纠结的地理,有争议的叙述:罐头大理石和奥斯曼帝国对古代的回应

IF 0.7 2区 艺术学 0 ARCHITECTURE Muqarnas Pub Date : 2022-10-07 DOI:10.1163/22118993-00391p10
Belgi̇n Turan Özkaya
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引用次数: 0

摘要

十九世纪的考古学史通常是从欧洲人的角度来研究的,欧洲人被认为是现代考古学的发明者。尽管近几十年来,早期学术中公然以欧洲为中心的观点受到了关于“来源国”的大量作品的挑战,大部分考古材料在被转移到欧洲之前都起源于这些国家,欧洲考古学的发展轨迹并没有被放弃,因为它是评估19世纪新兴的对古代事物的敏感度的标准。在这篇文章中,我追溯了大英博物馆坎宁大理石的一组“大理石”的起源,并建议根据奥斯曼帝国在长期的展览实践,重新思考19世纪中期奥斯曼帝国试图建立一个博物馆来收藏这些“大理石”。我的目标是挑战同时代欧洲关于19世纪奥斯曼帝国对古代态度的叙事,以及当前关于奥斯曼博物馆学的学术,后者将其恰当的出现归因于本世纪的最后二十年,当时著名的奥斯曼学者奥斯曼·哈姆迪·贝恢复了Müze-i HüMāýn(奥斯曼帝国博物馆)的馆长职位。
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Entangled Geographies, Contested Narratives: The Canning Marbles and the Ottoman Response to Antiquity
The history of archaeology in the nineteenth century has conventionally been studied from the point of view of Europeans, who are credited as the inventors of modern archaeology. Although the blatantly Eurocentric perspective of earlier scholarship has been challenged in recent decades by a proliferation of works on the “source countries” where the bulk of archaeological material originated before being displaced to Europe, the trajectory of European archaeology has not been abandoned as the measure by which to assess emerging sensibilities about antiquity in the nineteenth century. In this essay, I trace the origins of a group of “marbles” from the British Museum, the Canning marbles, and propose to rethink a mid-nineteenth-century Ottoman attempt to establish a museum to house such “marbles” in the light of the Ottoman exhibitionary practices in the longue durée. My aim is to challenge both contemporaneous European narratives on nineteenth-century Ottoman attitudes to antiquity and current scholarship on Ottoman museology that attributes its proper emergence to the last two decades of the century, after the well-known Ottoman polymath Osman Hamdi Bey resumed the directorship of the Müze-i Hümāyūn (Ottoman Imperial Museum).
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来源期刊
Muqarnas
Muqarnas Arts and Humanities-Visual Arts and Performing Arts
CiteScore
1.30
自引率
25.00%
发文量
13
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