With this fifth volume of the Dictionary of American Regional English, readers now have the full panoply of American regional vocabulary, from Adam's housecat to Zydeco. Like the first four volumes, the fifth is filled with words that reflect our origins, migrations, ethnicities, and neighborhoods.

Contradicting the popular notion that American English has become homogenized, DARE demonstrates that our language still has distinct and delightful local character. If a person lives in a remote place, would you say he's from the boondocks? Or from the puckerbrush, the tules, or the willywags? Where are you likely to live if you eat Brunswick stew rather than jambalaya, stack cake, smearcase, or kringle? What's your likely background if your favorite card game is hasenpfeffer? bid whist? sheepshead? Whether we are talking about foods, games, clothing, family members, animals, or almost any other aspect of life, our vocabulary reveals much about who we are.

Each entry in DARE has been carefully researched to provide as complete a history of its life in America as possible. Illustrative citations extend from the seventeenth century through the twenty-first. More than 600 maps show where words were collected by the DARE fieldworkers. And quotations highlight the wit and wisdom of American speakers and writers. Recognized as the authoritative record of American English, DARE serves scholars and professionals of all stripes. It also holds treasures for readers who simply love our language.

This companion volume to the Dictionary of American Regional English vastly enhances readers' use of the five volumes of DARE text. Those who want to investigate the regional synonyms for a rustic, or a submarine sandwich, or that strip of grass between the sidewalk and the street can search through the five volumes and compare the distributional maps. Or, with this volume, they can open to a page with all those maps displayed side by side. Not only is it an extraordinary teaching tool, it is also a browser's delight.

The user who wants to know what words characterize a given state or region is also in luck. The Index to the five volumes not only answers that question but also satisfies the reader's curiosity about words that have come into English from other languages, and words that vary with the speakers' age, sex, race, education, and community type.

And those who simply love to explore the variety and ingenuity of American expression will be seduced by the lists of answers to the DARE fieldwork questions. Dust balls under the bed? Americans have at least 176 names for them. Names for a heavy rainstorm? There are more than 200, including the fanciful frog-strangler, goose-drownder, lightwood-knot floater, and trash-mover. More than 400 questions and all of their answers are included in this treasure trove of American linguistic creativity.

The Idiot is perhaps the most difficult and surely most enigmatic of Dostoevsky’s novels. In it the novelist developed a narrator-chronicler who uses an intricate web of alternately truthful and deceptive words to create a narrative of baffling intricacy. The reader is confronted with moral and ethical problems and is forced to make his or her own decisions about the import of what has occurred.

Robin Miller analyzes the varied narrative modes and voices, as well as the inserted narratives, and examines the effects of all these on the reader. She has derived helpful insights from current writing about the phenomenology of reading by such critics as Wayne Booth, Wolfgang Iser, and Stanley Fish. She draws extensively on Dostoevsky’s letters, notebooks, and journalistic writings in describing his ideas about his readers and about the craft of fiction. These writings also provide clues to the importance of Rousseau’s Confessions and the Gothic novels for the development of Dostoevsky’s narrative techniques. The notebooks, moreover, are an indispensable source of information concerning the genesis of The Idiot and the radical changes it underwent in the course of its composition.

Although the book is primarily a close reading of The Idiot, it throws light on the later novels, The Possessed and The Brothers Karamazov, in which Dostoevsky again makes use of a fictional narrator.

A reevaluation of the concept of the soul based on the latest evidence

Biblical scholars have long claimed that the Israelites “could not conceive of a disembodied nefesh [soul].” Steiner rejects that claim based on a broad spectrum of textual, linguistic, archaeological, and anthropological evidence spanning the millennia from prehistoric times to the present. The biblical evidence includes a prophecy of Ezekiel condemning women who pretend to trap the wandering souls of sleeping people. The extrabiblical evidence suggests that a belief in the existence of disembodied souls was part of the common religious heritage of the peoples of the ancient Near East.

Features

• A re-examination of the evidence for and against disembodied souls in the Hebrew Bible
• A new look at the nature and behavior of disembodied souls in the Hebrew Bible
• A new study of the meaning and sociolinguistic background of the Katumuwa inscription

This classic volume presents the core vocabulary of everyday life in Morocco—from the kitchen to the mosque, from the hardware store to the natural world of plants and animals. It contains myriad examples of usage, including formulaic phrases and idiomatic expressions. Understandable throughout the nation, it is based primarily on the standard dialect of Moroccans from the cities of Fez, Rabat, and Casablanca. All Arabic citations are in an English transcription, making it invaluable to English-speaking non-Arabists, travelers, and tourists—as well as being an important resource tool for students and scholars in the Arabic language-learning field.

