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 2
... identify its presence in an artwork , if not through the application of existing clinical or theoretical models of trauma ? Much recent work on the literary expression of trauma draws on psychoanalytic models to interpret trauma within ...
... identify its presence in an artwork , if not through the application of existing clinical or theoretical models of trauma ? Much recent work on the literary expression of trauma draws on psychoanalytic models to interpret trauma within ...
Page 74
... identification , for example . Yet there is a sense in which we might identify with Soho at the wheel of his car . And to the extent that we do this , the car journey serves not merely to establish a historical time frame , but to ...
... identification , for example . Yet there is a sense in which we might identify with Soho at the wheel of his car . And to the extent that we do this , the car journey serves not merely to establish a historical time frame , but to ...
Page 132
... identify as a postcolonial identity ) —but also an en- gagement with what Paul Gilroy refers to as the “ vital memories of the past . " 18 History , in his regard , can never be distanced . For the mem- ories of past subjects to be made ...
... identify as a postcolonial identity ) —but also an en- gagement with what Paul Gilroy refers to as the “ vital memories of the past . " 18 History , in his regard , can never be distanced . For the mem- ories of past subjects to be made ...
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