Jessica Gerschultz’s Decorative Arts of the Tunisian École maps out a matrix in which highbrowart, artisanal production, and the stateworked together to elevate the decorative arts in postindependence Tunisia. At the center of this matrix was a new generation of young Tunisian women who could be integrated into Tunisian society through a modernized version of the artisanal work of their mothers and grandmothers, especially weaving. Anglophone scholars have devoted considerable attention to the “civilizing mission,” which offered the ideological rationale for France’s colonial projects. Less attention has been paid to how postindependence regimes took up some of the same imperatives, directed toward their own populations. Gerschultz examines these dynamics. This world of state-supported art and artisanry faced both inward at Tunisian society and outward to the broader region. The École deTunis was initially founded to put Tunis on the map of the European art world and to foster collaboration among predominantly European artists working in Tunis with other artists. As the école’s membership became increasingly Tunisian in the postindependence period, its leadership and allies in Habib Bourguiba’s regime still sought to create Tunisian art and artisanry that would convey a particular palatable image of Tunisia that would serve the growing tourism industry. At the same time, artisanal training programs were a means by which young illiterate Tunisian women could be integrated into the economy and society writ large. Artisanry was defining, at the same time as it was depicting, Tunisia. Gerschultz’s introductory chapter clearly outlines the stakes of her analysis. She opens with the transition from the official French colonial standpoint that there were no fine arts in Tunisia prior to French intervention to the elevation of Tunisian decorative arts by the late 1950s. By that time, gallery exhibitions displayed a range of decorative arts,

中文翻译：

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突尼斯学院的装饰艺术：现代主义、性别和权力的制造

杰西卡·格舒尔茨 (Jessica Gerschultz) 的突尼斯 École 装饰艺术描绘了一个矩阵，在这个矩阵中，上流社会、手工生产和国家共同努力提升独立后突尼斯的装饰艺术。这个矩阵的中心是新一代年轻的突尼斯妇女，她们可以通过母亲和祖母的手工艺品的现代化版本融入突尼斯社会，尤其是编织。讲英语的学者对“文明使命”给予了相当大的关注，它为法国的殖民计划提供了意识形态基础。很少有人关注独立后的政权如何采取一些相同的命令，针对他们自己的人民。Gerschultz 研究了这些动态。这个国家支持的艺术和手工艺世界既面向突尼斯社会的内部，又面向更广泛的地区。École deTunis 最初成立的目的是将突尼斯置于欧洲艺术世界的版图上，并促进在突尼斯工作的主要欧洲艺术家与其他艺术家之间的合作。在独立后，随着学院成员越来越多地成为突尼斯人，其领导层和哈比卜·布尔吉巴政权的盟友仍在寻求创造突尼斯艺术和手工艺，以传达突尼斯的独特形象，为不断增长的旅游业服务。与此同时，手工培训计划是突尼斯年轻文盲妇女融入经济和社会的一种手段。工匠在描绘突尼斯的同时也在定义它。Gerschultz 的介绍性章节清楚地概述了她分析的利害关系。她首先从法国官方干预之前突尼斯没有美术的官方法国殖民立场过渡到 1950 年代后期突尼斯装饰艺术的提升。到那时，画廊展览展示了一系列装饰艺术，