A Dictionary of Syrian Arabic provides Syrian terms for the language spoken in everyday life by Muslims primarily in Damascus, but understandable throughout Syria as well as in the broader linguistic areas of present-day Lebanon, Jordan, and among the Palestinians and the Arabic-speaking population of Israel. Entries include examples, idioms, and common phrases to illustrate usage. The Arabic terms are presented in transcription. It is useful for students of Arabic, scholars wishing to train in the Syrian dialect, and visitors and travelers to Syria and other nations where the dialect is spoken. A thorough introduction outlines the sociolinguistic situation in Syria and covers phonology, morphology, syntax, grammar, and vocabulary. Alongside the other Arabic language-learning and reference works published by Georgetown University Press, this dictionary is yet another invaluable volume on spoken Arabic, belonging at the side of travelers and scholars, and on the shelves of research and reference libraries.

Originally offered in two separate volumes, A Dictionary of Iraqi Arabic, a staple of Georgetown University Press's world-renowned Arabic language program, now handily provides both the English to Arabic and Arabic to English texts in one volume. Designed for an English speaker learning Arabic, this is a key reference for anyone learning the colloquial speech of Iraq as spoken by educated people in Baghdad. Using romanized transliteration and transcription rather than the Arabic alphabet, it is further enhanced in most cases by having sentences to illustrate how individual word entries are used in context, reinforcing the user's acquisition of colloquial Iraqi.

Daughter of Damascus presents a personal account of a Syrian woman's youth in the Suq Saruja ("old city") quarter of Damascus in the 1940s. Siham Tergeman wrote this book to preserve the details of a "genuine Arab past" for Syrian young people. In it, she relates the customs pertaining to marriage, birth, circumcision, and death. She writes of Ramadan festivities, family picnics to the orchards of the Ghuta, weekly trips to the public bath, her school experiences, Damascene cooking, peddlers' calls, and proverbs. She includes the well-known dramatic skits, songs, and tales of the Syrian Hakawati storytellers. And, through the words of her father, she describes the difficult period when Syrians were involved in the Balkans War and World War I. All this wealth of ethnographic detail is set in real-life vignettes that make the book lively and entertaining reading.

Little has been published about modern Syrian social life. In this English translation of an Arabic memoir originally published in Syria in 1978, Tergeman appeals to a wide audience. General readers will find a charming story, while scholars can find source material for university courses in anthropology, sociology, family and women's studies, and Middle Eastern area studies. The introduction by anthropologist Andrea Rugh portrays Syrian social life for Western readers and points out some of the nuances that might escape the attention of those unacquainted with Arab culture.

Dari is the most used language in Afghanistan; all official documents are written in it. This textbook, designed to cover one year of instruction, offers beginning learners a communicative approach to the Dari language that develops the four language skills—speaking, listening, reading, and writing—through culturally relevant activities. The book is accompanied by extensive authentic materials, including audio and videos recorded in Afghanistan (available on the Press website), to help learners perform tasks and functions in both colloquial and standard forms. Grammar and vocabulary in each thematic lesson are chosen carefully to help learners perform these tasks and functions at an elementary level and beyond.

Dari: An Elementary Textbook prepares learners to perform at level 1+ or 2 on the ILR scale and at the novice high/intermediate low level on the ACTFL scale. Special notes are included for people with experience in Persian to help them learn Dari more efficiently. It is the fifth elementary level textbook published in partnership with the Center for Languages of the Central Asian Region (CeLCAR), following Pashto, Tajiki, Uzbek, and Uyghur.

Dari: An Intermediate Textbook, designed to cover one year of instruction, offers beginning learners a communicative approach to learning Dari in a cultural context

Suitable for students and professionals alike, Dari: An Intermediate Textbook offers a thematically-organized approach to learning the Dari language with task-oriented, communicative activities that develop the four primary language skills—speaking, listening, reading, and writing. Incorporating the latest innovations in foreign language teaching and pedagogy, this textbook enhances learners’ ability to communicate successfully with Dari speakers and more fully engage with a rich and vibrant culture. Dari: An Intermediate Textbook prepares learners to perform at level 2 or 2+ on the ILR scale and at the Intermediate High to Advanced Low levels on the ACTFL scale.

