Empires of Vision: A Reader (Objects/Histories) - Softcover

Softcover

ISBN 10: 0822354489 ISBN 13: 9780822354482

Verlag: Duke University Press, 2014

Inhaltsangabe

Empires of Vision brings together pieces by some of the most influential scholars working at the intersection of visual culture studies and the history of European imperialism. The essays and excerpts focus on the paintings, maps, geographical surveys, postcards, photographs, and other media that comprise the visual milieu of colonization, struggles for decolonization, and the lingering effects of empire. Taken together, they demonstrate that an appreciation of the role of visual experience is necessary for understanding the functioning of hegemonic imperial power and the ways that the colonized subjects spoke, and looked, back at their imperial rulers. Empires of Vision

also makes a vital point about the complexity of image culture in the modern world: We must comprehend how regimes of visuality emerged globally, not only in the metropole but also in relation to the putative margins of a world that increasingly came to question the very distinction between center and periphery.

Contributors

. Jordanna Bailkin, Roger Benjamin, Daniela Bleichmar, Zeynep Çelik, David Ciarlo, Natasha Eaton, Simon Gikandi, Serge Gruzinski, James L. Hevia, Martin Jay, Brian Larkin, Olu Oguibe, Ricardo Padrón, Christopher Pinney, Sumathi Ramaswamy, Benjamin Schmidt, Terry Smith, Robert Stam, Eric A. Stein, Nicholas Thomas, Krista A. Thompson

Über diesen Titel

Über die Autorin bzw. den Autor

Martin Jay is Sidney Hellman Ehrman Professor of History at the University of California, Berkeley. He is the author of many books, including Downcast Eyes, The Dialectical Imagination, and Marxism and Totality.

Sumathi Ramaswamy is Professor of History at Duke University. She is the author of The Goddess and the Nation, also published by Duke University Press; The Lost Land of Lemuria, and Passions of the Tongue.

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Empires of Vision

A READER

By Martin Jay, Sumathi Ramaswamy

Duke University Press

Copyright © 2014 Duke University Press
All rights reserved.

ISBN: 978-0-8223-5448-2

Contents

Illustrations, ix, 
Reprint Acknowledgments, xi, 
Acknowledgments, xv, 
Introduction: The Work of Vision in the Age of European Empires, Sumathi Ramaswamy, 1, 
Section I: The Imperial Optic, 
Introduction, Martin Jay and Sumathi Ramaswamy, 25, 
PART 1: EMPIRES OF THE PALETTE, 
CHAPTER 1. The Walls of Images, Serge Gruzinski, 47, 
CHAPTER 2. Painting as Exploration: Visualizing Nature in Eighteenth-Century Colonial Science, Daniela Bleichmar, 64, 
CHAPTER 3. Indian Yellow: Making and Breaking the Imperial Palette, Jordanna Bailkin, 91, 
CHAPTER 4. Colonial Panaromania, Roger Benjamin, 111, 
PART 2: THE MASS-PRINTED IMPERIUM, 
CHAPTER 5. Objects of Knowledge: Oceanic Artifacts in European Engravings, Nicholas Thomas, 141, 
CHAPTER 6. Excess in the City? The Consumption of Imported Prints in Colonial Calcutta, c. 1780–c. 1795, Natasha Eaton, 159, 
CHAPTER 7. Advertising and the Optics of Colonial Power at the Fin de Siecle, David Ciarlo, 189, 
PART 3: MAPPING, CLAIMING, RECLAIMING, 
CHAPTER 8. Mapping Plus Ultra: Cartography, Space, and Hispanic Modernity, Ricardo Padron, 211, 
CHAPTER 9. Mapping an Exotic World: The Global Project of Dutch Cartography, circa 1700, Benjamin Schmidt, 246, 
CHAPTER 10. Visual Regimes of Colonization: European and Aboriginal Seeing in Australia, Terry Smith, 267, 
PART 4: THE IMPERIAL LENS, 
CHAPTER 11. The Photography Complex: Exposing Boxer-Era China (1900–1901), Making Civilization, James L. Hevia, 283, 
CHAPTER 12. Colonial Theaters of Proof: Representation and Laughter in 1930s Rockefeller Foundation Hygiene Cinema in Java, Eric A. Stein, 315, 
CHAPTER 13. Colonialism and the Built Space of Cinema, Brian Larkin, 346, 
Section II: Postcolonial Looking, 
Introduction, Martin Jay and Sumathi Ramaswamy, 377, 
PART 5: SUBALTERN SEEING: AN OVERLAP OF COMPLEXITIES, 
CHAPTER 14. Speaking Back to Orientalist Discourse, Zeynep Celik, 395, 
CHAPTER 15. Maps, Mother/Goddesses, and Martyrdom in Modern India, Sumathi Ramaswamy, 415, 
CHAPTER 16. Notes from the Surface of the Image: Photography, Postcolonialism, and Vernacular Modernism, Christopher Pinney, 450, 
CHAPTER 17. "I Am Rendered Speechless by Your Idea of Beauty": The Picturesque in History and Art in the Postcolony, Krista A. Thompson, 471, 
CHAPTER 18. Fanon, Algeria, and the Cinema: The Politics of Identification, Robert Stam, 503, 
PART 6: REGARDING AND RECONSTITUTING EUROPE, 
CHAPTER 19. Creole Europe: The Reflection of a Reflection, Christopher Pinney, 539, 
CHAPTER 20. Picasso, Africa, and the Schemata of Difference, Simon Gikandi, 566, 
CHAPTER 21. Double Dutch and the Culture Game, Olu Oguibe, 594, 
Conclusion: A Parting Glance: Empire and Visuality, Martin Jay, 609, 
Contributors, 621, 
Index, 629, 

