| Volltext: | INDEX Abu-Abdil-lah, 134, 133 Agency, artistic, 132 Ahmed Mithad Efendi, 20 Algeria, 103; in Bodichon's landscape paintings, 121; independent mobility of western feminists in, 112; postinde-pendence historians of, 107; Roman ruins in French paintings of, 120; spatial regulation of, 113 Algerian: colonial authorities, 68; colonial subjects, motivated by transnational cultural and religious considerations, 73 Algiers, 109, 113, 118; engravings of the bay of, 129 n.42; under Ottoman control and protection, 70 Alloula, Malek, 173-174 n.34; the Wests collective "phantasm" of the harem, 193 Alternative images, 2. See also Counter-narratives; Indigenous; Visual Ambivalence: of colonial authority, 104. See also Bhabha, Homi Arab: calligraphers, 61; dress, 201 n.33; Society, 136; world, 10 Arabesque decoration, 44; in architecture and furniture, 43 Arabian Nights Tales, 16, 19, 30, 181, 182, 193, 196, 199-200 n.n.18; 19, 30; and the harem tradition, 183, 186; and Henriette Browne's paintings, 191; influence on British travel literature, 199 n.io Arabic: illumination, 61; men, 131 Architects: Aksut, Levent, 86; Chambers, William Isaac, 81; on Egyptian vernacu-lar and French modernism influences on Hassan Fathy, 10, 33, 36, 37, 40 n.18; French, 31, 32, 33, 36, 63; French, reconstructing indigenous architectural traditions, 63; Galotti, Jean, 1926, 31; Gibberd, Frederick, 87-91; Glorieux, G., and L. Glorieux-Monfred, 33, 34; Laprade, Albert, 31, 32, 33, 33, 40 n.16; Le Corbusier, 32, 40 n.13, 41 n.22; Mairat de la Motte-Capron, A., 1923, 31; Marulyali, Yasar, 86; Nash, John, 87, 89; Omar, General Ramzy, 86; Valensi, Victor, 1923, 31; Ventre, Jean-Pierre, 34 Architectural: detail in Hamdi's paintings, 23, 23; discourse, from monumental to residential forms, 31; modernist discourse, 33; modernity, 27; motifs in Bodichon's paintings, 124; pluralism, 91; responses to Orientalism, 21 Architecture: Arab, 139; Beaux-Arts prin-ciples of symmetry and also French Empire style, 27; colonial architecture, 79; Egyptian Mamluk, 81; French colonial experiments in North Africa, 33; images of Algeria's historic, 120; Laprade's cubical masses, 33; medieval Fatimid, of Egypt, 92, 93; medieval 22o INDEX Architecture (continued) Moorish, 167 n.7; mosque as Container for Islamic ritual practices, 12; negoti-ated between a premodern transnational tradition and the spatial politics of the postimperial nation State, 92; new, based on European models, 26; non- Western vernacular 40 n.13; North African, 9; North African French colo-nies and vernacular imagery, 31, 32, 3^; North African "indigenous" forms in discourse of modernism, 32; research and writing on non-Western, 31 Art coloriial, $$ Bagehot, Walter, 199 n.18 Baille, E. C. C., 182 Barbarossa, 11, 69, 70, 71 Barrucand, Victor, ggy 56, 68, 76 n.n. 33, 36; 77 n.n. 57, £9, 61 Baudelaire, Charles, 151, 161 Betham-Edwards, Matilda, 108, 109 Bhabha, Homi, 12, 13, 17 n.3, 7^ n.31, 95, 96, 99 n.6, 100 n.n. 38, 39, 41, 42, 4^, 101 n.49; cultures "in-between" 81; disposal, 114, 116; hybridity, 124; on the "reality effect" 11^; rules of recogni-tion, ii£, 122, 124. See also Ambivalence; Third Space Bida, Alexandre, 143, 144, 1^7, 15-8, 160, 176 n.67 Bodichon, Barbara, 13, 103-130, i2£ n.n. 1, 3, 126 n.6, 127 n.n. 16, 21; drawings of Western women in Algeria, rri, 117; drew on Western pictorial Conventions, 121; sisters Annie and Bella, in; water-colors, 116; watercolors, occidental order of space, 124 Bodichon, Eugene, 108, 113, 127 n.21 Bourgeois: domesticity and etiquette, 182; woman traveler, 196 Bourgoin, Jules, 82 Breton, Genevieve, 136, 143, 144, 14^, 160, 161, i6^, 167 n.