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- Creators: Arizona State University
- Creators: Amparano, Julie
I decided I could use my education from the Cronkite School in writing, photography and social media to produce a resource for women looking to travel abroad. I could tell stories of my personal experiences that could both inspire and prove that a solo trip can be done. I also wanted to touch on topics that are not generally covered by popular travel blogs since they are specific to women. Topics like how to dress, making sure you travel during the day if you’re traveling alone and finding birth control or feminine hygiene products when you are traveling.
I funded the trip myself and currently the blog is designed, written and photographed entirely by me. Moving forward I would like to feature other women on my blog, especially those who have made travel a priority or a career. I plan on continuing to build the blog, hopefully gaining sponsors and becoming a more well known resources, and helping change the landscape of travel and travel blogging to become more female friendly.
To read Neshat’s photography, it is crucial to register her use of Persian language and historical poetry. Although the reading and understanding of the Persian texts Neshat inscribes on her photographs plays a fundamental role in the interpretation of her work, Neshat’s artworks are not entirely conceptual. The lack of translation of these included texts in Neshat’s exhibitions indicates a decorative use of Persian calligraphy. The Western eye can aesthetically explore this exotic Eastern decorative calligraphy. The formal qualities of Neshat’s photographs remain, even if the viewer is unable to read or understand the Persian texts.
Although photography has played a pivotal role in how people see themselves and how they see “others,” scholars have written very little on the (self)representation of Afro-Latin Americans in the nineteenth and early twentieth-century photography. This study argues that photographic portraits produced during this period contributed to creating negative stereotypes about Afro-Latin Americans and legitimizing Black subalternization. However, it also contends that photography served as a means of Afro Latin American self-representation. This dissertation begins by contextualizing the subjugation and exclusion of African cultures that started with the colonization of the Americas. It uses the findings of the Subaltern Studies as a methodological tool in revisiting the past; and offers a theoretical conceptualization of the photographic practice, pointing out its limits and possibilities. Subsequently, it analyzes the corpus, which consists of photographs produced in Brazil, Colombia, Cuba, and Puerto Rico. These are examined taking into account their context of production and reception. As a result, this research indicated that mainly two types of photographs of Black people were produced in Latin America during this period: photographs taken for commercial purposes, which highlighted the “exoticism” and “otherness” of Afro-Latin Americans; and anthropometric portraits used by scientists to “prove” the biological and cultural inferiority of Black people. However, the analysis also showed that Afro-Latin Americans appropriated the medium to express their subjectivity. These photographs should be seen as counter-images that subverted the photographic practice in vogue. They open new ways of thinking about Black representation throughout history.