A second qualification is that ideas, cultures, and histories cannot seriously be understood or studied without their force, or more precisely their configurations of power, also being studied. To believe that the Orient was created—or, as I call it, “Orientalized”— and to believe that such things happen simply as a necessity of the imagination, is to be disingenuous. The relationship between Occident and Orient is a relationship of power, of domination, of varying degrees of a complex hegemony, and is quite accurately indicated in the title of K. M. Panikkar’s classic Asia and Western Dominance.14 The Orient was Orientalized not only because it was discovered to be “Oriental” in all those ways considered commonplace by an average nineteenth-century European, but also because it could be— that is, submitted to being—made Oriental. There is very little consent to be found, for example, in the fact that Flaubert’s encounter with an Egyptian courtesan produced a widely influential model of the Oriental woman; she never spoke of herself, she never represented her emotions, presence, or history. He spoke for and represented her. He was foreign, comparatively wealthy, male, and these were historical facts of domination that allowed him not only to possess Kuchuk Hanem physically but to speak for her and tell his readers in what way she was “typically Oriental.” My argument is that Flaubert’s situation of strength in relation to Kuchuk Hanem was not an isolated instance. It fairly stands for the pattern of relative strength between East and West, and the discourse about the Orient that it enabled.
This brings us to a third qualification. One ought never to assume that the structure of Orientalism is nothing more than a structure of lies or of myths which, were the truth about them to be told, would simply blow away. I myself believe that Orientalism is more particularly valuable as a sign of European-Atlantic power over the Orient than it is as a veridic discourse about the Orient (which is what, in its academic or scholarly form, it claims to be). Nevertheless, what we must respect and try to grasp is the sheer knitted-together strength of Orientalist discourse, its very close ties to the enabling socio-economic and political institutions, and its redoubtable durability. After all, any system of ideas that can remain unchanged as teachable wisdom (in academies, books, congresses, universities, foreign-service institutes) from the period of Ernest Renan in the late 1840s until the present in the United States must be something more formidable than a mere collection of lies. Orientalism, therefore, is not an airy European fantasy about the Orient, but a created body of theory and practice in which, for many generations, there has been a considerable material investment. Continued investment made Orientalism, as a system of knowledge about the Orient, an accepted grid for filtering through the Orient into Western consciousness, just as that same investment multiplied— indeed, made truly productive—the statements proliferating out from Orientalism into the general culture.
Gramsci has made the useful analytic distinction between civil and political society in which the former is made up of voluntary (or at least rational and noncoercive) affiliations like schools, families, and unions, the latter of state institutions (the army, the police, the central bureaucracy) whose role in the polity is direct domination. Culture, of course, is to be found operating within civil society, where the influence of ideas, of institutions, and of other persons works not through domination but by what Gramsci calls consent. In any society not totalitarian, then, certain cultural forms predominate over others, just as certain ideas are more influential than others; the form of this cultural leadership is what Gramsci has identified as hegemony, an indispensable concept for any understanding of cultural life in the industrial West. It is hegemony, or rather the result of cultural hegemony at work, that gives Orientalism the durability and the strength I have been speaking about so far. Orientalism is never far from what Denys Hay has called the idea of Europe,15a collective notion identifying “us” Europeans as against all “those” non-Europeans, and indeed it can be argued that the major component in European culture is precisely what made that culture hegemonic both in and outside Europe: the idea of European identity as a superior one in comparison with all the non-European peoples and cultures. There is in addition the hegemony of European ideas about the Orient, themselves reiterating European superiority over Oriental backwardness, usually overriding the possibility that a more independent, or more skeptical, thinker might have had different views on the matter.
In a quite constant way, Orientalism depends for its strategy on this flexible positional superiority, which puts the Westerner in a whole series of possible relationships with the Orient without ever losing him the relative upper hand. And why should it have been otherwise, especially during the period of extraordinary European ascendancy from the late Renaissance to the present? The scientist, the scholar, the missionary, the trader, or the soldier was in, or thought about, the Orient because he could be there, or could think about it, with very little resistance on the Orient’s part. Under the general heading of knowledge of the Orient, and within the umbrella of Western hegemony over the Orient during the period from the end of the eighteenth century, there emerged a complex Orient suitable for study in the academy, for display in the museum, for reconstruction in the colonial office, for theoretical illustration in anthropological, biological, linguistic, racial, and historical theses about mankind and the universe, for instances of economic and sociological theories of development, revolution, cultural personality, national or religious character. Additionally, the imaginative examination of things Oriental was based more or less exclusively upon a sovereign Western consciousness out of whose unchallenged centrality an Oriental world emerged, first according to general ideas about who or what was an Oriental, then according to a detailed logic governed not simply by empirical reality but by a battery of desires, repressions, investments, and projections. If we can point to great Orientalist works of genuine scholarship like Silvestre de Sacy’s Chrestomathie arabe or Edward William Lane’s Account of the Manners and Customs of the Modern Egyptians, we need also to note that Renan’s and Gobineau’s racial ideas came out of the same impulse, as did a great many Victorian pornographic novels (see the analysis by Steven Marcus of “The Lustful Turk”16).
