Relevant bibliographies by topics / Lalla Essaydi

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Lalla Essaydi'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Lalla Essaydi"

1

Farrell, E. "Lalla Essaydi: Revisions." Nka Journal of Contemporary African Art 2013, no. 33 (September 1, 2013): 116–20. http://dx.doi.org/10.1215/10757163-2352866.

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Waterhouse, R. "LALLA ESSAYDI: An Interview." Nka Journal of Contemporary African Art 2009, no. 24 (June 1, 2009): 144–49. http://dx.doi.org/10.1215/10757163-24-1-144.

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Denker, S. "LALLA A. ESSAYDI: CONVERGING TERRITORIES." Nka Journal of Contemporary African Art 2004, no. 19 (June 1, 2004): 86–87. http://dx.doi.org/10.1215/10757163-19-1-86.

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Hachad, Naïma. "Lalla Essaydi’s Bullets and Bullets Revisited." Journal of Middle East Women's Studies 17, no. 1 (March 1, 2021): 1–21. http://dx.doi.org/10.1215/15525864-8790196.

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Abstract In Bullets and Bullets Revisited (2009–14) the Moroccan-born artist Lalla Essaydi invites the onlooker to reflect on the power dynamics of image production and consumption in a globalizing visual culture. As in the artist’s previous series, the photographs present Moroccan women in interior spaces and poses made familiar to an international audience by nineteenth-century European paintings. However, Essaydi trades Orientalism’s apparent realism and colorful decors for a monochromatic gold color scheme that originates from thousands of bullet casings she has meticulously sewn together to fabricate ceilings, walls, floors, furniture, jewelry, and clothes for her models. This article underscores how Essaydi’s use of a readable symbol of violence allows her to take part in and act on representational traditions that have shaped the perception of Arab Muslim women and the Middle East. Her violent aesthetics further account for curatorial and marketing practices that neutralize the subversive content of art by women originating in North Africa and the Middle East. Often shown in exhibitions featuring similar images and associating women with the veil, weapons, and scenes of destruction, Essaydi’s photographs are uncritically linked to events and situations as varied as the Arab uprisings, violence in the Palestinian territories, and the wars in Syria, Yemen, and Iraq. Instead of illuminating complex sociopolitical issues and reshaping dominant discourses, they become part of a homogenizing visual archive that sustains ways of seeing and producing the Middle East—as inherently violent and culturally backward—that are rooted in imperial imaginaries and political ideologies.
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Bhana Young, Hershini. "Trafficking in pain: genealogies of witnessing slavery in Francesco Bartolozzi and concluding with Lalla Essaydi." African and Black Diaspora: An International Journal 1, no. 1 (January 2008): 43–57. http://dx.doi.org/10.1080/17528630701733447.

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Schaber, Bennet. "Fabrics of Dislocation." Feminist Media Histories 3, no. 1 (January 1, 2017): 103–39. http://dx.doi.org/10.1525/fmh.2017.3.1.103.

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This photo essay is an attempt to register the complex political valences of certain shared formal preoccupations in the cinematic, photographic, videographic, and new media works/interventions of Shirin Neshat, Lalla Essaydi, Mona Hatoum, Ana Lily Amirpour, Amina Sboui, and Nadia El Fani. What is contested here is the so-called readability of images, especially those by Middle Eastern women, as these coalesced during the late colonial and postcolonial periods and as they continue today. The “photo-grams” that constitute the essay function neither as illustrations nor as counter-readings, but as frames of a lost or imagined film these filmmaker-photographer-new media activists might have made—despite or perhaps because of their political-geographical-temporal dispersion—as a kind of collective.
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Carlson, Amanda B. "Lalla Essaydi: Revisions May 9, 2012–February 24, 2013 National Museum for African Art, Smithsonian Institution Washington DC." African Arts 47, no. 1 (March 2014): 87–89. http://dx.doi.org/10.1162/afar_r_00126.

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López-Baralt, Luce. "St. John's Nocturnal Beloved Could Have Been Named “Layla”." Medieval Encounters 12, no. 3 (2006): 436–61. http://dx.doi.org/10.1163/157006706779166093.

