约翰·加德纳·威尔金森爵士(1797-1875)在底比斯身着土耳其服饰:一位古埃及学家的自我塑造

IF 0.2 3区 历史学 Q2 HISTORY
Robert Frost
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引用次数: 0

摘要

近年来,人们对18世纪和19世纪英国人穿着本土服装的文化习俗产生了相当大的兴趣,同时也讨论了是什么促使人们以如此激进的方式重新塑造自己的身份。通常,这些做法要么被视为文化挪用的行为,要么偶尔被视为与其他文化团结一致的行为。这篇文章的重点是一个人,古埃及学家约翰·加德纳·威尔金森爵士(1797-1875),他在埃及时穿着土耳其服装,并被肖像艺术家亨利·温德姆·菲利普斯(Henry Wyndham Phillips)描绘为在1843/44年穿着同样的衣服。尽管在无数的埃及学、考古学和其他领域的历史中都有再现,但目前还没有对威尔金森与这件服装的关系进行持续的批判性分析。我认为威尔金森对土耳其服装的选择和他对这种服装的投入既持久又复杂。它反映了简单的实际情况,但也反映了对埃及社会政治状况的认识,而官方对埃及社会政治状况的理解不足,这是由于对英国人应该如何表现,不应该如何表现的高压期望,以增强英国在国外的国家形象。与此同时,同样的衣服可能会被其他观众以不同的方式解读,菲利普斯为威尔金森画的这幅画——这幅画的组成部分是第一次被确定——作为威尔金森自我塑造的一种尝试,以巩固他最近作为古埃及公认权威的地位。这些担忧也适用于19世纪早期活跃在近东的其他西方学者和旅行家。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Sir John Gardner Wilkinson (1797–1875) in Turkish Dress, at Thebes: The Self-Fashioning of an Antiquarian Egyptologist
Abstract In recent years, there has been considerable interest in the eighteenth- and nineteenth-century cultural practice of Britons wearing indigenous dress, as well as debate as to what motivated people to re-fashion their identity in such radical ways. Typically, these practices have been viewed either as acts of cultural appropriation, or occasionally as acts of solidarity with other cultures. This article focuses on one individual, the antiquarian Egyptologist Sir John Gardner Wilkinson (1797–1875), who wore Turkish dress whilst in Egypt, and was depicted wearing the same dress by the portrait artist Henry Wyndham Phillips, in 1843/44. Despite being reproduced in countless histories of Egyptology, archaeology and beyond, there currently exists no sustained critical analysis of Wilkinson’s relationship with this costume. I contend that Wilkinson’s choice of Turkish dress and his engagement with such clothing was both sustained and complicated. It reflected simple practicalities, but also an awareness of socio-political conditions in Egypt which were inadequately understood at an official level, due to high-handed expectations about how Britons should and should not behave, to bolster Britain’s national image abroad. At the same time, the same clothing could be interpreted differently by other audiences, and Phillips’s painting of Wilkinson – the components of which are identified for the first time – emerges as an attempt at self-fashioning on Wilkinson’s part, to cement his recently acquired status as a recognized authority about ancient Egypt. These concerns are applicable to other western scholars and travellers active in the Near East in the early nineteenth century.
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