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Informationen zum Autor Hamid Irbouh received his D.Phil from the Department of History and Theory of Art and Architecture at the State University of New York, Binghamton. He has contributed essays to several books and journals and lives in upstate New York. Klappentext Throws light on how nothing in the Moroccan French Protectorate (1912-1956) escaped the imprints of metropolitan ideology and how the French dominated Moroccan society by looking at how the arts were transformed in the colonial period. This book investigates how French colonial administrators employed French women to inculcate colonial ideology. Vorwort Throws light on how nothing in the Moroccan French Protectorate (1912-1956) escaped the imprints of metropolitan ideology and how the French dominated Moroccan society by looking at how the arts were transformed in the colonial period. This book investigates how French colonial administrators employed French women to inculcate colonial ideology. Zusammenfassung Throws light on how nothing in the Moroccan French Protectorate (1912-1956) escaped the imprints of metropolitan ideology and how the French dominated Moroccan society by looking at how the arts were transformed in the colonial period. This book investigates how French colonial administrators employed French women to inculcate colonial ideology. Inhaltsverzeichnis Archive Centres and Libraries Mentioned in the TextList of IllustrationsAcnowledgementsIntroductionThe Establishment of French Colonial Hegemony over MoroccoContemporary Moroccan Scholarship on Moroccan Art ProductionFrench Colonial Art Education in MoroccoBook OutlinePart One: Classifications and AssociationsChapter One : Framing Morocco's CraftsChapter Two: Diffusing Colonial OrderPart Two: Design and Process of Colonial EducationChapter Three: Colonial Mass EducationChapter Four: Vocational Schools for Men and the French Infiltration of Morocco's Traditional IndustryChapter Five: Women's Vocational SchoolsPart Three: Originality, Drawing and Colonial ExploitationChapter Six: Vocational Training and Patriotism in FranceChapter Seven: Drawing as an Apparatus of ExploitationChapter Eight: The Open Workshops and the Casablanca School of Fine ArtsBy Way of Conclusion: The Burden of Cultural DecolonisationThe PopulistsThe NativistsThe BipictorialistsNotesBibliography Index...