£; 172 n.43, 176 n.67, l77 n.7£, 178 n.8o Bridell, Mrs Eliza. See Fox, Eliza British: activists, 113; artists-travelers, 16; nation-state, 11 Browne, Henriette: harem paintings, 179, 180, 197, 203 n.^6; harem visit with Mary Adelaide Walker, 196 Cazalis, Henri, 136, 137, 140, 143, 147, 148, ip, i^2, i£7, 167 n.4; 169 n.n. 19, 20, 171 n.30; 172 n.n. 38, 43, 173 n.^2, *75 iM7 £elik, Zeynep, 1, 2, 3, 4, £, 6, 9, 10, 11, 17 n.n. 2, 7, 18 n.13, 39 n-4 4° n-x4 65, 77 n.53, 126 n.8 Cezanne, Paul, 149, 161 Chasseriau, Theodore, 132 Clarin, Georges, 133, 13^, 136, 139, 142, i4£, 146, i£7, 162, 166, 169 n.n. 23, 24, 178 n.81 Clifford, James, 98, 100-101 n.47 Codell, Julie, 4, 17 n.8 Colonial: administration, 31; authorities, £3; authority, 124; context, 12^; cultural formations, 38; discourse, 31, 32, 9^, ii^; fantasy, 3; history, 11; ideology, n; land policies, 107; object, 97; occupa-tion, 74; painters, 44; periphery, 94; populär culture, 41 n.22; representation, 7, 124; Situation, 31, 72; space, 104, II2; stereotypes, 3; tutelage, 43. See also Postcolonial; Precolonial Colonialism, 13, i^6; discursive formations of, 9£. See also Imperialism; Neocolo-nialism; Orientalism; Postcolonialism Colonization, 107; in Algeria disavowed through pictorializing, 114, 123; ex-periences of and responses to, 9; visual language of resistance to, 11 Colonized: land, 110; peoples, 43; territo-ries, traditions for, 31 Colonizer and colonized: cultural differ-ences, 33, 35 Cookesley, Margaret Murray, 191, 201 n.3£ Corsairs, 11, 6$, 69; ship, 71; Barbary, 78 n.71 INDEX 2 2 1 Counternarratives, 2, 3. See also Alternative images; Speaking back Cross-cultural: dialogue, 2, 9; encounters, 8; examination, 21; exchanges, 2. See also Dialogue Cubley, Lucy, 190, 201 n.33 Cultural: contestation, 9; violence, 106 Dahane, Kamal, 38 Davies, Emily, 109 Dawoodi Bohras, 91-94 Decamps, Alexandre-Gabriel, 132 Delacroix, Eugene, 36, 38, 132, 136, 143, 147, 148, 149, 159, 161, 171 n.32, 173 n.90; 198 n.8 De Musset, Alfred, 147, 190, 191, 192, 196, i74 n.^6 Derrida, Jacques: on framing, 14, 104; and Kant's theories of aesthetic judgment, 123; and parergon, 123; and supplemen-tarity, 121 Dialogue, 3, 23; between East and West, 18 n.13. See also Cross-cultural; Plurality of voices; Speaking back Diarists, 182, 186. See also Travel Diaspora, 100-101 n.47; culture, 12; cul-tures of the, 97; mosque, 6, 11, 12, 95, 96, 97; mosque as an articulation of "Third Space" (Homi Bhabha), 12; mosques as index of a temporally dis-crete cultural identity, 96; mosques as overdetermined cultural forms, 98; newer discrepant temporalities of the, 96; varying sites of, 80. See also Postcolonialism Diasporic: architecture, 81, 94; attachments as subversive, 98; cultural re-sponses, 9, 81; cultures, 11, 80; Islamic communities, 12; Muslim communities, n; visual cultures, 2, 6 Dinet, Etienne, 61, 67, 76 n.47; his real-ism, 63; scenes of life at Bou-Saäda Djebar, Assia, 9, 37, 38, 41 n.n. 23, 29 Documentary film, 38 Dolmabah9e Palace, 1896: European furni-ture in, 27; European paintings in, 28; example of official acceptance of Western models transforming lifestyles, 27; harem portraits in, 193; photographs of, in Abdülhamid albums, 27, 28; tiles on wall surfaces, 28 Dunbar, Lady Sophia, 108 Duparc, Arthur, 146 Eastern despotism, 8. See also Masculinity Easternization, 4 Eliot, George. See Evans, Marian Emulation, strategy of, 91 Ethnographie: claim, 186; gaze, 198 n.6; partieipant-observer, 182; portraits, 