Essay on Exoticism: An Aesthetics of Diversity
Duke University Press, Jan 3, 2002 - Philosophy - 95 pages
The “Other”—source of fear and fascination; emblem of difference demonized and romanticized. Theories of alterity and cultural diversity abound in the contemporary academic landscape. Victor Segalen’s early attempt to theorize the exotic is a crucial reference point for all discussions of alterity, diversity, and ethnicity.
Written over the course of fourteen years between 1904 and 1918, at the height of the age of imperialism, Essay on Exoticism encompasses Segalen’s attempts to define “true Exoticism.” This concept, he hoped, would not only replace nineteenth-century notions of exoticism that he considered tawdry and romantic, but also redirect his contemporaries’ propensity to reduce the exotic to the “colonial.” His critique envisions a mechanism that appreciates cultural difference—which it posits as an aesthetic and ontological value—rather than assimilating it: “Exoticism’s power is nothing other than the ability to conceive otherwise,” he writes.
Segalen’s pioneering work on otherness anticipates and informs much of the current postcolonial critique of colonial discourse. As such Essay on Exoticism is essential reading for both cultural theorists or those with an interest in the politics of difference and diversity.
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Victor Segalen 18781919
An Aesthetics of Diversity
Selected Critical Works on Victor Segalen in English
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Page xvii - The quality that we call beauty, however, must always grow from the realities of life, and our ancestors, forced to live in dark rooms, presently came to discover beauty in shadows, ultimately to guide shadows towards beauty's ends.
Page xiii - Segalen acknowledged that he had written an essay on exoticism, he advised that it "cannot be about such things as the tropics or coconut trees, the colonies or Negro souls, nor about camels, ships, great waves, scents, spices, or enchanted islands. It cannot be about misunderstandings and native uprisings, nothingness and death, colored tears, oriental thought, and various oddities, nor about any of the preposterous things that the word 'Exoticism
Page xvii - And so, as we must if we are not to disturb the glow, we finish 3 1 the walls with sand in a single neutral color. The hue may differ from room to room, but the degree of difference will be ever so slight; not so much a difference in color as in shade, a difference that will seem to exist only in the mood of the viewer. And from these delicate differences in the hue of the walls, the shadows in each room take on a tinge peculiarly their own. Of course the Japanese room does have its picture alcove,...