As noted in a previous post, I recently went through a late 19th century scrapbook that belonged to my great, great aunt. She had cut out pictures that interested or amused her. Several of these have Orientalist themes. Sometimes a picture is worth a thousand words; other times the picture says enough for itself. In this series, I leave the image to speak for itself. If you would like to comment on what you see or imagine, please do so in the comments section.
For #1, click here.
As noted in a previous post, I recently went through a late 19th century scrapbook that belonged to my great, great aunt. She had cut out pictures that interested or amused her. Several of these have Orientalist themes. Sometimes a picture is worth a thousand words; other times the picture says enough for itself. In this series, I leave the image to speak for itself. If you would like to comment on what you see or imagine, please do so in the comments section.
Coptic Mother and Child, 1875, painting by Frederick Goodall, mid 19th century
The English artist Frederick Goodall provides a number of portraits of ordinary Egyptians in the mid to late 19th century. For more details on Goodall, click here for an earlier post.
Study of a Bedouin Girl, painting by Frederick Goodall, mid 19th century
Unloading Cotton on the Nile, painting by Frederick Goodall, mid 19th century
Attention to Orientalist paintings often ignores the lesser artists, some of whom provided valuable descriptive renderings of people and scenes. One of these is the Englishman Frederick Goodall (1822-1904), who moved to the Coptic quarter of Cairo in 1858, sharing space with Carl Haag, a drawing master for Queen Victoria. They spent much time in Bedouin camps, as well as busy suqs, where they were often treated with suspicion. After seven months in Egypt, Goodall had produced 130 oil paintings. He returned to Egypt in 1870 to make more paintings, this time with his two sons. They stayed at the house of the Egyptian archaeologist Mariette-Bey, near Sakkara. To blend in with the context Goodall grew a beard and at times dressed in white with a red fez. His work provides a meticulous “ethnographic” view of Egypt at the time.
Cairo Bazaar, 1891
The Palm Grove, 1894
Rorotoko? Yes, Rorotoko. Forget about the name, but enjoy a relatively new website which allows authors to describe their books. As the site suggests:
• Rorotoko is an online venue for engaging the ideas and elaborations serious books are made of.
• Rorotoko is exclusive authors’ interviews on some of the most fascinating books coming out of some of the finest nonfiction and scholarly presses.
• But Rorotoko is not about books, it is about what books are about.
The April 3 edition of Rorotoko features an article I wrote about my Reading Orientalism: Said and the Unsaid, published by University of Washington Press in 2007.
Reading Orientalism is literally a re-reading of the late Edward Said’s Orientalism. Said’s powerful critique remains a milestone in the critical theory of academic bias three decades after its first publication. As the years go by, Orientalism survives more as an essential source to cite rather than a polemical text in need of thorough and open-minded reading. Read by academics as well as the general public in almost three dozen translations, Said’s text analyzes novels, travelogues and academic books to argue that a dominant imperialist discourse of West over East has underwritten virtually all past European and American representation of a so-called “Orient.†The debate over these views of Edward Said, a prominent intellectual of Palestinian heritage, continues unabated even after his passing in 2003. Continue reading Reading Orientalism on Rorotoko
[Webshaykh’s Note: This is the start of a new blog thread dedicated to energizing scholarly and pedagogical attempts to combat, or at least mitigate, the ongoing volume of Islamophobia in the media, especially on the Internet. The question is simple: what can be done to respond to Islamophobia in the media by our efforts in the blogosphere, formal media outlets, classroom, community and scholarly forums? I invite fellow scholars, professors and teachers and anyone concerned with this issue to contribute to the discussion here at Tabsir.]
People of any particular religious faith are understandably offended when someone or something they hold to be sacred is dragged through the media-made mud of ridicule. There is no way to completely stop desecration, even when hate crime laws are in place. As long as there are synagogues with walls and anti-Semites with paint, swatstikas will be painted. As long as there are artists who stretch their creative energies to the limit of tolerance, animal dung will adorn the body of the Madonna. And as long as so many individuals in Western societies fear Islam through the veil of their own ignorance and historically constructed disdain, the Prophet Muhammad will be pictured as a profligate. The Danish cartoon controversy was only the tip of the iceberg, one that created a titanic rift in the Muslim community worldwide. The irony is that portraying Muhammad in any form is considered wrong in Islam, so that placing a stud missile in the turban of a caricatured Mahound (to drop a literary motif of the same controversial dimension) glosses over the level of misunderstanding motivating those who made and appreciated the cartoon images.
So what is the proper response to the volume of prophet bashing out there, not only in the case of Islam. Here are a few suggestions to jumpstart the process of analysis so that we as scholars can mitigate the paralysis created by an Islamophobia that is only a mouse click away.
• Identify resources (books, relevant articles, websites, speakers) which provide a scholarly and objective-as-possible perspective on Islamophobia
• Discuss the merits of whether or not to provide examples of Islamophobic writing, art and videos that are admittedly offensive to many Muslims
• Provide lesson and project ideas to encourage students to critically assess the Islamophobia in specific examples they are likely to find in the media and on the Internet
• Engage with fellow scholars and concerned Muslims about the most effective and least offensive ways to combat and mitigate Islamophobic writing and art
• Link examples of Islamophobia to other forms of verbal and artistic ridicule of sacred materials.
• Expose Islamophobic rhetoric by politicians, celebrities and other people in the news.
Having set out the goals, I invite colleagues contribute comments, commentaries and examples for and against Islamophobia for this series, please email the webshakh at daniel.m.varisco@hofstra.edu. I will post the first commentary tomorrow.
Daniel Martin Varisco
Museum Exhibits
January 29 to March 29, 2009: Napoleon on the Nile: Soldiers, Artists and the Rediscovery of Egypt
March 24 through April 30, 2009: In Pursuit of the Exotic: Artists Abroad in 19th Century Egypt and the Holy Land
New York, New York – The Dahesh Museum of Art and Syracuse University Art Galleries today announced the formation of a partnership, which will include the Museum’s organizing several exhibitions annually from its own collection of 19th-century art in the academic tradition, complemented by works in the University’s rich collection, for presentation at the SU Art Galleries in Syracuse, as well as The Palitz Gallery/ Lubin House, located on 11 East 61st Street, off Fifth Avenue. The Palitz Gallery has recently attracted artworld attention with the exhibition Michelangelo: the Man and the Myth on view through January 4th 2009. Continue reading In Pursuit of the Exotic
Illustration of his poem by Palmer Cox, 1882
The Sultan of the East
by Palmer Cox
There was a sultan of the East
Who used to ride a stubborn beast;
A marvel of the donkey-kind,
That much perplexed his owner’s mind.
By turns he moved a rod ahead.
Then backed a rod or so instead.
And thus the day would pass around,
The Sultan gaining little ground.
The servants on before would stray
And pitch their tents beside the way,
And pass the time as best they might
Until their master hove in sight. Continue reading The Sultan of the East