Architectural Exchange in the Eighteenth Century. a Study Of
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Harem Fantasies and Music Videos: Contemporary Orientalist Representation
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2007 Harem Fantasies and Music Videos: Contemporary Orientalist Representation Maya Ayana Johnson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, and the Music Commons Recommended Citation Johnson, Maya Ayana, "Harem Fantasies and Music Videos: Contemporary Orientalist Representation" (2007). Dissertations, Theses, and Masters Projects. Paper 1539626527. https://dx.doi.org/doi:10.21220/s2-nf9f-6h02 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Harem Fantasies and Music Videos: Contemporary Orientalist Representation Maya Ayana Johnson Richmond, Virginia Master of Arts, Georgetown University, 2004 Bachelor of Arts, George Mason University, 2002 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts American Studies Program The College of William and Mary August 2007 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Maya Ayana Johnson Approved by the Committee, February 2007 y - W ^ ' _■■■■■■ Committee Chair Associate ssor/Grey Gundaker, American Studies William and Mary Associate Professor/Arthur Krrtght, American Studies Cpllege of William and Mary Associate Professor K im b erly Phillips, American Studies College of William and Mary ABSTRACT In recent years, a number of young female pop singers have incorporated into their music video performances dance, costuming, and musical motifs that suggest references to dance, costume, and musical forms from the Orient. -
To Search High and Low: Liang Sicheng, Lin Huiyin, and China's
Scapegoat Architecture/Landscape/Political Economy Issue 03 Realism 30 To Search High and Low: Liang Sicheng, Lin Huiyin, and China’s Architectural Historiography, 1932–1946 by Zhu Tao MISSING COMPONENTS Living in the remote countryside of Southwest Liang and Lin’s historiographical construction China, they had to cope with the severe lack of was problematic in two respects. First, they were financial support and access to transportation. so eager to portray China’s traditional architec- Also, there were very few buildings constructed ture as one singular system, as important as the in accordance with the royal standard. Liang and Greek, Roman and Gothic were in the West, that his colleagues had no other choice but to closely they highly generalized the concept of Chinese study the humble buildings in which they resided, architecture. In their account, only one dominant or others nearby. For example, Liu Zhiping, an architectural style could best represent China’s assistant of Liang, measured the courtyard house “national style:” the official timber structure exem- he inhabited in Kunming. In 1944, he published a plified by the Northern Chinese royal palaces and thorough report in the Bulletin, which was the first Buddhist temples, especially the ones built during essay on China’s vernacular housing ever written the period from the Tang to Jin dynasties. As a by a member of the Society for Research in Chi- consequence of their idealization, the diversity of nese Architecture.6 Liu Dunzhen, director of the China’s architectural culture—the multiple con- Society’s Literature Study Department and one of struction systems and building types, and in par- Liang’s colleagues, measured his parents’ country- ticular, the vernacular buildings of different regions side home, “Liu Residence” in Hunan province, in and ethnic groups—was roundly dismissed. -
In the Name of Krishna: the Cultural Landscape of a North Indian Pilgrimage Town
In the Name of Krishna: The Cultural Landscape of a North Indian Pilgrimage Town A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Sugata Ray IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Frederick M. Asher, Advisor April 2012 © Sugata Ray 2012 Acknowledgements They say writing a dissertation is a lonely and arduous task. But, I am fortunate to have found friends, colleagues, and mentors who have inspired me to make this laborious task far from arduous. It was Frederick M. Asher, my advisor, who inspired me to turn to places where art historians do not usually venture. The temple city of Khajuraho is not just the exquisite 11th-century temples at the site. Rather, the 11th-century temples are part of a larger visuality that extends to contemporary civic monuments in the city center, Rick suggested in the first class that I took with him. I learnt to move across time and space. To understand modern Vrindavan, one would have to look at its Mughal past; to understand temple architecture, one would have to look for rebellions in the colonial archive. Catherine B. Asher gave me the gift of the Mughal world – a world that I only barely knew before I met her. Today, I speak of the Islamicate world of colonial Vrindavan. Cathy walked me through Mughal mosques, tombs, and gardens on many cold wintry days in Minneapolis and on a hot summer day in Sasaram, Bihar. The Islamicate Krishna in my dissertation thus came into being. -
