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 6
... fact , fairly removed from the lived reality of many of its proponents . Writers from Cathy Caruth and Shoshana Felman to Antjie Krog have , in fact , been ac- cused of usurping the position of trauma victim — of appropriating testi ...
... fact , fairly removed from the lived reality of many of its proponents . Writers from Cathy Caruth and Shoshana Felman to Antjie Krog have , in fact , been ac- cused of usurping the position of trauma victim — of appropriating testi ...
Page 60
... fact that Joseph Beuys plays upon in a 1979 piece consisting of a bandaged knife labeled " when you cut your finger bandage the knife . ” 24 The furnishings of Casa Viuda do not , however , induce the same kind of autonomic response ...
... fact that Joseph Beuys plays upon in a 1979 piece consisting of a bandaged knife labeled " when you cut your finger bandage the knife . ” 24 The furnishings of Casa Viuda do not , however , induce the same kind of autonomic response ...
Page 92
... fact that the encounter is cut short serves only to frus- trate us . A certain form of witnessing seems to be required here — but we are denied the opportunity to engage with the image . The incongruity of the scene — as much as its ...
... fact that the encounter is cut short serves only to frus- trate us . A certain form of witnessing seems to be required here — but we are denied the opportunity to engage with the image . The incongruity of the scene — as much as its ...
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 affective argues artist artwork audience Australian bodily body Cape Town Chapter character common memory concept cultural death Delbo Deleuze Deleuze's 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 York Younge's