尼罗河流淌或骆驼行走

IF 0.2 2区 艺术学 0 ART
ARTMargins Pub Date : 2024-02-01 DOI:10.1162/artm_a_00376
Dawit L. Petros, Black Athena Collective
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引用次数: 0

摘要

1884-1885 年间,英国要求加拿大派出一支船夫("voyageurs")特遣队,协助运送军队和补给品通过尼罗河的白内障(急流)系统。参加探险队的人员包括埃及人、苏丹人、大约一百名加拿大土著人以及来自英国帝国各地的人。由四位参与者撰写的原始资料对于了解游记的作用及其附带的插图和照片如何与帝国主义话语相结合,从而为殖民主义的话语实践建立一个基础框架至关重要。两位作者--路易斯-杰克逊的《我们在埃及的高纳瓦加人》(1885 年)和詹姆斯-D-迪尔的《在埃及的加拿大旅行者》(1885 年)--都是魁北克蒙特利尔附近卡纳瓦克莫霍克社区的成员。这篇视觉文章关注的是在帝国征服的条件下,通过接触和交流产生土著性的方式。文中穿插了 19 世纪和 20 世纪在加拿大、英国、埃及和苏丹制作的地图、历史插图、照片、音乐转录文本片段和游记。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
As the Nile Flows or the Camel Walks

Between 1884–1885, Britain requested a contingent of boatmen – “voyageurs” – from Canada to assist transport troops and supplies through the Nile's system of cataracts (rapids). The expedition's cross section of participants included Egyptians, Sudanese, roughly one hundred indigenous subjects from Canada and subjects from across Britain's empire. Primary sources authored by four participants are central to understanding how the role of travelogues and their accompanying illustrations and photographs combine with discourses of imperialism to establish a foundational framework for the discursive practice of colonialism. Two authors – Louis Jackson's Our Gaughnawagas in Egypt (1885) and James D. Deer's The Canadian Voyageurs in Egypt (1885) – were members of the Mohawk community of Kahnawake near Montreal, Quebec. This visual essay is interested in the way in which indigeneity is produced through contact and exchange under conditions of imperial conquest. It intersperses maps, historical illustrations, photographs, fragments of musical transcription texts and travelogues that were produced in Canada, Britain, Egypt, and Sudan during the 19th and 20th centuries.

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来源期刊
ARTMargins
ARTMargins ART-
CiteScore
0.10
自引率
0.00%
发文量
16
期刊介绍: ARTMargins publishes scholarly articles and essays about contemporary art, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, from North Africa and the Middle East to the Americas, Eastern and Western Europe, Asia and Australasia. The journal acts as a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in art and politics in transitional countries and regions; postsocialism and neo-liberalism; postmodernism and postcolonialism, and their critiques; and the problem of global art and global art history and its methodologies.
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