Cultural Cross-Dressing: Posing and Performance in Orientalist Portraits

2012 ◽  
Vol 22 (2) ◽  
pp. 281-298 ◽  
Author(s):  
TARA MAYER
Keyword(s):  
Cultural Studies ◽  
Art History ◽  
Analytical Approach ◽  
The Other ◽  
Colonial History ◽  
Public Performance ◽  
Cross Dressing ◽  
And Performance ◽  
Eighteenth And Nineteenth Centuries ◽  
East West

AbstractThis article provides new perspectives in interpreting the sartorial codes present in Orientalist portraits of European subjects. Art historians have traditionally implicated these works in the European imperialist project of appropriating, manipulating, and gaining mastery over the Orient. More recently, as part of a wider effort to challenge conventional portrayals of colonial encounters in purely confrontational, monolithic terms, portraits of Europeans in exotic dress have been seen as visual proof that certain Europeans may have ‘crossed-over’ or ‘gone-native’. This article advances a third perspective. Analysing several portraits of Europeans with Indian connections during the seventeenth, eighteenth and nineteenth centuries, it demonstrates the importance of analysing portraiture as an act of public performance. It shows that, in many cases, the performance of both artist and sitter alike were not intended for the colonial population, but for the spectators of colonialism situated ‘back home’ in Europe. Applying this new analytical approach to such an important and extensive genre of sources has far reaching implications both within the field of art history as well as within the broader domains of colonial history and contemporary East–West cultural studies. The interpretation of Western portrayals of the Orient – both visual and literary, both historical and contemporary – as active participants in an imperialist ideology must not eclipse the other, potentially less-charged, varied, and complex motivations of their participants.

Introduction: Representational Static

2016 ◽  
Author(s):  
Janet Neary
Keyword(s):  
Cultural Studies ◽  
Art History ◽  
Slave Narratives ◽  
Literary Analysis ◽  
Performance Theory ◽  
Narrative Form ◽  
Slave Narrative ◽  
Racial Classification ◽  
Atlantic Studies ◽  
And Performance

Using contemporary artwork as a lens onto the textual visuality of 19th-century slave narratives, this introduction to Fugitive Testimony works backwards historically to excavate ex-slave narrators’ challenge to authenticating conventions, and therefore their challenge to the assumptions motivating racial classification itself. The introduction argues that the book’s unique focus on the recursive nature of the slave narrative form unifies what have been three distinct phases of the genre’s criticism within the academy—historical, literary, and cultural studies approaches—and contributes to the historiographical contours of Atlantic studies. Drawing on literary analysis, art history, and visual and performance theory, the book connects vital early literary critical accounts of the slave narrative that examine the genre’s conventions of authentication and issues of literacy with later cultural studies approaches, including those advanced by Lindon Barrett, Saidiya Hartman, Fred Moten, Daphne Brooks, and Michael Chaney.

The Whirling Sema Ritual and Performance Practitioners: Issues of Authenticity Change, and East–West Exchange

2016 ◽  
Vol 2016 ◽  
pp. 251-259
Author(s):  
Hanna McClure
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
The United States ◽  
Training Methods ◽  
Public Performance ◽  
Religious Importance ◽  
And Performance ◽  
Socially Responsive ◽  
Growing Network ◽  
East West