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AbstractSt. John of the Cross silences the names of his feminine poetic alter egos. In this essay, I propose a symbolic name for the nocturnal lover of Noche oscura del alma: Layla. In Arabic layl means “night,” and this is the name of the woman Qays loved to the point of madness, according to the famous pre-Islamic legend. Forced to part from his beloved, Qays goes to the desert and writes desperate love verses to her until he feels so spiritually transformed in Layla that he is Layla herself. As “Majnūn Layla,” or “Layla's fool,” the Lover no longer needs the Beloved's physical presence. Sufi mystics like Rūmī read this legend in terms of the mystical union, transforming Layla into the symbol of the dark night of the soul. St. John of the Cross is much indebted to Islamic mystical symbolism, and he closely follows the Islamic symbolism of the dark night in his poem.
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Lalleman, Pieter J. "Ahavah. Die Liebe Gottes im Alten Testament." European Journal of Theology 28, no. 1 (December 1, 2020): 78–79. http://dx.doi.org/10.5117/ejt2019.1.008.lall.

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ZusammenfassungProfessor Oeming bringt eine breitangelegte Sammlung von Aufsätzen, nahezu allesamt auf Deutsch, zur Liebe Gottes im Alten Testament zur Veröffentlichung. Dieses recht preiswerte Buch ist deshalb von Bedeutung, weil es uns darauf aufmerksam macht, dass Gottes Liebe nicht nur im Neuen Testament verkündet wird. Neben vielen hilfreichen Beiträgen zum Thema gibt es weitere, die das Thema des Buches nicht direkt ansprechen, von denen die meisten für sich genommen dennoch hilfreich sind.RésuméCet ouvrage rassemble un large éventail de contributions sur l’amour de Dieu dans l’Ancien Testament, presque toutes en allemand. Ce livre d’un prix abordable est important car il montre que le thème de l’amour de Dieu n’est pas particulier au Nouveau Testament. À côté de nombreuses contributions utiles, d’autres ne traitent cependant pas du sujet du livre, tout en ayant un apport intéressant en ellesmêmes pour la plupart d’entre elles.SummaryProfessor Oeming publishes a wide-ranging collection of essays, nearly all in German, on the love of God in the Old Testament. This quite affordable book is important because it draws attention to the fact that God’s love is not only proclaimed in the New Testament. Yet next to many helpful essays there are others which do not address the book’s subject; in the latter group most are still useful in their own right.
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Moffat, Chris. "The Itinerant Library of Lala Lajpat Rai." History Workshop Journal 89 (2020): 121–39. http://dx.doi.org/10.1093/hwj/dbaa005.

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Abstract This essay traces the movements of a library from New York to Lahore in the wake of the First World War and then to Shimla and Chandigarh following the partition of the Indian subcontinent in 1947. It explores how this collection of books, assembled by the anti-colonial nationalist Lajpat Rai (1865–1928), intersected with and informed key moments of political struggle in twentieth-century urban America and colonial India. The essay then considers the fate of Lajpat Rai’s library today, its place in twenty-first-century Punjab, and the questions it poses for historians interested in anti-colonial histories, post-colonial presents and the commemorative work (as well as enduring political questions) that bind them.
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Dissertations / Theses on the topic "Lalla Essaydi"

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Darrow, Susannah B. "Negotiating Hybridity in the Work of Lalla Essaydi: An Exploration of Gaze." Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/art_design_theses/137.

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The photographic work of contemporary Moroccan artist, Lalla Essaydi, embodies a new artistic hybridity that reflects her nomadic, globalized background. With this work, the artist employs visual symbolism and uses multiple forms of artistic media as a means to analyze her multicultural background. Throughout her series, which spans 2004-present, Essaydi uses both literal and metaphorical representations of space and self as a means to examine the multifacetedness of her national identity and the many gazes that define that identity. She uses artistic production as a means of mediating the collective experiences of her identity in order to negotiate and construct a revised image of self.
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Alwazzan, Maryam. "Reframing Borders: A Study of the Veil, Writing and Representation of The Female Body In The Photo-Based Artwork of Mona Hatoum, Shirin Neshat and Lalla Essaydi." Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24534.

