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. |
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Page 87
... South African incursions.26 Forces Favourites , Younge's video installation for Memorias , does not foreground the South African experience , even though it makes some refer- ence to its country of origin ( the title , for example ...
... South African incursions.26 Forces Favourites , Younge's video installation for Memorias , does not foreground the South African experience , even though it makes some refer- ence to its country of origin ( the title , for example ...
Page 143
... South African photogra- pher Santu Mofokeng . When it works well , this kind of installation facili- tates the carryover of an affective response from one piece to another ; Ha- toum's incarcerative space engenders a certain bodily ...
... South African photogra- pher Santu Mofokeng . When it works well , this kind of installation facili- tates the carryover of an affective response from one piece to another ; Ha- toum's incarcerative space engenders a certain bodily ...
Page 166
... South African Prime Minister John Vorster , the only overt reference to South Africa's involvement in Angola . 28. David Bunn has noted that Younge does not use symbols to stand in for human suffering in any straightforward way , even ...
... South African Prime Minister John Vorster , the only overt reference to South Africa's involvement in Angola . 28. David Bunn has noted that Younge does not use symbols to stand in for human suffering in any straightforward way , even ...
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