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which women are viewed as merely objects of beauty or pleasure for men. It is true, as Jenson admits, that such analyses do not provide a comprehensive view of writings by non-whites from the colonial period. How could they? An incredible amount material remains to be examined or discovered, as Jenson details in the Epilogue. Fortunately, Beyond the Slave Narrative provides a model, information, conceptual and theoretical tools, and a wealth of primary and secondary sources for future researchers to use. Zarobell, John. Empire of Landscape: Space and Ideology in French Colonial Algeria. University Park, PA: Pennsylvania State University Press, 2010. Pp. xv + 196. ISBN: 978-0-271-03443-0 Kurt Rahmlow, Virginia Commonwealth University Historians of nineteenth-century French art have been slow to embrace post-colonial critiques of Western culture. Although Linda Nochlin took up Edward Said's project in 1983, it is only since the mid-to-late 1990s that post-colonial theory has had a notable impact on the scholarship. Beginning with work by John MacKenzie and Todd Porterfield, and gathering some momentum in the early years of the new millennium with studies by Darcy Grigsby and Ronald Benjamin, historians of nineteenth-century French art have gradually, but increasingly, developed an interest in the
Nineteenth-Century French Studies – University of Nebraska Press
Published: Oct 7, 2011
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