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This thesis aims to explore and describe the images of China in the Western tourist material. There is much literature talking about images of China; however, among the existing scholarship so far few have investigated from the angle as we do. We use social constructivism and representation as main theories and combined with central concepts of the tourist gaze, stereotypes and the other, and post-colonialism and orientalism. Moreover, we conduct a case study by applying qualitative discourse analysis in order to find out the stereotypes and orientalist ideas of China depicted in the tourist material. The findings show that in the perspective of western tourist material, China is representative of the Orient. The analysis also concludes that China is seen as a country with 5,000-year civilization whose people have lots of virtues; a developing economic power; a not so democratic socialist country; a potential threat and a global actor with increasing influences. Our thesis contributes to the existing literature on China research and tourism research—marketing and political implications for its national image improvement and tourism development.

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Esta dissertação tem como objetivo central a compreensão do Orientalismo Arquitetônico em São Paulo, entre 1890 à 1937. Almeja-se por assim, entender a historicidade deste fenômeno, desde a incorporação do vocabulário arquitetônico até a constituição de um diversificado, heterogêneo e particularizado campo social de produção pelas ruas da cidade. Leva-se em conta, como motivos definidores de sua vivência cultural: seus agentes-produtores, seus interlocutores sociais, seus sentidos e signos sociais nas especificidades da São Paulo da Primeira República. O que para além das características e variações de produção formal e da incorporação e interpretação de repertórios orientalistas-arquitetônicos, passa diretamente pela interação com as práticas sociais e tensões da cidade. Assim, depositamos a compreensão nas manifestações paulistanas da arquitetura orientalista, através do entendimento da arquitetura como elemento de representação de seus agentes - proprietários e construtores - dentro de suas redes de sociabilidade e campo de possibilidades. Tendo em vista, especialmente, o papel de afirmação, distinção e apropriação de vínculos simbólicos e de linguagens com esse imaginário \"oriental\" sobre o outro expressos em palacetes. Na aceitação de uma imagem edulcorada, reconhecível e auspiciosa de si, no caso de seus proprietários e viventes, e de vitrine de arte e de ofício de seus variados artífices-construtores. No entendimento das especificidades do caso paulistano enquanto fenômeno marcado pela convivência entre a incorporação de um estilo de arquitetura e a apropriação de sua \"imagem\" orientalista por imigrados árabes e andaluzes radicados em São Paulo, naquilo que aponta para significados e vínculos de identidades e alteridades latentes. / This dissertation aims at understanding Architectural Orientalism in São Paulo between 1890 and 1937. The aim is to understand the historicity of this phenomenon, from the incorporation of the architectural vocabulary to the constitution of a diversified, heterogeneous and particular social field The streets of the city. They take into account, as defining factors of their cultural experience: their agents-producers, their social interlocutors, their senses and social signs in the specifics of São Paulo of the First Republic. What goes beyond the characteristics and variations of formal production and the incorporation and interpretation of orientalist-architectural repertoires, goes directly through the interaction with the social practices and tensions of the city. Thus, we place understanding in the Paulistan manifestations of Orientalist architecture, through the understanding of architecture as an element of representation of its agents - owners and builders - within their networks of sociability and field of possibilities. Especially considering the role of affirmation, distinction and appropriation of symbolic links and languages with this \"oriental\" imaginary on the other expressed in palaces. In the acceptance of a sweetened, recognizable and auspicious image of itself, in the case of its owners and living, and showcase of art and craft of its various craftsmen-builders. In the understanding of the specificities of the paulistano case as a phenomenon marked by the coexistence between the incorporation of a style of architecture and the appropriation of its Orientalist \"image\" by Arab and Andalusian immigrants living in São Paulo, in what points to meanings and ties of identities and alterities Latent

What it means to be a Muslim woman is frequently redefined in reaction to the notions of ‘Muslim womanhood’ constructed within neoliberal society. By examining the ways in which Hijabi fashion bloggers use the visual discourse of their Instagram accounts to implement specific notions of taste, authenticity and branding this project aims to address the question of where fashion blogs fit within mainstream fashion frameworks and the ways in which the assumed tensions surrounding veiling and fashion are disrupted.