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For a long time, most women believed they had to choose between their Muslim or Arab identity and their belief in social equality of sexes. It was almost impossible to choose between either betraying their religious beliefs or their desires for social, political and economic justice, up until an upsurge of a feminist sentiment started to grow among women who were seeking to reclaim the Islamic paradigm and the Quran for themselves in the late nineteenth century (Bardan, 2005). During that time, contemporary female artists from the Arab and Muslim worlds started to create their own tools in their fight against oppressive patriarchal societies in order to express their feminine powers and renegotiate their identities. In this thesis, I analyze the feminist tools used in paradigmatic photo-based artworks by three contemporary female artists from the Arab and Muslim worlds: Mona Hatoum, Shirin Neshat, and Lalla Essaydi.
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Lamla, Bettina [Verfasser], Axel [Akademischer Betreuer] Börsch-Supan, and Joachim [Akademischer Betreuer] Winter. "From Information to Informed Decision : Five Empirical Essays on Saving and Old-Age Provision / Bettina Lamla. Gutachter: Joachim Winter ; Axel Börsch-Supan. Betreuer: Axel Börsch-Supan." München : Universitätsbibliothek der TU München, 2014. http://d-nb.info/1048677206/34.

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Lamla, Bettina Margarethe [Verfasser], Axel [Akademischer Betreuer] Börsch-Supan, and Joachim [Akademischer Betreuer] Winter. "From Information to Informed Decision : Five Empirical Essays on Saving and Old-Age Provision / Bettina Lamla. Gutachter: Joachim Winter ; Axel Börsch-Supan. Betreuer: Axel Börsch-Supan." München : Universitätsbibliothek der TU München, 2014. http://nbn-resolving.de/urn:nbn:de:bvb:91-diss-20140310-1182905-0-7.

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Books on the topic "Lalla Essaydi"

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1940-2005, Lall Sanjaya, ed. Evidence-based development economics: Essays in honor of Sanjaya Lall. Kuala Lumpur, Malaysia: University of Malaya Press, 2012.

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Lala Lajpat Rai's idea of India and the communal question: An essay in cultural studies. Chandigarh: Servants of the People Society, 2004.

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Behrens-Abouseif, Doris. Cairo Heritage: Essays in Honor of Laila Ali Ibrahim. American University in Cairo Press, 2000.

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ʻAli, Ibrahim Laila, and Behrens-Abouseif Doris, eds. The Cairo heritage: Essays in honor of Laila Ali Ibrahim. Cairo: American University in Cairo Press, 2000.

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Pati, Joshi Jagat, Sinha D. K, and Lal B. B. 1921-, eds. Facets of Indian civilization: Recent perspectives : essays in honour of Prof. B.B. Lall. New Delhi: Aryan Books International, 1997.

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Press, U. S. A. Patriotic Veterans. Layla: Personalized Composition Notebooks Journals with Names for Teen Girls and Boys / USA Flag Independence Day Gifts for Patriotic Men and Women / Exercise Book for School Notes, Assignments, Homework, Essay Writing - College Ruled 6x9 120 Pages. Independently Published, 2020.

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Book chapters on the topic "Lalla Essaydi"

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"3.7 Art, Identity, and Autobiography: Senzeni Marasela and Lalla Essaydi." In Global Africa, 221–36. University of California Press, 2019. http://dx.doi.org/10.1525/9780520962514-025.

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Mengiste, Maaza. "14. Reinventing the Spaces Within: The Early Images of Artist Lalla Essaydi." In Women and Migration, 161–66. Open Book Publishers, 2019. http://dx.doi.org/10.11647/obp.0153.14.

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Nicha Andrade, Julijana. "Constructing and Reconstructing Orientalism." In Advances in Media, Entertainment, and the Arts, 92–106. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7180-4.ch006.

