudrillard and Guillaume explore the threatened and fatal figures of radical alterity. This collection is no longer available in French, and this English edition includes an additional essay by Baudrillard, “Because Illusion and Reality Are Not Opposed.”. (shrink)

The ancient Greeks already used to give ethnic names to their different scales, and observations on differences in music of the various nations always raised the interest of musicians and philosophers. Yet, it was only in the late nineteenth century that “comparative musicology” became an institutional science. An important role in this process was played by Carl Stumpf, a former pupil of Brentano’s who pioneered these researches in Berlin. Stumpf founded the Phonogrammarchiv to collect recordings of folk and extra-European music (...) and a dedicated journal, the Sammelbände für vergleichende Musikwissenschaft. Gifted in the field of science no less than in that of musicology, Stumpf developed an empirically-oriented approach to phenomenology, deeply divergent from Husserl’s and highly influential over the Berlin school of Gestalt psychology. A self-declared “outsider” among armchair philosophers, Stumpf experimentally investigated the perception of sounds and the origins of musical consonance. Developing the physiological studies of Ernst Weber on the sense of touch, Stumpf discovered that two sensations of tone, given at the same time, tend to mix in a certain degree. Musical consonance – he claimed – lays in this level of “tonal fusion”, not in the allegedly “natural” series of the harmonic partials of a vibrating chord, as suggested by the naturalists of all times from Pythagoras to Stumpf’s great contemporary Hermann Helmholtz. Accordingly, no musical system can claim for preponderance over the others: Stumpf’s researches in comparative musicology served to corroborate his theses on “tonal fusion” and the psychological foundations of consonance. Although Stumpf later revised and finally abandoned this theory, its permanent value lays in its opposition to dominant naturalistic approaches. The commitment for comparative musicology at the Berlin School is then no concession to a positivistic fashion for exoticism. The fundamentally Eurocentric stance of naturalistic theories of music is also fiercely contrasted by Stumpf’s pupil Erich Hornbostel, who suggests that music ought to be considered as culture, rather than as nature, and focuses attention on the eventually melting human cultures. The Berlin school flourished until the Nazis forced most of its exponents to emigration and, for tragically obvious reasons, heavily discouraged researches on these topics. (shrink)

The decades between 1770 and 1840 are rich in exotic accounts of the ruin-strewn landscapes of Ethiopia, Egypt, India, and Mexico. Yet it is a field which has been neglected by scholars and which - unjustifiably - remains outside the literary canon. In this pioneering book, Nigel Leask studies the Romantic obsession with these 'antique lands', drawing generously on a wide range of eighteenth- and nineteenth-century travel books, as well as on recent scholarship in literature, history, geography, and anthropology. Viewing (...) the texts primarily as literary works rather than 'transparent' adventure stories or documentary sources, he sets out to challenge the tendency in modern academic work to overemphasize the authoritative character of colonial discourse. Instead, he addresses the relationship between narrative, aesthetics, and colonialism through the unstable discourse of antiquarianism, exploring the effects of problems of creditworthiness, and the nebulous epistemologicial claims of 'curiosity', on the contemporary status of travel writing.Attentive to the often divergent idioms of elite and popular exoticism, Curiosity and the Aesthetics of Travel Writing plots the transformation of the travelogue through the period, as the baroque particularism of curiosity was challenged by picturesque aesthetics, systematic 'geographical narrative', and the emergence of a 'transcendental self' axiomatic to Romantic culture. In so doing it offers an important reformulation of the relations between literature, aesthetics, and empire in the late Enlightenment and Romantic periods. (shrink)

This article provides ethical guidance on using race in health research as a variable or in defining the study population. To this end, a plain, non-exhaustive checklist is provided for researchers and research ethics committees, preceded by a brief introduction on the need for justification when using race as a variable or in defining a study population, the problem of exoticism, that distinctions pertain between race, ethnicity and ancestry, the problematic naming of races, and that race does not serve (...) well as a presumed biological construct in genetic research. (shrink)