187; reading of harem by British women, 183, 197; view, British women's, 197. See also Realism, mimetic European: artists, 190; artist-traveler, 68; cultural values, 16; discourse, 31; fan-tasy, 179; fashions, 22; furniture, 22, 27; Orientalism, 4, 16; representations of Oriental woman, 22, 23 Evans, Marian (George Eliot), 103 Exhibitions: Barbara Bodichon, French Gallery, London, 1899, 1861, and 1864, 116; Exposition dArt Musulman, 1893, 69; Exposition des arts decoratifs et industriels modernes, Paris, 1929, 68, 77 n.6o; Exposition Universelle, Paris, 1867, 133, 192; Marseille, Colonial Exhibition, 1922, 97; "Morocco Seen by Contemporary Artists" at Galerie Georges Petit, 1922, 94; Old Water-colour Society Exhibition, 1890, 179; Paris Colonial Exhibition, 1931, 32; Racim, 1918, 62; Regnault, Ecole des Beaux-Arts, 1872, 146, 169 n.2i; Salon des Artistes Algerians et Orientalistes, x923 67; Society of Female Artists, London, 1899 and 1866, 116; Sydney, Australia, 1997, 4; Williamstown, Massachusetts, 2000, 4, 18 n.13; World's Columbian Exhibition in Chicago, 1893, 18 n.13, 2£ 2 2 2 INDEX Fanon, Frantz, 35, 40 n.19 Female: militant subject, 112, 113, 128 n.29; militant subject, as a textual borderline, 114; travelers, 198 n.9. See also Women Feminine: desire, 18^; fantasies, sapphic, 200 n.22; fantasy, i£, 181, 186, 188, 197, 203 n.$8; fantasy, Visual and tactile plea-sures, 196; scopic pleasures, 186. See also Harem; Women Femininity: exotic Oriental, 132; Victorian middle class, 198. See also Harem Feminism, 12; British, 13, 103, 104; Western, i2£. See also Women Feminist: activist, 108; artists, 7; cam-paigning and projects, Britain, 110; causes, Britain, 104; discourse, 104; journalism, 109; pleasures, 110; subjec-tivities, 7, 12 (subjectivity), 14; subjects, 110; writers, 179; writings in Algeria, 14 Feminists: black, 13; British, in Algeria, 13 Flaubert, Gustave, 131 Fortuny, Mariano, 133, 134, 135 Fox, Eliza, 103, 108, 110, 113, 119, 122, 126 n.6 French: colonialism, 37, 38, 104, 114; colonial painting, £2; colonization, 116; Gallery (London), 110; Orientalist school, 23 Gambert, Ernest, 110 Gautier, Theophile, 139-142, 146-132, 133, 136, 157, 163, 164, 169 n.24, 170-171 n.29, I74n-5'6, 180, 197 Gerome, Jean-Leon, 143 Girton College, Cambridge, 110, 116, 117 Gojon, Edmond, 69 Gonse, Louis, 63 Goupil, Adolphe, 143 Goupil, Albert: art collector and Orientalist photographer, 145; carpet collection, 136; home, 172 n.43; studio of, 146, 147, 173 n.47 Grey, Theresa, 186 Guidebooks. See Tourist literature Hakky-Bey, 63 Halil Bey, ambassador to Paris, mid-1860s, 4, 22, 40 n.8 Harem, 134, 152; adventures, 16; class-rooms, 196; colonial, 13, 179, 198 n.2; as a contested terrain, 179, 197; dia-logue, 2; diaries, 197; ecstasy, 161, 162; fantasy, 16, 190, 193; images, 16; imagi-nary, 149; masculine sexual fantasy of, 182, 186; negotiation between fantasy and "reality" of, 183; Orientalist imagery of, 119; painting, Regnault's reversal of the dominant trope of gen-der, 132; paintings, 1, 36; parallels to European domestic space, 181; patrons, 16; portraits, 1, 7, 16, 190, 203 n.48; portraiture, 16; representations, 13; sexuality, 149; shift from fantasy to domestic narrative of, 185; slippers, 148; social space, 181, 183;; as a space of social interaction, 180; stereotypes, 1, 16; System, 18 n.13; theme, male privacy of, 147; topos, 13, 173-174 n.