Otto might well say, indeed, that Goodman does simply what we expect to be done in the moral tradition of religious Israel, rendering God increasingly comforting, reasonable, just, and loving.
Western Conceptions of the Orient Penguin [rev. Imaginative Geography and Its Representations: Orientalising the Oriental Strictly speaking, Orientalism is a field of learned study. Yet any account of Orientalism would have to consider not only the professional Orientalist and his work but also the very notion of a field of study based on a geographical, cultural, linguistic, and ethnic unit called the Orient.
Fields, of course, are made. They acquire coherence and integrity in time because scholars devote themselves in different ways to what seems to be a commonly agreed - upon subject matter.
Yet it goes without saying that a field of study is rarely as simply defined as even its most committed partisans - usually scholars, professors, experts, and the like - claim it is. Besides, a field can change so entirely, in even the most traditional disciplines like philology, history, or theology, as to make an all - purpose definition of subject matter almost impossible.
This is certainly true of Orientalism, for some interesting reasons.
Already the special, perhaps even eccentric attitude of Orientalism becomes apparent. For although many learned disciplines imply a position taken towards, say, human material a historian deals with the human past from a special vantage point in the presentthere is no real analogy for taking a fixed, more or less total geographical position towards a wide variety of social, linguistic, political, and historical realities.
A classicist, a Romance specialist, even an Americanist focuses on a relatively modest portion of the world, not on a full half of it.
But Orientalism is a field with considerable geographical ambition. And since Orientalists have traditionally occupied themselves with things Oriental a specialist in Islamic law, no less than an expert in Chinese dialects or in Indian religions, is considered an Orientalist by people who call themselves Orientalistswe must learn to accept enormous, indiscriminate size plus an almost infinite capacity for subdivision as one of the chief characteristics of Orientalism - one that is evidenced in its confusing amalgam of imperial vagueness and precise detail.
All of this describes Orientalism as an academic discipline. The rule in its historical development as an academic discipline has been its increasing scope, not its greater selectiveness.
Renaissance Orientalists like Erpenius and  Guillaume Postel were primarily specialists in the languages of the Biblical provinces, although Postel boasted that he could get across Asia as far as China without needing an interpreter.
By and large, until the mid - eighteenth century Orientalists were Biblical scholars, students of the Semitic languages, Islamic specialists, or, because the Jesuits had opened up the new study of China, Sinologists.
The whole middle expanse of Asia was not academically conquered for Orientalism until, during the later eighteenth century, Anquetil-Duperron and Sir William Jones were able intelligibly to reveal the extraordinary riches of Avestan and Sanskrit. By the middle of the nineteenth century Orientalism was as vast a treasure - house of learning as one could imagine.
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There are two excellent indices of this new, triumphant eclecticism. One is the encyclopedic description of Orientalism roughly from to given by Raymond Schwab in his La Renaissance orientale Quite aside from the scientific discoveries of things Oriental made by learned professionals during this period in Europe, there was the virtual epidemic of Orientalia affecting every major poet, essayist, and philosopher of the period.
In Victor Hugo put this change in directions as follows: The second index of how inclusive Orientalism had become since the Council of Vienne is to be found in nineteenth-century chronicles of the field itself. Moreover, Orientalist studies apparently cover everything from the editing and translation of texts to numismatic, anthropological, archaeological, sociological, economic, historical, literary, and cultural studies in every known Asiatic and North African civilisation, ancient and modern.
Such eclecticism as this had its blind spots, nevertheless. Academic Orientalists for the most part were interested in the classical period of whatever language or society it was that they studied.
Moreover, the Orient studied was a textual universe by and large; the impact of the Orient was made through books and manuscripts, not, as in the impress of Greece on the Renaissance, through mimetic artifacts like sculpture and pottery.
Even the rapport between an Orientalist and the Orient was textual, so much so that it is reported of some of the early - nineteenth-century German Orientalists that their first view of an eight - armed Indian statue cured them completely of their Orientalist taste.
One happy result of this is that an estimable number of important writers during the nineteenth century were Oriental enthusiasts: It is  perfectly correct, I think, to speak of a genre of Orientalist writing as exemplified in the works of Hugo, Goethe, Nerval, Flaubert, Fitzgerald, and the like.
What inevitably goes with such work, however, is a kind of free-floating mythology of the Orient, an Orient that derives not only from contemporary attitudes and popular prejudices but also from what Vico called the conceit of nations and of scholars. I have already alluded to the political uses of such material as it has turned up in the twentieth century.
Yet the designation is still useful, as when universities maintain programs or departments in Oriental languages or Oriental civilisations. For even the greatest name in modern Anglo-American Islamic studies, H. Gibb, preferred to call himself an Orientalist rather than an Arabist.
But this, I think, ingenuously belies a much more interesting relationship between knowledge and geography. I should like to consider that relationship briefly. A primitive tribe, for example, assigns a definite place, function, and significance to every leafy species in its immediate environment.
This kind of rudimentary classification has a logic to it, but the rules of the logic by which a green fern in one society is a symbol of grace and in another is considered  maleficent are neither predictably rational nor universal. There is always a measure of the purely arbitrary in the way the distinctions between things are seen.
And with these distinctions go values whose history, if one could unearth it completely, would probably show the same measure of arbitrariness.
This is evident enough in the case of fashion. Why do wigs, lace collars, and high buckled.From a general summary to chapter summaries to explanations of famous quotes, the SparkNotes The Bacchae Study Guide has everything you .
This webpage is for Dr. Wheeler's literature students, and it offers introductory survey information concerning the literature of classical China, classical Rome, classical Greece, the Bible as Literature, medieval literature, Renaissance literature, and genre studies.
“The Bacchae”, also known as “The Bacchantes” (Gr: “Bakchai”), is a late tragedy by the ancient Greek playwright Euripides, and it is considered one of his best works and one of the greatest of all Greek tragedies.
- In Euripides’ play The Bacchae, the ideals that were the foundation of Greek culture were called into question. as does Euripides' The Bacchae of Dionysus.
The two separate Gods are shown to illustrate very similar human characteristics; however, they differ by their godly attributes and their effect on how women are viewed in today's.
Greece has a diverse and highly influential musical tradition, with ancient music influencing the Roman Empire, and Byzantine liturgical chants and secular music influencing middle eastern music and the rutadeltambor.com Greek music combines these elements, to carry Greeks' interpretation of a wide range of musical forms.
Pietro "Quicksilver" Maximoff from X-Men certainly counts as Pretty rutadeltambor.com depends on the artist, rutadeltambor.com example, in Wolverine and the X-Men, he looks even older than his father.; Red Robin: Tim gets a lot of compliments, and unwanted rutadeltambor.com not every artist gets his good looks across Marcus To draws a really pretty Tim Drake with fabulous hair.