The image of Saladin they used was the romantic one created by Walter Scott and other Europeans in the West at the time. It replaced Saladin's reputation as a figure who had been largely forgotten in the Muslim world, eclipsed by more successful figures such as Baybars of Egypt. Modern Arab states have sought to commemorate Saladin through various measures, often based on the image created of him in the 19th-century west. Renewed interest in the period is comparatively recent, arising in the context of modern Jihadist propaganda calling for war on the Western "crusaders". The term "ṣalībiyyūn" "crusader", a 19th-century loan translation from Western historiography, is now in common use as a pejorative; Salafi preacher Wagdy Ghoneim has used it interchangeably with "naṣārā" and "masīḥiyyīn" as a term for Christians in general. The Partition of the Ottoman Empire was, at the time, popularly depicted as a final triumph in the long history of the crusades against Islam: The London " Punch" magazine published a drawing of King Richard the Lionheart watching the post-WWI British army entering Jerusalem with the caption, “At last, my dream come true.” In a similar fashion, when the French General Henri Gouraud took command of Syria, he remarked, “Behold Saladin, we have returned. Madden (1999) argued that this European romanticising connection of the crusades with contemporary colonialism was what has "reshaped the Muslim memory" of the medieval crusades. Beginning in the 1950s, following the influential "History of the Crusades" by Steven Runciman,  western intellectual mainstream tended to depict the crusades as a shameful episode of colonialism. This, once again, tended to influence Muslim perception of the period, fuelling Arab nationalism and Islamist propagandistic depictions of westerners as hostile invaders:  Khashan (1997) has argued that the revival of "crusading" narrative in the west is connected with the end of the Cold War and the search for a new "good vs. evil" dichotomy in which to cast world politics. Khan (2003) argues that the contemporary jihadist propaganda is substantially derived from the  writings of early Islamist like Sayyid Qutb and Maududi who were educated in Western institutions in the 1950s and thus  submerged in the "politically correct" narrative following Runcimann which was current in western academia at the time.