Orientalism′s Interlocutors: Painting, Architecture, Photography

250 Pages·2002·4.85 MB·English

by  Jill Beaulieu

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)