Revision as of 18:58, 16 September 2011 (edit) SvDijk (Talk | contribs) (New page: <br>__NOEDITSECTION__ == Ragnhild J. Zorgati == <br><br><br> '''Women Writers in History: '''<br> '''Toward a New Understanding of European Literary Culture''' <br><br> On Monday, Sept...) ← Previous diff		Current revision (20:19, 16 September 2011) (edit) (undo) SvDijk (Talk | contribs)
(2 intermediate revisions not shown.)
Line 4:		Line 4:
	<br><br><br>		<br><br><br>
-	'''Women Writers in History: '''<br>	+	'''From Denmark to the hammam: the international female networks of the Danish – Polish painter Elisabeth Jerichau Baumann''' <br><br>
-	'''Toward a New Understanding of European Literary Culture''' <br><br>	+	Being a cosmopolitan painter constantly on the move and with the mission of getting contracts to portray elite men and women and of selling her art, the Polish-Danish artist [http://neww.huygens.knaw.nl/authors/show/4927 Elisabeth Jerichau-Baumann] (1819-1881) traveled extensively in Europe and beyond. Dividing her time between Copenhagen and Rome, she also visited London, Dusseldorf, St. Petersburg, Athens, Istanbul, and Cairo. Later, she recorded her memories from these travels in ''Brogede Rejsebilleder'' (Motley Images of Travel). <br><br>
-		+	In this paper I will explore the female international networks that Baumann established during her travels, especially drawing attention to her contact with Ottoman women in Istanbul and Cairo. These encounters include meetings with Princess Nazili in her harem and with Madame Cabouli Pasha, an advocate of female liberation, in her salons, as well as with anonymous women in one of Istanbul's hammams. As such, my paper is also about the progressive narrowing of space which occurs in Baumann's travelogue: from moving spaces such as the boat and the train, via the cosmopolitan salons of Madame Cabouli Pasha where women and men mingled freely, to the strictly feminine spaces of the harem and the hammam. In the intimate, obscure and suffocating sphere of the latter, Baumann's artistic gaze no longer has a horizon as she finds herself facing the marble floor of the hammam under the professional hands of a bathing maiden. Consequently, her travelogue also comes to a halt – she only gives us a very brief description of her hammam visit – before she swiftly changes to more colorful scenes. It is as if she cannot describe in writing what she cannot observe as a painter. Moreover, one may ask whether this narrowing of her visual field explains why she never painted a hammam scene, despite her many harem paintings and despite the fact that the female hammam was a popular oriental topos of the European art marked of which she was a part.
-	On Monday, September 19, from 10.15 till 18.00 there will be a guest lecture and a seminar within the framework of COST action IS0901 “Women Writers in History. Toward a New Understanding of European Literary Culture”. The guest lecture is open to everyone; the seminar, including lunch, requires registration. <br><br>	+
-	The aim of this COST action is to lay the groundwork for a new history of European women’s participation in the literary field of the centuries before 1900. What was these women’s influence? Which active roles did they play as authors and readers in the broadest sense of the word, i.e. including their roles as transcribers, translators, mediators and educators? What happened to them when they fell into the hands of 19th-century canonizers? How is their disappearance from literary history to be explained? <br><br>	+	<br>
-		+
-	The action will further develop the database ''WomenWriters'' (http://www.databasewomenwriters.nl/) into a broad research infrastructure, allowing researchers to stock and manipulate data concerning the contemporary reception of women’s writing, and to apply different research models to these data. <br><br>	+
-		+
-	Particular attention will be paid to women’s participation in transnational cultural dynamics and to the overlooked role of “smaller”, less internationally known literatures within the larger European context. This interdisciplinary research will lead to a new way of looking at Europe’s literary past – male and female –, which also implies a different perspective on Europe’s present. <br><br>	+
-		+
-	''The guest lecture''<br><br>	+
-	10.15 – 1.200, Aud. 4, Eilert Sundts hus, Blindern <br><br>	+
-	Suzan van Dijk, Huygens ING, Netherlands, Chair of the COST Action: <br>	+
-	*’Women Writers In History’: the relevance of studying literature.<br><br>	+
-		+
-	''The seminar''<br><br>	+
-	'''Scandinavia within the European context: '''<br>	+
-	'''Women's contributions to European literary culture before World War I'''.<br><br>	+
-		+
-	12.15 – 18.00 Rådssalen, Lucy Smiths hus, Blindern <br><br>	+
-		+
-	Lunch will be served at 14.00. <br><br>	+
-		+
-	''Papers:'' <br><br>	+
-		+
-	Torill Steinfeld, University of Oslo:<br>	+
-	*Personal voices and unaffected writing: Camilla Collett, Rahel Varnhagen,Therese von Bacheracht<br><br>	+
-		+
-	Petra Broomans, University of Groningen: <br>	+
-	*Awards and networks. A secret formula for the canonization of a cultural transmitter? On Swedish women´s literature in Dutch translation<br><br>	+
-		+
-	Tone Selboe, University of Oslo: <br>	+
-	*Male Melancholics and Female Fighters: Camilla Collett on George Sand<br><br>	+
-		+
-	Marie Nedregotten Sørbø, University College of Volda: <br>	+
-	*Genius and housewife: The Norwegian nineteenth-century reception of George Eliot<br><br>	+
-		+
-	Janet Garton, Norwich: <br>	+
-	*Amalie Skram and her German translators<br><br>	+
-		+
-	Viola Capkova, University of Turku: <br>	+
-	*Finnish Women Writers as Translators and Mediators of Writing by European Women at the Turn of the 18th and the 19th Century<br><br>	+
-		+
-	Ragnhild J. Zorgati, University of Oslo: <br>	+
-	*From Denmark to the hammam: the international female networks of the Danish – Polish painter Elisabeth Jerichau Baumann<br><br>	+
-		+
-	Registration by 12.09.2011 at: h.e.lovbak@stk.uio.no <br>	+
-	Responsible: Tone Brekke, STK, Anne Birgitte Rønning, ILOS, Torill Steinfeld, ILN<br>	+
	<br>		<br>
Line 61:		Line 17:
	<hr>		<hr>
	<br>		<br>
-	*Conferences and activities > COST meetings > Oslo Research Seminar > Zorgati<br><br>	+	*Conferences and activities > COST meetings > [http://www.womenwriters.nl/index.php/Research_seminar Oslo Research Seminar] > Zorgati<br><br>

