ABSTRACT Napoleon's invasion of Egypt, launched in 1798, is closely linked to the birth of modern Orientalism, which Edward Said describes as the disciplines through which ‘the Orient was reconstructed' in forms that brought it ‘closer to Europe'. But it can also be linked to what Édouard Glissant calls ‘the restlessness of the same disturbed by the other'. This perturbation is the primary object of this essay, which I explore through works by Robert Ker Porter (1777–1842), a well-known artist, traveller and diplomat; Richard Brothers (1757–1824), a popular prophet, who exerted a powerful influence on Europe's millenarian circles in the 1790s; and William Blake (1757–1827), an artist, poet, philosopher and visionary, who is now considered one of Britain's most important writers/artists. As I will argue, in the early nineteenth century, this ‘restlessness’ is catalyst for attempts to bring the other over to the side of the same (Porter); to bring the same over to the side of the other (Brothers); and finally to dispatch the binary oppositions that underwrite this see-saw (Blake). It is only at the end of our journey, from Napoleon to Porter, Brothers, and then Blake that a modern art and literature comes into view.

中文翻译：

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谈判“圣地”：从波拿巴到布雷克的跨文化遭遇

摘要拿破仑于1798年入侵埃及，与现代东方主义的产生息息相关。爱德华·赛义德（Edward Said）将其描述为以“使东方”更接近“欧洲”的形式重建“东方”的学科。但这也可以与爱德华·格里桑特（ÉdouardGlissant）所说的“同一个人的不安情绪受到他人的干扰”联系起来。这种干扰是本文的主要目的，我将通过著名画家，旅行者和外交官罗伯特·克尔·波特（1777–1842）的作品进行探讨。理查德·兄弟（Richard Brothers，1757–1824年），一位颇受欢迎的先知，他在1790年代对欧洲的千禧年圈子产生了深远的影响。威廉·布雷克（William Blake，1757–1827年）是一位艺术家，诗人，哲学家和有远见的画家，现在被认为是英国最重要的作家/艺术家之一。我会说，在19世纪初期，这种“躁动”是试图将另一方推向同一方的催化剂（Porter）；将其移交给另一方（兄弟）；并最终派遣支持该跷跷板的二元对立（布雷克）。从拿破仑到波特，兄弟，再到布雷克，我们旅程的尽头只是现代艺术和文学的出现。