Educational philosophy has not discussed Foucault’s publications on the Iranian Revolution and the related controversy. Foucauldian concepts are applied to education, though his only writings which ‘sidetracked’ him from exploring power within the state, namely, his journalistic accounts of his visits to Iran, remain unexplored in our field. Against moralist accusations of Foucault’s views on Iran as ‘singularly uncritical’, and beyond standard postcolonial charges of Foucault with exoticism and orientalism, I examine how the writings in question reveal ambivalences and (...) limits of Foucauldian philosophy and complicate the glorification of limit-experience in educational theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Elizabeth Gould, “Nomadic Turns:Epistemology, Experience, and Women University Band Directors” Epistemology, Experience, and Women University Band Directors”Julia Eklund KozaClimate and its impact on women in instrumental music education is a tremendously important subject, and I thank Liz Gould for her thoughtful analysis. Rather than offering a critique of her work, I will respond as one might answer in a call and response. Gould has sung a (...) call that articulates a definition of feminism and invites us to explore climate in the professions, specifically in instrumental music education; I will answer in affirmation, confirmation, and extension. The nomadic metaphor, which is central to her paper, has been appropriated by a number of postmodern [End Page 187] theoreticians, including, among others, Baudrillard, Grisoni, Deleuze and Guattari, and of course, Braidotti.1 I have decided not to talk about this metaphor, however, principally because the complexities of any analysis of Western constructions of nomadism—constructions that are rife with exoticism, fascination, revulsion, and fear—are multiplied at this moment, as my country wages war against Iraq, a land of nomadic and semi-nomadic peoples, after having recently engaged in military action in Afghanistan, which is similarly home to nomads. An incisive discussion of postmodern use of nomadic metaphors appears in Caren Kaplan's book Questions of Travel, which I recommend to anyone interested in the subject.2My response has two goals: first, to forward another, not necessarily competing, postmodern understanding of feminism and power; and second, keeping this understanding in mind, to expand Gould's project of examining professional climate. According to my working postmodern definition, feminism is a constellation of dynamic political positions, which address and attempt to change the unequal power relations and material conditions that are produced and supported by a normative regulatory ideal called sex. In speaking of a constellation of political positions, I acknowledge the existence of a multiplicity of modern and post-modern feminisms, and by calling these positions dynamic I acknowledge their fluidity. In asserting that sex is a regulatory ideal, I rely on the work of feminist theorist Judith Butler, who posits that sex and sexual difference are discursively constructed; distinguishing herself from feminists who draw a distinction between gender, which is assumed to be socially constructed, and sex, which is theorized as a pre-social given or surface, Butler not only questions such a distinction by arguing that both sex and gender are culturally produced, but also theorizes about how materializations of bodies are accomplished. Drawing on the work of philosopher Michel Foucault, she maintains that sex is a regulatory norm, "part of a regulatory practice that produces the bodies it governs,"3 and she claims that this materialization is accomplished through a reiterative process called performativity. A performative, according to Butler, is a "discursive practice that enacts or produces that which it names."4 Butler claims that "the regulatory norms of 'sex' work in a performative fashion to constitute the materiality of bodies and, more specifically, to materialize the body's sex, to materialize sexual difference in the service of the consolidation of the heterosexual imperative."5 She provides an example of how this reiterative process works: when a particular child is born, the child is cited as a girl at birth and many times afterward; each citation helps to constitute that child as a girl and also to reinforce the discursive formation "girl."6 To summarize, Butler asserts that sex is "a cultural norm which governs the materialization of bodies,"7 and she posits that materiality is a productive effect of power.8She also theorizes that subject formation necessitates both an "identification with the normative phantasm of 'sex,'" and the creation of a zone of abjection.9 Bodies relegated to this abject zone, according to Butler, can be a valuable and "critical resource in the struggle to rearticulate the very terms of symbolic legitimacy and intelligibility."10 She maintains that disidentification can be a fruitful way to mobilize feminist and queer politics.11 Collective disidentifications, Butler states, can facilitate a "reconceptualization of which bodies matter," which bodies count.12 [End Page 188]Finally, my definition of feminism relies on several Foucauldian assumptions about... (shrink)

