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. |
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Page 75
... space and time . These in- teractions within space give rise to the “ space of the body ” —a realm that is neither subjective nor objective but a space of intermediation.1o It is by virtue of its multiple operations in space — and ...
... space and time . These in- teractions within space give rise to the “ space of the body ” —a realm that is neither subjective nor objective but a space of intermediation.1o It is by virtue of its multiple operations in space — and ...
Page 76
... space . For many people in South Africa , the enclosed envi- ronment of the car offers a sense of security in areas where one would hes- itate to walk , and where one routinely locks doors and windows and drives quickly to guard against ...
... space . For many people in South Africa , the enclosed envi- ronment of the car offers a sense of security in areas where one would hes- itate to walk , and where one routinely locks doors and windows and drives quickly to guard against ...
Page 82
... space of physical exposure , induces in the perpetrator a feeling of conspicuousness- so that being in one's car no longer yields a feeling of security . The tracing of an analogue reminds us that no space is self - contained ; space ...
... space of physical exposure , induces in the perpetrator a feeling of conspicuousness- so that being in one's car no longer yields a feeling of security . The tracing of an analogue reminds us that no space is self - contained ; space ...
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