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Odette du Puigaudeau is best known for her major ethnographic work, Arts et Coutumes des Maures, a detailed study, in words and drawings, of the cultural world of the nomads of Mauretania. The present work explains how she came to write it. Barefoot Through Mauretania is an account of her first journey across the country by camel in 1933-4, with her life-long companion, Marion Senones. The book records the adventures of the two women during that year, often with a touch of humour. Above all, however, it presents a picture of a way of life that has, as they feared, almost vanished, and their determination that it should be recorded. Odette du Puigaudeau wrote a number of other books on different aspects of nomad life, such as the salt caravans and date markets, as well as articles on prehistoric rock-drawings, and a charming tribute to her pet leopard, Rachid."
It conscripts historical events in a bid to guide shared memories into a coherent narrative that helps individuals negotiate their place in broader collective identities." "The contest over public memories involves an exclusiveness that packages "other" according to the ideological preferences of the dominant cultures. Gordon shows that in Montreal ethnic, class, and gender voices strove to stake their own claims to legitimacy."--BOOK JACKET.
From monumental battle paintings to the public display of archaeological spoils to the decoration of urban vistas, visual culture promoted modern French imperialism. So argues Todd Porterfield in this provocative look at the forces of art and politics in France's military conquest of the Near East. In challenging the conventional wisdom that France happened into imperial venture, Porterfield explores interactions among artists, generals, journalists, curators, and politicians from the time of Napoleon's Egyptian campaign to the invasion of Algeria during the Restoration and July Monarchy. Together they forged an official culture that provided a rationale for imperialism--based on images of France's moral and technological superiority--and an enduring project for Frenchmen of all political persuasions during an era of domestic instability. The allure of empire derived in part from its function as an alternative, surrogate, mask, and displacement of the Revolution. Porterfield reveals the interlocking strategies, the historical, scientific, moralistic, and gendered judgments, that imperial art conveyed in a strikingly rich variety of media: the obelisk at the Place de la Concorde, battle paintings of the Egyptian campaign, the first Egyptian Museum in the Louvre, and Delacroix's Women of Algiers. Not only do his analyses engage a wide range of urgent debates within cultural studies, but they also shed light on a troubling question. How in the age oflibert,, egalit,, and fraternit, was visual culture enlisted to fabricate a sense of national superiority that led to the subjugation of others?
How should Germany commemorate the mass murder of Jews once committed in its name? In 1997, James E. Young was invited to join a German commission appointed to find an appropriate design for a national memorial in Berlin to the European Jews killed in World War II. As the only foreigner and only Jew on the panel, Young gained a unique perspective on Germany's fraught efforts to memorialize the Holocaust. In this book, he tells for the first time the inside story of Germany's national Holocaust memorial and his own role in it. In exploring Germany's memorial crisis, Young also asks the more general question of how a generation of contemporary artists can remember an event like the Holocaust, which it never knew directly. Young examines the works of a number of vanguard artists in America and Europe--including Art Spiegelman, Shimon Attie, David Levinthal, and Rachel Whiteread--all born after the Holocaust but indelibly shaped by its memory as passed down through memoirs, film, photographs, and museums. In the context of the moral and aesthetic questions raised by these avant-garde projects, Young offers fascinating insights into the controversy surrounding Berlin's newly opened Jewish museum, designed by Daniel Libeskind, as well as Germany's soon-to-be-built national Holocaust memorial, designed by Peter Eisenman. Illustrated with striking images in color and black-and-white, At Memory's Edge is the first book in any language to chronicle these projects and to show how we remember the Holocaust in the after-images of its history.
Public monuments to significant individuals or to political concepts are familiar to most of us, but the notions underlying them may not be so obvious. This book traces the history of the public monument, from the 1870s to the present day.