£4; traditions, 183; views of, 23; Visitation, 184; visits to, 15-, r6; and Western dress, 16; as Western fantasy, 16; Western pictorial stereotype of, 188; women, 1, 8, 13, 16, 148, 182, 184; women and Western fashion, 190, 202-203 n.30; women's alternative representations, 181. See also Feminine; Femininity; Odalisque; Women Harvey, Annie Jane, 183-, 187 Heidegger, Martin, 106, 126 n.n, 127 n.18 Herbert, Mary, 182 Hornby, Emilia, 183, 189, 190; ethno-graphic realism and Visual pleasures, 188; objectification of harem women, 187; sapphic fantasy, 184 Hybrid: aesthetics, 9; fashions for Ottoman women, 194; self-representation, 8; styles, 9 Hybridity, 124. See also Bhabha, Homi Hybridized views, 106 INDEX 223 Identity: national (nascent), 9; male, martial, 137. See also Male Illumination, 76-77 n.30; Persian and Egyptian, 63 Imperial: classifications of race, women artists participation in, 119; expioita-tion, measured criticism by Parkes, II2; French policy, 108; histories, 93; project, 107; superiority (British), 110. See also Colonial; Postcolonial Imperial High School of Galatasaray, 28 Imperial Library, 28 Imperial Maritime College, 28 Imperialism, 6, 7; British, 13; control over land, necessity of Visual (re)inscriptions and framings of space and time, 107; cultural violence of, 14, 104, 106, 123; territorial, 2; violence of, 107. See also Colonialism Imperialist: discourse, 117; fantasies of boundless possession, 122; inquiry into native work, 118-119; violence of culture, 125. See also Orientalist Indigenous: alternative self-images, 4; art, 11, 43, 53, 60, 63; art forms, 11; artists, 10; audience, £4; collecting, 4; collec-tors, 4; cultural history, 6, 11; cultural responses, 3, 11; cultures, 43; elite, 46, 78 n.74; heritage, revaluing, 63; identity, 9, 11; interventions, 3; manipulation of Western codes, 10; painters, 4; people, 32, 33; political movements, 30; responses, 3, 9, 16; traditions, 48, £3, £4; women, 7, 8, 13. See also Alternative images; Speaking back Ingres, J. A. D., 148, 133 Interruption, 3. See also Speaking back Irving, Washington, 200 n.30 Islam, 104, 119, 121; as a religion, 23, 29 Islamic: architecture, 81, 90; arts, 61; city, Orientalist tropes, 80; cultural values, 16; cultures, 3; decorative arts, 59; injunction against figural represen-tation, 192, 201 n.36; past, sought by Regnault in Granada, 135; piety, 30-31; reformist movement, indigenous jour-nal, 73; ritual, 80; veiling practices, 1953 worship, 10. See also Muslim; Muslim space Istanbul photographers, 26 Jekyll, Gertrude, 109, 118 Jerichau-Baumann, Elisabeth, 191, 201 n.33 Jihad, 70 Khalil Bey. See Halil Bey Khalil, Mahmoud, 4 Landscape: North Africa depicted in Western Conventions of, 122; painting, 13; painting, Algeria, 124; painting in colonial context as double framing, 123; picturesque, 13; politics of, 12; Western, 116; and worlding, 107, 123". See also Pictorializing; Picturesque, exotic Landscapes: Fez, 31; Orientalist, 119 Lane, Edward, 200 n.19 Lefebvre, Henri, 80, 81, 8$ Leitner, Gottleib, 82, 83, 84 Lewis, John Frederick, 179, r88; portraits of Ottoman leaders, 192 Lewis, Reina, 6-7, 13, 118, 179-181, 198 n.6, 203 n.38 Library of Congress, 26 Lyautey, Hubert, 44, 43, 47, £2, 74 n.3, 73 n.16; progressive urbanism of, 3*3, 34 Maghreb, 57; painters of the, 3, 9, 43 Maghrebian, 43, 71, 73; artistry, 39; culture, 31, 33; decorative art, research into fostered by French colonial inter-ests, 60; painterly identity, 67; women, 3 9 , S o Male: audience and harem fantasy, 179; passivity, 8; potency and militarism, 13-9; spectator's identification with the master of the harem, 198 n.8. See also Identity Mammeri, Azouaou, 9, 43-39, 67, 68, 74, 73 n.n. 14,13, 76 n.38; as a "Franco- 224 INDEX