105 Chapter-5 L U C K N 0 W a Study in Resort Personality Physical
105 Chapter-5 L U C K N 0 W A Study in Resort Personality Physical Setting : The cultural city of Lucknow - on - Gomati is a paramount urban agglomeration in the otherwise economically depressed rural Awadh. Lucknow »was founded on the mound, strategically located on the southern banks of the river Gomati. River frontages are not mere localizable attractions for city facades but they also have a secret hand in determining the morphological aspects of townships particularly in their early stages of development. It is situated at 26*^52' N Latitude and 80^ 56'E longitude. Presently, Lucknow dominates as the capital of Uttar Pradesh. This city, of about over one and half million people ranks among the ten big metropolis of India. Lie of the Land : Considering the notoriety of the Gomati for frequent rising in spates, the high mound-popularly known as the Lakshman Tila- was an ideal location for a human settlement, insuring safety and security against flood hazards. The rest of the land undulates very gradually, almost imperceptibly, towards the south and south east. Now known as Lakshman Tila. 106 TAMING OF THE GOMATI I MILE LUCKNOW: FLOODS SUBMERGED AREA BUND LINE The. Gomati ka^ bzen notoxiou^ {jox h.z>i ' {,ioujn-;>'. Shz tkizatzmd the <sett£ement in 1915 and 1923, bat tkz city e-icaped hex Miath. In 1960 6m Mueiizd in angzi vohzn thz piannzx^ qioomzd toivn^hip to i/te north.. Both thz bank'}, oVzi^towzd : the. watzx in Haziat Canj :uai kme.-dezp, i^akanagax oiaA maioomd and the {,(.ood struck the. -
Lycée Français Charles De Gaulle Damascus, Syria
2013 On Site Review Report 4032.SYR by Wael Samhouri Lycée français Charles de Gaulle Damascus, Syria Architect Ateliers Lion Associés, Dagher, Hanna & Partners Client French Ministry of Foreign Affairs Design 2002 - 2006 Completed 2008 Lycée Français Charles de Gaulle Damascus, Syria I. Introduction The Lycée Français Charles de Gaulle in Damascus, a school that houses 900 students from kindergarten up to baccalaureate level, is a garden-like school with classrooms integrated into an intricate system of courtyards and green patios. The main aim of the design was to set a precedent: a design in full respect of the environment that aspires to sustainability. Consequently it set out to eliminate air conditioning and use only natural ventilation, cooling, light/shadows and so economise also on running costs. The result is a project that fully reflects its aims and translates them into a special architectural language of forms with rhythms of alternating spaces, masses, gardens and a dramatic skyline rendered by the distinct vertical elements of the proposed solar chimneys. II. Contextual Information A. Brief historical background This is not an ordinary school, one that is merely expected to perform its educational functions although with a distinguishing characteristic: doing everything in French within an Arab country. Rather, it is a school with a great deal of symbolism and history attached to it. To illustrate this, suffice to say that this school, begun in 2006, was formally inaugurated by the French President himself. On a 2008 hot September Damascene morning, in the presence of world media, President Nicolas Sarkozy and the Syrian Minister of Education attended the formal opening of the school, in the hope of establishing a new phase of Franco-Syrian educational relations. -
1 Introducing the Chief Harem Eunuch
Cambridge University Press 978-1-107-10829-5 — The Chief Eunuch of the Ottoman Harem Jane Hathaway Excerpt More Information 1 Introducing the Chief Harem Eunuch Let’s start with the cover illustration. It shows the most powerful Chief Harem Eunuch in Ottoman history, el-Hajj Beshir Agha, leading three sons of Sultan Ahmed III through the Third Court of Topkapı Palace. The year is 1720. The princes are about to be circumcised in the Circumcision Room in the palace’s Fourth Court. Each of them is held on either side by a vizier, or government minister. Beshir Agha is right at the front of the painting, flush with the picture frame. Even the grand vizier, supposedly the most powerful figure in the Ottoman Empire at the time, walks behind him, holding the right arm of the oldest prince. What is the message of this painting? El-Hajj Beshir Agha is the most powerful person in the palace, more powerful than the grand vizier or any of the princes. He holds the princes’ fates and, by implication, the fate of the empire in his hands. But he also guards the barrier separating the princes and the viziers from the viewer. In this sense, he is both a central figure and a marginal figure, both the master of the princes and viziers and their servant. He is also the only dark-skinned figure in the painting, yet he is leading all the pale-skinned figures. Does this image seem contradictory? It should. The Chief Eunuch of the Ottoman Empire’s imperial harem embodied all these contradictions. -
Views of GM & DRM with Print & Electronic Media
