Whose international matters, and why? How are geographic regions constructed? What are the channels of engagement between a place, its people, its institutions, and the world? How do we understand... Show moreWhose international matters, and why? How are geographic regions constructed? What are the channels of engagement between a place, its people, its institutions, and the world? How do we understand the non-West’s influence in contemporary global interactions? From humanitarianism and activism to diplomacy and institutional networks, South Asia has been a crucial place for the elaboration of international politics, even before the twentieth century. South Asia Unbound gathers an interdisciplinary group of scholars from across the world to investigate South Asian global engagement at the local, regional, national, and supra-national levels, spanning the time before and after independence. Only by understanding its past entanglements with the world can we understand South Asia’s increasing global importance today. Show less
The field of research of my dissertation is nineteenth-century Iranian portrait photography. The goal of this research is to demonstrate that photography is always a construction of reality,... Show moreThe field of research of my dissertation is nineteenth-century Iranian portrait photography. The goal of this research is to demonstrate that photography is always a construction of reality, regardless of the photographer's nationality. I am specifically interested in exploring how indigenous Iranian photographers constructed their own realities in contrast to how foreign photographers constructed Iranian’s realities. My approach to early Iranian photography is an analytical one based on the visual analysis of photographs taken by Iranian photographers in the nineteenth century. While applying visual analysis, I take into consideration the cultural components of the image. The research undertakes a comparative study of the Iranian painting tradition and nineteenth-century Iranian portrait photography. The elements identified and analyzed are: mirror-like composition due to the visual laterality phenomenon, defined here as the influence of the direction of writing on the composition in works of art, particularly in photography; use of calligraphic inscriptions or text within the photographic space; use of traditional Iranian portraiture poses, such as kneeling; the understanding of space in photographic composition: isometrical perspective, vertical composition, grid structure layout and diffuse compositions; and the mixed aesthetics present in nineteenth-century Iranian photography due to the appropriation of Western elements. Show less