There is a movement form very close to Greece, across the waters of the Mediterranean in the land of modern day Turkey, which is a noble part of antiquity and which has faced sweeping changes in last century. Pressures from nationalistic, touristic, and other special interests particular to modernity have shaped and re-shaped this ancient form dramatically. This is the sema ritual of the whirling dervish.Theater and dance practitioners have been inspired by the whirling dervish since the nineteenth century, when many Europeans traveled to Turkey and witnessed the whirling dervishes there. As part of the wave of spiritual and occult interest that blossomed at the end of the nineteenth century and through the twentieth century, ideas from Sufism began to penetrate the discourses of both esoteric and performance schools in Europe. Practitioners such as Jerzy Grotowski in the United States, and Rudolf Laban and Mary Wigman in Europe included forms of whirling and ideas from Sufism in their training methods.This researcher, like practitioners from the early twentieth century, has sought to open avenues of embodied awareness in her dancers via whirling practice. Whirling itself, as a powerful performance form, has become prominent in her own work. A growing network of semazen-performers have been producing and touring ritual whirling as public performance extensively in the last two decades. This presentation presents perspectives of the modern Sufi initiate, who negotiates issues of ownership, authenticity, function, and form through and with the act of performance. At once political, socially responsive, and aesthetic, the whirling sema is also uniquely spiritual and devotional, opening up questions of religious importance through the East–West interchanges of its practitioners, initiates, and performers.

scholarly journals The Postcolonial Eye

2015 ◽  
Vol 8 (2) ◽  
pp. 55-57
Author(s):  
Ryan Topper
Keyword(s):  
Visual Field ◽  
Cultural Studies ◽  
The Other ◽  
Colonial History ◽  
Subject Formation ◽  
South Australian Museum ◽  
The South ◽  
Australian Museum ◽  
The One ◽  
The Invisible

The first chapter of Alison Ravenscroft’s The Postcolonial Eye: White Australian Desire and the Visual Field of Race begins with a description of a photograph, property of the South Australian Museum, series AA346. This photograph is one of thousands taken during the Board for Anthropological Research’s Harvard and Adelaide Universities’ 1938 expedition. In it, two Murri girls stare at us, one with a shaved head, the other wearing a card marked ‘N1474’. What we see in this photograph, the violence of colonial history, is striking, but equally (perhaps more) striking, Ravenscroft suggests, is what we fail to see. “Who were these girls and what happened to them after the camera closed its eye and the photographer turned away?” she asks (7). Although we can see signs of colonial subject formation—exemplified by the name ‘N1474’—no matter how closely we look, we cannot see the girls’ fate, nor the fate of the researcher behind the camera, the one “who looked upon an image from which he excluded himself but in which he was implicated nevertheless” (7). Furthermore, “How [are we] to bring such a scene into writing?” Ravenscroft asks, implicating herself (as well as us, as readers of cultural studies and co-viewers of this photograph) in the categorical violence perpetrated by the invisible photographer (7).

The Structure of Wiggins' Interpersonal Circumplex: Cross-Cultural Studies

1999 ◽  
Vol 15 (3) ◽  
pp. 196-205 ◽  
Author(s):  
Rosario Martínez-Arias ◽  
Fernando Silva ◽  
Ma Teresa Díaz-Hidalgo ◽  
Generós Ortet ◽  
Micaela Moro
Keyword(s):  
Cultural Studies ◽  
Cross Cultural ◽  
The Other ◽  
Spanish Version ◽  
Interpersonal Circumplex ◽  
Research Groups ◽  
Independent Research ◽  
Research Results ◽  
Cross Cultural Studies

Summary: This paper presents the results obtained in Spain with The Interpersonal Adjective Scales of J.S. Wiggins (1995) concerning the variables' structure. There are two Spanish versions of IAS, developed by two independent research groups who were not aware of each other's work. One of these versions was published as an assessment test in 1996. Results from the other group have remained unpublished to date. The set of results presented here compares three sources of data: the original American manual (from Wiggins and collaborators), the Spanish manual (already published), and the new IAS (our own research). Results can be considered satisfactory since, broadly speaking, the inner structure of the original instrument is well replicated in the Spanish version.

