The growing tide of nationalism in the People's Republic of China had increased the need to gain insight into discourses around national identity. This thesis analyses the Chinese self through its...Show moreThe growing tide of nationalism in the People's Republic of China had increased the need to gain insight into discourses around national identity. This thesis analyses the Chinese self through its depiction in the CCTV-series "Foreigner in China". Through its depiction of both foreigners and minority ethnicities living in the PRC and its implicit comparison to the Chinese 'self', the series appears to align closely to the division of traits as originally described in Said's "Orientalism". The Chinese self, therefore, is constructed by mirroring itself both with an Occidental other, the foreigner, and an Oriental other, the minorities depicted in the series.Show less
A negative and controversial stigma shrouds the notion of tattoos globally. As of recently, societies globally have increasingly become more tolerant of the exposure of tattoos in public and in...Show moreA negative and controversial stigma shrouds the notion of tattoos globally. As of recently, societies globally have increasingly become more tolerant of the exposure of tattoos in public and in particular, professional environments or workplaces. This increased tolerance can predominantly be found in Western society. Often times, this increased tolerance is perceived to be applicable globally, credited largely to Western-dominated mainstream media. However, the negative stigma associated with tattoos persists in many East Asian societies and is largely regarded as taboo. These notions of taboo are largely attributed to associations with gangs, violence and criminal activities represented through different mediums like movies, newspapers, and word of mouth (see Figure 2). Despite this, East Asian societies like that of Japan's, still possess dedicated tattoo artist that practice tattooing, whether this is in "Japanese-style" tattooing or numerous other styles. The idea of Japanese tattoos is a largely sought-after style of tattooing not only within Japan but also in numerous Western societies, such as the United States (US) and the United Kingdom (UK). It would not be in the wrong to presume that in fact, Japanese-style tattoos are in greater demand outside of Japan than within and are seen in less-controversial limelight than that of Japan, which leads us to a possible inquiry and the investigation of this thesis, how can there be such a difference of perspective of tattoos between Japan and Western nations like the US and UK in Japan-style tattoos? I use aspects of Edward Said's notion of Orientalism (1978) and Primitivism as the theoretical framework into three distinct periods: Meiji era (1868-1912) and the Contemporary era (1945-2020), and implement Richard Rogers' theory of cultural appropriation (2006) as a methodology to dissect ukiyo-e art, diaries from royal "western" figures, interviews and documentaries that depict experiences with Japanese tattooing practices. In the postwar era (1945-) Japan underwent tremendous political, cultural, and economic change under the Allied powers as a result of World War II. It is for this reason that the contemporary era is framed from 1945-2020 to portray the approach Japan took when it came to Japanese-style tattoos. As well as how Western society, in particular the United States, exported Japanese-style tattoos to audiences globally, due to American tattoo artists coming in contact with Japanese tattoo artists first. The overall aim of the investigation will shed light on how the previous mediums have historically engaged with cultural appropriation and orientalism in Japan, to create what we know of today as Japanese-style tattoos.Show less
De cultuurkant van het Nederlandse koloniale project is nog maar weinig onderzocht, terwijl het koloniale rijk, wel degelijk een rol speelde in de Nederlandse samenleving van de negentiende eeuw....Show moreDe cultuurkant van het Nederlandse koloniale project is nog maar weinig onderzocht, terwijl het koloniale rijk, wel degelijk een rol speelde in de Nederlandse samenleving van de negentiende eeuw. De Maandberigten van het Nederlandsche Zendelinggenootschap zorgde ervoor dat het koloniale rijk ter sprake werd gebracht in de Nederlandse samenleving. De koloniale kennis in de Maandberigten, werd echter gekleurd door een religieus, oriëntalistische verbeelding van het koloniale rijk, die onder meer bedoeld was om de Nederlandse christenen op te voeden in 'beschaving' en 'vroomheid'. De berichten over het koloniale rijk die in de Nederlandse samenleving terecht kwamen fungeerde daarmee als spiegel voor de 'beschaafdheid' de Nederlandse samenleving zelf.Show less
