Mary Roberts – författare

INTERNET MARKETING provides comprehensive coverage of the rapidly changing field of Internet marketing that is timely and relevant. It relies on extant marketing theory where appropriate and introduces many conceptual frameworks to structure student understanding of Internet marketing issues. Above all, it works on the premise that the Internet--whether used as a medium of communication or as a channel of distribution--is only one component of the contemporary marketer's arsenal.

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Throughout his career, French philosopher Pierre Bourdieu sought to interrogate what he described as the 'social unconscious', the means by which power is held and transmitted across generations. Bourdieu's work has been hugely influential in disciplines across the social sciences and humanities for decades, yet Schirato and Roberts argue that few scholars are using his work to its full potential.Bourdieu's work is so wide-ranging that commentary tends to focus on specific theoretical concepts he developed or his books on particular fields of inquiry. However he continued to develop these concepts in his work across his whole career, and much of the richness of his thinking is lost if this isn't taken into account. Drawing on recently released lectures, Schirato and Roberts offer a systematic account of Bourdieu's full body of work, from his early research in Algiers to his last lectures in Paris. They show how Bourdieu continued to develop his concepts of habitus, field, capital, power and socio-cultural reproduction well into his later years. They also offer a nuanced reading of Bourdieu's thinking about education, class, language, knowledge and culture beyond the individual books Bourdieu published on these topics.This critical introduction to Bourdieu is essential reading for all Bourdieu scholars, and for researchers and thinkers using Bourdieu's work in their own social and cultural analysis.'A terrific book, which sets out a comprehensive overview of Bourdieu's oeuvre in a way that no other text I know has done' - Professor John Frow, University of Sydney

In Istanbul Exchanges, Mary Roberts offers an innovative way of understanding Orientalism by shifting the focus from Europe to Istanbul and examining the cross-cultural artistic networks that emerged in that cosmopolitan capital in the nineteenth century. European Orientalist artists began traveling to Istanbul in greater numbers in this period, just as the Ottoman elite was becoming more engaged with European art. By the 1870s, a generation of Paris-trained Ottoman artists had returned to Istanbul with ambitions to reshape the visual arts. Drawing on materials from an array of international archives, Roberts reveals that the diverse cultures and motivations that coalesced in this vibrant milieu resulted in a complex web of alliances and exchanges. With many artistic initiatives receiving patronage both from foreign diplomatic communities and from the Ottoman court, visual culture became a significant resource for articulating modern Ottoman identity. Roberts recasts the terms in which the nexus of Orientalist art and the culture of the late Ottoman Empire are understood by charting the nodes and vectors of these international artistic networks.Istanbul Exchanges is a major contribution to the transnational study of modern visual culture and global histories of art.

Until now, Orientalist art-exemplified by paintings of harems, slave markets, or bazaars-has predominantly been understood to reflect Western interpretations and to perpetuate reductive, often demeaning stereotypes of the exotic East. Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and westerners, the contributors contend that the stylistic similarities between indigenous and Western Orientalist art mask profound interpretive differences, which, on examination, can reveal a visual language of resistance to colonization. The essays also demonstrate how marginalized voices and viewpoints-especially women's-within Western Orientalism decentered and destabilized colonial authority.Looking at the political significance of cross-cultural encounters refracted through the visual languages of Orientalism, the contributors engage with pressing recent debates about indigenous agency, postcolonial identity, and gendered subjectivities. The very range of artists, styles, and forms discussed in this collection broadens contemporary understandings of Orientalist art. Among the artists considered are the Algerian painters Azouaou Mammeri and Mohammed Racim; Turkish painter Osman Hamdi; British landscape painter Barbara Bodichon; and the French painter Henri Regnault. From the liminal "Third Space" created by mosques in postcolonial Britain to the ways nineteenth-century harem women negotiated their portraits by British artists, the essays in this collection force a rethinking of the Orientalist canon.This innovative volume will appeal to those interested in art history, theories of gender, and postcolonial studies.Contributors. Jill Beaulieu, Roger Benjamin, Zeynep Çelik, Deborah Cherry, Hollis Clayson, Mark Crinson, Mary Roberts