And yet, one must repeatedly ask oneself whether what matters in Orientalism is the general group of ideas overriding the mass of material—about which who could deny that they were shot through with doctrines of European superiority, various kinds of racism, imperialism, and the like, dogmatic views of “the Oriental” as a kind of ideal and unchanging abstraction?—or the much more varied work produced by almost uncountable individual writers, whom one would take up as individual instances of authors dealing with the Orient. In a sense the two alternatives, general and particular, are really two perspectives on the same material: in both instances one would have to deal with pioneers in the field like William Jones, with great artists like Nerval or Flaubert. And why would it not be possible to employ both perspectives together, or one after the other? Isn’t there an obvious danger of distortion (of precisely the kind that academic Orientalism has always been prone to) if either too general or too specific a level of description is maintained systematically?
My two fears are distortion and inaccuracy, or rather the kind of inaccuracy produced by too dogmatic a generality and too positivistic a localized focus. In trying to deal with these problems I have tried to deal with three main aspects of my own contemporary reality that seem to me to point the way out of the methodological or perspectival difficulties I have been discussing, difficulties that might force one, in the first instance, into writing a coarse polemic on so unacceptably general a level of description as not to be worth the effort, or in the second instance, into writing so detailed and atomistic a series of analyses as to lose all track of the general lines of force informing the field, giving it its special cogency. How then to recognize individuality and to reconcile it with its intelligent, and by no means passive or merely dictatorial, general and hegemonic context?
III
It is very easy to argue that knowledge about Shakespeare or Wordsworth is not political whereas knowledge about contemporary China or the Soviet Union is. My own formal and professional designation is that of “humanist,” a title which indicates the humanities as my field and therefore the unlikely eventuality that there might be anything political about what I do in that field. Of course, all these labels and terms are quite unnuanced as I use them here, but the general truth of what I am pointing to is, I think, widely held. One reason for saying that a humanist who writes about Wordsworth, or an editor whose specialty is Keats, is not involved in anything political is that what he does seems to have no direct political effect upon reality in the everyday sense. A scholar whose field is Soviet economics works in a highly charged area where there is much government interest, and what he might produce in the way of studies or proposals will be taken up by policymakers, government officials, institutional economists, intelligence experts. The distinction between “humanists” and persons whose work has policy implications, or political significance, can be broadened further by saying that the former’s ideological color is a matter of incidental importance to politics (although possibly of great moment to his colleagues in the field, who may object to his Stalinism or fascism or too easy liberalism), whereas the ideology of the latter is woven directly into his material—indeed, economics, politics, and sociology in the modern academy are ideological sciences—and therefore taken for granted as being “political.”
Nevertheless the determining impingement on most knowledge produced in the contemporary West (and here I speak mainly about the United States) is that it be nonpolitical, that is, scholarly, academic, impartial, above partisan or small-minded doctrinal belief. One can have no quarrel with such an ambition in theory, perhaps, but in practice the reality is much more problematic. No one has ever devised a method for detaching the scholar from the circumstances of life, from the fact of his involvement (conscious or unconscious) with a class, a set of beliefs, a social position, or from the mere activity of being a member of a society. These continue to bear on what he does professionally, even though naturally enough his research and its fruits do attempt to reach a level of relative freedom from the inhibitions and the restrictions of brute, everyday reality. For there is such a thing as knowledge that is less, rather than more, partial than the individual (with his entangling and distracting life circumstances) who produces it. Yet this knowledge is not therefore automatically nonpolitical.
What I am interested in doing now is suggesting how the general liberal consensus that “true” knowledge is fundamentally nonpolitical (and conversely, that overtly political knowledge is not “true” knowledge) obscures the highly if obscurely organized political circumstances obtaining when knowledge is produced. No one is helped in understanding this today when the adjective “political” is used as a label to discredit any work for daring to violate the protocol of pretended suprapolitical objectivity. We may say, first, that civil society recognizes a gradation of political importance in the various fields of knowledge. To some extent the political importance given a field comes from the possibility of its direct translation into economic terms; but to a greater extent political importance comes from the closeness of a field to ascertainable sources of power in political society. Thus an economic study of long-term Soviet energy potential and its effect on military capability is likely to be commissioned by the Defense Department, and thereafter to acquire a kind of political status impossible for a study of Tolstoi’s early fiction financed in part by a foundation. Yet both works belong in what civil society acknowledges to be a similar field, Russian studies, even though one work may be done by a very conservative economist, the other by a radical literary historian. My point here is that “Russia” as a general subject matter has political priority over nicer distinctions such as “economics” and “literary history,” because political society in Gramsci’s sense reaches into such realms of civil society as the academy and saturates them with significance of direct concern to it.
