Empathic Vision: Affect, Trauma, and Contemporary ArtThis book analyzes contemporary visual art produced in the context of conflict and trauma from a range of countries, including Colombia, Northern Ireland, South Africa, and Australia. It focuses on what makes visual language unique, arguing that the "affective" quality of art contributes to a new understanding of the experience of trauma and loss. By extending the concept of empathy, it also demonstrates how we might, through art, make connections with people in different parts of the world whose experiences differ from our own. The book makes a distinct contribution to trauma studies, which has tended to concentrate on literary forms of expression. It also offers a sophisticated theoretical analysis of the operations of art, drawing on philosophers such as Gilles Deleuze, but setting this within a postcolonial framework. Empathic Vision will appeal to anyone interested in the role of culture in post-September 11 global politics. |
From inside the book
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Page 7
... Deleuze . In his early work Proust and Signs , Deleuze coins the term encountered sign to describe the sign that is felt , rather than recognized or perceived through cognition.12 Deleuze's argument is not simply , however , that ...
... Deleuze . In his early work Proust and Signs , Deleuze coins the term encountered sign to describe the sign that is felt , rather than recognized or perceived through cognition.12 Deleuze's argument is not simply , however , that ...
Page 16
... Deleuze in this and other respects . Yet this is neither ultimately to provide an orthodox Deleuzian reading of trauma in art nor to outline a uniformly Deleuzian art historical methodology . Rather , I use select images and concepts ...
... Deleuze in this and other respects . Yet this is neither ultimately to provide an orthodox Deleuzian reading of trauma in art nor to outline a uniformly Deleuzian art historical methodology . Rather , I use select images and concepts ...
Page 37
... Deleuze's focus , it should be noted , is always on creative production rather than reception , and in this regard , what he says of the philosopher's compulsion is instructive . Attacking the notion of the philosopher as lover of ...
... Deleuze's focus , it should be noted , is always on creative production rather than reception , and in this regard , what he says of the philosopher's compulsion is instructive . Attacking the notion of the philosopher as lover of ...
Contents
Trauma Affect and Art | 22 |
The Force of Trauma | 46 |
Journeys into Place | 70 |
Copyright | |
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Common terms and phrases
Aboriginal abuse aesthetic affective argues artist artwork audience Australian bodily body Cape Town Chapter character common memory concept cultural death Delbo Deleuze Deleuze's Derrida Doris Salcedo embodied emotional empathy encounter engagement engender evokes experience feel figure film Gallery Gilles Deleuze global Gordon Bennett grief Guguletu Hartman History Holocaust Ian McLean Ibid identify imagery images inhabitation insofar Jacques Derrida Jean-Michel Basquiat Jill Bennett Johnston Kentridge's kind LaCapra language lived Long Night's Journey Mbelo mode moral narrative negotiation Notes to Basquiat notion objects pain painting particular Paul Seawright perception political postcolonial puppet Ractliffe Ractliffe's relationship representation response Routledge scene sensation sense memory shock simply Soho Soho's South African space suggests testimony tion trans Translated trauma trauma studies traumatic memory Truth and Reconciliation Truth Commission Ubu Roi University Press Veena Das victims viewer violence William Kentridge Willie Doherty witness Younge's