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 22
... Feeling It is impossible to feel emotion as past . . . . One cannot be a spectator of one's own feelings ; one feels them , or one does not feel them ; one cannot imagine them without stripping them of their affective essence . -Édouard ...
... Feeling It is impossible to feel emotion as past . . . . One cannot be a spectator of one's own feelings ; one feels them , or one does not feel them ; one cannot imagine them without stripping them of their affective essence . -Édouard ...
Page 34
... feel sympathy — because , as in Del Favero's work , affect is not organized in terms of emotion or the expressions of individual characters . Finley's vestigial characters are , in- deed , caught in the flows of affect . They are ...
... feel sympathy — because , as in Del Favero's work , affect is not organized in terms of emotion or the expressions of individual characters . Finley's vestigial characters are , in- deed , caught in the flows of affect . They are ...
Page 128
... feel at home ' there ) . " 10 that may yet Bennett's notional New York City has much the same feel to it . The viewer may not feel at home there , but there is a familiarity to this dis - ease may yet remind us of home . If part of ...
... feel at home ' there ) . " 10 that may yet Bennett's notional New York City has much the same feel to it . The viewer may not feel at home there , but there is a familiarity to this dis - ease may yet remind us of home . If part 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