| مجال التميز |
تميز دراسي وبحثي + جائزة تفوقية |
البحوث المنشورة |
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| البحث (1): |
Book Review |
| عنوان البحث: |
Inspired by the East: How the Islamic World Influenced Western Art: A Review |
| رابط إلى البحث: |
Inspired by the East – How the Islamic World Influenced Western Art – A Review.pdf
ASTENE_Bulletin_84_Spring2021 (7).pdf |
| تاريخ النشر: |
06/01/2021 |
| موجز عن البحث: |
A joint venture between the Islamic Art Museum in Kuala Lumpur and the British Museum in London, the exhibition and its catalogue, Inspired by the East: how the Islamic world influenced Western art valiantly endeavours to carry Orientalism beyond the traded contemporary criticism of the genre. Unlike most previous exhibitions on Orientalism, this initiative, led by the co-curators and essay authors, significantly reflects diverse perspectives by covering a diverse range of material (188 illustrations) from paintings, manuscripts, photographs, films, travel books, and watercolour illustrations to ceramics, clothing, artefacts, and music. Multiple settings also come into focus, including the Middle East, North Africa, North America, and Europe. The catalogue showcases a long and intertwined rhetoric of influence over the course of centuries, from the fourteenth century to the present day. The thematic diversity and chronological span of this exhibition signify a shifting attitude in global ideologies, which is much needed today. |
المؤتمرات العلمية |
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| المؤتمر (1): | |
| عنوان المؤتمر: |
ASTENE: Thirteenth Biennial Conference (2019) |
| تاريخ الإنعقاد: |
13/07/2019 |
| مكان الإنعقاد: |
University of York/ United Kingdom |
| طبيعة المشاركة: |
Paper presentation |
| عنوان المشاركة: |
Outside Said’s Mainstream: The Pictorial and Poetic nineteenth-century East |
| ملخص المشاركة: |
Orientalism has been transformed from an art historical term relating to knowledge about the Orient to an intellectual charge, especially after the publication of Edward Said’s seminal book, Orientalism (1978). It becomes ‘one of the most ideologically charged words in modern scholarship’. In his critique of European Orientalism, Said alludes to a systematic discourse of Western supremacy and cultural imperialism in Western culture from Homer’s time until the present day. He suggests that numerous Orientalist works by artists, travellers and poets were marching in line with an imperial project, especially during the expansionist times of the nineteenth century, or are racial and Eurocentric in nature. This paper, on the other hand, embarks along a road less frequently taken in Oriental studies. It postulates that nineteenth-century Orientalism was far from the alleged homogeneity proposed by Said. The paper maps different pathways and ways of representing nineteenth-century Orientalism that reflect discursive heterogeneity to the fullest: not only in relation to subject-matter, but even in style; and not only between different bodies of works, but even within the art produced by Orientalists. A different reading of works by Jean Leon Gerome, Antoine-Jean Gros and Eugene Delacroix, especially in their representation of masculine violence and Oriental despotism, stands in stark opposition to Said’s thesis. Ultimately, this paper disregards political and economic critiques of Orientalism and focuses instead on the aesthetic, documentary and historical merits of Orientalist production. |
| الرابط: |
http://www.astene.org.uk/biennial-conference/past-conferences/ |
| المؤتمر (2): | |
| عنوان المؤتمر: |
Eastern Questions: New Perspectives on British Orientalism |
| تاريخ الإنعقاد: |
17/10/2019 |
| مكان الإنعقاد: |
The Royal Holloway, University of London/ United Kingdom |
| طبيعة المشاركة: |
Oral presentation |
| عنوان المشاركة: |
‘Uncomfortable Pictures’: The Royal Holloway Collection in the Royal Holloway Gallery including Edwin Long’s Babylonian Marriage Market (1875), David Roberts’ Pilgrims Approaching Jerusalem (1841) and A Street in Cairo, Egypt (1846) |
| ملخص المشاركة: |
For forty years, a conventional postcolonial reading offered by Edward Said homogenised all Western dialogism on the Other as being Eurocentric, racist, sexist, or colonial. Anti-postcolonial approach, on the other hand, turns completely a blind eye to a pervasive discourse of cultural imperialism. Oriental kingship, however, is a perfect case-study for a post-Saidian approach. Its various presentations in the nineteenth-century travel accounts and visual culture unveil a heterogeneous, multiple, and dynamic Oriental discourse which stands in opposition to Said’s uniformity and homogeneity. Such representations of Oriental kingship are scattered through Benjamin Constant, Henri Regnault and Eugène Delacroix’s works. This paper is set to consider the artist’s own views, interests, personal drives, and interests which are, in many cases, separate from the imperial ideologies of the age. By doing so, the paper draws attention to the danger of some artistic and literary practises which reduce art and travelogues to mere visual reflections of imperial and colonial ideologies and overlook their historical and aesthetic significance. Also, describing Oriental kingship exclusively in terms of authoritarianism or despotism distorts a more complex historical reality as this paper will argue. By analysing Oriental kingship outside the supposedly hidden channels of colonial ideologies, this paper draws attention to the complexities of masculine identity in the Orientalist artworks. |
| الرابط: |
https://twitter.com/maddieboden/status/1184715547176570880?s=21 |
جوائز التكريم |
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| الجائزة (1): | |
| مسمى الجائزة: |
Postgraduate student scoops interdisciplinary award |
| الجهة المانحة: |
Cardiff University |
| تاريخ الجائزة: |
19/03/2019 |
| مجال التكريم: |
Award-winning poster The Poetic and Pictorial East in the Nineteenth-Century Europe featured at Breaking Boundaries (annual interdisciplinary conference for postgraduate research students in Arts, Humanities and Social Sciences conference). |
| الرابط: |
Postgraduate student scoops interdisciplinary award – News – Cardiff University |
