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 33
Page 11
... produced by artists who are themselves primary witnesses or survivors of trauma . But their work is neither produced nor understood as expressive of a singular subjective account of trauma . In a number of instances , these artists ex ...
... produced by artists who are themselves primary witnesses or survivors of trauma . But their work is neither produced nor understood as expressive of a singular subjective account of trauma . In a number of instances , these artists ex ...
Page 19
... produced in the context of polit- ical violence in , for example , Colombia or Northern Ireland , might be re ... produces an illegitimate extrapolation by which the victim is ipso facto equated with “ good . " The victim thus ac- quires ...
... produced in the context of polit- ical violence in , for example , Colombia or Northern Ireland , might be re ... produces an illegitimate extrapolation by which the victim is ipso facto equated with “ good . " The victim thus ac- quires ...
Page 20
... produced “ the Evil One ” and his affiliates . The laws of global flow seemed to allow that everything was connected to everything else from this point , but not before ; 9/11 was not the culmination of history but its beginning . As I ...
... produced “ the Evil One ” and his affiliates . The laws of global flow seemed to allow that everything was connected to everything else from this point , but not before ; 9/11 was not the culmination of history but its beginning . As I ...
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