|
|
|
7 | (8) |
|
Serious effort to understand the other |
|
|
|
Artistic Representations of Cultural Difference |
|
|
|
|
|
|
Pathways to Art and Globalization |
|
|
15 | (16) |
|
The Western and the Non-Western World |
|
|
|
Polynesian mediator, interpreter, and artist |
|
|
|
An Inuit family in continental Europe |
|
|
|
History of dominance and exploitation |
|
|
|
Europe and the Idea of the Exotic |
|
|
31 | (14) |
|
Exoticism in Greek and Roman antiquity |
|
|
|
It is always better somewhere else |
|
|
|
Inspired by the discovery of the New World |
|
|
|
|
|
|
Towards an Anthropology of Art |
|
|
45 | (18) |
|
Determination of the degrees of civilization |
|
|
|
Once-only inventions in the history of mankind |
|
|
|
A history of ideas about non-Western art |
|
|
|
Cultural and esthetic dimensions |
|
|
|
Typically man-made aspect of art |
|
|
|
Professional Collectors in Far-away Places |
|
|
63 | (10) |
|
Anthropologists as collectors |
|
|
|
The metaphor of collectioneering ethnography |
|
|
|
Industrial products against ritual objects |
|
|
|
Erotic Representations of the Exotic |
|
|
73 | (18) |
|
Erotic art, repression, and transgression |
|
|
|
Indigenous women in colonial literature |
|
|
|
Relations of power in a colonial situation |
|
|
|
Female types on colonial postcards |
|
|
|
The exotic: somewhere between identity and alterity |
|
|
|
The presupposed liberty of women in seclusion |
|
|
|
Early Search for the Exotic in Western Art |
|
|
91 | (24) |
|
Fascination for the Middle East and North Africa |
|
|
|
The place of the painter in Western society |
|
|
|
First impressions, rapid strokes |
|
|
|
Artists' community in the south of France |
|
|
|
Painting peasant life with a message |
|
|
|
Dressed in kimonos behind Japanese screens |
|
|
|
A South Seas Inspired Model of Exoticism |
|
|
115 | (24) |
|
A radical break with bourgeois life |
|
|
|
Exoticism in the South Seas |
|
|
|
|
|
|
|
|
|
Forms of exoticism in Brittany |
|
|
|
Various Faces of European Art Primitivism |
|
|
139 | (16) |
|
Rough outlines and unmixed color areas |
|
|
|
A kind of writing that creates signs |
|
|
|
Exact representation of objects and their form |
|
|
|
Revolting consciousness against socioeconomic crisis |
|
|
|
Bringing the Unconscious to the Foreground |
|
|
155 | (28) |
|
Dreaming through snippets of waste paper |
|
|
|
Surrealist fundamentals of human beings |
|
|
|
Subversive strategies against establishment |
|
|
|
The institutionalization of outsider art |
|
|
|
Art history comes from the rulers |
|
|
|
An inner voyage to a certain freedom |
|
|
|
Perhaps I am unveiling too much of myself |
|
|
|
Less progress and less complexity |
|
|
|
Dialectics between Western and Eastern Art |
|
|
183 | (24) |
|
The Portuguese and Dutch in Japan |
|
|
|
Beauty and eroticism in the floating world |
|
|
|
Chinese landscape painting and poetry |
|
|
|
The study of barbarian books |
|
|
|
Cubism and other exotic styles in Asia |
|
|
|
A Korean artist in Taiwan |
|
|
|
Social Organization of Polynesian Art Enterprises |
|
|
207 | (22) |
|
Learning arts and crafts in Tonga |
|
|
|
Business strategies of Tongan artists |
|
|
|
The search for good markets |
|
|
|
|
|
|
Perspectives for the next generation |
|
|
|
Dealing in Pacific Art and Craft |
|
|
229 | (34) |
|
The handicraft market in Suva, Fiji |
|
|
|
New Zealand ivory and bone carvers |
|
|
|
Tools machinery and raw material |
|
|
|
Preparing bones and shells for carving |
|
|
|
Transmitting skills and knowledge |
|
|
|
An Oceanic arts and crafts shop in France |
|
|
|
Authenticity and South Pacific art and craft |
|
|
|
Re-create basic qualities in one's own way |
|
|
|
De-exotification of Pacific artists |
|
|
|
Traffic in Whale Ivory and Bone Valuables |
|
|
263 | (20) |
|
Contemporary carving in Tonga |
|
|
|
Sperm whale teeth in Fijian culture |
|
|
|
An emerging traffic in whale ivory |
|
|
|
On counterfeit antiquities |
|
|
|
De-sacralization of sacred tabua |
|
|
|
Endangered Species and Exotic Products |
|
|
283 | (30) |
|
Regulation and restriction of international trade |
|
|
|
Internet as vehicle for selling ivory |
|
|
|
Pleasant touch, fine polish, and fascinating patina |
|
|
|
Valuables extracted from coral gardens |
|
|
|
A hidden ivory collection in a French museum |
|
|
|
Doubts about presupposed causes |
|
|
|
Fashion linked to a bent for natural products |
|
|
|
|
|
313 | (6) |
|
Western interest in non-Western art |
|
|
|
Authenticity and artistic quality |
|
|
| Bibliography |
|
319 | (32) |
| Index |
|
351 | |
