{"title":"结论","authors":"Alex Dika Seggerman","doi":"10.5149/northcarolina/9781469653044.003.0007","DOIUrl":null,"url":null,"abstract":"This brief conclusion summarizes the contents of the book’s five chapters and restates the main argument: that Egyptian modern artists showcased a constellation modernism in their artistic approach and that they acknowledged their Islamic context, but refused to be defined by it. In an epilogue, Seggerman addresses the contemporary context of the book’s writing, including the September 11 terrorist attacks, the Arab Spring, and the growth of arts institutions in Qatar and the United Arab Emirates. She ends with a call for an ethical art history with greater empathy.","PeriodicalId":417183,"journal":{"name":"Modernism on the Nile","volume":"81 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Conclusion\",\"authors\":\"Alex Dika Seggerman\",\"doi\":\"10.5149/northcarolina/9781469653044.003.0007\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This brief conclusion summarizes the contents of the book’s five chapters and restates the main argument: that Egyptian modern artists showcased a constellation modernism in their artistic approach and that they acknowledged their Islamic context, but refused to be defined by it. In an epilogue, Seggerman addresses the contemporary context of the book’s writing, including the September 11 terrorist attacks, the Arab Spring, and the growth of arts institutions in Qatar and the United Arab Emirates. She ends with a call for an ethical art history with greater empathy.\",\"PeriodicalId\":417183,\"journal\":{\"name\":\"Modernism on the Nile\",\"volume\":\"81 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-09-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Modernism on the Nile\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5149/northcarolina/9781469653044.003.0007\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Modernism on the Nile","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5149/northcarolina/9781469653044.003.0007","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
This brief conclusion summarizes the contents of the book’s five chapters and restates the main argument: that Egyptian modern artists showcased a constellation modernism in their artistic approach and that they acknowledged their Islamic context, but refused to be defined by it. In an epilogue, Seggerman addresses the contemporary context of the book’s writing, including the September 11 terrorist attacks, the Arab Spring, and the growth of arts institutions in Qatar and the United Arab Emirates. She ends with a call for an ethical art history with greater empathy.
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