By Staci Gem Scheiwiller
This publication discusses what it capacity to “perform the State,” what this motion capability with regards to the rustic of Iran and the way those numerous performances are represented. the concept that of the “State” as a contemporary phenomenon has had a strong effect at the formation of the person and collective, in addition to on deciding upon how political entities are perceived of their interactions with each other within the present international arena.
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Extra info for Performing the Iranian State: Visual Culture and Representations of Iranian Identity
Avineri, Hegel’s Theory of the Modern State, ix. 19 Taussig, The Nervous System, 112–13. 20 Edward W. Said, Freud and the Non-European (London: Verso, 2003), 54–5. 21 Tonja van den Ende, “In Search of the Body in the Cave: Luce Irigaray’s Ethics of Embodiment,” in Belief, Bodies, and Being: Feminist Reflections on Embodiment, ed. Deborah Orr et al. (Lanham: Rowman and Littlefield, 2006), 144. 22 Michel Foucault, Power/Knowledge: Selected Interviews and Other Writings 1972–1977, ed. and trans. Colin Gordon (New York: Pantheon Books, 1980), 55.
Photographs provide an unrivalled testament to a traditional way of life and its architectural setting. Ethnographic imagery satisfied the fantasies of nineteenth-century armchair travelers, because as visual specimens of a passing era, photographs illustrate most aspects of everyday life, real and romantic, objectifying places, buildings, costumes, monuments, customs, landscapes and people. By the end of the nineteenth century, topographical photography by adventurous travelers in Iran was quite common.
32 The camera created a new way of seeing and a new way of understanding the self. Photography added a three-dimensional and realistic quality to painting and a personal and candid point of view to Qajar imagery. Etemad al-Saltaneh recognized that photography had greatly served the art of portraiture and landscape painting by reinforcing the use of light and shade, accurate proportions and perspective. ”33 The photograph of a harem scene as the source for an opaque watercolor illustrates how photography provided pictorial imagery for artists that would have been impossible through direct experience of the women’s quarters in the imperial seraglio.
Performing the Iranian State: Visual Culture and Representations of Iranian Identity by Staci Gem Scheiwiller