Public Relation PUBLIC RELATIONS IMPORTANT FUNCTIONS Organising press conferences with Chairman Railway Board, General Manager, Divisional Railway Manager and Head of departments. Coverage and issue of press releases, relating to functions, inspections, programmes, inaugurations and various social, cultural and sports activities in the division. Production of films, documentaries and short video clips pertaining to safety, security, major activities and passenger awareness. Maintenance of cordial and healthy relations with print & electronic media personnels of different stations. Media Management of different events at various stations of the division. Coverage of inspections conducted by GM, DRM, Head of departments, safety drives, cleanliness drives, ”nukkad natak”, open adalat, pension adalats, and other miscellaneous functions. Date wise collection of railway news and presenting it to concerned departments. Coverage and publicity of places of interest & heritage located in the division. Organising interviews of GM & DRM with print & electronic media. Projection of important activities & major achievements through social media platforms like Twitter, Facebook, Instagram & Youtube channel . ACHIEVEMENTS Near about 350 press releases (Jan.2020-Jan.2021) have been despatched to various print & electronic media at frequent intervals. 11 press meets , 23 TV interviews & 08 Radio talks (Jan.2020-Jan.2021) have been organized throughout the division. 62 coverage (Jan.2020-Jan.2021)of various events and functions have been successfully carried out in the division. A documentary namely “Jyotirgamay” based on special initiatives taken by the division during Lockdown period & “Operation Kayakalp” based on intensive cleanliness & plantation drive across the division was made . It was widely publicised on Doordarshan , news channels & social media platforms . This year we have launched our official Yotube channel & Instagram account. -
The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE)
ABSTRACT MARY ELIZABETH BLUME The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE) The Gothic Revival of the nineteenth century in Europe aroused a debate concerning the origin of a style already six centuries old. Besides the underlying quandary of how to define or identify “Gothic” structures, the Victorian revivalists fought vehemently over the national birthright of the style. Although Gothic has been traditionally acknowledged as having French origins, English revivalists insisted on the autonomy of English Gothic as a distinct and independent style of architecture in origin and development. Surprisingly, nearly two centuries later, the debate over Gothic’s nationality persists, though the nationalistic tug-of-war has given way to the more scholarly contest to uncover the style’s authentic origins. Traditionally, scholarship took structural or formal approaches, which struggled to classify structures into rigidly defined periods of formal development. As the Gothic style did not develop in such a cleanly linear fashion, this practice of retrospective labeling took a second place to cultural approaches that consider the Gothic style as a material manifestation of an overarching conscious Gothic cultural movement. Nevertheless, scholars still frequently look to the Isle-de-France when discussing Gothic’s formal and cultural beginnings. Gothic historians have entered a period of reflection upon the field’s historiography, questioning methodological paradigms. This -
Selena K. Anders
CURRICULUM VITAE SELENA K. ANDERS Via Ostilia, 15 Rome, Italy 00184 +39 334 582-4183 [email protected] Education “La Sapienza” University of Rome, Ph.D.; Rome, Italy Department of Architecture-Theory and Practice, December 2016 under the supervision of Antonino Saggio and Simona Salvo University of Notre Dame, M.Arch; Notre Dame, Indiana School of Architecture, cum laude May 2009. Archeworks, Postgraduate Certificate; Chicago, Illinois Social and Environmental Urban Design, May 2006. DePaul University, B.A.; Chicago Illinois Art History and Anthropology, Minor in Italian Language and Literature, magna cum laude, June 2005. Academic Positions Assistant Professor, School of Architecture, University of Notre Dame 2016-Present Co-Director China Summer Study Program, School of Architecture, University of Notre Dame 2010-Present Faculty, Office of Pre-College Programs, University of Notre Dame Rome: History, Culture, and Experience, 2015 Co-Director and Co-Founder of HUE/ND (Historic Urban Environments Notre Dame) School of Architecture, University of Notre Dame, 2014-Present Projects: Cities in Text: Rome Associate Director and Co-Founder of DHARMA LAB (Digital Historic Architectural Research and Material Analysis), School of Architecture, University of Notre Dame, 2006-Present India: Documentation of Mughal Tombs in Agra, India Italy: Documentation of the Roman Forum in Rome, Italy Vatican City: Belvedere Court Professor of the Practice, School of Architecture, University of Notre Dame, 2012-Present Faculty, Career Discovery for High School -
