By Silke Knippschild, Marta García Morcillo
This quantity specializes in the reception of antiquity within the acting and visible arts from the Renaissance to the twenty-first century. It explores the tensions and family of gender, sexuality, eroticism and tool in reception. Such common issues dictated plots and characters of fable and drama, but in addition served to painting ancient figures, occasions and locations from Classical historical past. Their altering reception and reinterpretation throughout time has created stereotypes, types of advantage or immoral behavior, that mix the unique gains from the traditional global with a various variety of visible and acting arts of the fashionable period. the quantity deconstructs those traditions and indicates how arts of alternative sessions interlink to shape and transmit those photographs to fashionable audiences and audience. Drawing on contributions from throughout Europe and the U.S., a hallmark of the e-book is the inclusive remedy of all of the arts past the normal limits of educational disciplines. - See extra at: http://www.bloomsbury.com/us/seduction-and-power-9781441190659/#sthash.yVmSBXoy.dpuf
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Extra resources for Seduction and Power: Antiquity in the Visual and Performing Arts
6 Davies 2005: 247. For Ingres’ Eastern women see Lemairs 2000: 198–203 and Ribiero 1999: 197–236. More generally on women in Orientalist art see DelPlato 2002 and Thornton 1993. On the Ballet Russe see also Momigliano, this volume. 34 Seduction and Power 7 Mernissi 2001: 68–9. 8 Çelik 2000: 81. 5 10 For a discussion of the painting and a background to the nineteenth-century mania for the ancient Near East see Bohrer 2003: 54–9. 11 Drew 2001: 68–9 12 Said 1985: 90, 103. 13 In the script (fourth draft) the scene reads: ‘PTOLEMY: Aristotle might have called them barbarians, but he never saw Babylon.
NEARCHUS I advise you not to touch, Leonnatus. I’ll take care of it for you. ’ Jewel-in-the-Bellybutton-Orientalism 23 The script is peppered with unashamed Orientalist clichés: ‘from water pools, to food, fragrance, music, clothes, and love, all designed to seduce the senses’, it reads. In the final cut of the film shown in cinemas worldwide, the sledgehammer stereotypes are even more painfully obvious, as will be demonstrated below. Numerous questions arise out of this set up: why did Stone indulge himself with these outmoded and, essentially, historically inaccurate visions of the East and how do these cinematic perceptions of the Orient fit in with a bigger Hollywood convention of picturing the East?
Why do they not resist? Instead they capitulate; more than that, the concubines willingly open up and blossom. Interestingly the Turkish director Ferzan Özpetek deals with a very similar scenario differently. His 1999 film Harem Suare (The Last Harem) traces the daily life of the imperial harem in Istanbul at the twilight of the Ottoman Empire. The story follows Safiye, the Sultan’s favourite concubine, as she gains power and authority within the inner court by overcoming plots and intrigues until she secures her position by bearing the Sultan a son and becoming an official wife.