Features include:-Videos filmed in the different regions of Afghanistan and audio by native speakers (available to stream for free on the Press website)-Abundant cultural notes on Afghan society, customs, and nonverbal aspects of communication, such as body language and gestures-A functional approach to grammar with explanations presented in both written and spoken contexts to facilitate practice in both modalities-Additional notes for people with experience in Persian to help them learn Dari more efficiently-Chapter themes that facilitate understanding of Afghan daily life and culture

This collection of poetry by the celebrated southern Iranian poet and filmmaker Roja Chamankar (b. 1981) introduces English-speaking readers to one of the most accomplished and well-loved poets of her generation. Chamankar’s work blends surrealism and the southern coastal landscape of the poet’s upbringing with everyday experiences in rapidly urbanizing Tehran. While locating herself in the modernist tradition of Iranian poets like Forugh Farrokhzad and Ahmad Shamlu through form and imagery, Chamankar infuses this tradition with concerns unique to a generation that grew up in post-revolutionary Iran and endured the effects of the Iran-Iraq war. Seascapes, love and eroticism, the disconnection of modern life, and myths and fairytales figure prominently in these vivid, lyrical poems.

In the rich miniature worlds of Chamankar’s poetry, readers become privy to a range of experiences, from desire and pain to rage and humor. Sometimes abstract, other times surreal—Chamankar’s unique poetic voice, like the sea she returns to again and again, combines and sweeps these experiences to shore with assurance, strength, and beauty.

One of the keys to learning the Turkish language is to understand the importance and function of the verb. The stem of the verb, together with various suffixes of mode, tense, person, along with a subject and/or object, may be the equivalent of an entire English sentence. A Dictionary of Turkish Verbs is an aid to both the beginning and more advanced student of the language by providing approximately 1,000 verbs in context as they appear in up-to-date colloquial Turkish phrases and sentences, or short dialogues in translation.

Contrasting English and Turkish ways of expression, this multipurpose dictionary also helps the English speaker avoid the most common errors—with most verbs cross-referenced to related verbs, synonyms, or antonyms, and to the broader themes or categories of meaning to which they belong. Includes an English-Turkish index and a thesaurus section (using Roget's categories) where verbs of related meaning appear together and a short reference list of verb-forming suffixes. For students at any stage of learning the Turkish language, or for the self-motivated traveler, this unique dictionary will help open the door to greater understanding in an increasingly important area of the world.

If the postmodernist ethical onslaught has led to the demise of literature by exposing its political agenda, if all literature is compromised by its entanglement with power, why does literature's subterranean voice still seduce us into reading? Why do the madness and the scandal of transgressive literature, its power to force us to begin anew, its evil, escape the gaze of contemporary literary criticism? Why do we dare not reject ethics and the ethical approach to literature? If the primary task of literary criticism is to correct others' ethical missteps, should we not begin by confronting the seductiveness of ethics, our desire for ethics, the pleasure we take in being ethical? And what is the relationship between ethics and history in the study of literature? What would be the ethical consequences of an erasure of history from literary criticism?

In a series of essays on the writings of Kawabata Yasunari, Murakami Haruki, Karatani Kjin, Furui Yoshikichi, Mishima Yukio, Oe Kenzaburo, Natsume Soseki, and Kobayashi Hideo, Hosea Hirata visits the primal force of the scandalous in an effort to repeat (in the Kierkegaardian sense) the originary scene that initiates the obscure yet insistent poetry that is literature and to confront the questions raised.

In Detective Fiction and the Rise of the Japanese Novel, Satoru Saito sheds light on the deep structural and conceptual similarities between detective fiction and the novel in prewar Japan. Arguing that the interactions between the two genres were not marginal occurrences but instead critical moments of literary engagement, Saito demonstrates how detective fiction provided Japanese authors with the necessary frameworks through which to examine and critique the nature and implications of Japan’s literary formations and its modernizing society.

