Performing the Iranian State: Visual Culture and by Staci Gem Scheiwiller

By Staci Gem Scheiwiller

This booklet discusses what it ability to “perform the State,” what this motion capability on the subject of the rustic of Iran and the way those a number of performances are represented. the concept that of the “State” as a contemporary phenomenon has had a robust influence at the formation of the person and collective, in addition to on choosing how political entities are perceived of their interactions with each other within the present international arena.

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She chronicled her liberal lifestyle in Crowning Anguish: Memoirs of a Persian Princess form the Harem to Modernity 1884–1914, ed. Abbas Amanat, trans. Anna Vanzan and Amin Neshati (Washington: Mage Publishers, 1993). 20 Frederick N. Bohrer, “Looking Through Photographs: Sevruguin and the Persian Image,” in Sevruguin and the Persian Image: Photographs of Iran, 1870–1930, ed. Frederick N. Bohrer (Washington: Arthur M. Sackler Gallery and University of Washington Press, 1999), 39. 21 Aphrodite Désirée Navab, “To Be or Not to Be an Orientalist?

21 Aphrodite Désirée Navab, “To Be or Not to Be an Orientalist? The Ambivalent Art of Antoin Sevruguin,” Iranian Studies 35, nos. 1–3 (Winter/Spring/Summer 2002): 128. 22 Sir William Ouseley, Travels into Various Countries of the East, More Particularly Persia, vol. 2 (London: Rodwell and Martin, 1823), 224. 23 Ella Sykes, Through Persia on a Sidesaddle (London: J. Macqueen, 1898), 17, quoted in Jennifer M. Scarce, “Vesture and Dress: Fashion, Function, and Impact,” in Woven from the Soul, Spun from the Heart: Textile Arts of Safavid and Qajar Iran, 16th–19th Centuries, ed.

Whereas the first European photographers based their work on the formal and aesthetic rules of painting, native photographers in Iran did not have the same naturalistic pictorial tradition to rely on for inspiration. Instead, they willingly explored European prototypes, borrowed from fictional Orientalist constructions of the Middle East by foreign travelers, painters and photographers and eventually developed a new mediated THE PHOTOGRAPHIC SOURCE FOR A QAJAR PAINTING  25 Iranian identity performed in photographs.

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