Mammen, Azouaou (continued) philic imitator" 10; one-man exhibition in Paris, 1921, 48; scenes of Muslim religious Iife, 49; teacher Leon Carre, 62 Mar^ais, Georges, 67, 71, 77 n.34, 78 n.72 Masculine: fantasy, 7, 8, 181; fantasy, Brownes paintings as threat to, 197; fantasy of sexual tropes, 13; harem fantasy, 186; and Orientalism, 14; spectatorship, 198 n.8; subjectivity, 2, 8, 14; vigour, 161 Masculinity, 8; Arab, 14; exotic Oriental, 132, 136, 163; feminized, 15; French military, 132, 164, 163-166; martial, European male seif, 163; qualities of civilization and cruelty in Regnault s representation of Arab, 141; stoic, 13. See also Eastern despotism Miniature, 62, 72; Islamic, 59, 71; Mughal, 67; Mughul and Persian, 10, 44, 63"; Oriental, 68; Persian, 60, 67; portraits by Ottoman artists, 192; tradition, influence on Walker's portraits, 193; traditions, 69 Miyoshi, Masao, 41 n.2i Modernist, 44 Modernization, 26, 28. See also Reforms Moor, 13-3, 133, 136 Moorish: Spain, 132, theme, 140 Moors, 14, 134, 133, 136, 139, 137, 167 n.7; from Andalusia, 71 Moroccan, antiquity and history, 33 Mosque-as-image, 84, 83 Mosques, 33; Badshahi Mosque, Lahore, 81; Brick Lane, London, revising older religious Space, 100 n.36; British, 93; Central London Mosque, Pan-Islamic symbolization, 91; Central London Mosque, Regents Park, 12, 83-91, 93, 94, 96; interiors, Turkish and Egyptian, 31; Mohammedi Park Masjid Complex, West London, 12, 91-94, 100 n.30; per-ceived as an unfamiliar and threatening reorientation of space, 94; in post-colonial Britain, 11; purpose built, 100 n.36; Shah Jahan Mosque, Woking, 81- 83, 91; as testimony to the reclamation of colonial history for the diasporic Muslim, 83 Moulin, Jacques-Antoine, 132, 134 Muslim: burial ground, 84; Community, London, 90; Community, Woking, England, 11, 84; diaspora, 79; elite, 44; identity, n-12; nations in Britain, 12; population, 33, 84, 83; tradition, 91. See also Islam; Islamic Muslim space, 12; as fixed cultural form, ri, 79-81, 84, 88, 94; typology of, 93 Najd collection, 4 Namatjira, Albert, 73 n.31 National culture, 10 Nation-space, 6; challenge to Britain's, 12, 79, 95 Native guides, 112 Neocolonialism: and the inherited effects of racial discourses in contemporary culture, 93. See also Colonialism; Postimperial histories Nochlin, Linda, 3, 3, 8, 17 n.3, 18 n.n. 14, 18, 39 n.3, 106, 120, 168 n.14, 171 n.31, 198 n.8 North Africa, 142 North African: genre pictures, 148; iden-tity, 133; paradise, Regnault and Ciairin, 166 Occidental: soldiers, 157; women, 182 Occidentalism, 34. See also Orientalism Occidentalist painting, 59. See also Visual Odalisque, 2, 7, 172; reclining, 2j, 148, Regnault's sensually disempowered, 149, 180, 197. See also Harem; Women Orient: imaginary, 146, 1J3, 182; imagining the, 164 Oriental: femininity, 6; identity, 39; man, 157, 163; men, 183; soldiers, 137; themes, 160; woman, 7; women, 182. See also Women Oriental Institute, London, 83 Orientalism, 2, 3, 4, 3, 6, 8, 9, 14, 23, 97, 141; academic, 3; in America and INDEX 2 2 $ " Australia, 4; British, 82; discourse that positioned Islamic Orient against Christian Europe, 118; established tropes of, 161; European, 104; iconography of, 6^; "imaginative geography" g; literary, 2; messages to, 22; of modern life, 140; sphere of, as imagined realm of free-dom, 161; visual languages of, 11. See also Colonialism; Occidentalism Orientalist: accounts incomplete, 26; art, 2I S7 iSS'y art, female spectatorship for, 176 n.71; categories, 7; Convention, 70; details, 2^; discourse, g, 12, 17 n.3; eroticism, 