LEADER 03395oam 2200529I 450 001 9910155036503321 005 20180821103633.0 010 $a1-315-51213-0 010 $a1-315-51212-2 024 7 $a10.4324/9781315512136 035 $a(CKB)4340000000019333 035 $a(MiAaPQ)EBC4756222 035 $a(OCoLC)965196585 035 $a(EXLCZ)994340000000019333 100 $a20180706d2017 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aLiminalities of gender and sexuality in nineteenth-century Iranian photography $edesirous bodies /$fStaci Gem Scheiwiller 210 1$aNew York :$cRoutledge,$d2017. 215 $a1 online resource (240 pages) 225 1 $aRoutledge History of Photography 311 $a1-138-20129-4 320 $aIncludes bibliographical references and index. 327 $aIntroduction: Locations of desire -- A language of its own : depictions of women in Iranian art before and shortly after the arrival of photography -- Corporeal politics : constructions of gender and power in the royal Nasiri photograph albums and the photography of the Constitutional Revolution (1905-11) -- Collecting women -- The erotic spaces of Qajar photography -- For the male gaze : depictions of masculinity and sexuality -- Enslaved bodies of desire : photographs of black African slaves in Qajar photography -- Conclusion: The inevitable witness. 330 $aNineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces - public, private, seen, unseen, accessible, and forbidden - thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization. 410 0$aRoutledge history of photography. 606 $aPhotography$zIran$xHistory$y19th century 606 $aPhotography, Erotic$xHistory$y19th century 606 $aSex customs$zIran$xHistory$y19th century 607 $aIran$xHistory$yQajar dynasty, 1794-1925 607 $aIran$xSocial life and customs$y19th century 608 $aElectronic books. 615 0$aPhotography$xHistory 615 0$aPhotography, Erotic$xHistory 615 0$aSex customs$xHistory 676 $a770.955 700 $aScheiwiller$b Staci Gem.$0933916 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910155036503321 996 $aLiminalities of gender and sexuality in nineteenth-century Iranian photography$92102593 997 $aUNINA