Did European writers and scholars create an image of the Islamic world as a place of tyranny, unreason and immorality destined to be subjected to and exploited by the civilized West?
This book takes a fresh look at some of the main literary texts of the Romantic movement explored in Edward Said's classic work. Sharafuddin acknowledges wide areas of truth in Said's thesis, however, he argues that in the work of Southey, Byron, Moore and Landor, who began their careers under the sign of the French Revolution and declared their independence both from political tryanny and from national self-safisfaction, the world of Islam appears not just as an antithesis to the world of European civilization but as an alternative cultural reality with its own values.

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lgrsnf/Islam and Romantic Orientalism - Literary Encounters with the Orient_(10.5040_9780755612352)_mg.pdf

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Literacy Encounters with the Orient

Mohammed Sharafuddin

Bloomsbury Publishing PLC

I.B. Tauris & Co. Ltd.

Taylor & Francis Ltd

I. B. Tauris

United Kingdom and Ireland, United Kingdom

Pbk. ed, London, 1996

September 15, 1996

bloomsburycollections.com

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This important intervention in the debate on orientalism takes a fresh look at some of the main literary texts from the Romantic period explored in Edward Said's classic work. Mohammed Sharafuddin recognizes elements of truth in the thesis that Western writers and scholars created an image of the Muslim 'Orient' as a place of tyranny, unreason and immorality destined to be subjected and exploited by the civilized West.
However, he argues that in the work of such writers as Southey, Byron, Moore, Landor and Beckford, the world of Islam appears not as an antithesis to the world of European civilization, but rather as an alternative cultural reality with its own values. He explores the sense in which the work of these writers opens up the possibility for a knowledge of the Orient that does not simply confirm ideologies of Western power and hegemony. Themes of the exotic and the fanciful in fact had the effect of challenging the boundaries of Western-centred culture and thus created the conditions for a more positive perception of other cultures.
Although this did not translate into a new political and literary openness, it did at least demonstrate the existence of a more complex cultural interaction between East and West. This admission has been completely sidelined in many recent debates on orientalism. Above all, Sharafuddin argues that the Romantic writers in question present a rich and subversive view of the Orient not simply informed by inherited stereotypes.
. Islam and Romantic Orientalism will be of great interest to those concerned with the debate about orientalism and post-colonialism and to students of nineteenth-century English literature.

This important intervention in the debate on orientalism takes a fresh look at some of the main literary texts from the Romantic period explored by Edward Said's classic work. Sharafuddin recognized elements of truth in the thesis that Western writers and scholars created an image of the Muslim 'Orient' as a place of tyranny, unreason and immorality destined to be subjected and exploited by the civilized West. However, he argues that in the work of such writers as Southey, Byron, Moore, Landor and Beckford, the world of Islam appears not as an antithesis to the world of European 'civilization', but rather as an alternative cultural reality with its own values. He explores the sense in which the work of these writers opens up the possibility for a knowledge of the Orient that does not simply confirm ideologies of Western power and hegemony. Themes of the exotic and the fanciful in fact had the effect of challenging the boundaries of Western-cent[e]red culture and thus created the conditions for a more positive perception of other cultures. Although this did not translate into a new political and literary openness, it did at least demonstrate the existence of a more complex cultural interaction between East and West. This admission has been completely sidelined in many recent debates on orientalism. Above all, Sharafuddin argues that the Romantic writers in question present a rich and subversive view of the Orient not simply informed by inherited stereotypes. This book will be of great interest to those concerned with the debate about orientalism and post-colonialism and to students of 19th-century literature.--Back cover

"Did European writers and scholars create an image of the Islamic world as a place of tyranny, unreason and immorality destined to be subjected to and exploited by the civilized West? This book takes a fresh look at some of the main literary texts of the Romantic movement explored in Edward Said's classic work. Sharafuddin acknowledges wide areas of truth in Said's thesis, however, he argues that in the work of Southey, Byron, Moore and Landor, who began their careers under the sign of the French Revolution and declared their independence both from political tryanny and from national self-safisfaction, the world of Islam appears not just as an antithesis to the world of European civilization but as an alternative cultural reality with its own values."--Bloomsbury Publishing

Introduction; Landor's "Gebir" and the Establishment of Romantic Orientalism; Southey's "Thalaba" and Christo-Islamic ethics; "Lalla Rookh" and the Politics of Irony; Realistic Orientalism; Conclusion

2023-07-01