Until now, the notion of a cross-cultural dialogue has not figured in the analysis of harem paintings, largely because the Western fantasy of the harem has been seen as the archetype for Western appropriation of the Orient. In Intimate Outsiders, the art historian Mary Roberts brings to light a body of harem imagery that was created through a dynamic process of cultural exchange. Roberts focuses on images produced by nineteenth-century European artists and writers who were granted access to harems in the urban centers of Istanbul and Cairo. As invited guests, these Europeans were “intimate outsiders” within the women’s quarters of elite Ottoman households. At the same time, elite Ottoman women were offered intimate access to European culture through their contact with these foreign travelers.Roberts draws on a range of sources, including paintings, photographs, and travelogues discovered in archives in Britain, Turkey, Egypt, and Denmark. She rethinks the influential harem works of the realist painter John Frederick Lewis, a British artist living in Cairo during the 1840s, whose works were granted an authoritative status by his British public despite the actual limits of his insider knowledge. Unlike Lewis, British women were able to visit Ottoman harems, and from the mid-nineteenth century on they did so in droves. Writing about their experiences in published travelogues, they undermined the idea that harems were the subject only of male fantasies. The elite Ottoman women who orchestrated these visits often challenged their guests’ misapprehensions about harem life, and a number of them exercised power as patrons, commissioning portraits from European artists. Their roles as art patrons defy the Western idea of the harem woman as passive odalisque.

Until now, the notion of a cross-cultural dialogue has not figured in the analysis of harem paintings, largely because the Western fantasy of the harem has been seen as the archetype for Western appropriation of the Orient. In Intimate Outsiders, the art historian Mary Roberts brings to light a body of harem imagery that was created through a dynamic process of cultural exchange. Roberts focuses on images produced by nineteenth-century European artists and writers who were granted access to harems in the urban centers of Istanbul and Cairo. As invited guests, these Europeans were “intimate outsiders” within the women’s quarters of elite Ottoman households. At the same time, elite Ottoman women were offered intimate access to European culture through their contact with these foreign travelers.Roberts draws on a range of sources, including paintings, photographs, and travelogues discovered in archives in Britain, Turkey, Egypt, and Denmark. She rethinks the influential harem works of the realist painter John Frederick Lewis, a British artist living in Cairo during the 1840s, whose works were granted an authoritative status by his British public despite the actual limits of his insider knowledge. Unlike Lewis, British women were able to visit Ottoman harems, and from the mid-nineteenth century on they did so in droves. Writing about their experiences in published travelogues, they undermined the idea that harems were the subject only of male fantasies. The elite Ottoman women who orchestrated these visits often challenged their guests’ misapprehensions about harem life, and a number of them exercised power as patrons, commissioning portraits from European artists. Their roles as art patrons defy the Western idea of the harem woman as passive odalisque.

The writer Mary Roberts (1788-1864) developed an interest in natural history while growing up in the Gloucestershire countryside. This work of observations on wildlife, plants and the weather, though written while she was living in the village of Sheepscombe, near Painswick, was not published until 1831, some time after she had moved to London with her widowed mother and was a published author. Each chapter is devoted to a month of the year, and Roberts' acute observation of nature is enhanced by her considerable knowledge: she cites Withering and Cuvier (both also reissued in the Cambridge Library Collection) as her reference sources for plants and animals respectively. Her motive is 'a sincere desire to interest the dwellers among rural scenes in the ... natural objects that surround them', and there is plenty to interest the modern reader in this charming account of the ecology of a remote rural hamlet.

Edges of Empire is a timely reassessment of the history and legacy of Orientalist art and visual culture through its focus on the intersection between modernization, modernism and Orientalism. Covers indigenous art and agency, contemporary practices of collection and display, and a survey of key Orientalist tropes Contains original essays on new perspectives for scholars and students of art history, architecture, museum studies and cultural and postcolonial studies Highlights contested identities and new definitions of self through topics such as 19th century monuments to Empire, cultural cross-dressing, performance and display at the international exhibitions, and contemporary museological practice.

Edges of Empire is a timely reassessment of the history and legacy of Orientalist art and visual culture through its focus on the intersection between modernization, modernism and Orientalism. Covers indigenous art and agency, contemporary practices of collection and display, and a survey of key Orientalist tropes Contains original essays on new perspectives for scholars and students of art history, architecture, museum studies and cultural and postcolonial studies Highlights contested identities and new definitions of self through topics such as 19th century monuments to Empire, cultural cross-dressing, performance and display at the international exhibitions, and contemporary museological practice.