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 27
... figure of the pe- dophile representing the antithesis of the child victim , who becomes , in turn , the cipher of innocence . This framework leaves little space for ex- ploring the subjective experience of either perpetrator or survivor ...
... figure of the pe- dophile representing the antithesis of the child victim , who becomes , in turn , the cipher of innocence . This framework leaves little space for ex- ploring the subjective experience of either perpetrator or survivor ...
Page 33
... figure of the perpetrator . Unconstrained within the ves- tigial narrative , this figure is brought to life and allowed to regale us with his disturbing fantasies . If the indulgence of the fantasy of the perpetra- tor , conveyed ...
... figure of the perpetrator . Unconstrained within the ves- tigial narrative , this figure is brought to life and allowed to regale us with his disturbing fantasies . If the indulgence of the fantasy of the perpetra- tor , conveyed ...
Page 114
... figures as Kentridge acknowledges ( " It is far easier to draw a crowd. FIGURE 12. William Kentridge , scene from Ubu and the Truth Commission ( 1997 ) . Used with permission . FIGURE 13. William Kentridge , scene from Ubu and the. 114 ...
... figures as Kentridge acknowledges ( " It is far easier to draw a crowd. FIGURE 12. William Kentridge , scene from Ubu and the Truth Commission ( 1997 ) . Used with permission . FIGURE 13. William Kentridge , scene from Ubu and the. 114 ...
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