This thesis takes a brief look at Edo era Yoshiwara art, and the disparity between what it portrays and represents. Furthermore, it takes a look at the way this art is currently portrayed and...Show moreThis thesis takes a brief look at Edo era Yoshiwara art, and the disparity between what it portrays and represents. Furthermore, it takes a look at the way this art is currently portrayed and spoken about; examining its place in modern art discourse.Show less
The thesis addresses the phenomenon of volunteer tourism and tries to evaluate its impact on the African development discourse. The question is addressed by analysing the use of images and phrases...Show moreThe thesis addresses the phenomenon of volunteer tourism and tries to evaluate its impact on the African development discourse. The question is addressed by analysing the use of images and phrases on two volunteer organizations’ Facebook timelines, Go Volunteer Africa and Volunteer Uganda, to investigate the ways in which they aid in constructing a narrative about the African development discourse.The analysis suggests that the discourse of need plays a crucial role in the organizations' approach to development. The images and phrases integrated in Facebook posts can also be traced back to a colonial as well as a racist discourse based upon which social realities of the volunteers and the host communities are being influenced.Show less
Turkey has applied to be member of the European Community already in 1987. Up to this day however, it has not joined and the negotiations have come to a halt. The debate about whether Turkey should...Show moreTurkey has applied to be member of the European Community already in 1987. Up to this day however, it has not joined and the negotiations have come to a halt. The debate about whether Turkey should join the European Union and whether it is compatible with its community has been highly politicised over the last years. The discussion usually revolves around whether Turkey is Eu- ropean enough to be a part of the Union, whether it fulfils all the fundamental criteria to join on an economic, political and social level as well as whether Turkey’s membership would bring about a form of cultural clash. The discourse around the topic and the language employed by policy makers has so far not been as well researched. This paper therefore explores the following research questi- on: “What is the role of an ‘othering’ discourse in the Turkey EU membership negotiations?”. It explores the theoretical framework of Othering and how it connects to the concept of Orientalism. Building on how Europe historically defines itself against an Other, both sides will be analysed on their language. Using methods of critical discourse analysis, the language of Turkish and EU insti- tutional policy makers is examined. Based on this research, tentative conclusions are drawn about the underlying meaning of speeches and remarks and how they fit into the framework of Othering.Show less
For this bachelor thesis, I have done research on the subject of the role of Hollywood in US soft power in relation to the fight against Islamic extremist terrorism. The research question I have...Show moreFor this bachelor thesis, I have done research on the subject of the role of Hollywood in US soft power in relation to the fight against Islamic extremist terrorism. The research question I have posed is: ‘Has Hollywood been a tool for North American soft power by contributing to the creation of a Western imagined community against Islamic extremist terrorism since 9/11? If so, how?’. In order to answer this question, I have done qualitative research using a scene from the movie American Sniper and a scene from the movie Lone Survivor which served as case studies. To provide a guiding tool, for each scene I have posed the questions ‘How is the ‘westerner’ portrayed?’, ‘How is the ‘Arab portrayed?’, and ‘Does the scene accord to the biographic book?’. In order to provide answers to these questions, I have used the handbook ‘Film Narratology’ by Peter Verstraten to examine the implicit content of the scenes, the scripts of the movies to support analysis of the explicit content of the scenes, and the biographic books on which the movies were based to check whether the scenes accord to these books. Subsequently, used the concepts of culture and cultural hegemony, soft power, and orientalism to ascribe meaning to the outcomes of the analyses. As a result from these analyses and the application of the concepts, I have found that in both scenes the ‘westerner’ is portrayed as heroic and righteous, while the ‘Arab’ is mostly portrayed as savage, hostile and rogue which is showing that both movies have an Orientalist character. Also, resulting from these analyses I can state that the scenes culturally manipulate and influence the viewers perceptions of the ‘Arab’ and the ‘westerner’, which means that it is contributing to US’ story