Through a series of close readings of literary texts by canonical writers of Japanese literature and detective fiction, including Tsubouchi Shoyo, Natsume Soseki, Shimazaki Toson, Sato Haruo, Kuroiwa Ruiko, and Edogawa Ranpo, Saito explores how the detective story functioned to mediate the tenuous relationships between literature and society as well as between subject and authority that made literary texts significant as political acts. By foregrounding the often implicit and contradictory strategies of literary texts—choice of narrative forms, symbolic mappings, and intertextual evocations among others—this study examines in detail the intricate interactions between detective fiction and the novel that shaped the development of modern Japanese literature.

In 1992 Deng Xiaoping famously declared, “Development is the only hard imperative.” What ensued was the transformation of China from a socialist state to a capitalist market economy. The spirit of development has since become the prevailing creed of the People’s Republic, helping to bring about unprecedented modern prosperity, but also creating new forms of poverty, staggering social upheaval, physical dislocation, and environmental destruction.

In Developmental Fairy Tales, Andrew F. Jones asserts that the groundwork for this recent transformation was laid in the late nineteenth century, with the translation of the evolutionary works of Lamarck, Darwin, and Spencer into Chinese letters. He traces the ways that the evolutionary narrative itself evolved into a form of vernacular knowledge which dissolved the boundaries between beast and man and reframed childhood development as a recapitulation of civilizational ascent, through which a beleaguered China might struggle for existence and claim a place in the modern world-system.

This narrative left an indelible imprint on China’s literature and popular media, from children’s primers to print culture, from fairy tales to filmmaking. Jones’s analysis offers an innovative and interdisciplinary angle of vision on China’s cultural evolution. He focuses especially on China’s foremost modern writer and public intellectual, Lu Xun, in whose work the fierce contradictions of his generation’s developmentalist aspirations became the stuff of pedagogical parable. Developmental Fairy Tales revises our understanding of literature’s role in the making of modern China by revising our understanding of developmentalism’s role in modern Chinese literature.

This volume addresses cultural and literary transformation in the late Ming (1550-1644) and late Qing (1851-1911) eras. Although conventionally associated with a devastating sociopolitical crisis, each of these periods was also a time when Chinese culture was rejuvenated. Focusing on the twin themes of crisis and innovation, the seventeen chapters in this book aim to illuminate the late Ming and late Qing as eras of literary-cultural innovation during periods of imperial disintegration; to analyze linkages between the two periods and the radical heritage they bequeathed to the modern imagination; and to rethink the "premodernity" of the late Ming and late Qing in the context of the end of the age of modernism.

The chapters touch on a remarkably wide spectrum of works, some never before discussed in English, such as poetry, drama, full-length novels, short stories, tanci narratives, newspaper articles, miscellanies, sketches, familiar essays, and public and private historical accounts. More important, they intersect on issues ranging from testimony about dynastic decline to the negotiation of authorial subjectivity, from the introduction of cultural technology to the renewal of literary convention.

What drives literary change? Does literature merely follow shifts in a culture, or does it play a distinctive role in shaping emergent trends? Michael Fuller explores these questions while examining the changes in Chinese shi poetry from the late Northern Song dynasty (960–1127) to the end of the Southern Song (1127–1279), a period of profound social and cultural transformation.

Shi poetry written in response to events was the dominant literary genre in Song dynasty China, serving as a central form through which literati explored meaning in their encounters with the world. By the late Northern Song, however, old models for meaning were proving inadequate, and Daoxue (Neo-Confucianism) provided an increasingly attractive new ground for understanding the self and the world. Drifting among Rivers and Lakes traces the intertwining of the practice of poetry, writings on poetics, and the debates about Daoxue that led to the cultural synthesis of the final years of the Southern Song and set the pattern for Chinese society for the next six centuries. Examining the writings of major poets and Confucian thinkers of the period, Fuller discovers the slow evolution of a complementarity between poetry and Daoxue in which neither discourse was self-sufficient.

In this study of desire in Late Imperial China, Martin W. Huang argues that the development of traditional Chinese fiction as a narrative genre was closely related to changes in conceptions of the fundamental nature of desire. He further suggests that the rise of vernacular fiction during the late Ming dynasty should be studied in the context of contemporary debates on desire, along with the new and complex views that emerged from those debates.

Desire and Fictional Narrative in Late Imperial China shows that the obsession of authors with individual desire is an essential quality that defines traditional Chinese fiction as a narrative genre. Thus the maturation of the genre can best be appreciated in terms of its increasingly sophisticated exploration of the phenomenon of desire.

