オスマン帝国後期における博物館、考古学と歴史の視覚化<br>Possessors and Possessed : Museums, Archaeology, and the Visualization of History in the Late Ottoman Empire

個数:

オスマン帝国後期における博物館、考古学と歴史の視覚化
Possessors and Possessed : Museums, Archaeology, and the Visualization of History in the Late Ottoman Empire

  • 提携先の海外書籍取次会社に在庫がございます。通常3週間で発送いたします。
    重要ご説明事項
    1. 納期遅延や、ご入手不能となる場合が若干ございます。
    2. 複数冊ご注文の場合、分割発送となる場合がございます。
    3. 美品のご指定は承りかねます。
  • 【入荷遅延について】
    世界情勢の影響により、海外からお取り寄せとなる洋書・洋古書の入荷が、表示している標準的な納期よりも遅延する場合がございます。
    おそれいりますが、あらかじめご了承くださいますようお願い申し上げます。
  • ◆画像の表紙や帯等は実物とは異なる場合があります。
  • ◆ウェブストアでの洋書販売価格は、弊社店舗等での販売価格とは異なります。
    また、洋書販売価格は、ご注文確定時点での日本円価格となります。
    ご注文確定後に、同じ洋書の販売価格が変動しても、それは反映されません。
  • 製本 Hardcover:ハードカバー版/ページ数 280 p.
  • 言語 ENG
  • 商品コード 9780520233355
  • DDC分類 069

基本説明

Analyzes how and why museums - characteristically Westen institutions - emerged in the late-nineteenth-century Ottoman Empire.
"An Ahmanson-Murphy Fine Arts Book"

Full Description

"Possessors and Possessed" analyzes how and why museums - characteristically Western institutions - emerged in the late-nineteenth-century Ottoman Empire. Shaw argues that, rather than directly emulating post-Enlightenment museums of Western Europe, Ottoman elites produced categories of collection and modes of display appropriate to framing a new identity for the empire in the modern era. In contrast to late-nineteenth-century Euro-American museums, which utilized organizational schema based on positivist notions of progress to organize exhibits of fine arts, Ottoman museums featured military spoils and antiquities long before they turned to the 'Islamic' collections with which they might have been more readily associated. The development of these various modes of collection reflected shifting moments in Ottoman identity production. Shaw shows how Ottoman museums were able to use collection and exhibition as devices with which to weave counter-colonial narratives of identity for the Ottoman Empire.
Impressive for both the scope and the depth of its research, "Possessors and Possessed" lays the groundwork for future inquiries into the development of museums outside of the Euro-American milieu.