which is projected to the rest of the world to ‘sell itself’ with the goal to attract other people and states to be on the same page with the US. With these results I have provided with an answer to the research question, which reads that Hollywood has been a tool for US soft power by contributing to the creation of a Western community against Islamic extremist terrorism, albeit unwittingly. This is done by employing Hollywood’s prominent and influential status which makes it possible to manipulate the movies’ watchers into developing a perception of Islamic terrorists as rogue and savage as opposed to heroic and righteous US soldiers. Still, what could be considered as shortcomings of this research are its sensitiveness to time, place and interpretation, and the small amount of analyzed scenes. In order to resolve this in a more extensive research, I firstly recommend to do a comparison with results of analyses on movies within another time frame or from another country. Secondly, I recommend to use diverse means of interpretation. Lastly, I recommend to analyze more scenes or even entire movies to be able to make a more solid argument.Show less
Hoe heeft het beeld van de bevolking van koloniale gebieden in Nederlandse politieke teksten en reisdagboeken zich ontwikkeld tussen 1800-1830 en hoe is dit beïnvloed door de Verlichting en contact...Show moreHoe heeft het beeld van de bevolking van koloniale gebieden in Nederlandse politieke teksten en reisdagboeken zich ontwikkeld tussen 1800-1830 en hoe is dit beïnvloed door de Verlichting en contact met de lokale bevolking?Show less
This thesis focuses on the period at the end of the nineteenth century when knowledge of the colonized cultures and their histories became an integral part of European imperial policies. In the...Show moreThis thesis focuses on the period at the end of the nineteenth century when knowledge of the colonized cultures and their histories became an integral part of European imperial policies. In the search for tools legitimizing their overseas venture, architecture turned out to be one of the most visual and lasting tools for boosting such efforts. It is precisely by exploring this aspect of empire-building through architecture that my thesis attempts to redress the lacunae of historical research on colonial architecture as a measure for studying colonial history. Conventional historiography has largely neglected this aspect of empire-building, leaving much of it for architects, urbanists and art historians to deal with. Most of the scholarly contributions to colonial architecture have not yet been able to sufficiently expose the underlying imperial designs or the socio-cultural processes behind such building projects. In this thesis, I have made attempts to trace these processes and examine them from a comparative perspective using Foucault’s power/knowledge dimension. By pitching the three former Asian colonies of British-India, Dutch-Indies and French-Indochina next to each other and analysing the hybrid architecture found in their main public buildings, the ways in which the colonial government tried to impress the people through their building styles can be revealed. They resorted to the incorporation of often randomly mixed local architectural elements into buildings which looked European otherwise. This resulted in buildings depicting hybrid architectural styles. Such designs reflected a self-proclaimed European mastery in managing knowledge of the colonized cultures. In trying to claim their legitimacy as new rulers, colonial governments went to great lengths, using the visual qualities of architecture to shield a relatively weak system. The erection of confident and mighty stone facades, however, did little to bury the lingering orientalist prejudices and the inherent unequal status of the colonizers and the colonized. In fact, the knowledge on local histories generated by the colonizers helped create local identities that gave a boost to the upcoming nationalistic movements. But there were interesting differences among the colonies though, that this comparative exercise laid bare. The nuances manifested in the different colonies in terms of the willingness to spend financial resources, the often conflicting objectives between colonial institutions, the effects of shifting colonial policies and the paradoxical underlying principles that defined those policies, and other contextual factors, led to differences in imperial policies and their consequent architectural plans. By probing into these differences as well as by highlighting the similarities cutting across all the three colonies, my thesis contributes to understanding the varying shades of colonialism through the seemingly silent yet starkly telling structures.Show less