CHAPTER 1

The Walls of Images

Serge Gruzinski

The Image from Flanders

What was the first visual imprinting the Indians received? The earliest images to land on Mexican soil were canvases and—more influential—sculptures; one can get an idea of them by looking at fifteenth-century Castilian, Aragonian, and Andalusian works and the few examples preserved in Mexico. For example, there was the Virgin of the Antigua, deposited in the Cathedral of Mexico City. It was the Flemish experience of the image as much as Iberian art—and very little that of the Italian quattrocento—that surfaced at the beginning of this adventure: Ghent as much as Seville, and much more so than Florence or Venice. Flemish influences crossed through the Spanish Gothic during the entire fifteenth century, and with them the idea that the figurative and empirical orders ran closely together and were governed by the same laws. Most of the first printers established on the Iberian peninsula were of Germanic or Flemish origins, and many engravings spread throughout Spain were copied from Nordic originals. Northern styles thus influenced sculpture, painting, illustrated books, and engraving. The saturation was such that in order to magnify the talent of the Mexican Indians, the Dominican Bartolomé de Las Casas quite naturally invoked the example of the Northern painters: "They began to paint our images; they did it with as much perfection and grace as the very first masters of Flanders." Elsewhere, it was Flemish tapestry that served him as a basis for his comparison. To this artistic prestige one can add the special links that tied Castile to Aragon in the Netherlands and to Germanic Europe, since Charles V, heir to the Catholic kings, was also heir to the Habsburgs and the Dukes of Burgundy. Let us not forget that it was in the name of a ruler born in Ghent and who was the Count of Flanders that Cortés conquered faraway Mexico, just as it was through the lessons of a Fleming, Peter Crockaert, that the theologian Francisco de Vitoria assimilated Thomistic thought, and gave the School of Salamanca an unequaled glamour.

Flanders was present in Mexico in yet an even more immediate fashion. Thanks to the "favor of the Flanders greats [who] at this time led throughout the Spains"—let us understand by this the Burgundy counselors of the young emperor—Franciscans from the Ghent convent went over to America and settled in Mexico after 1523. One of them, a lay brother by the name of Peter of Ghent, was a pioneering figure of this history. He abandoned the Netherlands even as they continued to flourish. Painting prospered there under the influence of Memling, Gérard David, Hugo Van der Goes, and the epigones of the Van Eycks. The archaistic masters worked side by side with artists who were more sensitive to the Italian quattrocento experience. Bosch had been dead for seven years, and Brueghel was yet to be born when Peter left Flanders. Once arrived in Mexico, the Ghent painter opened a school in an annex of the San José de los Indios chapel, to teach arts and Western techniques. In a town only just reborn from the cinders of the Conquest, he undertook to show the natives writing, drawing, painting, and sculpture based on European models, and therefore primarily Flemish ones. Tradition says that Peter of Ghent had enough talent himself to be the author of an image of the Virgin de los Remedios kept today in the Tepepan church, southwest of Mexico City.

The missionary was accompanied by two other Flemish Franciscans: Johann Van den Auwera (Juan de Aora); and Johann Dekkers (Juan de Tecto), from Ghent himself as well, confessor of Charles V and theologian from the University of Paris. Both had apparently packed books printed in the Netherlands and in the north of Europe. Without waiting for the arrival of the Twelve in 1524—the first Franciscan contingent sent to America—this little Flemish band laid the bases for the gigantic "spiritual conquest" that the evangelization of Mexico and Central America was to become. Dekkers and Van den Auwera disappeared fairly early, but Peter of Ghent held an incomparable and magisterial sway until his death in 1572; in a half-century of uninterrupted activities his popularity and his prestige made him a rival of even the archbishop of Mexico. Despite the distance, these Flemings kept ties with their native land, and not only through letters, since it is possible that Peter the Ghent's Nahuatl Catechism...

Details zur Ausgabe

• Verlag: Duke University Press
• Erscheinungsdatum: 2014
• Sprache: Englisch
• ISBN 10: 0822354489
• ISBN 13: 9780822354482
• Einband: Taschenbuch
• Anzahl der Seiten: 686
• Herausgeber: Jay
• Kontakt zum Hersteller: Nicht verfügbar
• Verantwortliche Person: preigu; mail@preigu.de; ; Lengericher Landstr. 19; Osnabrück; 49078; Deutschland