In contrast to most cultural histories of imperialism, which analyse Orientalist images of rather than by women, Gendering Orientalism focuses on the contributions of women themselves. Drawing on the little-known work of Henriette Browne, other `lost' women Orientlist artists and the literary works of George Eliot, Reina Lewis challenges masculinist assumptions relating to the stability and homogeneity of the Orientalist gaze.
Gendering Orientalism argues that women did not have a straightforward access to an implicitly nale position of western superiority, Their relationship to the shifting terms of race, nation and gender produced positions from which women writers and artists could articulate alternative representations of racial difference. It is this different, and often less degrading, gaze on the Orientalized `Other' that is analysed in this book. By revealing the extent of women's involvement in the popular field of visual Orientalism and highlighting the presence of Orientalist themes in the work of Browne, Eliot and Charlotte Bronte, reina Lewis uncovers women's roles in imperial culture and discourse.
Gendering Orientalism will appeal to students, lecturers and researchers in cultural studies, literature, art history, women's studies and anthropology.

"Outlooks" reflects the richness of lesbian and gay ways of producing and reading visual culturewhile tackling such issues as the advantages of adopting a queer perspective on past art, the responses of lesbian and gay artists to the AIDS crisis, and society's attempts to censor homosexual art.
Providing a space for lesbian and gay artists to exhibit their work and discuss its relationship to sexuality, "Outlooks" It allows for a wide ranging theoretical and historical discussion of the place of lesbians and gay men within visual cultures and shows how much has been missed by a heterosexist approach to art history and the study of culture. Richly illustrated, "Outlooks" includes statements by contemporary lesbian and gay artists, photographers and performers as well as articles by art historians, cultural theorists and lesbian and gay activists.
Contributors include Emmanuel Cooper, Richard Dellamora, Richard Kaye, Thais Morgan, Wendy Leeks, Reina Lewis, Katrina Rolley, Simon Watney.

Outlook explores the relationship of lesbian and gay sexualities to visual representation. It reflects the richness of lesbian and gay ways of producing and reading visual cultures, at the same time as it tackles such burning issues as the advantage of adopting a queer perspective on past art, the responses of lesbian and gay artists to the AIDS crisis, and society's attempts to censor homosexual art.
This volume provides a space for lesbian and gay artists to exhibit their work and discuss its relationship to sexuality. It allows for a wide ranging theoretical and historical discussion of the place of lesbian and gay men within visual cultures and shows how much has been missed by a heterosexist approach to art history and the study of culture.
Richly illustrated, this book includes statements by contemporary lesbian and gay artists, photographers and performers as well as articles by art historians, cultural theorists and lesbians and gay activists.

In contrast to most cultural histories of imperialism, which analyse Orientalist images of rather than by women, Gendering Orientalism focuses on the contributions of women themselves. Drawing on the little-known work of Henriette Browne, other `lost' women Orientlist artists and the literary works of George Eliot, Reina Lewis challenges masculinist assumptions relating to the stability and homogeneity of the Orientalist gaze.Gendering Orientalism argues that women did not have a straightforward access to an implicitly nale position of western superiority, Their relationship to the shifting terms of race, nation and gender produced positions from which women writers and artists could articulate alternative representations of racial difference. It is this different, and often less degrading, gaze on the Orientalized `Other' that is analysed in this book. By revealing the extent of women's involvement in the popular field of visual Orientalism and highlighting the presence of Orientalist themes in the work of Browne, Eliot and Charlotte Bronte, reina Lewis uncovers women's roles in imperial culture and discourse. Gendering Orientalism will appeal to students, lecturers and researchers in cultural studies, literature, art history, women's studies and anthropology.

The influential readings collected for this volume reflect not just the textual and discursive nature of colonial and postcolonial discourse in relation to gender, but also the material effects of the postcolonial condition and practices developed in relation to it. The volume seeks to open up the field by juxtaposing a number of contested subjects. Readings cover a range of geographical regions including: South-east Asia, India, Africa, Latin America, Canada, Turkey, Egypt, Algeria, Australia and Ireland. Key topics include: colonialism and anti-colonialism, 'otherness', sexuality, sexual rights, the harem and the veil, space and writing, and aboriginal and indigenous women's issues. Not only does this anthology address the lack of attention to gender and feminism in early studies of colonial discourse, it also provides resources for readers to trace the developments in feminism as it responds to postcolonial critiques of First World feminism.

This dazzling exploration of contemporary Muslim modest dress, from historic styles to present-day examples, accompanies a major exhibition and reveals the enormous range of self-expression through fashion achieved by Muslim men and women. Filled with documentary and fashion photography as well as stills from runway shows and the media, this book explores the ways Muslim style cultures are shaped by global trends and religious beliefs. From high-end couture to street- wear, this volume shows how established and diaspora regions, such as Dubai, Jakarta, London, and New York, are homes to thriving industries that create classic and cutting-edge looks. Accompanying these images are essays and personal narratives by leading voices that touch on everything from the history of modest dress to social media. A fascinating examination of a major segment of the fashion industry, this book highlights the ingenuity and creativity of Muslim designers and wearers as they deftly navigate the fashion industry while maintaining their religious and cultural identities.