Esta dissertação tem como objetivo central a compreensão do Orientalismo Arquitetônico em São Paulo, entre 1890 à 1937. Almeja-se por assim, entender a historicidade deste fenômeno, desde a incorporação do vocabulário arquitetônico até a constituição de um diversificado, heterogêneo e particularizado campo social de produção pelas ruas da cidade. Leva-se em conta, como motivos definidores de sua vivência cultural: seus agentes-produtores, seus interlocutores sociais, seus sentidos e signos sociais nas especificidades da São Paulo da Primeira República. O que para além das características e variações de produção formal e da incorporação e interpretação de repertórios orientalistas-arquitetônicos, passa diretamente pela interação com as práticas sociais e tensões da cidade. Assim, depositamos a compreensão nas manifestações paulistanas da arquitetura orientalista, através do entendimento da arquitetura como elemento de representação de seus agentes - proprietários e construtores - dentro de suas redes de sociabilidade e campo de possibilidades. Tendo em vista, especialmente, o papel de afirmação, distinção e apropriação de vínculos simbólicos e de linguagens com esse imaginário \"oriental\" sobre o outro expressos em palacetes. Na aceitação de uma imagem edulcorada, reconhecível e auspiciosa de si, no caso de seus proprietários e viventes, e de vitrine de arte e de ofício de seus variados artífices-construtores. No entendimento das especificidades do caso paulistano enquanto fenômeno marcado pela convivência entre a incorporação de um estilo de arquitetura e a apropriação de sua \"imagem\" orientalista por imigrados árabes e andaluzes radicados em São Paulo, naquilo que aponta para significados e vínculos de identidades e alteridades latentes. / This dissertation aims at understanding Architectural Orientalism in São Paulo between 1890 and 1937. The aim is to understand the historicity of this phenomenon, from the incorporation of the architectural vocabulary to the constitution of a diversified, heterogeneous and particular social field The streets of the city. They take into account, as defining factors of their cultural experience: their agents-producers, their social interlocutors, their senses and social signs in the specifics of São Paulo of the First Republic. What goes beyond the characteristics and variations of formal production and the incorporation and interpretation of orientalist-architectural repertoires, goes directly through the interaction with the social practices and tensions of the city. Thus, we place understanding in the Paulistan manifestations of Orientalist architecture, through the understanding of architecture as an element of representation of its agents - owners and builders - within their networks of sociability and field of possibilities. Especially considering the role of affirmation, distinction and appropriation of symbolic links and languages with this \"oriental\" imaginary on the other expressed in palaces. In the acceptance of a sweetened, recognizable and auspicious image of itself, in the case of its owners and living, and showcase of art and craft of its various craftsmen-builders. In the understanding of the specificities of the paulistano case as a phenomenon marked by the coexistence between the incorporation of a style of architecture and the appropriation of its Orientalist \"image\" by Arab and Andalusian immigrants living in São Paulo, in what points to meanings and ties of identities and alterities Latent

This thesis examines Spanish representations of Muslim and Jewish cultures in Morocco during the colonial campaigns in the Rif (1909-1927) in relation to constructions of Spanish identity during this period. It focuses on visual and textual narratives in the press (colonial photojournalism) and on three literary texts: Carmen de Burgos' En la guerra (1909), Ernesto Giménez Caballero's Notas marruecas de un soldado (1923) and Arturo Barea's La ruta (1943). The analysis undertaken centres on the use of the motifs of the body and the city and references to the medieval Castilian ballad tradition, the Romancero, by writers and photographers to explore the cultural relationship between Spain and North Africa. The chapters explore the delineation of boundaries between Spanish and Moroccan cultures by contemporary commentators and the power structures that underpin those boundaries, considering the different hierarchies that are established in Spain's relationship with Moroccan Muslims and Jews. Chapter 1 concerns the socio-historical context of the colonial campaigns and highlights the significance of the question of Spain's identity in relation to Morocco during this period. Chapter 2 compares representations of cultural and ethnic affinity between Spain and Morocco, arguing that beyond merely serving as a tool of colonial domination, they are harnessed in some cases to support the colonial venture, in others to challenge it, and yet in others to explore the pre-modern origins of the Spanish nation. In many of the examples examined, a process of self-Orientalisation is observed, where the 'Orientalist' and colonialist gaze is turned back on Spain as well as on Morocco. Chapter 3 examines representations of Muslim and Jewish alterity, arguing that these assertions of difference reveal Spanish anxieties about non-difference from North Africa, cultural regression, national fragmentation, and Spain's ability to dominate the protectorate. I conclude that these anxieties provide the fundamental underpinning to Spanish constructions of Morocco during the Rif War, and that this self-awareness about non-difference and failures of domination unsettles the predominant paradigm of discourse analysis within colonial studies.