Often considered China’s greatest poet, Du Fu (712–770) came of age at the height of the Tang dynasty, in an era marked by confidence that the accumulated wisdom of the precedent cultural tradition would guarantee civilization’s continued stability and prosperity. When his society collapsed into civil war in 755, however, he began to question contemporary assumptions about the role that tradition should play in making sense of experience and defining human flourishing.

In this book, Lucas Bender argues that Du Fu’s reconsideration of the nature and importance of tradition has played a pivotal role in the transformation of Chinese poetic understanding over the last millennium. In reimagining his relationship to tradition, Du Fu anticipated important philosophical transitions from the late-medieval into the early-modern period and laid the template for a new and perduring paradigm of poetry’s relationship to ethics. He also looked forward to the transformations his own poetry would undergo as it was elevated to the pinnacle of the Chinese poetic pantheon.

Ding Ling is China’s foremost woman writer, and one of the great survivors in modern Chinese literary history. Iconoclast, feminist, and political activist, Ding Ling began her writing in the late 1920s as a member of the May Fourth generation and continued to write after the Communist Party had established control over all literary activities. She has survived to practice her art through the physical dangers of war, imprisonment, and persecution by two governments.

Yi-tsi Mei Feuerwerker examines Ding Ling’s writings from the startling early stories about young women undergoing crises of love, sex, and identity to her novel on land reform, The Sun Shines on the Sanggan River, which won the 1951 Stalin prize for literature. The unique interest of Ding Ling’s writing lies in the response and resistance to political pressure that is revealed in the sequence of the works. The formal aspects of her fiction, as it undergoes distinctive phases of development, exemplify in precise ways the effects of ideological change on narrative practice. As much as the momentous events of her life, the literary works she produced dramatize the succession of creative dilemmas confronting the modern Chinese writer.

The examination of Ding Ling’s life and works raises pressing questions about the writer’s role and the validity of literature and its hopes for survival in a world of radical political change.

The Alabama language, a member of the Muskogean language family, is spoken today by the several hundred inhabitants of the Alabama-Coushatta Indian Reservation in Polk County, Texas. This dictionary of Alabama was begun over fifty years ago by tribe member Cora Sylestine. She was aided after 1980 by linguists Heather K. Hardy and Timothy Montler, who completed work on the dictionary after her death.

This state-of-the-art analytical dictionary contains over 8,000 entries of roots, stems, and compounds in the Alabama-English section. Each entry contains precise definitions, full grammatical analyses, agreement and other part-of-speech classifications, variant pronunciations, example sentences, and extensive cross-references to stem entries. The Alabama-English section is followed by a thorough English-Alabama finder list that functions as a full index to the definitions in the Alabama-English section.

In these two essays, one of America’s most honored writers fastens on the interrelation of American democracy and poetry and the concept of selfhood vital to each. “I really don’t want to make a noise like a pundit,” Mr. Warren declares, “What I do want to do is to return us—and myself most of all—to a scrutiny of our own experience of our own world.” Indeed, Democracy and Poetry offers one of the most pertinent and strongly personal meditations on our condition to have appeared in recent letters.

Our native “poetry,” that is, literature and art, in general, is a social document, is “diagnostic,” and has often been a corrosive criticism of our democracy, Mr. Warren argues. Persuasively, and movingly, he shows that all of “art” and all that goes into the making of democracy require a free and responsible self. Yet the American experience has been one of the decay of the notion of self. Our astounding success jeopardized what we promised to create—the free man. For a century and a half the conception of the self has been dwindling, separating itself from traditional values, moral identity, and a secure relation with community. Lonely heroes in a bankrupt civilization, then protest, despair, aimlessness, and violence, have marked our literature.

The anguish of Robert Penn Warren’s own poetic vision of art and democracy is soothed only by his belief that poetry—the making of art can nourish and at least do something toward the rescue of democracy; he shows how art can be- come a healer, can be “therapeutic.” In the face of disintegrative forces set loose in a business and technetronic society, it is poetry that affirms the notion of the self. It is a model of the organized self, an emblem of the struggle for the achieving self, and of the self in a community. More and more as our modern technetronic society races toward the abolition of the self, and diverges from a culture created to enhance the notion of selfhood, poetry becomes indispensable.