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The purpose of the chapter is to show that orientalism is a dynamic construct that simultaneously represents continuity and change. The hypothesis outlines that contemporary artists build upon 18th century symbols to reconstruct orientalist art, hence reproducing the constructed, stereotypical neo-orientalist or self-orientalist imagery. The hypothesis is seen to be true as the intimate artwork of Zahrin Kahlo, Lalla Essaydi, Eric Parnes, and Yasmina Bouziane shows that contemporary orientalist artists are using recurring symbols to depict their self-identity, even though they appropriate those symbols in an act of resistance to depict social change. A more productive path of expression may be one of authenticity rather than a recreation of existing imagery in the attempt to deconstruct it. Even though the continuity of the construct is obvious, change is granular and not as pronounced.
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Sezer, Işık. "Post-Orientalist Comments by Contemporary Women Photographers." In Advances in Media, Entertainment, and the Arts, 375–97. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7180-4.ch023.

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Today, Iran, Morocco, Tunisia, etc. women photographers have made the orientalist visual expression form the focal point of their art: the orientalist painting tradition as a result of the painter Delacroix's trip to Morocco in 1832, the imagination world and the painting tradition shaped by the economy-politics of the period, from the male-dominated point of view, the harem, the chamber, etc. It is based on fantasies based on the female body in oriental spaces. Although this painting movement maintained its effectiveness between 1832-1914, it is taken as a reference by photographers in today's postmodern art environment. In today's photography art, Shirin Neshat, Lalla Essaydi, Shadi Ghadirian, Majida Khattari, Meriem Bouderbala, who have Eastern and Western cultures and mostly live in Western countries, visualize the position of women in their countries with an interdisciplinary interpretation in their photographic visions that they shape with a post-orientalist attitude.
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Hachad, Naïma. "Visual, Cultural, and Geopolitical Thresholds in Lalla Essaydi’s Depiction of Moroccan Women." In Revisionary Narratives, 123–58. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620221.003.0004.

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Chapter 4 offers analyses of several images from Lalla Essaydi’s photographic series Converging Territories (2004), Les Femmes du Maroc (2006-2008), and Harem (2009), in which she exclusively depicts women from Morocco or the Moroccan diaspora. The chapter focuses on the feminist transnational discourse that emerges from Essaydi’s inscription of her biography—more specifically her experience growing up in a harem and living as an adult woman in Saudi Arabia and the United States—and her training in Western art. The chapter is structured around a set of key questions. Does Essaydi’s juxtaposition of Orientalist tropes and poses from canonical nineteenth-century European Orientalist paintings with the veil, calligraphy, henna tattoos, and Moroccan architecture disrupt or reinforce stereotypes in the depiction of Arab and Muslim women? Can Essaydi’s hybrid language be read as a form of feminist ‘double critique’ that resists Western and Islamic patriarchy? How do Essaydi’s images intervene in relation to the transnational and transcultural discourse and positioning of the ‘Muslimwoman’? What is the economy between the transnational, transglobal and translocal, and the simply local in Essaydi’s images? How do Essaydi’s photographs contribute to the critical (re)thinking of gender in the context of globalization?
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Trevisan, Alessandra. "Un itinerario nell’opera di Lalla Kezich, con una lettura del romanzo breve La preparazione." In La detection della critica. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-455-4/021.

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A diminutive and a surname, acquired by her husband and well-known film critic Tullio, define the stage name of Lalla Kezich, ‘b-side figure’ in the Italian literary panorama of the Twentieth Century. This contribution aims to present some notes about her work and its reception, providing a preliminary reading of the short novel that made her enter – and partially affirm – in the Italian publishing market, to which she had already appeared since 1972, after some years spent working in cinema and radio industry. The last paragraph of this essay is dedicated to literary prizes she attended between 1978 and 1985.
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"Visual, Cultural, and Geopolitical Thresholds in Lalla Essaydi’s Depiction of Moroccan Women." In Revisionary Narratives, 123–58. Liverpool University Press, 2019. http://dx.doi.org/10.2307/j.ctvpwhddc.10.

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