What does the love between British imperialists and their Asian male partners reveal about orientalism's social origins? To answer this question, Humberto Garcia focuses on westward-bound Central and South Asian travel writers who have long been forgotten or dismissed by scholars. This bias has obscured how Joseph Emin, Sake Dean Mahomet, Shaykh I'tesamuddin, Abu Talib Khan, Abul Hassan Khan, Yusuf Khan Kambalposh, and Lutfullah Khan found in their conviviality with Englishwomen and men a strategy for inhabiting a critical agency that appropriated various media to make Europe commensurate with Asia. Drama, dance, masquerades, visual art, museum exhibits, music, postal letters, and newsprint inspired these genteel men to recalibrate Persianate ways of behaving and knowing. Their cosmopolitanisms offer a unique window on an enchanted third space between empires in which Europe was peripheral to Islamic Indo-Eurasia. Encrypted in their mediated homosocial intimacies is a queer history of orientalist mimic men under the spell of a powerful Persian manhood.

Between 1750 and 1857, westward-bound Central and South Asian travelers connected imperial Britain to Persian Indo-Eurasia by performing queer masculinities.

This book examines women's art writing in the nineteenth century, challenging the idea of art history as a masculine intellectual field.

Orientalism and Literature discusses a key critical concept in literary studies and how it assists our reading of literature. It reviews the concept's evolution: how it has been explored, imagined and narrated in literature. Part I considers Orientalism's origins and its geographical and multidisciplinary scope, then considers the major genres and trends Orientalism inspired in the literary-critical field such as the eighteenth-century Oriental tale, reading the Bible, and Victorian Oriental fiction. Part II recaptures specific aspects of Edward Said's Orientalism: the multidisciplinary contexts and scholarly discussions it has inspired (such as colonial discourse, race, resistance, feminism and travel writing). Part III deliberates upon recent and possible future applications of Orientalism, probing its currency and effectiveness in the twenty-first century, the role it has played and continues to play in the operation of power, and how in new forms, neo-Orientalism and Islamophobia, it feeds into various genres, from migrant writing to journalism.

How did upstart outsiders forge vast new empires in early modern Asia, laying the foundations for today's modern mega-states of India and China? In How the East Was Won, Andrew Phillips reveals the crucial parallels uniting the Mughal Empire, the Qing Dynasty and the British Raj. Vastly outnumbered and stigmatised as parvenus, the Mughals and Manchus pioneered similar strategies of cultural statecraft, first to build the multicultural coalitions necessary for conquest, and then to bind the indigenous collaborators needed to subsequently uphold imperial rule. The English East India Company later adapted the same 'define and conquer' and 'define and rule' strategies to carve out the West's biggest colonial empire in Asia. Refuting existing accounts of the 'rise of the West', this book foregrounds the profoundly imitative rather than innovative character of Western colonialism to advance a new explanation of how universal empires arise and endure.

This book explores the relationship between ideas of the East and the struggle for democratic rights in the Romantic period.

Joyce Green MacDonald discusses the links between women's racial, sexual, and civic identities in early modern texts. She examines the scarcity of African women in English plays of the sixteenth and seventeenth centuries, the racial identity of the women in the drama and also that of the women who watched and sometimes wrote the plays. The coverage also includes texts from the late fourteenth to the early eighteenth centuries, by, among others, Shakespeare, Jonson, Davenant, the Countess of Pembroke, and Aphra Behn. MacDonald articulates many of her discussions of early modern women's races through a comparative method, using insights drawn from critical race theory, women's history, and contemporary disputes over canonicity, multiculturalism, and Afrocentrism. Seeing women as identified by their race and social standing as well as by their sex, this book will add depth and dimension to discussions of women's writing and of gender in Renaissance literature.