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 48
Page 22
... present self , but it is . . . an emptied and objectivized self , which I continue to feel at a distance from my true self which lives in the present . ' " 1 Claparède's refutation of the possibility of emotional memory is partly ...
... present self , but it is . . . an emptied and objectivized self , which I continue to feel at a distance from my true self which lives in the present . ' " 1 Claparède's refutation of the possibility of emotional memory is partly ...
Page 25
... present and effects a stripping of affect in Claparède's sense . For Delbo , sense memory registers the physical imprint of the event . As such , it is always in the present , although not continuously felt : “ Ausch- witz is there ...
... present and effects a stripping of affect in Claparède's sense . For Delbo , sense memory registers the physical imprint of the event . As such , it is always in the present , although not continuously felt : “ Ausch- witz is there ...
Page 44
... present which is now only their encounter . " 48 The two parts of memory that Delbo inhabits come together in sim- ilar fashion , " gnawing at the present , " which is felt like a skin . The ruptur- ing of this skin - the lived ...
... present which is now only their encounter . " 48 The two parts of memory that Delbo inhabits come together in sim- ilar fashion , " gnawing at the present , " which is felt like a skin . The ruptur- ing of this skin - the lived ...
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