---

Current revision

Ragnhild J. Zorgati

From Denmark to the hammam: the international female networks of the Danish – Polish painter Elisabeth Jerichau Baumann

Being a cosmopolitan painter constantly on the move and with the mission of getting contracts to portray elite men and women and of selling her art, the Polish-Danish artist Elisabeth Jerichau-Baumann (1819-1881) traveled extensively in Europe and beyond. Dividing her time between Copenhagen and Rome, she also visited London, Dusseldorf, St. Petersburg, Athens, Istanbul, and Cairo. Later, she recorded her memories from these travels in Brogede Rejsebilleder (Motley Images of Travel).

In this paper I will explore the female international networks that Baumann established during her travels, especially drawing attention to her contact with Ottoman women in Istanbul and Cairo. These encounters include meetings with Princess Nazili in her harem and with Madame Cabouli Pasha, an advocate of female liberation, in her salons, as well as with anonymous women in one of Istanbul's hammams. As such, my paper is also about the progressive narrowing of space which occurs in Baumann's travelogue: from moving spaces such as the boat and the train, via the cosmopolitan salons of Madame Cabouli Pasha where women and men mingled freely, to the strictly feminine spaces of the harem and the hammam. In the intimate, obscure and suffocating sphere of the latter, Baumann's artistic gaze no longer has a horizon as she finds herself facing the marble floor of the hammam under the professional hands of a bathing maiden. Consequently, her travelogue also comes to a halt – she only gives us a very brief description of her hammam visit – before she swiftly changes to more colorful scenes. It is as if she cannot describe in writing what she cannot observe as a painter. Moreover, one may ask whether this narrowing of her visual field explains why she never painted a hammam scene, despite her many harem paintings and despite the fact that the female hammam was a popular oriental topos of the European art marked of which she was a part.

SvD, September 2011

---

• Conferences and activities > COST meetings > Oslo Research Seminar > Zorgati