Description
Yeazell, professor of English and director of the Lewis Walpole Library at Yale, lifts the veil on several hundred years of Western representations of harems, both verbal and visual, including travel writing, literature, painting, opera. The word "harem" means "forbidden" or "sacred" and refers to both the secluded area and to the women in them. Strictly speaking, however, the harem is a figment of the Western imagination, partially shown by the repeated disappointments of 19th-century travel writers seeing for themselves how the reality of Eastern domestic life differed from say, the erotic fantasies tendered by Ingres, Delacroix, Sade, Byron, Loti and anonymous pornographers. This volume is an important addition to the critical trend that erupted after Edward Said's seminal Orientalism . A substantial gallery of high-quality reproductions of paintings and drawings accompanies the text. Annotation c. Book News, Inc., Portland, OR (booknews.com)
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Fascinating and mysterious, the idea of the harem long captured the imagination of the West. The Muslim practice of concealing the women of the household from the eyes of alien men tempted Europeans to extravagant projections of their own wishes and fears. This intriguing book examines the art that resulted. Drawing on a wide range of evidence from the late seventeenth century to the early twentieth century'including travel writing, literature, painting, and even opera'Ruth Bernard Yeazell demonstrates the surprising variety of expressions inspired by the harem of the Western imagination. The book provides both a rich account of changing perceptions of the harem and a demonstration of the tenacious persistence of myth and stereotype. Yeazell shows that Europe's hunger for facts about the harem combined repeatedly with the impulse to fantasize. Masculine erotic fantasies of the harem were reflected in the paintings of Ingres and Delacroix, the writings of de Sade, Byron, and Loti, and the work of anonymous pornographers. Alternate representations portrayed the harem as a prison or a locus of freedom, a place of murderous rivalry or a home of loving sisterhood, a chamber of erotic license or a nightmarish snare of frustration and ennui. And Montesquieu, Mozart, and Charlotte Brontë among others explored in their art the opposition of the imaginary pleasures of the harem to the freely chosen union of a loving couple. In a nuanced reading of Ingres's Bain turc andother works, Yeazell concludes that for some the appeal of the harem lay in the fantasy of eluding time and death.
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