A law proposal was passed by the Danish parliament in 2018 prohibiting the wear of niqab and burqa in all public spaces. This study aims to analyse the discourse of the debate in the parliament leading up to the passing of the law by using Fairclough’s method of critical discourse analysis. The analysis focusses on the construction of Muslim women in the Danish parliament’s debate regarding the ban on niqab/burqa in public spaces, thereby centering the gendered role of islamophobia. Fairclough’s method of critical discourse analysis is used in the analysis in conjunction with perspectives from postcolonial theorists such as Said, Spivak, Yeğenoğlu and Mohanty. The study concludes that the discourse of the debate can be understood as a form of cultural violence. By drawing on orientalist and white feminist discourse it reproduces a cultural hegemonic relation between Western societies and their “Others”. Culture and religion are used as explanations for gender oppression, placing the fault on the “Other”. This not only stigmatizes anyone who is understood as an “Other” but also obscures gender oppression among the majority Danish population making it harder to address.

Cette recherche examine la traduction et la réception en France, en Grande Bretagne et aux États-Unis de la littérature contemporaine d’expression arabe écrite par des femmes, afin de répondre à deux questions principales: comment les écrivaines provenant de pays arabes perdent-elles leur agentivité dans les processus de traduction et de réception? Et comment la traduction et la réception de leurs textes contribuent-elles à la construction d’une altérité arabe? Pour y répondre, l’auteure examine trois romans présentant des traits thématiques et formels très différents, à savoir Fawḍā al-Ḥawāss (1997) par Ahlem Mosteghanemi, Innahā Lundun Yā ‘Azīzī (2001) par Hanan al-Shaykh et Banāt al-Riyāḍ (2005) par Rajaa Alsanea. L’analyse, basée sur le modèle à trois dimensions de Norman Fairclough, vise à découvrir comment les écrivaines expriment leur agentivité à travers l’écriture, et quelles images elles projettent d’elles-mêmes et plus généralement des femmes dans leurs sociétés respectives. L’auteure se penche ensuite sur les traductions anglaise et française de chaque roman. Elle examine les déplacements qui s’opèrent principalement sur le plan de la texture et le plan pragma-sémiotique, et interroge en quoi ces déplacements ébranlent l’autorité des écrivaines. Enfin, une étude de la réception de ces traductions en France, en Grande Bretagne et aux États-Unis vient enrichir l’analyse textuelle. À cette étape, les critiques éditoriales et universitaires ainsi que les choix éditoriaux relatifs au paratexte sont scrutés de façon à mettre en lumière les processus décisionnels, les discours et les tropes sous-tendant la mise en marché et la consommation de ces traductions. L’analyse des originaux révèle tout d’abord qu’à travers leurs textes, les auteures sont des agentes actives de changement social. Elles s’insurgent, chacune à sa manière, contre les discours hégémoniques tant locaux qu’occidentaux, et (ré-)imaginent leurs sociétés et leurs nations. Ce faisant, elles se créent leur propre espace discursif dans la sphère publique. Toutefois, la thèse montre que dans la plupart des traductions, les discours dissidents sont neutralisés, l’agentivité et la subjectivité des écrivaines minées au profit d’un discours dominant orientaliste. Ce même discours semble sous-tendre la réception des romans en traduction. Dans ce discours réifiant, l’expression de la différence culturelle est inextricablement imbriquée dans l’expression de la différence sexuelle: la « femme arabe » est la victime d’une religion islamique et d’une culture arabe essentiellement misogynes et arriérées. L’étude suggère, cependant, que ce sont moins les interventions des traductrices que les décisions des éditeurs, le travail de médiation opéré par les critiques, et l’intérêt (ou le désintérêt) des universitaires qui influencent le plus la manière dont ces romans sont mis en marché et reçus dans les nouveaux contextes. L’auteure conclut par rappeler l’importance d’une éthique de la traduction qui transcende toute approche binaire et se fonde sur une lecture éthique des textes qui fait ressortir le lien entre la poétique et la politique. Enfin, elle propose une lecture basée sur la reconnaissance du caractère situé du texte traduit comme du sujet lisant/traduisant. / The present research explores the translation