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Reframing orientalism (understanding the concept through an artist's sight)

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  1. Tez No: 726120
  2. Yazar: MUSTAFA ADİL ÖZTÜRK
  3. Danışmanlar: Belirtilmemiş.
  4. Tez Türü: Yüksek Lisans
  5. Konular: Güzel Sanatlar, Fine Arts
  6. Anahtar Kelimeler: Belirtilmemiş.
  7. Yıl: 2018
  8. Dil: İngilizce
  9. Üniversite: Pennsylvania Güzel Sanatlar Akademisi (Pennsylvania Academy of the Fine Arts)
  10. Enstitü: Yurtdışı Enstitü
  11. Ana Bilim Dalı: Belirtilmemiş.
  12. Bilim Dalı: Belirtilmemiş.
  13. Sayfa Sayısı: 33

Özet

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Özet (Çeviri)

An Anthropologist, Desmond Morris states that in dwelling as a group that is no matter how cooperative and prosperous, there is always a struggle for social dominance among mammals. As we pursue this struggle, sooner or later each of us obtain a certain social rank that gives us a position or status in which we live proudly. This is necessary so as to gain self-value and perspective that what we do is beyond just an act of survival. Each one of us then feel we are part of a populace and hence do things that matter to us and more importantly our society. Consequently, as we level up, we gain status, and thanks to that enjoy our selfdignity. Most anthropologists and scholars from different discipline would agree that this pursuit to grip social significance, by playing with the rules such as having a proper education, hard-working, designing and assisting, etc. is healthy to humans. However, the debate gets blurry when whole tribe or nation or culture, rather than individuals choosing their own paths to get the segment of important status and sharing respectfully, pursues a grand prosperity and mighty repetition, and to get it, its fragments, socially and politically, work for it obsessively and cooperatively. Here thus where my whole spectrum of this thesis gets its root from. As this collective pursuit to development waxes, the nation develops mass production to control of exchange (economy) and devise a superstructure of vital formations (martial or industrial revolutions). These fortified layers then become a structure of advancement that thanks to which the nation finds a warranty to call itself as superior, and the rest which could not keep up with the competition as inferior. Couple of things take place after this phenomenon that the 'superior' nation can expedite its progression to initiate an imperial expedition, as it declares its significance and calls the rest sub-cultures. Whatever the self-vindicated 'significant' nation's doctrine is, it becomes self-objectively a dogma and expects that it must be globally accepted as an axiom of the way of life. As a result, the nation, which has enclosed the globe by advanced progressiveness, like powerful industrialism and navy, finds its right to dominate, alter, disdain, overshadow, and above all indoctrinate its own belief system to the cultures that has succumbed to its shadow. Historically, the aim of cultural monopolization is not a new thing to us. It has been productively happening since the time humanity met the notion of collective civilization. However, it wasn't until the Napoleon's campaign to Egypt and Syria (in between 1798 and 1801) that the aim of cultural monopolization was imbued to a new level of sophistication in imperial purposes. During and before the expedition, the French high rank officers (and then subsequently all western Europe and North America) launched a comprehensive study of the East, and, rather than enjoying the triumph of inevitable conquest, they tried to find ways to coerce in order to modify the constructed roots of idiosyncratic and symbolic growth of the Eastern inhabitants with something what Westerns had approved. The indoctrination of modern morality became a new educational purpose of Western pole toward the so-called Orient. Canals, official buildings, schools, convention and cultural centers were built and gradually the West has surrounded its arms to the East without any counter-study to anticipate the prospects of the problems of this coercive social engineering may conduct as a result. In academy, this is called Orientalism and Edward Said, in his books, Orientalism and subsequently written Imperialism and Culture, conceptualizes the issues of this imperialistic act and articulates Orientalism and its scope, in a criticizing manner. His ideas are comprehensively accepted in this thesis that his knowledge and devotion to this topic are the reasons that made me able to write this thesis. His research of Orientalism and its scope of interpretation concerns the politics, sociology, anthropology, and written artworks that were ongoing and made during the most flourishing time of British and French colonialism, and in 20th century. However, the range of analysis that the concept of Orientalism in visual art is overlooked in his interpretation. In this essay then, as you will acknowledge on further pages, I ventured to study some of the strong visual artworks that were manifested during the French and British colonial era. I tried to implant my opinions alongside the layers and chapters within my research. This thesis then aims at elucidating the development of Orientalistic visual arts and its sphere of social meanings to the West and East. Nevertheless, what I do here is not an unprecedented piece of work. Roger Benjamin's outstanding work, Orientalist Aesthetics, was a hit while scheming this whole essay and Ernest Becker's anthropologist analysis upon human sapiens as a social being assisted me to emancipate myself from a routine analogy of single viewpoint. Hence, and at last the last sentence in this abstract, what readers would find is a larger scale of recapitulation, consisting of structures from not only on art from within Orientalism but also on opinions of anthropological and political perspective, giving a critique on Orientalism.

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