This unique collection takes a fresh look at Orientalism by shifting its center from Europe to Ottoman Istanbul and thinking about art in terms of exchange, reciprocity, and comparative imperialisms. This new lens reveals the essential role of the Ottoman city and its patrons and artists in the dialogues that facilitated production, circulation, and consumption of British Orientalist cultures. In this volume, art works are conceptualized as travelling artefacts produced through localized interactions. World renowned scholars and curators analyse the diverse audiences for such art works and the range of differing contexts for their reception both in the nineteenth century and more recently. In this way, British art is put into a dynamic relationship with an historicised understanding of cultures of collecting and display during the formation of comparative modernities and also with the contemporary postcolonial creation of new national models of exhibition and education.

Featuring stunning visuals, this book puts art history in the context of cultural, visual, and literary studies, challenging the orthodoxies of postcolonial theory with the materiality of multiple imperialisms and modernities to offer a new take on the collection, display and consumption of Orientalist cultures.

Zeynep Inankur is a professor of art history at Mimar Sinan Fine Arts University in Istanbul and coauthor of "Constantinople and the Orientalists." Reina Lewis is Artscom Centenary Professor of Cultural Studies at the London College of Fashion, University of the Arts London, and author of "Rethinking Orientalism: Women, Travel and the Ottoman Harem." Mary Roberts is the John Schaeffer Associate Professor of British Art at the University of Sydney and author of "Intimate Outsiders: The Harem in Ottoman" and "Orientalist Art and Travel Literature." Other contributors include Tim Barringer, Edhem Eldem, Ahmet Ersoy, Semra Germaner, Aykut Gurcaglar, Teresa Heffernan, Briony Llewellyn, Nancy Micklewright, Peter Benson Miller, Donald Preziosi, Gunsel Renda, Christine Riding, Sarah Searight, Wendy Shaw, and Nicholas Tromans.

"This rich collection of essays displays a host of new ideas, questions, and insights that spring from centering the study of British and Ottoman Orientalist art in Istanbul, not London, and in a particularly Ottoman milieu of connection, collaboration, and reinvention." -Leslie Peirce, New York University

"Opens a new window to the study of Orientalist art with a series of intriguing case studies drawn from the nineteenth century British and late Ottoman visual cultures and] discussions of contemporary art markets and the politics of curating." -Zeynep Celik, New Jersey Institute of Technology"

In the first book to address the critical role of the (un)dressed body in the formation of the modern Middle East, these essays unveil contemporary struggles over nation, gender, modernity and post-modernity. Contributions from leading interdisciplinary scholars, exploring gender representation, photography, dress and visual culture, recount the role of the visible elite body in campaigns for gender and social emancipation, dress histories concerning early nationalist women and men, and legal frameworks used by those who seek to control the movement of gendered bodies. The result is a rich picture of a historical period and cultural landscape which brings dress and visual culture back into historical narratives of the modern Middle East. Recognising multiple modernities, multiple imperialisms and diverse regional experiences of post-colonialism, Fashioning the Modern Middle East contains a range of theoretical frameworks invaluable to students of fashion studies, Middle Eastern studies, anthropology, photography and gender. Bringing forward new primary material and re-investigating extant sources from new perspectives, this is the essential introduction to the role of the dressed and undressed body in the formation of the modern Middle East.

In the shops of London's Oxford Street, girls wear patterned scarves over their hair as they cluster around makeup counters. Alongside them, hip twenty-somethings style their head-wraps in high black topknots to match their black boot-cut trousers. Participating in the world of popular mainstream fashion-often thought to be the domain of the West-these young Muslim women are part of an emergent cross-faith transnational youth subculture of modest fashion. In treating hijab and other forms of modest clothing as fashion, Reina Lewis counters the overuse of images of veiled women as "evidence" in the prevalent suggestion that Muslims and Islam are incompatible with Western modernity. Muslim Fashion contextualizes modest wardrobe styling within Islamic and global consumer cultures, interviewing key players including designers, bloggers, shoppers, store clerks, and shop owners. Focusing on Britain, North America, and Turkey, Lewis provides insights into the ways young Muslim women use multiple fashion systems to negotiate religion, identity, and ethnicity.

Feminism and postcolonialism are allies, and the impressive selection of writings brought together in this volume demonstrate how fruitful that alliance can be. Reina Lewis and Sara Mills have assembled a brilliant selection of thinkers, organizing them into six categories: "Gendering Colonialism and Postcolonialism/Radicalizing Feminism," "Rethinking Whiteness," "Redefining the 'Third World' Subject," "Sexuality and Sexual Rights," "Harem and the Veil," and "Gender and Post/colonial Relations." A bibliography complements the wide-ranging essays. This is the ideal volume for any reader interested in the development of postcoloniality and feminist thought.

