Orientalism′s Interlocutors: Painting, Architecture, Photography PDF
Preview Orientalism′s Interlocutors: Painting, Architecture, Photography
OBJECTS/HISTORIES Critical Perspectives on Art, Material Culture, and Representation A series edited by Nicholas Thomas ORIENTALISM’S INTERLOCUTORS PAINTING, ARCHITECTURE, PHOTOGRAPHY EDITED BY JILL BEAULIEU AND MARY ROBERTS Duke University Press Durham and London 2002 © 2002 Duke University Press All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Perpetua by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. CONTENTS List of Illustrations Plates (Plates appear between pp 132–133) Figures Acknowledgments Orientalism’s Interlocutors Rethinking Interlocution The Interlocutors Notes Speaking Back to Orientalist Discourse Notes Colonial Tutelage to Nationalist Affirmation: Mammeri and Racim, Painters of the Maghreb Two Paths The Path of Emulation: Azouaou Mammeri The Path of the Hybrid: Mohammed Racim Notes The Mosque and the Metropolis Notes Earth into World, Land into Landscape: the “Worlding” of Algeria in Nineteenth-Century British Feminism Worlding “a texting, textualising” Feminist Subjects in the Landscape “a making into art, making into an object to be understood” Notes Henri Regnault’s Wartime Orientalism Notes Contested Terrains: Women Orientalists and the Colonial Harem Notes Bibliography Contributors LIST OF ILLUSTRATIONS Plates (Plates appear between pp 132–133) Plate 1. Prince Abdülmecid, Beethoven in the Palace Plate 2. Eugène Delacroix, Les Femmes d’Alger dans leur appartement Plate 3. Mohammed Racim, Galleys Fleeing the Storm (Galères fuyant la tempête) Plate 4. Henri Regnault, Haoua, intérieur de Harem Plate 5. John Frederick Lewis, The Hhareem Plate 6. Henriette Browne, Une Visite (intérieur de harem, Constantinople, 1860)
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