and reception in France, the UK and the US of contemporary Arabic literature by women authors, with a view to answering two main questions that have gone largely unexplored within translation studies: how do women authors from Arab countries lose their agency and subjectivity in the process of translation? And how do the translation of their dissident writings contribute to the construction of an Arab alterity? To answer these questions, the research analyzes three Arabic novels authored by women, and chosen for their very different thematic and formal characteristics, namely Ahlem Mosteghanemi’s Fawḍā al-Ḥawāss (1997), Hanan al-Shaykh’s Innahā Lundun Yā ‘Azīzī (2001), and Rajaa Alsanea’s Banāt al-Riyāḍ (2005). Using Norman Fairclough’s three-dimensional model, the analysis aims to explore the way these authors express their agency through their texts, as well as the images they depict of themselves and of women, in general, in their respective societies/communities. The English and French translations of each novel are then compared to the original with a view to identifying patterns of textural and pragma-semiotic shifts in the translations, and gaining insight into how these shifts undermine the author’s voice and agency. Finally, the analysis moves to the various practices involved in the reception of these translations in the US, the UK and France. Publishers’ decisions, editorial reviews and academic discourse are investigated with a view to identifying patterns in publishers’ decision-making and shedding light on the discourses and tropes undergirding the reception and consumption of these translations in their target contexts. Analysis of the originals reveals that the authors act as agents of change through their texts. They contest, each in her own way, both local and Western dominant discourses, and (re)imagine their societies and nations in the process. In so doing, they carve out their own discursive spaces in the public sphere and open breaches for social change. However, the research shows that in several of the translations, the authors’ agency is undermined and their dissident discourses are backgrounded while an orientalist discourse is foregrounded. This same reifying discourse appears to underpin the reception of the novels in translation, as well. It is a reifying discourse wherein the representation of cultural difference seems to be inextricably imbricated in the representation of sexual difference: the “Arab woman” is (re)written as voiceless and powerless because of an Islamic religion and an Arab culture that are essentially misogynistic and backward. Nevertheless, analysis reveals that publishers’ decisions, reviewers mediation and scholarly interest (or disinterest) impinge upon the way these novels are received and consumed more significantly than do translators through their interventions. Finally, the research underscores the importance of an ethical translation that transcends binary approaches and highlights the link between the aesthetic and the political. It also proposes an ethics of reading based on awareness of the situatedness of both the translated text and the reading/translating subject.

The diploma thesis deals with the ethnological contribution and the extensive academic publishing activities of Professor Alois Musil, a remarkable Czech Arabist and Orientalist, especially with scientific pieces published in New York in the six-volume edition of the American Geographical Society between 1926 and 1928. The special attention is given to the sixth edition of the 'Oriental Explorations and Studies' entitled 'The Manners and Customs of the Rwala Bedouins' and this Musil's fieldwork is compared with later anthropological field surveys of the Bedouins ar-Ruwallah. The main part of the thesis is an analysis of Professor Musil's works and its contribution to the ethnographic and ethnological studies of manners and customs of traditional tribes and clans of the Arabian Peninsula and surrounded areas (such as modern Syria, Iraq and Jordan). The diploma thesis is also focused on a brief outline of the life of Professor Musil in a cultural-historical context with regard to his political activities on the Arabian Peninsula and his research of the North-Arab Bedouins ar-Ruwallah, the Banú Sakhr of Jordan and the Shammar tribe. The main aim of the thesis is a comprehensive evaluation of the ethnographic and ethnological contribution of Alois Musil's works in the social and historical science. The...