Compelling, resonant, memorable, Democracy and Poetry is a major testament not only to the vitality of poetry, but also to a faith in democracy.

A peculiar necrophilia dominates literary theory. Whether it be under the banner of “anatomy of criticism” or “death of the author,” students of literature seem fated to form a “Dead Poets’ Society.” Can literature ever create or sustain life? What is the cultural mythology of the “dead poet”? In a broad-ranging analysis of modern French and Russian writing—from poems, plays, and essays to revolutionary marches, fashion magazines, and suicide notes—Svetlana Boym reconsiders the making and unmaking of the self in writing on life.

Examining both literal and figurative deaths of poets, the author elaborates alternative strategies for reading text, life, and culture all together. Boym questions the traditional boundaries between literary theory, social psychology, anthropology, and history. She draws on and yet resists ideas advanced by Russian formalists and French and American poststructuralists to develop an authoritative critical vocabulary for the purpose of analyzing modern poetic myths. She brings poets back to life, back to their lives once again, and thereby resuscitates the dying art, the art of dying in words. The result is cultural criticism of a very high order.

The book offers spectacular example of poetic lives. First the author considers the legend of the “pure poet,” focusing on the opposite paths of Mallarmé and Rimbaud. The she investigates the myth of the “revolutionary poet,” stressing the tension between poetry and politics, particularly in the life and work of Mayakovsky. In a third section, she explores the masking image of “poetess” and its fatal entrapment of the woman poet—here, Marina Tsvetaeva. In “The Death of a Critic?” she brings the study to brilliant conclusion, revealing the ironies inherent in the work of Barthes, de Man, and Foucault, the three critics who celebrated the death of the author and yet who, in their own deaths, are subject to biographical speculation.

Romantic writers had found in Christianity a poetic cult of the imagination, an assertion of the spiritual quality of beauty in an age of vulgar materialism. The decadents, a diverse movement of writers, were the climax and exhaustion of this romantic tradition. In their art, they enacted the romance of faith as a protest against the dreariness of modern life. Ellis Hanson teases out two strands--eroticism and aestheticism--that rendered the decadent interest in Catholicism extraordinary. More than any other literary movement, the decadents explored the powerful historical relationship between homoeroticism and Roman Catholicism. Why, throughout history, have so many homosexuals been attracted to Catholic institutions that vociferously condemn homosexuality? This perplexing question is pursued in this elegant and innovative book.

Late-nineteenth-century aesthetes found in the Church a peculiar language that gave them a means of artistic and sexual expression. The brilliant cast of characters that parades through this book includes Oscar Wilde, Charles Baudelaire, J.-K. Huysmans, Walter Pater, and Paul Verlaine. Art for these writers was a mystical and erotic experience. In decadent Catholicism we can glimpse the beginnings of a postmodern valorization of perversity and performativity. Catholicism offered both the hysterical symptom and the last hope for paganism amid the dullness of Victorian puritanism and bourgeois materialism.

The Sheik—E. M. Hull’s best-selling novel that became a wildly popular film starring Rudolph Valentino—kindled “sheik fever” across the Western world in the 1920s. A craze for all things romantically “Oriental” swept through fashion, film, and literature, spawning imitations and parodies without number. While that fervor has largely subsided, tales of passion between Western women and Arab men continue to enthrall readers of today’s mass-market romance novels. In this groundbreaking cultural history, Hsu-Ming Teo traces the literary lineage of these desert romances and historical bodice rippers from the twelfth to the twenty-first century and explores the gendered cultural and political purposes that they have served at various historical moments.

Drawing on “high” literature, erotica, and popular romance fiction and films, Teo examines the changing meanings of Orientalist tropes such as crusades and conversion, abduction by Barbary pirates, sexual slavery, the fear of renegades, the Oriental despot and his harem, the figure of the powerful Western concubine, and fantasies of escape from the harem. She analyzes the impact of imperialism, decolonization, sexual liberation, feminism, and American involvement in the Middle East on women’s Orientalist fiction. Teo suggests that the rise of female-authored romance novels dramatically transformed the nature of Orientalism because it feminized the discourse; made white women central as producers, consumers, and imagined actors; and revised, reversed, or collapsed the binaries inherent in traditional analyses of Orientalism.