Increasing numbers of women are engaging in the development and discussion of modest dressing; a movement matched by a growing media and popular demand for intelligent commentary about the topic. Modest Fashion sets out to meet that need.As a trend, modest dressing is spreading across the world, yet it is rarely viewed as 'fashion'. Studying consumers and producers, retailers and bloggers, Modest Fashion provides an up to the minute account of the art of dressing modestly - and fashionably.Leading scholars in the area, along with journalists, fashion designers, entrepreneurs and bloggers discuss the emergence of a niche market for modest fashion among and between Jewish, Christian and Muslim faith groups as well as secular dressers. Crossing creeds and cultures, analysing commentary alongside commerce, the book probes the personal and the political as well as religious, aesthetic and economic implications of contemporary dress practices and the debates that surround them.

For South Asia, fashion and consumption have come to play an increasingly important role in the lives of young people and in the formation of youth cultures. Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka have all, in related and distinctive ways, been producing confident young fashion consumers, who are proving to be an important market for fashion.This book explores South Asian youth cultures and fashion across the countries of this region and their diasporas from a transnational perspective. Through visual and textual analysis of film, photography and digital cultures, as well as ethnographic fieldwork, the expert contributors look at how gender, sexuality, class, the media and faith intersect with and style youth cultures. By establishing the heterogeneous nature of South Asia and its youth cultures, they also dismantle grand western narratives that tend to understand the region's diverse cultural modernity through the lens of homogeneity.

In the shops of London's Oxford Street, girls wear patterned scarves over their hair as they cluster around makeup counters. Alongside them, hip twenty-somethings style their head-wraps in high black topknots to match their black boot-cut trousers. Participating in the world of popular mainstream fashion-often thought to be the domain of the West-these young Muslim women are part of an emergent cross-faith transnational youth subculture of modest fashion. In treating hijab and other forms of modest clothing as fashion, Reina Lewis counters the overuse of images of veiled women as "evidence" in the prevalent suggestion that Muslims and Islam are incompatible with Western modernity. Muslim Fashion contextualizes modest wardrobe styling within Islamic and global consumer cultures, interviewing key players including designers, bloggers, shoppers, store clerks, and shop owners. Focusing on Britain, North America, and Turkey, Lewis provides insights into the ways young Muslim women use multiple fashion systems to negotiate religion, identity, and ethnicity.

Debates about contemporary Islam and Muslims in the West have taken some negative turns in the depressing atmosphere of the war on terror and its aftermath. This book argues that we have been too preoccupied with problems, not enough with solutions. The increased mobilisation and scrutiny of Muslim identities has taken place in the context of a more general recasting of racial ideas and racism: a shift from overtly racial to ostensibly ethnic and cultural including religious categories within discourses of social difference. The targeting of Muslims has been associated with new forms of an older phenomenon: imperialism. New divisions between Muslims and others echo colonial binaries of black and white, colonised and coloniser, within practices of divide and rule. This book speaks to others who have been marginalised and colonised, and to wider debates about social difference, oppression and liberation.

Debates about contemporary Islam and Muslims in the West have taken some negative turns in the depressing atmosphere of the war on terror and its aftermath. This book argues that we have been too preoccupied with problems, not enough with solutions. The increased mobilisation and scrutiny of Muslim identities has taken place in the context of a more general recasting of racial ideas and racism: a shift from overtly racial to ostensibly ethnic and cultural including religious categories within discourses of social difference. The targeting of Muslims has been associated with new forms of an older phenomenon: imperialism. New divisions between Muslims and others echo colonial binaries of black and white, colonised and coloniser, within practices of divide and rule. This book speaks to others who have been marginalised and colonised, and to wider debates about social difference, oppression and liberation.

"Gender, Modernity and Liberty" presents a dialogue between Western and Middle Eastern women that is often presumed never to have happened. Not only were women from the Middle East imagined to be shut up in a harem all day without access to education, ideas or the outside world, but the extent to which Western women travellers were able to engage with women in the regions they visited has often been overlooked. This pioneering collection provides substantial extracts from Ottoman, Egyptian and British and American writers - each with a biographical and literary introduction - that trace the development of an intellectual, personal and critical dialogue between women over a period of accelerated social change marked by Arab nationalism and Egypt's move to independence, and the establishment of the Turkish Republic at the end of the Ottoman Empire. The ways in which the role of woman as either guardian of tradition or in the vanguard of change was hotly contested in both countries and by all sides of the political spectrum is explained in an editors' introduction and photo-essay that set up the common themes of the collection. "Gender, Modernity and Liberty" includes writings by Halide Edib, Musbah Haidar, Hoda Shaarawi, Emine Foat Tugay, Demetra Vaka Brown, Zeyneb Hanoum, Lady Annie Brassey, Grace Ellison, Annie Harvey, Emmeline Lott, Sophia Poole and Ruth Woodsmall. Participating in local and international debates, they wrote about the harem, polygyny, nationalism and modernism and commented on fashion alongside discussions about feminism and slavery, knowing all the while that their books were likely to be read through the exoticising frame of Western Orientalist stereotype. Their success in negotiating the very constraints that provided the - often prurient - market for their books, reveals a will to self-determination that speaks to the challenges still faced today by women from the Middle East and the Muslim world.