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Modernism on the NileArt in Egypt between the Islamic and the Contemporary$
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Alex Dika Seggerman

Print publication date: 2019

Print ISBN-13: 9781469653044

Published to North Carolina Scholarship Online: January 2021

DOI: 10.5149/northcarolina/9781469653044.001.0001

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Future Publics

Future Publics

The Transnational Origins of Egyptian Modernism

Chapter:
(p.27) Chapter 1 Future Publics
Source:
Modernism on the Nile
Author(s):

Alex Dika Seggerman

Publisher:
University of North Carolina Press
DOI:10.5149/northcarolina/9781469653044.003.0002

This chapter argues that late nineteenth-century satirical cartoons and portrait photography in Egypt created a public conversant in a shared visual language of art and politics, and thus laid the groundwork for a modern art movement. The increased availability of mechanical image reproduction technology in Egypt, in addition to the country’s strategic position in international politics, fostered a visual system for identifying and critiquing late nineteenth-century Cairene politics among a transnational elite. This public included Ottoman, French, Italian, Syrian Christian, and Jewish individuals in addition to “local” Egyptians. The shared visual language spoke to all these diverse groups. I trace the visual history of caricature embedded in the satirical, illustrated Arabic- and French-language lithographic journal Abou Naddara Zarqaʾ, published by Yaʿqub (James) Sanua (1839–1912), and the significations of the cross-dressing by Princess Nazli Fazil (1853–1913) in photographic portraits. Both interpellate a public by means of images that reference a wide network of histories. Through visual analysis, I plot a constellation of complex visual and textual connections that, I argue, forms the “future public” of Egyptian modernism.

Keywords:   Yaʿqub Sanua, James Sanua, Nazli Fazil, photography, lithography, satirical cartoons, Abou Naddara Zarqaʾ, nineteenth-century Egypt, Ottoman Empire, caricature

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