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
Results 1-3 of 63
Page 36
... kind of affect the sign incites , however , is not opposed to the thinking process in the sense of supplanting critical inquiry with a kind of passive bodily experience ; far from foreclos- ing on thought , it agitates , compelling and ...
... kind of affect the sign incites , however , is not opposed to the thinking process in the sense of supplanting critical inquiry with a kind of passive bodily experience ; far from foreclos- ing on thought , it agitates , compelling and ...
Page 50
... kind of pain and move us toward a way of thinking about pain and violence ? I have been suggesting thus far that it does this , not by interpellating us as a particular kind of subject in relation to what is depicted , but through ...
... kind of pain and move us toward a way of thinking about pain and violence ? I have been suggesting thus far that it does this , not by interpellating us as a particular kind of subject in relation to what is depicted , but through ...
Page 59
... kind of Brecht- ian " separation of elements . " The separateness of each sequence of photo- graphic images might further engender its own pathos by inviting us to re- gard the actors in each as trapped within the spaces of their ...
... kind of Brecht- ian " separation of elements . " The separateness of each sequence of photo- graphic images might further engender its own pathos by inviting us to re- gard the actors in each as trapped within the spaces of their ...
Contents
Trauma Affect and Art | 22 |
The Force of Trauma | 46 |
Journeys into Place | 70 |
Copyright | |
4 other sections not shown
Other editions - View all
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