Images and Words – Edward Said’s Orientalism from an iconographic perspective

Iconography is a branch of art history, which deals with the interpretation of art themes concerning current literary sources in the fields of philosophy, social sciences and theology. A prominent and controversial example is Edward W. Said’s Orientalism (1978), in which the asymmetry of th...

Ausführliche Beschreibung

Gespeichert in:
1. Verfasser: Tobias Akira Schickhaus
Format: Zeitschriftenartikel
Sprache:Englisch
Veröffentlicht: Philipps-Universität Marburg 2017
Ausgabe:http://dx.doi.org/10.17192/meta.2017.8.6185
Schlagworte:
Online Zugang:meta-journal.net
Tags: Tag hinzufügen
Keine Tags, Fügen Sie den ersten Tag hinzu!
Zusammenfassung: Iconography is a branch of art history, which deals with the interpretation of art themes concerning current literary sources in the fields of philosophy, social sciences and theology. A prominent and controversial example is Edward W. Said’s Orientalism (1978), in which the asymmetry of the Oriental silence is portrayed through the image of the eternally “fierce lion” (115) as an expression of the cultural powers of Western iconography, which exposes Orientalism as a Western style of Eurocentrically dominated projects. If we look at Said’s classic as a painting of geographical knowledge-landscapes, the question arises as to which traditions of knowledge and ideological styles are associated with the work. The aim of this essay is to trace the analytic discourse in Said’s Orientalism based on a sociological approach (Mannheim 1946 [1921-22]: 91-155; id.1980 [1922-25]) and founded on iconographic interpretation (Panofsky in 1998 [1934]).
ISSN:2196-629X
DOI:http://dx.doi.org/10.17192/meta.2017.8.6185