This paper examines the relationship between Foucault's general concerns and his neglected work on non-Western societies. It does so by examining two related questions. Firstly, what role does exoticism play in his theoretical imaginary? Secondly, how does his work on Japan, Iran and the non-Western world contribute to a different understanding of his thinking? As such, four general themes will be followed in order to underline the interplay of cultural difference with Foucault's broader projects: the limits of Western reason, (...) genealogical schemes of history, power and resistance, and, finally, subjectification. Throughout, an attempt will be made to highlight the interdependence and mutual constitution of Foucault's thought and matters of cultural alterity. (shrink)

The performative representation of the Spanish Roma woman reveals a historical journey that brings her closer to many symbolic elaborations of the feminine, giving her a special affinity with the imaginary concerning the colonized woman, particularly with the Orientalist vision. Developed initially by the travelling intellectuals in Spain who sought a fusion of the topics of sexualized exoticism, the myth was reworked by local artists and thinkers without undermining their power to silence and make invisible the reality of the (...) most vulnerable and most represented members of the ethnic group, their women. Today, a growing awareness of the importance of collective action directs Roma women to initiatives such as the revision of their historical memory, at the intersection between the external gaze and self-perception. These searches lead to the pioneering creation of community museum institutions, which have arisen around feminine Roma associations and are a symptom of an emerging desire to be heard. Based on the terminological tools shared by women and memory studies, this article seeks the personal dimension of this invitation to listen. The authors analyse a series of interviews with Roma women that investigate the social agents of representation, self-representation and their conceptual and experiential foundations. (shrink)

This article discusses the term erotology, which was applied to medieval Islamicate ‘ilm al-bah (the science of coitus), as well as other world traditions of sexual knowledge, by European sexologists of the late 19th and early 20th centuries, who contrasted it with their own forms of inquiry into sexual matters in the modern field of sexual science. It argues that the homogenisation and minimisation of all ancient and non-European forms of medical knowledge about sex, even one as substantial as the (...) ‘ilm al-bah tradition, supported a particular story about the origins of sexology's own emergence as a new and unprecedented biomedical and scientific way of knowing, characterised by an opposition assumed between sexuality and religion, by a view of sexual variations as perversions or pathologies, and by a view of Arabs and Muslims as sexually excessive. The article focusses on French, English, German, Austrian, and Italian sources of the 19th century that discussed the history of sexual medicine, relating these accounts to recent attempts to historicise sexology. It considers how forms of colonial hierarchy and exoticist views of non-European cultures impacted the dismissal of ‘ilm al-bah among European sexual scientists and how they may continue to exert an influence on forms of modern historical inquiry that are not attentive to scholarship on medieval Islamicate sexual medicine. (shrink)

