Orientalism: in the 19th century, this word referred both to the disciplined study of Asian cultures in Western academia, and to a school of European painting characterized by its fanciful and exotic depictions of Asia (and the Middle East in particular). Since Edward Said’s landmark 1978 book of the same title, Orientalism has come to name a complex and historically varied Western tendency to relate to Asia on the terms of stereotyping fantasy. Surveying the development of orientalist themes from about 1890 to the present—including the craze for japonisme in late-19th century European art, and the mix-and-match approach to Eastern (and other) spiritualities that constitutes the “New Age”—this course unravels the tropes and conventions that have historically shaped how Asia is imagined, perceived, and represented in the modern West. Along the way, we will ask how and why orientalist tropes have historically framed the exploration of issues like gender, sexuality, cultural decline, and futurity. Starting with Said as a springboard, we’ll read a series of literary and cinematic texts—Gilbert and Sullivan’s comic opera The Mikado, Wong Kar-Wai’s film In the Mood For Love—alongside more recent theoretical accounts of orientalism by scholars such as Anne Anlin Cheng, Grace Lavery, and R John Williams. We will also look at the ways in which Asian writers and artists have adopted orientalist modes of representation for their own critical purposes.