18^; exoticism, 10; gaze, 10; history painting, 132; imagery, 2; and internal colonization in America, 17 n.n; mosque, 11; negative stereotypes, 9; painters, 23, 2$; paintings, 6, 22, 23, 6^, 117; photography, 74 n.2, i$2; pic-ture, 43; representations, 6, 2$, 15$", 179; stereotypes, 6, 8, 10; studies, 17; techniques, 84; tradition, $1; visual cul-ture, 2, gy 6, 7-8, 9, 16; watercolors, 141, 144, 160, 161; and "Western" perspective, 21, 29; women, 2, 197. See also Imperialist Osborn, Emily Mary, 110, 119, 126 n.6, 128 n.2£ Osman Hamdi Bey, 9, 24, 2$, 26; painting, 10, 21, 40 n.io; religious figures, 29; as Student in Paris, 22; subjects of paintings traditionally clothed, 23 Ottoman: army, 26; courts, 192; culture, 31; discourse, 22; Empire, 6, 26, 31, 40, 13$; family and honorific portraiture, 19$; intellectual, 23; message in, 18 n.13; modernization and Westernization, 26, 31; patron, 1; pavilion at the Exposition Universelle, Paris, 1867, 192; Regency of Algiers, 60; rulers, 26; society, 2, 29, 31; women, 7, 16, 22; women and Western fashion, 194. See also Turkish Parkes, Bessie Rayner, 108, 109, in, 113, 127 n.21, 129 n.42; essay on working women, 1861, 112, 114 Perspective: subtle distortions of, 67; as symbolic form (Panofsky), 67 Photographs: portrait, 19^; postcard, of harem women, 195 Picasso, Pablo, 37, 38 Pictorializing, 128 n.37; of Algeria, 114. See also Landscape Picturesque, exotic, 122. See also Landscape Plurality of voices, 3. See also Dialogue; Speaking back Poetics of space, g Portraits: harem, 181, 191; of Ottoman leaders, honorific and diplomatic func-tions, 192-193 Postcolonial, 96; culture, 11; identity, 8; perspective on Racim's art, 72; space, 9£; theorists, 95; theory, 9^; writers, 179. See also Colonial; Imperial Postcolonialism, 2, 79, 9$; contested history, 3. See also Colonialism; Diaspora Postimperial histories, 9g. See also Neo-colonialism Pouillon, Franyois, 69 Precolonial: buildings and monumenis of Algiers, bg. See also Colonial Racim, Mohammed, 6, 4$, $9-73, 7b n.41, 77 n.6o; art as "indigenous ncotradi-tionalism" and national identity, 9, 44; awarded the Grand prix artistique de l'Algerie, 1933, 69; as draftsman, 60; European tutelage, 61; illumination work, 61; imaginary counternation, 11, 73; nostalgic recovery of a precolonial past, 63; repudiating colonial modernity, 72; reviews of Racim's ex-hibitions in Algiers and Paris, 72; as traditionalist, 10 Racim, Omar, 60, 61, 68, 69, 76 n.49, 77 n.6o Raises, 11, 71; Hamidou, 71 Realism, mimetic: indigenous mastery of, 9; painting, 43; "reality effect" n. See also Ethnographie Realist: mimesis, 61; mode, 54; Orientali s m s , 1 3 2 ; p a i n t i n g , ggy g j 2 2 6 INDEX Reforms: from education to artistic production and military, 26. See also Modernization Regnault, Henri, 14, 131-178; and the Alhambra, 133; cut off from his pre-ferred North African milieu, 143; desire to become man of action, 163; escape from bourgeois Convention, 133; Hasan as figure of Orientalized self-absorption, 163; Hasan as unstable point of identi-fication for, 163; mounting enthusiasm for Islamic artifacts and cultures, 131; self-critique and self-affirmation, 136; as virtuosic draftsman and gifted colorist, 132; won the Prix de Rome, 1866, 132 Regnault, Victor, 133, 134, 137, 167 n.7 Resistance: cultures of, 93. See also Indige-nous; Speaking back Richon, Olivier, 198 n.8 Riza Pasha, 183 Sachko Macleod, Dianne, 4, 17 n.8 Said, Edward, 3, 3, 17 n.3, 18 n.13, 21, 39 n.3, 41 n.28, 83, 88, 95, 99 n.8 Smith, Annie Leigh, in, 119, 125 n.3 Smith, Barbara Leigh. See