Anthropologists and linguists have long been aware that the body is explicitly referred to in conventional description of emotion in languages around the world. There is abundant linguistic data showing expression of emotions in terms of their imagined ‘locus’ in the physical body. The most important methodological issue in the study of emotions is language, for the ways people talk give us access to ‘folk descriptions’ of the emotions. ‘Technical terminology’, whether based on English or otherwise, is not excluded from (...) this ‘folk’ status. It may appear to be safely ‘scientific’ and thus culturally neutral, but in fact it is not: technical English is a variety of English and reflects, to some extent, culture-specific ways of thinking (and categorising) associated with the English language. People — as researchers studying other people, or as people in real-life social association — cannot directly access the emotional experience of others, and language is the usual mode of ‘packaging’ one’s experience so it may be accessible to others. Careful description of linguistic data from as broad as possible a cross-linguistic base is thus an important part of emotion research. All people experience biological events and processes associated with certain thoughts (or, as psychologists say, ‘appraisals’), but there is more to ‘emotion’ than just these physiological phenomena. Speakers of some languages talk about their emotional experiences as if they are located in some internal organ such as ‘the liver’, yet they cannot localise feeling in this physical organ. This phenomenon needs to be understood better, and one of the problems is finding a method of comparison that allows us to compare descriptions from different languages which show apparently great formal and semantic variation. Some simple concepts including feel and body are universal or near-universal, and as such are good candidates for terms of description which may help to eradicate confusion and exoticism from cross-linguistic comparison and semantic typology. Semantic analysis reveals great variation in concepts of emotion across languages and cultures — but such analysis requires a sound and well-founded methodology. While leaving room for different approaches to the task, we suggest that such a methodology can be based on empirically established linguistic universal (or near-universal) concepts, and on ‘cognitive scenarios’ articulated in terms of these concepts. Also, we warn against the danger of exoticism involved in taking all body part references ‘literally’. Above all, we argue that what is needed is a combination of empirical cross-linguistic investigations and a theoretical and methodological awareness, recognising the impossibility of exploring other people’s emotions without keeping language in focus: both as an object and as a tool of study. (shrink)

