File #2623: "2019_Book_RepresentingTheExperienceOfWar.pdf"
Testo
1|Contents|6
1|Contributors|8
1|List of Figures|10
1|1 Introduction|11
2|Eye|11
2|Experience|15
2|Visual Representations of War and Atrocity: The Contributions|20
2|References|25
1|2 Georges Bataille’s Paleolithic Cave Art and the Human Condition|26
2|The Word Is Dead|26
2|Atrocity and the Bourgeois Worldview|28
2|The Lascaux Cave Paintings|33
2|Prohibition and Taboo in Wartime Situations|36
2|The Cave Paintings as Language|39
2|Rebels|42
2|Sovereignty|44
2|References|49
1|3 The Aesthetics of Violence|53
2|Introduction|53
2|The Phenomenology of the Imaging of War|58
2|Agamben and the Image as Apparatus|61
2|Al-Qaeda and the Islamic State: Imaging Jihadi Terrorism and the Construction of the “Subject”|63
2|The They Self of Al-Qaeda and the Transformation of the Subject|64
2|Islamic State: The New Jihadi-Salafist-They|68
2|The Islamic Subject and the Enemy: Aesthesis and the Imagery of the Islamic State|71
2|Closing Reflections|75
2|References|76
1|4 Images of Atrocity: From Victimhood to Redemption and the Implications for a (Narrative) Victimology|80
2|Introduction|80
2|Kim Phuc: From Napalm Girl to Goodwill Ambassador|82
2|Documentary Photography as Public Narrative|84
2|Documentary Photography and Private Narrative|86
2|War, Atrocity and Victimhood|92
2|Conclusion: Narrative Victimology and Theoretical Lacunae|95
2|References|96
1|5 Fathers and Sons: Loss and Truth in War Films from Bosnia and Sri Lanka|100
2|Introduction|100
2|The Contexts of War and Postwar|103
2|Telling the Stories: Narrative Plots|109
3|Death on a Full Moon Day (Purahanda Kaluwara)|109
3|Fuse (Gori Vatra)|111
2|Masculine Alterities|113
2|Impairments—The Blind and the Seeing|116
2|Rejecting Community—Outsiders and Keepers of the Memory|117
2|Resisting State Ideology—Unheroic Manhood|120
2|Into Patriarchies—Fathers and Daughters|122
2|Toward Conclusions|123
2|References|124
1|6 Implicit Criminologies in the Filmic Representations of Genocide|129
2|Introduction|129
2|Genocide Films and Criminology|130
3|Schindler’s List (1993)|134
3|Conspiracy (2001)|139
3|Hotel Rwanda (2004)|143
3|Sometimes in April (2005)|148
2|Conclusion|153
2|Films|155
1|7 Prometheus and the Degenerate: Arno Breker, Hans Bellmer, and Francis Bacon’s Extreme Realism|158
2|The Anxious God|158
2|Prometheus and the Degenerate|164
2|On Extreme Realism|175
2|References|180
1|8 The Separate System? A Conversation on Collaborative Artistic Practice with Veterans-in-Prison|183
2|Introduction|183
2|Viewer, Researcher and Referee|186
3|The Separate System|187
3|On Co-production|188
3|On Seeing and on Self|191
3|On Techniques of Inclusion and Visibility|194
3|Implicating the Audience|196
2|A Concluding Note|202
2|References|203
1|9 Performing Atrocity: Staging Experiences of Violence and Conflict|206
2|Introduction|206
2|Actors as ‘Actors’: (Re-)Presenting Experiences of Violence and Conflict|208
2|Putting Testimony Centre Stage|214
2|On (More) Faithful Representation|219
2|Conclusion|223
2|References|226
1|10 Competing to Control the Post-conflict Present: Articulating Victimhood in Exhibitions in Northern Ireland|229
2|Introduction|229
2|The Struggle Over the Past|231
2|Irish Republican History Museum|234
2|Police Museum|241
2|Conclusion|248
