This study argues that photographs from Qajar Iran (1785-1925) of harem women, royal women, and public women, such as sex workers, musicians, singers, and dancers, make profound statements on the institution of the harem in a time of flux and modernization.
This study argues that photographs from Qajar Iran (1785-1925) of harem women, royal women, and public women, such as sex workers, musicians, singers, and dancers, make profound statements on the institution of the harem in a time of flux and modernization.
Staci Gem Scheiwiller is Professor of Modern Art History at California State University, Stanislaus, USA.
Inhaltsangabe
LIST OF ILLUSTRATIONS PREFACE ACKNOWLEDGMENTS A NOTE ON TRANSLITERATION 1. INTRODUCTION 2. MYTHS AND ORIGINS OF WOMEN IN QAJAR PHOTOGRAPHY 3. MAHD-E OLYA: THE PHOTOGRAPHY QUEEN: PART I 4. MAHD-E OLYA: THE PHOTOGRAPHY QUEEN: PART II 5. TO BE SEEN OR NOT TO BE SEEN: PHOTOGRAPHY AND THE QUEEN OF IRAN, ANIS AL-DOWLEH 6. WITHIN THE REALM OF A DYING HAREM: THE PHOTOGRAPHS OF KHANOM BASHI 7. A MOTHER OF THE HEARTH: THE PHOTOGRAPHS OF PRINCESS ESMAT AL-DOWLEH 8. A MOTHER OF THE REVOLUTION: THE PHOTOGRAPHS OF TAJ AL-SALTANEH 9. OUTSIDE THE HAREM: CELEBRITY AND MODERNITY IN THE PHOTOGRAPHS OF PUBLIC WOMEN 10. CONCLUSION: PHOTOGRAPHS OF SUBLIMATION: FROM HAREM TO GIRLS' SCHOOLS INDEX
LIST OF ILLUSTRATIONS PREFACE ACKNOWLEDGMENTS A NOTE ON TRANSLITERATION 1. INTRODUCTION 2. MYTHS AND ORIGINS OF WOMEN IN QAJAR PHOTOGRAPHY 3. MAHD-E OLYA: THE PHOTOGRAPHY QUEEN: PART I 4. MAHD-E OLYA: THE PHOTOGRAPHY QUEEN: PART II 5. TO BE SEEN OR NOT TO BE SEEN: PHOTOGRAPHY AND THE QUEEN OF IRAN, ANIS AL-DOWLEH 6. WITHIN THE REALM OF A DYING HAREM: THE PHOTOGRAPHS OF KHANOM BASHI 7. A MOTHER OF THE HEARTH: THE PHOTOGRAPHS OF PRINCESS ESMAT AL-DOWLEH 8. A MOTHER OF THE REVOLUTION: THE PHOTOGRAPHS OF TAJ AL-SALTANEH 9. OUTSIDE THE HAREM: CELEBRITY AND MODERNITY IN THE PHOTOGRAPHS OF PUBLIC WOMEN 10. CONCLUSION: PHOTOGRAPHS OF SUBLIMATION: FROM HAREM TO GIRLS' SCHOOLS INDEX
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