Week 4- Colonialism, the Exotic, representation of the Other

The Oriental renaissance described by Lockman is said to have begun in the 19th century due to imperialistic expansion and secured political dominion of various regions of the Orient. Prior to the 19th century, only a few scholars had been familiar with the history, cultures, and religions of the Orient, but due to the contact with the east this changed. Many scholars began incorporating aspects of the Orient into their writings, paintings, and knowledge by learning the different languages. An example is the German poet, Wolfgang von Goethe, who produced work that dealt mostly on Muslim imagery and themes. Lockman describes this time frame as an obsession of scholars with the Orient. Due to the different lifestyles and the unique qualities not seen in the west made the Orient a mysterious subject. It is human nature, especially as a scholar, to want to know about something that is not common in the norms of the society they live in. The incorporation of the Orient in scholarly works led to increased knowledge of the region but also reinforced the stereotypes of Islamic society that had developed in previous years. Examples include the view of Muslim men as “violent, lusty and sexually perverse” and women as “oppressed, subjugated, little more than slaves, constantly available for the erotic gratification of oversexed men.” (Lockman 69-70)
The harem, according to Lockman, was a common fascination to many artists who assembled offensive paintings without any first hand contact with one. The mystery, the polygamous action within, and the seclusion of the harem made it a topic that was portrayed through imagination. Paintings of harems include Odalisque with a Slave by J.A.D. Ingres 1839-1840 and The Hhareem by John Frederick Lewis 1849. Ingres, in his painting, develops scenery of a slave whom is part of a harem living with wives and concubines. It is a revealing painting much like others that were developed during that time of women without clothes. No woman of high standing, who are prominent in harems, would have taken part in such act hence most painting were developed through the imagination or with the use of lower class women. Once photography emerged, a new era of Oriental exposure occurred as people could perform at the photographers request. The use of models gave photograph the life and further credibility to the harem system as well as the veiled woman. The Colonial Harem is a collection of photographs that were printed on postcards and circulated by the French from 1900 to 1930. These photographs of Algerian women were exploited by the French and show an effect that European presence had on the women of the society. It also proves the European fascination with the harem system. These models, both covered and uncovered, were used to display a glimpse of a conservative eastern society. I find it disturbing how photographers could uncover women from a society that is strongly conservative. It also disturbs me how people could use these postcards and write to loved ones or acquaintances on them. Through these postcards the life of an Algerian woman is not only uncovered in all aspects but it is wrongfully displayed to the satisfaction of the photographer.