Bøger af Svetlana Gorshenina

The book focuses on the relational dynamic between "masters" and "natives" in the construction of scholarly narratives about the past, in the fields of archeology, history or the study of religions. Reconsidering the role of subaltern actors that recent postcolonial studies have tended to ignore, the present book emphasizes the complex relations between representatives of the imperial power and local actors, and analyzes how masters and natives (and their respective cultures) have shaped each other in the course of the interaction. Through various vectors of intercultural transfer and knowledge exchange, through the circulation of ideas, techniques and human beings, new visions of the past of extra-European regions emerged, as did collective memories resulting from various kinds of appropriations. In this framework, the most important question is how these dynamic processes determined collective memories of the past in plural (post-)colonial - in particular, Asian - worlds, participating to the construction of national/imperial/local identities and to the reinvention of traditions.

This volume addresses new theoretical approaches in visual and memory studies that prompted to rethink of the photography of Russian Turkestan of the nineteenth and early twentieth centuries. Attempts to relate the visual unknown documentations to postcolonial criticism also opened up new interpretive arenas, helping to decentralize the analysis of the history of photography. The aim of this volume is to interpret photography as a specific tool that reifies reality, subjectively frames it, and fits it into various political, ideological, commercial, scientific, and artistic contexts. Without reducing the entire argument to the binary of 'photography and power', the authors reveal the different modes of seeing that involve distinct cultural norms, social practices, power relations, levels of technology, and networks for circulating photography, and that determined the manner of its (re)use in constructing various images of Central Asia. The volume demonstrates that photography was the cornerstone of imperial media governance and discourse construction in colonial Turkestan of the tsarist and early Soviet periods. The various cases show the complex mechanisms by which images of Turkestan were created, remembered, or forgotten from the nineteenth until the twenty-first century. The book should appeal to scholars of the Russian Empire and Central Asia; of history of photography and visual culture; of memory studies. It should be appropriate for use in upper-level undergraduate courses, and even a broader public.

ANOR is a series of short monographs on the history and culture of Muslim Central Asia. The volumes deal with various topics related to this region such as history, literature, anthropology.