I do not want to press all this any further on general theoretical grounds: it seems to me that the value and credibility of my case can be demonstrated by being much more specific, in the way, for example, Noam Chomsky has studied the instrumental connection between the Vietnam War and the notion of objective scholarship as it was applied to cover state-sponsored military research.17 Now because Britain, France and recently the United States are imperial powers, their political societies impart to their civil societies a sense of urgency, a direct political infusion as it were, where and whenever matters pertaining to their imperial interests abroad are concerned. I doubt that it is controversial, for example, to say that an Englishman in India or Egypt in the later nineteenth century took an interest in those countries that was never far from their status in his mind as British colonies. To say this may seem quite different from saying that all academic knowledge about India and Egypt is somehow tinged and impressed with, violated by, the gross political fact—and yet that is what I am saying in this study of Orientalism. For if it is true that no production of knowledge in the human sciences can ever ignore or disclaim its author’s involvement as a human subject in his own circumstances, then it must also be true that for a European or American studying the Orient there can be no disclaiming the main circumstances of his actuality: that he comes up against the Orient as a European or American first, as an individual second. And to be a European or an American in such a situation is by no means an inert fact. It meant and means being aware, however dimly, that one belongs to a power with definite interests in the Orient, and more important, that one belongs to a part of the earth with a definite history of involvement in the Orient almost since the time of Homer.
Put in this way, these political actualities are still too undefined and general to be really interesting. Anyone would agree to them without necessarily agreeing also that they mattered very much, for instance, to Flaubert as he wrote Salammbô, or to H. A. R. Gibb as he wrote Modern Trends in Islam. The trouble is that there is too great a distance between the big dominating fact, as I have described it, and the details of everyday life that govern the minute discipline of a novel or a scholarly text as each is being written. Yet if we eliminate from the start any notion that “big” facts like imperial domination can be applied mechanically and deterministically to such complex matters as culture and ideas, then we will begin to approach an interesting kind of study. My idea is that European and then American interest in the Orient was political according to some of the obvious historical accounts of it that I have given here, but that it was the culture that created that interest, that acted dynamically along with brute political, economic, and military rationales to make the Orient the varied and complicated place that it obviously was in the field I call Orientalism.
Therefore, Orientalism is not a mere political subject matter or field that is reflected passively by culture, scholarship, or institutions; nor is it a large and diffuse collection of texts about the Orient; nor is it representative and expressive of some nefarious “Western” imperialist plot to hold down the “Oriental” world. It is rather a distribution of geopolitical awareness into aesthetic, scholarly, economic, sociological, historical, and philological texts; it is an elaboration not only of a basic geographical distinction (the world is made up of two unequal halves, Orient and Occident) but also of a whole series of “interests” which, by such means as scholarly discovery, philological reconstruction, psychological analysis, landscape and sociological description, it not only creates but also maintains; it is, rather than expresses, a certain will or intention to understand, in some cases to control, manipulate, even to incorporate, what is a manifestly different (or alternative and novel) world; it is, above all, a discourse that is by no means in direct, corresponding relationship with political power in the raw, but rather is produced and exists in an uneven exchange with various kinds of power, shaped to a degree by the exchange with power political (as with a colonial or
imperial establishment), power intellectual (as with reigning sciences like comparative linguistics or anatomy, or any of the modern policy sciences), power cultural (as with orthodoxies and canons of taste, texts, values), power moral (as with ideas about what “we” do and what “they” cannot do or understand as “we” do). Indeed, my real argument is that Orientalism is—and does not simply represent—a considerable dimension of modern political-intellectual culture, and as such has less to do with the Orient than it does with “our” world.
Because Orientalism is a cultural and a political fact, then, it does not exist in some archival vacuum; quite the contrary, I think it can be shown that what is thought, said, or even done about the Orient follows (perhaps occurs within) certain distinct and intellectually knowable lines. Here too a considerable degree of nuance and elaboration can be seen working as between the broad superstructural pressures and the details of composition, the facts of textuality. Most humanistic scholars are, I think, perfectly happy with the notion that texts exist in contexts, that there is such a thing as intertextuality, that the pressures of conventions, predecessors, and rhetorical styles limit what Walter Benjamin once called the “overtaxing of the productive person in the name of . . . the principle of ‘creativity,’” in which the poet is believed on his own, and out of his pure mind, to have brought forth his work.18 Yet there is a reluctance to allow that political, institutional, and ideological constraints act in the same manner on the individual author. A humanist will believe it to be an interesting fact to any interpreter of Balzac that he was influenced in the Comédie humaine by the conflict between Geoffroy Saint-Hilaire and Cuvier, but the same sort of pressure on Balzac of deeply reactionary monarchism is felt in some vague way to demean his literary “genius” and therefore to be less worth serious study. Similarly—as Harry Bracken has been tirelessly showing—philosophers will conduct their discussions of Locke, Hume, and empiricism without ever taking into account that there is an explicit connection in these classic writers between their “philosophic” doctrines and racial theory, justifications of slavery, or arguments for colonial exploitation.19 These are common enough ways by which contemporary scholarship keeps itself pure.
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