Performance of two combine harvester header in soybean crops

2020 ◽  
Vol 13 (2) ◽  
pp. 1
Author(s):  
E. M. Samogim ◽  
T. C. Oliveira ◽  
Z. N. Figueiredo ◽  
J. M. B. Vanini
Keyword(s):  
Experimental Design ◽  
Crop Yield ◽  
Field Performance ◽  
Travel Speed ◽  
The Other ◽  
Combine Data ◽  
Mato Grosso ◽  
Tukey Test ◽  
Combine Harvester ◽  
And Performance

The combine harvest for soybean crops market are currently available two types of combine with header or platform, one of conventional with revolving reel with metal or plastic teeth to cause the cut crop to fall into the auger header and the other called "draper" headers that use a fabric or rubber apron instead of a cross auger, there are few test about performance of this combine header for soybean in Mato Grosso State. The aim of this work was to evaluate the soybean harvesting quantitative losses and performance using two types combine header in four travel speed. The experiment was conducted during soybean crops season 2014/15, the farm Tamboril in the municipality of Pontes e Lacerda, State of Mato Grosso. The was used the experimental design of randomized blocks, evaluating four forward harvesting speeds (4 km h-1, 5 km h-1, 6 km h-1 and 7 km h-1), the natural crops losses were analyzed, loss caused by the combine harvester (combine header, internal mechanisms and total losses) and was also estimated the  field performance of each combine. Data were submitted to analysis of variance by F test and compared of the average by Tukey test at 5% probability. The results show the draper header presents a smaller amount of total loss and in most crop yield when compared with the conventional cross auger.

Growth and Performance of Agriculture Sector in India

2015 ◽  
Vol 3 (2) ◽  
Author(s):  
Naresh Singla ◽  
Mamandeep Kaur
Keyword(s):  
Growth Rate ◽  
Capital Formation ◽  
The Other ◽  
Agricultural Credit ◽  
Agricultural Growth ◽  
Indian Economy ◽  
Agriculture Sector ◽  
Food Grain ◽  
And Performance ◽  
Agricultural Labourers

The growth of agriculture and allied sectors is critical for the Indian economy as about 49 percent of the population is directly or indirectly dependent on agriculture. During the last decade and so, the agriculture sector has undergone profound changes resulting in sharp deceleration in its growth. The study has attempted to analyze growth and performance of the agriculture sector in India since 1980-81 and tries to comprehend some of the factors responsible for the deceleration in growth. The study has shown that agriculture sector has been able to show tremendous improvement in expansion of area and production of food grain and non-food grain crops. However, there are so many underlying factors responsible for slowdown of the agricultural growth. Some of the factors identified include: Increase in area under non-agriculture uses, excessive dependence on rain fed farming, increase in number of agricultural labourers, reducing size of the operation holdings, over use of agri-inputs, inequity in the distribution of agriculture credit along with sharp deceleration in public gross capital formation in agriculture etc. The study pointed in order to achieve higher growth rate, there is a need to enhance the gross capital formation in agriculture sector particularly on irrigation so that more area can be brought under assured irrigation. Bringing equity in distribution of agricultural credit coupled with judicious and need-based agricultural inputs are some of the other recommendations drawn based upon the study.

Multicultural and Transnational Novels

2018 ◽  
Author(s):  
James Meffan
Keyword(s):  
National Identity ◽  
New Zealand ◽  
The Other ◽  
Colonial History ◽  
History Of ◽  
Return Home ◽  
Access Rights ◽  
The One

This chapter discusses the history of multicultural and transnational novels in New Zealand. A novel set in New Zealand will have to deal with questions about cultural access rights on the one hand and cultural coverage on the other. The term ‘transnational novel’ gains its relevance from questions about cultural and national identity, questions that have particularly exercised nations formed from colonial history. The chapter considers novels that demonstrate and respond to perceived deficiencies in wider discourses of cultural and national identity by way of comparison between New Zealand and somewhere else. These include Amelia Batistich's Another Mountain, Another Song (1981), Albert Wendt's Sons for the Return Home (1973) and Black Rainbow (1992), James McNeish's Penelope's Island (1990), Stephanie Johnson's The Heart's Wild Surf (2003), and Lloyd Jones's Mister Pip (2006).

scholarly journals The Limits of Arbitration Law in Addressing Cultural Diversity: The Example of Ismaili Arbitration in the United Kingdom