In this pathbreaking study, Micaela di Leonardo reveals the face of power within the mask of cultural difference. From the 1893 World's Fair to Body Shop advertisements, di Leonardo focuses on the intimate and shifting relations between popular portrayals of exotic Others and the practice of anthropology. In so doing, she casts new light on gender, race, and the public sphere in America's past and present. "An impressive work of scholarship that is mordantly witty, passionately argued, and takes no prisoners."--Lesley (...) Gill, News Politics "[Micaela] di Leonardo eloquently argues for the importance of empirical, interdisciplinary social science in addressing the tragedy that is urban America at the end of the century."--Jonathan Spencer, Times Literary Supplement "In her quirky new contribution to the American culture brawl, feminist anthropologist Micaela di Leonardo explains how anthropologists, 'technicians of the sacred,' have distorted American popular debate and social life."--Rachel Mattson, Voice Literary Supplement "At the end of di Leonardo's analyses one is struck by her rare combination of rigor and passion. Simply, [she] is a marvelous iconoclast."--Matthew T. McGuire, Boston Book Review. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Elizabeth Gould, “Nomadic Turns:Epistemology, Experience, and Women University Band Directors” Epistemology, Experience, and Women University Band Directors”Julia Eklund KozaClimate and its impact on women in instrumental music education is a tremendously important subject, and I thank Liz Gould for her thoughtful analysis. Rather than offering a critique of her work, I will respond as one might answer in a call and response. Gould has sung a (...) call that articulates a definition of feminism and invites us to explore climate in the professions, specifically in instrumental music education; I will answer in affirmation, confirmation, and extension. The nomadic metaphor, which is central to her paper, has been appropriated by a number of postmodern [End Page 187] theoreticians, including, among others, Baudrillard, Grisoni, Deleuze and Guattari, and of course, Braidotti.1 I have decided not to talk about this metaphor, however, principally because the complexities of any analysis of Western constructions of nomadism—constructions that are rife with exoticism, fascination, revulsion, and fear—are multiplied at this moment, as my country wages war against Iraq, a land of nomadic and semi-nomadic peoples, after having recently engaged in military action in Afghanistan, which is similarly home to nomads. An incisive discussion of postmodern use of nomadic metaphors appears in Caren Kaplan's book Questions of Travel, which I recommend to anyone interested in the subject.2My response has two goals: first, to forward another, not necessarily competing, postmodern understanding of feminism and power; and second, keeping this understanding in mind, to expand Gould's project of examining professional climate. According to my working postmodern definition, feminism is a constellation of dynamic political positions, which address and attempt to change the unequal power relations and material conditions that are produced and supported by a normative regulatory ideal called sex. In speaking of a constellation of political positions, I acknowledge the existence of a multiplicity of modern and post-modern feminisms, and by calling these positions dynamic I acknowledge their fluidity. In asserting that sex is a regulatory ideal, I rely on the work of feminist theorist Judith Butler, who posits that sex and sexual difference are discursively constructed; distinguishing herself from feminists who draw a distinction between gender, which is assumed to be socially constructed, and sex, which is theorized as a pre-social given or surface, Butler not only questions such a distinction by arguing that both sex and gender are culturally produced, but also theorizes about how materializations of bodies are accomplished. Drawing on the work of philosopher Michel Foucault, she maintains that sex is a regulatory norm, "part of a regulatory practice that produces the bodies it governs,"3 and she claims that this materialization is accomplished through a reiterative process called performativity. A performative, according to Butler, is a "discursive practice that enacts or produces that which it names."4 Butler claims that "the regulatory norms of 'sex' work in a performative fashion to constitute the materiality of bodies and, more specifically, to materialize the body's sex, to materialize sexual difference in the service of the consolidation of the heterosexual imperative."5 She provides an example of how this reiterative process works: when a particular child is born, the child is cited as a girl at birth and many times afterward; each citation helps to constitute that child as a girl and also to reinforce the discursive formation "girl."6 To summarize, Butler asserts that sex is "a cultural norm which governs the materialization of bodies,"7 and she posits that materiality is a productive effect of power.8She also theorizes that subject formation necessitates both an "identification with the normative phantasm of 'sex,'" and the creation of a zone of abjection.9 Bodies relegated to this abject zone, according to Butler, can be a valuable and "critical resource in the struggle to rearticulate the very terms of symbolic legitimacy and intelligibility."10 She maintains that disidentification can be a fruitful way to mobilize feminist and queer politics.11 Collective disidentifications, Butler states, can facilitate a "reconceptualization of which bodies matter," which bodies count.12 [End Page 188]Finally, my definition of feminism relies on several Foucauldian assumptions about... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Between Deleuze and DerridaMary Beth MaderPaul Patton and John Protevi, editors. Between Deleuze and Derrida. New York: Continuum, 2003. Pp. ix + 207. Cloth, $105.00. Paper, $29.95.One of the many provisions of Gilles Deleuze's prodigious philosophical invention, Difference and Repetition, is an ontological account of how invention is actual. That book itself is an instance of that of which it offers an account. An element of this account (...) is the notion of an intensive system. The intensive system is proposed as a way in which novelty and movement come about. It requires as its basic constituents two heterogeneous organized series which are put into communication through their differences, producing a resonance internal to the system which then yields a novel forced movement. Several of the essays in Between Deleuze and Derrida so put the work of Gilles Deleuze and Jacques Derrida into communication as to themselves amount to intensive systems: movement and novelty emerge in our grasp of the separate oeuvres of the two philosophers.Essays by Daniel W. Smith and Leonard Lawlor tackle in detail the task of comparative explication. Since Deleuze and Derrida treat many of the same philosophical topics, often employing identical terms, these clear cases for their divergences and similarities are especially useful. Smith's historical situation of Deleuze and Derrida relative to the thought of Duns Scotus, Spinoza, Kant and Nietzsche is exemplary. Dense with connections, Lawlor's decisive expositions pursue the implications of his interpretative distinctions rigorously to their ends, tracing the divergent constructions of the two thinkers to a common source in the notion of a simulacrum. Smith and Lawlor themselves part company, however, over the issue of whether Derrida and Deleuze are best characterized as philosophers of immanence or transcendence. Paul Patton crafts a sophisticated cross-reading of their shared vision of philosophy as a "utopian vocation," without homogenizing the differing voices they hear in this call or its unshared ontology.Branka Arsiæ's imaginative contribution on the topic of passive events and Melville's Bartleby is enlightening even without mention of Deleuze's notion of static ordinal genesis. The essays of John Protevi and Tamsin Lorraine are also rich in philosophical imagination. Protevi's extension of Derrida's aporias of the gift and friendship to an "aporia of love" illuminates Derrida's own evolution while refusing a version of undecidability that remains in static indecision. His discussion of Deleuze and Guattari's notion of the girl, with its isotropic implications for sexuality per se, is one of the best in print. Lorraine displays the novelty of Deleuze and Derrida's post-Heideggerian thought on the temporality of sense and the limits of representation in readings of Alice in Wonderland and Hamlet that clarify by example some of the more forbiddingly elaborate proposals in the philosophy of time that these thinkers offer.Arkady Plotnitsky's chapter addresses the crucial questions of Deleuze's and Derrida's relations to various sub-fields of mathematics and happily considers Derrida, with his deployment of a notion of undecidability, as a legatee of Gödel. It is confusing, however, that this stimulating essay treats Deleuze's and Derrida's invocations of algebra, geometry and topology by means of the "tropes" of "algebra, geometry and topology." This is especially puzzling in the case of Deleuze, whose use of mathematics in Difference and Repetition is avowedly not metaphorical. Further, although algebra is said to be the prime instrument of Plotnitsky's analysis, it turns out that "the general quasi-algebraic inscriptive structure or operation" (111; my italics) is most fundamental to that analysis. For this reason, it would be preferable to locate in both Deleuze and Derrida a post-structuralist concern with structure itself, making "algebra" another in the Derridean syntagmatic chain of names for a descendent of "structure."The book does contain some disappointing stretches. Eric Alliez's chapter does not read well despite its reliable translation. Alphonso Lingis's ruminations of a blithely bewildered Western roamer ("you" and then "me") on his "detour into exoticism" thanks to the "willing" concupiscence of an Asian female bed-mate ("she" and never "you" or "me") make one regret the era of easy... (shrink)

