In Keshni Kashyap's And Mari Arakistina's Mouth: An Existent

In Keshni Kashyaps And Mari Arakistinas Mouth An Existential Comic

Evaluate the Orientalism of ONE of the above interactions in terms of Edward Said's second and third definitions of Orientalism. Let me repeat my notes about Said's three definition of Orientalism For Edward Said, Orientalism is: 1. "Anyone who teaches, writes about, or researches the Orient... is an Orientalist, and what he or she does in Orientalism" (214). 2. "Orientalism is a style of thought based upon an ontological and epistemological distinction made between "the Orient" and (most of the time) "the Occident" (214). 3. Orientalism is "the corporate institution for dealing with the Orient... by making statements about it, authorizing views of it, describing it, by teaching it, settling it, ruling over it: in short, Orientalism as a Western Style for dominating, restructuring, and having authority over the Orient" (214).

In Keshni Kashyap’s and Mari Araki’s Tina's Mouth: An Existential Comic Diary, the interaction involving the Hindu god Krishna exemplifies Edward Said's second and third definitions of Orientalism. The depiction of Krishna, a central figure in Indian mythology and religion, reflects the ontological and epistemological distinctions that Said describes, representing the "Orient" as a site of spiritual and cultural otherness that is often objectified for Western audiences. This portrayal can be seen as a form of Orientalism because it constructs Krishna’s image within a framework that emphasizes exoticism and spiritual profundity, subtly reinforcing the trope of the Orient as mysterious and fundamentally different from the West. Furthermore, the interaction may also serve as an instance of the "corporate institution" of Orientalism, where Krishna’s image is commodified and used to appeal to Western audiences' fascination with Eastern spirituality, thus maintaining Western cultural authority and control over the representation of Indian traditions.

Paper For Above instruction

The interaction involving the Hindu god Krishna in Tina’s Comic Diary serves as a compelling example of Edward Said's second and third definitions of Orientalism. According to Said, Orientalism is not just a scholarly or academic pursuit but a style of thought that relies on a clear ontological and epistemological distinction—the idea that "the Orient" is inherently different and often inferior or mysterious compared to the West. In the case of Krishna, the portrayal reflects this distinction by emphasizing the divine, mystical, and exotic qualities associated with Indian spirituality, thus reinforcing stereotypes that position the Orient as a source of otherworldly wisdom but ultimately different from Western rationality. This depiction aligns with Said's notion that Orientalism is a style of thought that constructs the "Orient" as an object of Western imagination, shaping perceptions that serve Western interests.

Moreover, the depiction of Krishna can also be seen as a manifestation of the "corporate" aspect of Orientalism, where the image of the Orient is commodified and used for Western profit and cultural authority. By stylizing Krishna in a way that appeals to and reinforces Western fantasies about Eastern mysticism, for instance through commercial products or popular media, the representation upholds a form of Western dominance that Said describes as the institution of Orientalism. This embedding of Krishna within Western cultural products signifies how Orientalist views are not merely academic but are also embedded within the mechanisms of consumption and cultural production, allowing Western institutions to maintain control over the narrative and authority concerning Eastern traditions and identities. Thus, this interaction exemplifies both Said’s second and third definitions of Orientalism by reinforcing essentialist distinctions and serving as a tool for Western cultural hegemony over the "Orient."

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