Odalisques And Arabesques

Ken Jacobson shows that the history of Orientalist photography begins weeks after the invention of photography itself. Jacobson is not an academic, but has conducted a great deal of scholarly research on the often obscure careers of photographers and the intertwined histories of the Levantine studios. He demonstrates that many of the past criticisms of Orientalist photography are based on ignorance either of chronology or technology.

Over the past decade, historical studies of photography have embraced a variety of cultural and disciplinary approaches to the medium, while shedding light on non-Western, vernacular, and "other" photographic practices outside the Euro-American canon. Photography, History, Difference brings together an international group of scholars to reflect on contemporary efforts to take a different approach to photography and its histories. What are the benefits and challenges of writing a consolidated, global history of photography? How do they compare with those of producing more circumscribed regional or thematic histories? In what ways does the recent emphasis on geographic and national specificity encourage or exclude attention to other forms of difference, such as race, class, gender, and sexuality? Do studies of "other" photographies ultimately necessitate the adoption of nontraditional methodologies, or are there contexts in which such differentiation can be intellectually unproductive and politically suspect? The contributors to the volume explore these and other questions through historical case studies; interpretive surveys of recent historiography, criticism, and museum practices; and creative proposals to rethink the connections between photography, history, and difference. A thought-provoking collection of essays that represents new ways of thinking about photography and its histories. It will appeal to a broad readership among those interested in art history, visual culture, media studies, and social history.

Simon Goldhill offers a fascinating new perspective on the material culture of nineteenth-century Britain.

The first history of indigenous photography in the Middle East The birth of photography coincided with the expansion of European imperialism in the Middle East, and some of the medium's earliest images are Orientalist pictures taken by Europeans in such places as Cairo and Jerusalem—photographs that have long shaped and distorted the Western visual imagination of the region. But the Middle East had many of its own photographers, collectors, and patrons. In this book, Stephen Sheehi presents a groundbreaking new account of early photography in the Arab world. The Arab Imago concentrates primarily on studio portraits by Arab and Armenian photographers in the late Ottoman Empire. Examining previously known studios such as Abdullah Frères, Pascal Sébah, Garabed Krikorian, and Khalil Raad, the book also provides the first account of other pioneers such as Georges and Louis Saboungi, the Kova Brothers, Muhammad Sadiq Bey, and Ibrahim Rif'at Pasha—as well as the first detailed look at early photographs of the annual pilgrimage to Mecca. In addition, the book explores indigenous photography manuals and albums, newspapers, scientific journals, and fiction. Featuring extensive previously unpublished images, The Arab Imago shows how native photography played an essential role in the creation of modern Arab societies in Egypt, Palestine, Syria, and Lebanon before the First World War. At the same time, the book overturns Eurocentric and Orientalist understandings of indigenous photography and challenges previous histories of the medium.

The Handbook of Photography Studies is a state-of-the-art overview of the field of photography studies, examining its thematic interests, dynamic research methodologies and multiple scholarly directions. It is a source of well-informed, analytical and reflective discussions of all the main subjects that photography scholars have been concerned with as well as a rigorous study of the field’s persistent expansion at a time when digital technology regularly boosts our exposure to new and historical photographs alike. Split into five core parts, the Handbook analyzes the field’s histories, theories and research strategies; discusses photography in academic disciplinary and interdisciplinary contexts; draws out the main concerns of photographic scholarship; interrogates photography’s cultural and geopolitical influences; and examines photography’s multiple uses and continued changing faces. Each part begins with an introductory text, giving historical contextualization and scholarly orientation. Featuring the work of international experts, and offering diverse examples, insights and discussions of the field’s rich historiography, the Handbook provides critical guidance to the most recent research in photography studies. This pioneering and comprehensive volume presents a systematic synopsis of the subject that will be an invaluable resource for photography researchers and students from all disciplinary backgrounds in the arts, humanities and social sciences.

The publication of Edward Said’s Orientalism in 1978 marks the inception of orientalism as a discourse. Since then, Orientalism has remained highly polemical and has become a widely employed epistemological tool. Three decades on, this volume sets out to survey, analyse and revisit the state of the Orientalist debate, both past and present. The leitmotiv of this book is its emphasis on an intimate connection between art, land and voyage. Orientalist art of all kinds frequently derives from a consideration of the land which is encountered on a voyage or pilgrimage, a relationship which, until now, has received little attention. Through adopting a thematic and prosopographical approach, and attempting to locate the fundamentals of the debate in the historical and cultural contexts in which they arose, this book brings together a diversity of opinions, analyses and arguments.

Raqs sharqi, the Egyptian dance form also known as belly dance, has for generations captured imaginations around the globe. Yet its origins have been obscured by misinformation and conjecture, rooted in Orientalist attitudes about the Middle East--a widely accepted narrative suggests the dance was created in response to Western influences and desires. Drawing on an array of primary sources, the author traces the early development of raqs sharqi in the context of contemporary trends in Egyptian arts and entertainment. The dance is revealed to be a hybrid cultural expression, emerging with the formation of Egyptian national identity at the end of the 19th century, when Egypt was occupied by the British.

With an eye to recovering the experiences of those in frontier zones of contact, Savage Worlds maps a wide range of different encounters between Germans and non-European indigenous peoples in the age of high imperialism. Examining outbreaks of radical violence as well as instances of mutual co-operation, it examines the differing goals and experiences of German explorers, settlers, travellers, merchants, and academics, and how the variety of projects they undertook shaped their relationship with the indigenous peoples they encountered. Examining the multifaceted nature of German interactions with indigenous populations, this volume offers historians and anthropologists clear evidence of the complexity of the colonial frontier and frontier zone encounters. It poses the question of how far Germans were able to overcome their initial belief that, in leaving Europe, they were entering ‘savage worlds’.

Introducing a novel anthropological study of photography in the Middle East, Emilie Le Febvre takes us to the Naqab Desert where Bedouin use photographs to make, and respond to, their own histories. She argues Bedouin presentations of the past are selective but increasingly reliant on archival documents such as photographs which spokespersons treat as evidence of their local histories amid escalating tensions in Israel. These practices shape Bedouin visual historicity, that is the diverse ways people produce their pasts in the present with images. This book charts these processes through the afterlives of six photographs (c. 1906–2013) as they circulate between the Naqab’s entangled visual economies – a transregional landscape organised by cultural ideals of proximity and assemblages of Bedouin iconography. Le Febvre illustrates how representational contentions associated with tribal, civic, and Palestinian-Israeli politics influence how images do history work in this society. She concludes Bedouin visual historicity is defined by acts of persuasion during which photographs authenticate alternating history projects. Here, Bedouin value photographs not because they evidence singular narratives of the past. Rather, the knowledges inscribed by photography are multifarious as they support diverse constructions of history and society with which members mediate a wide range of relationships in southern Israel. This book bridges studies of anthropology, photography, Palestinian-Israeli politics, and Bedouin Middle East history.