Uncertain Territories: Boundaries in Cultural AnalysisRodopi, 2006 - 327 pagini Tracing and theorizing the concept of the boundaries through literary works, visual objects and cultural phenomena, this book argues against the reification of boundaries as fixed and empty non-spaces that simply divide the world. Expanding on her previous work on gender and Orientalism, Inge Boer takes us into uncertain territories of fashion and art, tourism and travel, skilfully engaging the ambivalence of boundaries, as both protecting and confining, as bringing distinction while existing by virtue of their ability to be transgressed. In her close readings of that boundaries as desert, as frame, as home (or lack of it), Boer shows that boundaries are spaces within, through, and in the name of which negotiations take place. They are not lines but spaces; neither fixed nor empty but flexible and inhabited. With the publication of this book, Boer's intellectual legacy stretches beyond her untimely passing. The writings that she left behind can be said to have inaugurated the future of her work, presented in the latter part by several of Boer's intellectual companions. In their original essays, the contributors elaborate on Boer's theme of boundaries as spaces where opposition yields to negotiation. Committed to the artefact as cultural stimulant, as the embodiment of thought, their analyses span a multitude of artefacts and media, ranging from literature to photography, to art installation and presentation, to film and song. Fanning out from Boer 's central focus - Orientalism - to other places of contestation, boundaries are shown to mediate the relationship between self and other; they are, ultimately, spaces of encounter. |
Cuprins
| 1 | |
NoMansLand? | 107 |
Deserts and the Oriental Other | 115 |
An Exploded Sense of Desert | 127 |
Inhabited Tracks | 134 |
Murat Aydemir | 199 |
Annelies Moors | 219 |
Maria Boletsi | 239 |
Begüm Özden Firat | 259 |
Isabel Hoving | 279 |
Bibliography | 293 |
List of Contributors | 309 |
Index of Terms and Concepts | 319 |
Alte ediții - Afișează-le pe toate
Uncertain Territories: Boundaries in Cultural Analysis Inge E. Boer Nu există previzualizare disponibilă - 2006 |
Termeni și expresii frecvente
aesthetic Al-Shaykh Algerian Almoravids argue artist Asma Assia Djebar authenticity Balkan becomes Beirut Belle de jour Bhabha Boer Boer’s borders boundaries Bouraoui Cabinet d'amateur Chapter character civil collection colonial concept contemporary context critical critique cultural analysis cultural cross-dressing Deleuze and Guattari desert Dieulafoy discourse Djebar dress empty encounter epicentre ethnographic exhibition fashion feminism feminist fetishism figure film focus foreground French function Gasparin gender geographical Ghazel globalization Granqvist Hanan al-Shaykh harem Hence Hilma Granqvist hostage hybridity identity Impressionist inhabitants Insel Hombroich interpretation Islamic language Lassalle Madame de Pompadour metaphor Middle East Mise en scène narrative narrator negotiation nomad novel objects one’s Orient Orientalist Ourdhia painting Palestinian palimpsestic Paris photographs political position postcolonial Poste restante present question Raymond Depardon relation Seger sense song stereotypical theory transgression translation travelogue veil viewer violence visual voices Western woman women writing
Pasaje populare
Pagina 258 - Someday you be walking down the road and you hear something or see something going on. So clear. And you think it's you thinking it up. A thought picture. But no. It's when you bump into a rememory that belongs to somebody else.
Pagina 258 - If a house burns down, it's gone, but the place—the picture of it—stays, and not just in my rememory, but out there, in the world. What I remember is a picture floating around out there outside my head. I mean, even if I don't think it, even if I die, the picture of what I did, or knew, or saw is still out there. Right in the place where it happened.
Pagina 89 - Evidently a different nature opens itself to the camera than opens to the naked eye — if only because an unconsciously penetrated space is substituted for a space consciously explored by man.
Pagina 7 - Second, there is a distance transversed, a passage through the pressure of various contexts as the idea moves from an earlier point to another time and place where it will come into a new prominence. Third, there is a set of conditions — call them conditions of acceptance or, as an inevitable part of acceptance, resistances — which then confronts the transplanted theory or idea, making possible its introduction or toleration, however alien it might appear to be.
Pagina 61 - Elle n'est pas la mienne, je n'en ai pas, je n'ai pas de voix et je dois parler, c'est tout ce que je sais, c'est autour de cela qu'il faut tourner, c'est à propos de cela qu'il faut parler, avec cette voix qui n'est pas la mienne, mais qui ne peut être que la mienne, puisqu'il n'ya que moi...
Pagina 188 - We know, of course, that things are not so simple: context is not fundamentally different from what it contextualizes; context is not given but produced; what belongs to a context is determined by interpretive strategies; contexts are just as much in need of elucidation as events; and the meaning of a context is determined by events.
Pagina 3 - Diversity. A few decades ago, it was still possible to leave home and go somewhere else where the architecture was different, the landscape was different, the language, lifestyle, dress, and values were different. Today, farmers and filmmakers in France and lndia, and millions of people elsewhere, are protesting to maintain that diversity.
Pagina 89 - For example, in photography, process reproduction can bring out those aspects of the original that are unattainable to the naked eye yet accessible to the lens, which is adjustable and chooses its angle at will.
Pagina 8 - The Greek term theorem: a practice of travel and observation, a man sent by the polis to another city to witness a religious ceremony. 'Theory' is a product of displacement, comparison, a certain distance. To theorize, one leaves home. But like any act of travel, theory begins and ends somewhere. In the case of the Greek theorist the beginning and ending were one, the home polis. This is not so simply true of traveling theorists in the late twentieth century.
Pagina 151 - Greuze, late i 8th century symbolic interpenetration with difference — an almost erotic commingling with the alien. Mimicry became a form of psychological recognition, a way of embracing, quite literally, the unfamiliar. The collective result was a utopian projection: the masquerade's visionary "Congress of Nations" — the image of global conviviality — was indisputably a thing of fleeting, hallucinatory beauty.