By Jocelyn Hackforth-Jones, Mary Roberts
Edges of Empire specializes in the intersection among modernization, modernism, and Orientalism. it's a well timed reassessment of the heritage and legacy of Orientalist artwork and visible tradition. The essays during this quantity discover the connections and cross-fertilizations that ensue throughout cultural barriers through the research of Ottoman and North African paintings practices, in addition to the visible tradition of ecu Orientalism. Contested identities and new definitions of self are highlighted with regards to themes as different as nineteenth-century monuments to empire, cultural cross-dressing, functionality and exhibit on the foreign exhibitions, and modern museological perform. it is a groundbreaking anthology that would be of significant curiosity to students and scholars of paintings heritage, structure, museum experiences, and cultural and postcolonial reports.
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Additional resources for Edges of Empire: Orientalism and Visual Culture
6 D. M. Reid, Whose Pharaohs? Archaeology, Museums and Egyptian National Identity from Napoleon to World War I (Berkeley: University of California Press, 2002). 7 W. M. K. Shaw, Possessors and Possessed: Museums, Archaeology, and the Visualization of History in the Late Ottoman Empire (Berkeley: University of California Press, 2003). 8 See Z. C¸elik, ‘‘Colonialism, Orientalism and the Canon,’’ Art Bulletin, 78/2 (1996), 201–5; Z. ), Orientalism’s Interlocutors, 26–31. 9 J. F. Codell and D. S. ), Orientalism’s Interlocutors.
My Statue of Liberty was a pure work of love, costing me the sacrifice of ten years and of twenty thousand dollars – little perhaps for Americans, but a great deal for me. 44 Darcy Grimaldo Grigsby The Egyptian affair would have been purely a business transaction. 9 The defensive tone is unmistakable, and so too is the desperate reaching for counterclaims. ’’ And also why. Differences in motive as well as media and scale are marshaled to prove that the Statue of Liberty, ‘‘a pure work of love,’’ was never offered to another government.
32 Celal Esad, ‘‘Osmanlı Mimarisi,’’ Ikdam, January 3, 1907. I discuss this article in The Remaking of Istanbul, 151–2. 33 Viollet-le-Duc, ‘‘Pre´face,’’ Les Arts arabes. ), Urbanite´ arabe (Arles: Sindbad/Actes Sud, 1998), 312, 320 n. 21. 35 For a discussion and images of Arnodin’s bridge, see C¸elik, The Remaking of Istanbul, 107–9. 36 Selim Deringil, The Well-Protected Domains: Ideology and Legitimation of Power in the Ottoman Empire 1876–1909 (New York: I. B. Tauris, 1998), 23–4. 37 For discussions of this tower, see Stefan Weber, ‘‘Der Marga-Platz in Damaskus,’’ in Damaszener Mitteilungen, 10 (1998), 316–17, and Diana Barillari, Raimondo D’Aronco (Rome: Laterza, 1995), 49.