The White Lady Travels: Narrating Fez and Spacing Colonial Authority in Edith Wharton's In Morocco

Abstract

Foregrounding Orientalism as a system of thought that has produced constructed images and disfigured discourses about Europe's Other, this paper is primarily concerned with the practice of delineating landscape and manipulating the space of Fez in Edith Wharton's In Morocco. It starts with a rereading of Edward Said's model of analysis and then moves to an investigation into how this travel narrative displays, vulgarizes, and reproduces one of the strategies characteristic of colonial discourse: the mapping of the colonial space, specifically through the inscription of self and Other power relations, fueled up by a will to knowledge and control over new territories. It also attempts to read Wharton's narrative against Sara Mills' argument, which claims that it is gender rather than genre that is at the genesis of colonial heterogeneity.

Fostering Global Resilience Through Cross-Cultural Collaboration

“…Much work has been conducted on Moroccan cinema, but a little academic interest has been given to spatial representations of the city of Casablanca in the postcolonial era. Early studies on spatial representations of Morocco include: Simour, 2009;Agliz, 2014Agliz, & 2015Doron, 2019;Saissi, 2021Saissi, & 2022Ghal, 2022, andMoussaoui, 2023. Given the review of literature, it is worth noting that much research was carried out on how Morocco is spatially constructed in imperial travel writing, but there has been no critical interest in postcolonial filmmakers' participation in the spatial construction of Morocco in colonial cinema.…”

«Romanpjäsen» Lidandet

“…Marockos Rolling Stones» 3. Ett sådant epitet bör förmodligen användas med försiktighet, eftersom man riskerar att underminera Nass El Ghiwanes estetiska och kulturella subjektivitet om man försöker rationalisera gruppen med hjälp av en västerländsk referens 4.…”