This research deals with how stereotypes about Japanese people manifest themselves in news photographs published in Western media. Hopefully this thesis will also shed a bit of light on how...Show moreThis research deals with how stereotypes about Japanese people manifest themselves in news photographs published in Western media. Hopefully this thesis will also shed a bit of light on how qualitative data analysis methods can be applied not only to textual narratives, but also to (news) photographs. On March 11, 2011, Japan suffered two disasters. Off the Pacific coast of Tōhoku, the most powerful earthquake in Japan’s recorded history occurred (9.0 on the Richter scale). As a result, the eastern coasts of Japan were hit by devastating tsunami waves, killing around 15,000 people. Another disaster quickly followed. Because of the quake and tsunami, there were level 7 meltdowns at the nuclear reactors in the Fukushima Daiichi Nuclear Power Plant complex. It would be the largest nuclear incident since the 1986 Chernobyl disaster. It goes without saying that this was a major news story. But after a while, the discussion in the Western media seemed to shift from actual disaster reporting to assumptions about the Japanese mentality. Blatant stereotypes about Japanese people became more and more apparent in stories about the disaster. Stereotypes not only appeared in the textual narrative, but could also be found within its accompanying images. So it is within the photographs of Japanese people dealing with the tsunami and nuclear disaster that this research attempts to uncover certain stereotypical cues and tropes. These cues and tropes ultimately contribute to the collective manifestations of stereotypes about Japanese people. Current psychological theory conceptualizes stereotypes as cognitive structures or schemas that represent widely shared beliefs about the defining characteristics of social groups. The media most commonly use stereotypical categorizations of individuals or groups based on race or ethnicity, nationality, religion, gender, sexual orientation, mental or physical disability, employment, and age. These stereotypes are automatically activated when audiences encounter cues or symbols in mass media, according to Peffley, Shields and Williams (1996) and Abraham and Appiah (2006). Stereotypes about Eastern people and cultures in particular have been widely researched. Edward Saïd first posited the revolutionary theoretical framework of Orientalism, which is how he coined the particular form that Western stereotypical understandings of Asian cultures has taken. He, and many other experts, claim that this Orientalism has evolved into a cultural myth permeating Western thought. It has been articulated through metaphors which characterize the East in ways which emphasize its strangeness and otherness. The Oriental person is made up of a single image which carries with it the taint of inferiority. Kathleen Tierney and Erica Kuligowski postulate that the media help enforce already existing disaster myths among the general public and organizational actors. Examples of such myths are the notions that disasters are accompanied by looting, social disorganization, panic, and deviant behavior. This is relevant because the Japanese people after the disaster seemed to subvert many of those myths. Surprisingly, this subversion was seen as conformation of the Japanese supposedly stoic yet respectful nature, therefore affirming Orientalist stereotypes. Through the application of these theories and a qualitative data analysis of a selection of 200 images, this research uncovers how stereotypical cues and tropes about Japanese people manifest themselves in these photographs. Whether or not Western news media possess that knowledge and thus deliberately choose to photographs with stereotypical elements, however, are two wholly different questions.Show less
Master thesis | Cultural Anthropology and Development Sociology (MSc)
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In 2004, Ayaan Hirsi Ali and Theo van Gogh made the anti-Islam film Submission. Four years later, Geert Wilders published his own anti-Islam film, Fitna. These movies were both a reason for and a...Show moreIn 2004, Ayaan Hirsi Ali and Theo van Gogh made the anti-Islam film Submission. Four years later, Geert Wilders published his own anti-Islam film, Fitna. These movies were both a reason for and a consequence of a Dutch sociopolitical climate in which anti-Islam sentiments were widely spread. Using academic literature about orientalism, media and gender, such as described by Edward Said as well as many others, I researched the use of orientalist characteristics in representing Muslims and the Islam in both of these movies, paying attention to the texts, visual aspects and implications of the films, as well as looking at the intentions of the makers and the place of the movies in the wider Dutch context.Show less
