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“This is a remarkable piece of writing, one that breaks new ground in methods of approaching and interpreting the vast corpus of photographic imagery that has been produced by colonial occupiers of the Arab world. . . .Qayrawān: The Amuletic City shows how photo-historians can move beyond these issues to enrich our understanding of the creative, religious and cultural practices of the past.” —James Downs Photographica World “Gallois’s magnifying-glass-close archaeology of late nineteenth-century photographs, postcards, and related ephemera provides an ideologically engaging model for rethinking visual cultures of colonized people. Details accidentally captured in hegemonic images reveal push-back tactics and truths too long ignored. Unobtrusive graffiti on the walls of the Great Mosque and other buildings of Qayrawān (Kairouan), Tunisia, was talismanic expression by local women seeking to protect their communities from the ignominious physical and epistemic violence of racialized French pretense. Brilliant.” —Allen Roberts,Coeditor of Devotional Spaces of a Global Saint: Shirdi Sai Baba’s Presence

“Gallois’s magnifying-glass-close archaeology of late nineteenth-century photographs, postcards, and related ephemera provides an ideologically engaging model for rethinking visual cultures of colonized people. Details accidentally captured in hegemonic images reveal push-back tactics and truths too long ignored. Unobtrusive graffiti on the walls of the Great Mosque and other buildings of Qayrawān (Kairouan), Tunisia, was talismanic expression by local women seeking to protect their communities from the ignominious physical and epistemic violence of racialized French pretense. Brilliant.” —Allen Roberts,Coeditor of Devotional Spaces of a Global Saint: Shirdi Sai Baba’s Presence

Author Information

William Gallois is Professor of the History of the Islamic Mediterranean World at the University of Exeter. He is the author of several books, most recently A History of Violence in the Early Algerian Colony.

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