Lucknow: City of Illusion
> Review Lucknow: City of Illusion Llewellyn-Jones, Rosie. ed. 200. Lucknow: City of Illusion: New York, London, New Delhi: Prestel and the Alkazi Collection of Photography. 29 pages, ISBN 3 7913 313o 2 Felice Beato, albumen print 188. Panorama of the Husainabad Imambara, Lucknow. The Alkazi Collection Gerda Theuns-de Boer Monumental grief into a city of severe grief. The albumen sepoys, (Indian soldiers who served in records of human and monumental Architecture is the focus of the book prints of the Greek-British photographer the British armed forces), he decided to disaster. His photographs of the human his beautifully produced and print- as it is the only means to express not Felice Beato (1834-c.1907) are the main come down from the Crimea, where he remains of the slaughter of around Ted book presents a visual and his- only the city ‘s former wealth, but also source for studying the city‘s architec- had been photographing, among other 2000 sepoys in Lucknow‘s Sikandar toric record of the development of the the effects of general decay and the par- ture and design in the direct aftermath things, the fall of Sebastopol in Sep- Bagh are renowned, but it is his images city of Lucknow, (Uttar Pradesh, India), tial destruction caused by the ‘1857-58 of the mutiny and are well represented tember 1855. He arrived in Calcutta in of the ruined city which are featured in from its establishment as the Nawabi Uprising‘, (a mutiny by Indian soldiers in the book.2 Beato is regarded as one of February 1858. -
Indian Archaeology 1976-77 a Review
INDIAN ARCHAEOLOGY 1976-77 —A REVIEW EDITED BY B. K. THAPAR Director General Archaeological Survey of India ARCHAEOLOGICAL SURVEY OF INDIA GOVERNMENT OF INDIA NEW DELHI 1980 Cover: 1, decorated terracotta tile from Harwan (p. 94) ; 2, copper-plate from Anekannambadi (pp. 59-60) ; and 3, inscribed seal from Sanghol (pp. 78-79). 1980 ARCHAEOLOGICAL SURVEY OF INDIA GOVERNMENT OF INDIA Price : Rs. 65-00 PRINTED AT NABA MUDRAN PRIVATE LTD., CALCUTTA, 700 004 PREFACE This issue of the Review for 1976-77, like its twenty-three earlier ones, includes matter on the archaeological activities in the country during the previous year. The matter, as is well known, has come from diverse sources—State Departments of Archaeology, Universities, museums, research institutions and laboratories and the various offices of the Archaeological Survey of India—and I gratefully acknowledge the cooperation of all those whose contributions have been incorporated here. In the course of sorting and editing this vast mass of material, which is ever expanding, some errors are likely to creep in, and if there are any, I must apologize for them. At the same time I feel that if the contributors could supply their respective reports in the format followed in the successive issues of the Review, we may perhaps be able to eliminate possible inaccuracies; this, incidentally would also help us in bringing out the publication on time. I heartely thank my colleagues in the Archaeological Survey of India who have helped me in bringing out this volume, this being the fourth within a span of just one year. -
Women and Power: Female Patrons of Architecture in 16Th and 17Th Century Istanbul1
Women and Power: Female Patrons of Architecture in 16th and 17th Century Istanbul1 Firuzan Melike Sümertas ̧ Anadolu University, Eskisehir, ̧ TÜRKlYE ̇ The aim of this paper is to discuss and illustrate the visibility of Ottoman imperial women in relation to their spatial presence and contribution to the architecture and cityscape of sixteenth and seventeenth century Istanbul. The central premise of the study is that the Ottoman imperial women assumed and exercised power and influence by various means but became publicly visible and acknowledged more through architectural patronage. The focus is on Istanbul and a group of buildings and complexes built under the sponsorship of court women who resided in the Harem section of Topkapı Palace. The case studies built in Istanbul in the sixteenth and seventeenth centuries are examined in terms of their location in the city, the layout of the complexes, the placement and plan of the individual buildings, their orientation, mass characteristics and structural properties. It is discussed whether female patronage had any recognizable consequences on the Ottoman Classical Architecture, and whether female patrons had any impact on the building process, selection of the site and architecture. These complexes, in addition, are discussed as physical manifestation and representation of imperial female power. Accordingly it is argued that, they functioned not only as urban regeneration projects but also as a means to enhance and make imperial female identity visible in a monumental scale to large masses in different parts of the capital. Introduction Historical study, since the last quarter of the 20th The study first summarizes outlines the role of women century has concentrated on recognizing, defining, in the Ottoman society.