Laws ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 47
Author(s):  
Sandrine Brachotte
Keyword(s):  
United Kingdom ◽  
Cultural Studies ◽  
Cultural Diversity ◽  
Supreme Court ◽  
Legal Pluralism ◽  
The Other ◽  
The United Kingdom ◽  
Arbitration Clause ◽  
The Supreme Court ◽  
Employment Equality

This article studies religious arbitration from the perspective of global legal pluralism, which embraces both normative plurality and cultural diversity. In this context, the article considers that UK arbitration law regulates both commercial and religious arbitration while relying on a monist conception of arbitration. It further identifies two intertwined issues regarding cultural diversity, which find their source in this monist conception. Firstly, through the study of Jivraj v. Hashwani ([2011] UKSC 40), this article shows that the governance of religious arbitration may generate a conflict between arbitration law and equality law, the avoidance of which can require sacrificing the objectives of one or the other branch of law. The Jivraj case concerned an Ismaili arbitration clause, requiring that all arbitrators be Ismaili—a clause valid under arbitration law but potentially not under employment-equality law. To avoid such conflict, the Supreme Court reduced the scope of employment-equality law, thereby excluding self-employed persons. Secondly, based on cultural studies of law, this article shows that the conception of arbitration underlying UK arbitration law is ill-suited to make sense of Ismaili arbitration. In view of these two issues, this article argues that UK arbitration law acknowledges normative multiplicity but fails to embrace the cultural diversity entangled therewith.

Recovery from memory failure when recalling a memorized performance: The role of musical structure and performance cues

2021 ◽  
pp. 102986492110254
Author(s):  
Roger Chaffin ◽  
Jane Ginsborg ◽  
James Dixon ◽  
Alexander P. Demos
Keyword(s):  
Vocal Music ◽  
Musical Structure ◽  
Public Performance ◽  
Memory Failure ◽  
And Performance ◽  
Written Recall ◽  
Performance Gains ◽  
Over Time

To perform reliably and confidently from memory, musicians must able to recover from mistakes and memory failures. We describe how an experienced singer (the second author) recovered from mistakes and gaps in recall as she periodically recalled the score of a piece of vocal music that she had memorized for public performance, writing out the music six times over a five-year period following the performance. Five years after the performance, the singer was still able to recall two-thirds of the piece. When she made mistakes, she recovered and went on, leaving gaps in her written recall that lengthened over time. We determined where in the piece gaps started ( losses) and ended ( gains), and compared them with the locations of structural beats (starts of sections and phrases) and performance cues ( PCs) that the singer reported using as mental landmarks to keep track of her progress through the piece during the sung, public performance. Gains occurred on structural beats where there was a PC; losses occurred on structural beats without a PC. As the singer’s memory faded over time, she increasingly forgot phrases that did not start with a PC and recovered at the starts of phrases that did. Our study shows how PCs enable musicians to recover from memory failures.

Toward an international art library: the growth of the Research Library at the Getty Research Institute, 1979-2002

2002 ◽  
Vol 27 (4) ◽  
pp. 25-32 ◽  
Author(s):  
Susan M. Allen
Keyword(s):  
Visual Arts ◽  
Research Program ◽  
Art History ◽  
General Public ◽  
The Other ◽  
Research Library ◽  
Grant Program ◽  
Research Institute

The Getty Research Institute (GRI) is one of four programs of the J. Paul Getty Trust, an international cultural and philanthropic institution devoted to the visual arts, all of which reside at the Getty Center situated high on a beautiful hilltop in Brentwood, California. (The other programs of the Getty Trust are the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Grant Program.) From the beginning it was understood that the GRI would develop a research program in the discipline of art history and more generally the humanities, and that a library would support its work. Since its founding the GRI has, in fact, developed a major library as one of its programs alongside those for scholars, publications, exhibitions and a multitude of lectures, workshops and symposia for scholars, students and the general public. What is now known as the Research Library at the GRI has grown to be a significant resource and this article focuses on its history, the building that houses it, its collections and databases, and access to them all.

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