2|Note|249
2|References|249
1|Index|254
1|Contributors|8
1|List of Figures|10
1|1 Introduction|11
2|Eye|11
2|Experience|15
2|Visual Representations of War and Atrocity: The Contributions|20
2|References|25
1|2 Georges Bataille’s Paleolithic Cave Art and the Human Condition|26
2|The Word Is Dead|26
2|Atrocity and the Bourgeois Worldview|28
2|The Lascaux Cave Paintings|33
2|Prohibition and Taboo in Wartime Situations|36
2|The Cave Paintings as Language|39
2|Rebels|42
2|Sovereignty|44
2|References|49
1|3 The Aesthetics of Violence|53
2|Introduction|53
2|The Phenomenology of the Imaging of War|58
2|Agamben and the Image as Apparatus|61
2|Al-Qaeda and the Islamic State: Imaging Jihadi Terrorism and the Construction of the “Subject”|63
2|The They Self of Al-Qaeda and the Transformation of the Subject|64
2|Islamic State: The New Jihadi-Salafist-They|68
2|The Islamic Subject and the Enemy: Aesthesis and the Imagery of the Islamic State|71
2|Closing Reflections|75
2|References|76
1|4 Images of Atrocity: From Victimhood to Redemption and the Implications for a (Narrative) Victimology|80
2|Introduction|80
2|Kim Phuc: From Napalm Girl to Goodwill Ambassador|82
2|Documentary Photography as Public Narrative|84
2|Documentary Photography and Private Narrative|86
2|War, Atrocity and Victimhood|92
2|Conclusion: Narrative Victimology and Theoretical Lacunae|95
2|References|96
1|5 Fathers and Sons: Loss and Truth in War Films from Bosnia and Sri Lanka|100
2|Introduction|100
2|The Contexts of War and Postwar|103
2|Telling the Stories: Narrative Plots|109
3|Death on a Full Moon Day (Purahanda Kaluwara)|109
3|Fuse (Gori Vatra)|111
2|Masculine Alterities|113
2|Impairments—The Blind and the Seeing|116
2|Rejecting Community—Outsiders and Keepers of the Memory|117
2|Resisting State Ideology—Unheroic Manhood|120
2|Into Patriarchies—Fathers and Daughters|122
2|Toward Conclusions|123
2|References|124
1|6 Implicit Criminologies in the Filmic Representations of Genocide|129
2|Introduction|129
2|Genocide Films and Criminology|130
3|Schindler’s List (1993)|134
3|Conspiracy (2001)|139
3|Hotel Rwanda (2004)|143
3|Sometimes in April (2005)|148
2|Conclusion|153
2|Films|155
1|7 Prometheus and the Degenerate: Arno Breker, Hans Bellmer, and Francis Bacon’s Extreme Realism|158
2|The Anxious God|158
2|Prometheus and the Degenerate|164
2|On Extreme Realism|175
2|References|180
1|8 The Separate System? A Conversation on Collaborative Artistic Practice with Veterans-in-Prison|183
2|Introduction|183
2|Viewer, Researcher and Referee|186
3|The Separate System|187
3|On Co-production|188
3|On Seeing and on Self|191
3|On Techniques of Inclusion and Visibility|194
3|Implicating the Audience|196
2|A Concluding Note|202
2|References|203
1|9 Performing Atrocity: Staging Experiences of Violence and Conflict|206
2|Introduction|206
2|Actors as ‘Actors’: (Re-)Presenting Experiences of Violence and Conflict|208
2|Putting Testimony Centre Stage|214
2|On (More) Faithful Representation|219
2|Conclusion|223
2|References|226
1|10 Competing to Control the Post-conflict Present: Articulating Victimhood in Exhibitions in Northern Ireland|229
2|Introduction|229
2|The Struggle Over the Past|231
2|Irish Republican History Museum|234
2|Police Museum|241
2|Conclusion|248
2|Note|249
2|References|249
1|Index|254