oa Orientalism today: Revisions and remakings

References

1. Edward Said. Orientalism. New York: Vintage Books 1978;, 2.
   [Google Scholar]
2. Edward Said. Orientalism. 3.
3. Said Edward. Imperialism. New York: Vintage Books 1994.
   [Google Scholar]
4. Homi Bhabha. The Location of Culture. London: Routledge 1994;. See, for example, “The Other Question.” 66–85.
   [Google Scholar]
5. Linda Nochlin. The Imaginary Orient. The Politics of Vision: Essays on Nineteenth Century Art and Society. Boulder, Co. Westview Press 1989;, 35.
   [Google Scholar]
6. Nochlin. “The Imaginary Orient.” 35.
7. Nochlin. “The Imaginary Orient.” 39. For a more recent consideration of Gerome's work, see Mary Morton, editor, Reconsidering Gerome. Los Angeles: Getty Publishing, 2010.
8. Quoted in Roger Benjamin, Orientalism: Delacroix to Klee. Sydney: Art Gallery of New South Wales, 1997. 33.
9. Bill Turque. “Once-Reviled Orientalist Art Inspires Egyptian Industrialist to Improve East-West Relations.” The Washington Post. February 21, 2013. Accessed: 1 March 2013 [http://articles. washingtonpost.com/2013-02-21/entertainment/].
10. Michel Lebrun. “Seeing Orientalist Art as an Aid to East-West Dialogue,” The New York Times (November 29, 2012). Web 1 March 2013. [http://artsbeat.blogs.nytimes.com/2012/11/29/seeing-orientalist-art-as-aid-to-east-west-dialogue].
11. Lalla Essaydi. “Artist Statement,” Les Femmes du Maroc (New York: Powerhouse Books, 2009), 17.
12. Essaydi. “Artist Statement.” 16.
13. Essaydi. “Artist Statement.” 17.
14. Assia Djebar. The Women of Algiers in their Apartment. Charlottesville, Va: University of Virginia Press, 1992. See final chapter: “Forbidden Gaze, Severed Sound.” (Djebar's literary re-vision of Delacroix's 1834 painting provides yet another perspective on the original image.).
15. Mr. Gabr's collecting practices surely reflect his interest in historical genre scenes, while Ms. Essaydi's most direct engagement is with many of the more “exotic” and provocative Orientalist images of women by artists such as Delacroix and Ingres. Their divergent interests underscore the wide range of subjects, styles, artists' experiences, etc. found in nineteenth-century Orientalist painting.