Cultural Orientalism was admiring and varied, unlike institutional Orientalism that served colonialism.

Evidence

When studied within culture and the arts, Orientalism is not monolithic, as various scholars have argued. In her analysis of British and French writing from the eighteenth to the twentieth century, American studies scholar Lisa Lowe shows that not only are there differences between the two imperial nation’s literary works but that the ā€œotherā€ is represented differently at different moments. Historian John MacKenzie argues that culture is extraordinarily heterogeneous and, like Makdisi, notes that internal others played a role in the construction of external others. Furthermore, various artistic forms relied on cultural borrowing. Writers like Goethe drew from Persian and Arabic literary styles and European architects similarly were influenced by ancient Egyptian aesthetics. MacKenzie argues therefore that Orientalism is a constantly changing, versatile and protean form which is ā€œas often consumed by admiration and reverence as by denigration and deprecation.ā€ … In what follows, I focus on institutional Orientalism, or a system of ideas and practices that Abdel-Malek, Said, Turner, and others have argued helped consolidate colonialism. — Deepa Kumar, Islamophobia and the Politics of Empire, 167

Categorization

Category: Contrarian or Surprising Claims

  • DEFINE: Introduces ā€˜institutional Orientalism’ as distinct from the heterogeneous cultural-artistic Orientalism that Lowe, MacKenzie, and the Romantics studied.