MARC Record from harvard_bibliographic_metadata

LEADER: 03293nam a22003494a 4500
001 009013599-7
005 20041216091107.0
008 020409s2002 ncuaef b 001 0 eng
010 $a 2002005514
020 $a0822328593 (alk. paper)
020 $a0822328747 (ppk. : alk. paper)
035 0 $aocm49582980
040 $aDLC$cDLC$dMH-FA
042 $apcc
043 $ae------
050 00 $aN8217.E88$bO685 2002
082 00 $a704.9/4995$221
245 00 $aOrientalism's interlocutors :$bpainting, architecture, photography /$cedited by Jill Beaulieu and Mary Roberts.
260 $aDurham :$bDuke University Press,$c2002.
300 $aix, 227 p., [4] p. of plates :$bill. (some col.), plans ;$c25 cm.
440 0 $aObjects/histories
504 $aIncludes bibliographical references (p. [205]-216) and index.
505 0 $aOrientalism's interlocutors -- Speaking back to orientalist discourse -- Colonial tutelage to nationalist affirmation: Mammeri and Racim, painters of the Maghreb -- The mosque and the metropolis -- Earth into world, land into landscape: the "worlding" of Algeria in nineteenth-century British feminism -- Henri Regnault's wartime orientalism -- Contested terrains: women orientalists and the colonial harem.
520 $a"Until now, Orientalist art - exemplified by paintings of harems, slave markets, or bazaars - has predominantly been understood to reflect Western interpretations and to perpetuate reductive, often demeaning stereotypes of the exotic East. Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and westerners, the contributors contend that the stylistic similarities between indigenous and Western Orientalist art mask profound interpretive differences, which, on examination, can reveal a visual language of resistance to colonization. The essays also demonstrate how marginalized voices and viewpoints - especially women's - within Western Orientalism decentered and destabilized colonial authority.
520 $aLooking at the political significance of cross-cultural encounters refracted through the visual languages of Orientalism, the contributors engage with pressing recent debates about indigenous agency, postcolonial identity, and gendered subjectivities. The very range of artists, styles, and forms discussed in this collection broadens contemporary understandings of Orientalist art. Among the artists considered are the Algerian painters Azouaou Mammeri and Mohammed Racim; Turkish painter Osman Hamdi; British landscape painter Barbara Bodichon; and the French painter Henri Regnault. From the liminal "Third Space" created by mosques in postcolonial Britain to the ways nineteenth-century harem women negotiated their portraits by British artists, the essays in this collection force a rethinking of the Orientalist canon."--GoogleBooks.
650 0 $aOrientalism in art$zEurope.
650 0 $aOrientalism$xSocial aspects.
650 0 $aOrientalism in art.
700 1 $aBeaulieu, Jill.
700 1 $aRoberts, Mary,$d1965-
988 $a20020607
906 $0DLC