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
... nature of this experience manifests not only a form of sense memory but a sense of how such memory might cut across common memory , revealing a kind of truth that eludes the moral organization of common memory . The advantages of an art ...
... nature of this experience manifests not only a form of sense memory but a sense of how such memory might cut across common memory , revealing a kind of truth that eludes the moral organization of common memory . The advantages of an art ...
Page 55
... nature of her attack , but also as a direct reference to the murder of one of the women represented in the footage , whose body was left in such a garbage container . As much as the performance speaks of Johnston's trauma , then , it ...
... nature of her attack , but also as a direct reference to the murder of one of the women represented in the footage , whose body was left in such a garbage container . As much as the performance speaks of Johnston's trauma , then , it ...
Page 56
... nature of relationships to others and about the political nature of violence and pain . By juxtaposing her body image with the funeral imagery , Johnston does not simply enact her own sense memory of trauma but opens up a critical ...
... nature of relationships to others and about the political nature of violence and pain . By juxtaposing her body image with the funeral imagery , Johnston does not simply enact her own sense memory of trauma but opens up a critical ...
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