Examining a series of modernist thinkers and composers who engaged with non-European cultures as they pursued pure sound as a privileged presence, White Musical Mythologies pairs Erik Satie with Bergson, Edgard Varèse with Bataille, Pierre Boulez with Artaud, and John Cage with Derrida to offer an ambitious intellectual history of the colonial roots of modernist musical thought. Each of the musicians studied in this book re-created or appropriated non-European forms of expression as they conceived music ontologically, often thinking music as (...) something immediate and immersive: from Satie's dabblings with mysticism and exoticism in bohemian Montmartre of the 1890s to Varèse's experience of ethnographic exhibitions and surrealist poetry in 1930s Paris, and from Boulez's endeavor to theorize a kind of musical writing that would "absorb" the sounds of non-European musical traditions to Cage, who took inspiration from Eastern thought as he wrote about sound, silence, and chance. Edmund Mendelssohn suggests that the Euro-American idea of "pure sound," and the twentieth-century quest to produce it, was premised on an assumed authority of "the West" over Europe's others. Intended for readers in philosophy, musicology, art theory, the history of modernism, sound studies, and postcolonial studies, this book demonstrates that we cannot fully understand French theory in its novelty and complexity without music and sound. (shrink)

In his study of the conversion of Westerners to Islam, a Turkish sociologist revealed in 1996 that it happened that a significant proportion of the converts had adopted that religion under the influence of Islamic mysticism, or Sufism. Now Sufism, located at the meeting-point of the written and oral traditions of Islam, offers an original commentary on the Quran and a spiritual practice based on psychosomatic exercises close to yoga. Interest in Sufism among Westerners was revealed at the end of (...) the nineteenth century and became considerable from the 1930s onwards, resulting in the foundation in Europe of Sufi groups directed by converts who very quickly became shaykhs (shaikh). These first groups, to which new ones were added, are still active today, although somewhat bruised by numerous divisions. The reasons for conversion to Sufism among Europeans, for the most part from intellectual milieux, rest on concerns of a spiritual dimension linked to the climate of religious crisis which the modern West has experienced since the end of the nineteenth century. To which should be added in recent decades the fashionable exoticism fostered by the development of means of transport and communication which have brought East and West closer. (shrink)