Abstract
This essay examines the way in which an eminent anthropologist, Henri‐Alexandre Junod, constructed a modern vision of Africa at the end of the nineteenth‐century. Junod's lasting achievement was to replace the gothic imagery of darkness and irrationality, through which Victorian writers portrayed Africa, with a scientific, universal system of signification. By absorbing Africa into a field of vision dominated by European norms and conventions, Junod tamed the continent's otherness. This led him to interpret African sculpture and carving as representing a primitive stage in a universal artistic tradition dominated by Europe.
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