Bodichon, Barbara Speaking back, 18 n.12, 31, 125. See also Counternarratives; Dialogue; Indige-nous; Interruption; Plurality of voices; Resistance Speaking within, 123 Spivak, Gayatri Chakravorty, 13, 19, 39, 41 n.29, 93, 104, 107, 108, 112, 113, 126 n.n. 10, 11, 127 n.18, 128 n.29, H0 n.33; making sense of a discontinu-ous and alien landscape, 122; texting, textualising, 106, 123. See also Worlding Subaltern, 10, 63-, 81 Subjectivity, 103 Sultan Abdülhamid II, 6, 9; 51; intention of photographs to present rejuvenated image of empire, 31, patronage, 16; photographs provide an imperial image reflecting the empire in progressive light, 30-31; photography albums to National Library of the United States, 23, 26, 29, 30, 40 n.n; 202 n.48 Tangier, 133 Third Space, 12, 97, 100 n.41. See also Bhabha, Homi Tourist literature, 104, 107, 109, 119, 129 n.42; market, 193; Murray's guidebook, 190; Western predilection for locations well-known from guidebooks, 116. See also Travel Transnationalism, 101 n.47 Travel: diaries, women's, 181, 186, 190; diaries, women's, ethnography and fan-tasy coimplicated in, 196; writers, 183. See also Diarists; Tourist literature Trope, 7; dominant, 13; sexual, 13, 181. See also Arabian Nigbts Tales Turkish: art, Western influences on, 192; elites and studio photography, 193; ladies, 182; women, 189. See also Ottoman Visual: conformity, 33; culture, 13, 104; spectacle, Algeria's, 108; stylistic equiva-lent, East and West, 11. See also Alternative images; Occidentalist painting Wales, Princess of (Alexandra), 186 Walker, Mary Adelaide, 1, 16, 181, 191, 193, 196, 197, 199 n.n. 12, 14, 202 n.42; por-traits determined by her sitter's tastes, *93 x94i portrait sitters, 201 n.34; Western preconceptions challenged, 194 Western: aesthetic models, 44; art, 113; artist, 8; canon, 3; colonialism, 13; cul-tural forms, 9, 11; cultures, 4, 7, 16; discursive constructions, 2; fantasies of Algeria, 117; female subjectivity, 8; femininity, 7; feminism, 13, 104; iconog-raphy employed by Racim to express a nationalist aspiration, 72; influence on Mammeri's paintings, 10; masculinity, 13; misconceptions, 3, 6, 29; modernity, 121; modes of seeing, 39; mythology, 2; Orientalism, 1, 2, 4, 3, 6, 8, 10, 16; INDEX 2 2 7 pictorial Conventions, 13, 124; pre-conceptions, 1; preconceptions of the sexualized harem, 182; representation, Orient imagined through, igg; repre-sentations, 6, 106; representations of the East, 98; stereotype, 13-; stereotypes of oppression through harem system, 18 n.13; style painting traditions, 9; technologies, 72; viewpoint, g; vision, 116; visions and methods, gi\ visual svstems and artistic protocols, 123; voy-ager's fantasies ofsolitude, 112; women's preconceptions of the harem, 190 Wilkie, David: portrait of Mehmet Ali Pasha, 192, 202 n.39 Women: domestic spaces, 38; in domestic and public space in Hamdi's paintings, 23, 2g; education, 29; native, 112, 113; objectification ofEastern, 181; Orientalist painters, 7; Orientalists, 179; travelers, 183, 18^; working, 29. See also Female: militant subject; Feminine: desire; Feminism; Harem; Odalisque; Oriental Women's: Art education in the Ottoman Empire, 39 n.7; higher education, 110; movement, Britain, 109; organizations, Britain, 109; Orientalism, 7; rights, 110, 125; travelers and Western travel narratives, 128 n.28 Worlding, of Algeria, 103, 104, 106, 107, 108, 112, 114, 121, 125. See also Spivak, Gavatri Chakravortv Yildiz Palace, 193 Zei'neb, patron, 1, 193, 195, 201 11.34, 2o3 n.56; desire for latest Parisian fashion in her portraits, 193 |
