Connected Material Histories: A response
In giving the very first lecture that first year History of Art undergraduates at Oxford will hear, I have usually employed the practice of giving them a sheet of paper with nothing on it but the outlines of the landmasses of the globe, and asking them to draw a line round ‘the West’. The idea was i...
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| Format: | Journal article |
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Cambridge University Press
2016
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| _version_ | 1797103464989327360 |
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| author | Clunas, C |
| author_facet | Clunas, C |
| author_sort | Clunas, C |
| collection | OXFORD |
| description | In giving the very first lecture that first year History of Art undergraduates at Oxford will hear, I have usually employed the practice of giving them a sheet of paper with nothing on it but the outlines of the landmasses of the globe, and asking them to draw a line round ‘the West’. The idea was inspired by a reading of Lewis and Wigen’s 1997 book The Myth of Continents (‘justly celebrated’, as Sanjay Subrahmanyam says), and remains a useful pedagogic act up to a point, for the reasons so clearly laid out in that book; also, it breaks the ice, it gets a buzz of conversation going in the room, it certainly foregrounds the topic, central now to art historical enquiry, of the way in which ‘representations are social facts’. But the reason I do not ask them to draw a map round ‘the East’ is I suspect that it would be too easy, or at least done too quickly, and indeed the boundaries of both ‘East’ and ‘Orient’, as ‘Europe’s Other’, can be shown to have fluctuated much less than have the boundaries of what for most Oxford students is still, if somewhat tenuously, ‘us’ or ‘here’. Wherever ‘the East’ is, it all lies (as Subrahmanyam points out in his essay) in that assuredly etic part of the world called Asia. I might, in the privacy of my own hard drive, choose to categorise those European images which I need for teaching as ‘Non-Eastern’ (to balance the ‘Non-Western’ rubric on which my specialist options appear in the syllabus). But that is not a category widely used, or at least not in my own discipline of art history. |
| first_indexed | 2024-03-07T06:20:30Z |
| format | Journal article |
| id | oxford-uuid:f28d0b53-c543-408e-a4cb-b928151d09f8 |
| institution | University of Oxford |
| last_indexed | 2024-03-07T06:20:30Z |
| publishDate | 2016 |
| publisher | Cambridge University Press |
| record_format | dspace |
| spelling | oxford-uuid:f28d0b53-c543-408e-a4cb-b928151d09f82022-03-27T12:04:43ZConnected Material Histories: A responseJournal articlehttp://purl.org/coar/resource_type/c_dcae04bcuuid:f28d0b53-c543-408e-a4cb-b928151d09f8Symplectic Elements at OxfordCambridge University Press2016Clunas, CIn giving the very first lecture that first year History of Art undergraduates at Oxford will hear, I have usually employed the practice of giving them a sheet of paper with nothing on it but the outlines of the landmasses of the globe, and asking them to draw a line round ‘the West’. The idea was inspired by a reading of Lewis and Wigen’s 1997 book The Myth of Continents (‘justly celebrated’, as Sanjay Subrahmanyam says), and remains a useful pedagogic act up to a point, for the reasons so clearly laid out in that book; also, it breaks the ice, it gets a buzz of conversation going in the room, it certainly foregrounds the topic, central now to art historical enquiry, of the way in which ‘representations are social facts’. But the reason I do not ask them to draw a map round ‘the East’ is I suspect that it would be too easy, or at least done too quickly, and indeed the boundaries of both ‘East’ and ‘Orient’, as ‘Europe’s Other’, can be shown to have fluctuated much less than have the boundaries of what for most Oxford students is still, if somewhat tenuously, ‘us’ or ‘here’. Wherever ‘the East’ is, it all lies (as Subrahmanyam points out in his essay) in that assuredly etic part of the world called Asia. I might, in the privacy of my own hard drive, choose to categorise those European images which I need for teaching as ‘Non-Eastern’ (to balance the ‘Non-Western’ rubric on which my specialist options appear in the syllabus). But that is not a category widely used, or at least not in my own discipline of art history. |
| spellingShingle | Clunas, C Connected Material Histories: A response |
| title | Connected Material Histories: A response |
| title_full | Connected Material Histories: A response |
| title_fullStr | Connected Material Histories: A response |
| title_full_unstemmed | Connected Material Histories: A response |
| title_short | Connected Material Histories: A response |
| title_sort | connected material histories a response |
| work_keys_str_mv | AT clunasc connectedmaterialhistoriesaresponse |