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ID:
116320
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| Publication |
2012.
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| Summary/Abstract |
Isabella Bird Bishop's Journeys in Persia and Kurdistan is presented as an objective picture of Persia, purportedly reflecting eye-witness accounts. Setting the narrative in its historical context and employing the concept of exoticism, this paper aims to unearth its subtle imperialist underpinnings. It argues that Bird's portrayal of Persian women and their mores and manners as exotic is an effect of a mode of representation which depicts and constructs difference based on a British-oriented system of evaluation, in line with its imperialist interest in Persia. As such, the exotic representation of Persian women in need of British benign tutelage and a chivalric mission could be interpreted as lending implicit support to Britain's colonial intervention in and imposition on Persia.
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| 2 |
ID:
098434
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2010.
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| Summary/Abstract |
This essay explores two primary concerns in the art and artistic practice of contemporary Iran, namely "identity" (i.e. local, historical, imagined and collective identity and also self-identity) and "exoticism" (which appears inevitably related to the first), both of which (identity and exoticism) involve challenges relating to the "self" and "other" and the issue of "expectation". It suggests that these issues see broader contextual socio-political parallels. The first apprehension relates to the concept of identity which addresses how artists have interpreted contemporary aesthetics in the light of national and indigenous ideology. The second refers to the ever-present obsession with cultural and frequently social concern with which Iranian artists are engaged within the country. The two concerns are integrated, in the way that the second is seen to be the outcome of the first. Some critiques are based on the issues of cultural commodification, anti-canonical West, cultural formulation, and also the stereotypes rooted in the preference and interest of the market.
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