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In this compelling work, Ariella Azoulay reconsiders the political and ethical status of photography. Describing the power relations that sustain and make possible photographic meanings, Azoulay argues that anyone—even a stateless person—who addresses others through photographs or is addressed by photographs can become a member of the citizenry of photography. The civil contract of photography enables anyone to pursue political agency and resistance through photography. Photography, Azoulay insists, cannot be understood separately from the many catastrophes of recent history. The crucial arguments of her book concern two groups with flawed or nonexistent citizenship: the Palestinian noncitizens of Israel and women in Western societies. Azoulay analyzes Israeli press photographs of violent episodes in the Occupied Territories, and interprets various photographs of women—from famous images by stop-motion photographer Eadweard Muybridge to photographs from Abu Ghraib prison. Azoulay asks this question: under what legal, political, or cultural conditions does it become possible to see and to show disaster that befalls those who can claim only incomplete or nonexistent citizenship? Drawing on such key texts in the history of modern citizenship as the Declaration of the Rights of Man together with relevant work by Giorgio Agamben, Jean-François Lyotard, Susan Sontag, and Roland Barthes, Azoulay explores the visual field of catastrophe, injustice, and suffering in our time. Her book is essential reading for anyone seeking to understand the disasters of recent history—and the consequences of how these events and their victims have been represented.
Photography --- Palestinian Arabs --- Photographie --- Histoire de la photographie --- Photographie de reportage --- Art et politique --- Art militant --- Social aspects --- Philosophy --- Public opinion --- Palestine --- 77.03 --- 77.044 --- fotografie --- fotografietheorie --- reportagefotografie --- documentaire fotografie --- Israël --- Palestina --- 77.01 --- Arab Palestinians --- Arabs --- Arabs in Palestine --- Palestinians --- Ethnology --- Documentaire fotografie --- Nieuwsfotografie. Reportage --- Social aspects. --- Philosophy. --- Public opinion. --- 77.044 Nieuwsfotografie. Reportage --- 77.03 Documentaire fotografie --- Photography - Social aspects --- Photography - Philosophy --- Palestinian Arabs - Israel - Pictorial works --- Palestinian Arabs - Israel - Public opinion
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In this theoretical tour-de-force, renowned scholar Ariella Aïsha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences. Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasized the possibility of progress while it tries to destroy what came before, and voraciously seeks out the new by sealing the past away in dusty archival boxes and the glass vitrines of museums. By practicing what she calls potential history, Azoulay argues that we can still refuse the original imperial violence that shattered communities, lives, and worlds, from native peoples in the Americas at the moment of conquest to the Congo ruled by Belgium's brutal King Léopold II, from dispossessed Palestinians in 1948 to displaced refugees in our own day. In Potential History, Azoulay travels alongside historical companions--an old Palestinian man who refused to leave his village in 1948, an anonymous woman in war-ravaged Berlin, looted objects and documents torn from their worlds and now housed in archives and museums--to chart the ways imperialism has sought to order time, space, and politics. Rather than looking for a new future, Azoulay calls upon us to rewind history and unlearn our imperial rights, to continue to refuse imperial violence by making present what was invented as "past" and making the repair of torn worlds the substance of politics.
Azoulay, Ariella --- Political philosophy. Social philosophy --- Colonisation. Decolonisation --- imperialisme --- politieke filosofie --- art criticism --- fonds [collections] --- #breakthecanon --- Imperialism --- Knowledge, Sociology of --- History --- Philosophy --- Imperialism. --- Knowledge, Sociology of. --- Philosophy. --- #SBIB:93H3 --- #SBIB:39A5 --- #SBIB:316.7C120 --- #SBIB:316.7C310 --- Thematische geschiedenis --- Kunst, habitat, materiële cultuur en ontspanning --- Cultuursociologie: algemene en theoretische werken --- Cultuurbeleid: algemeen --- History - Philosophy --- social criticism --- Philosophy and psychology of culture --- World history --- Anerkennung. --- Archives --- Fotografie. --- Freiheit. --- Fundament. --- Geschichtsphilosophie. --- Gewalt. --- Histoire --- Imperialismus. --- Impérialisme. --- Kolonialismus. --- Learning and scholarship --- Museums --- Musées --- Politik. --- Postkolonialismus. --- Reparations for historical injustices. --- Réparations des crimes de l'histoire. --- Savoir et érudition --- Sociologie de la connaissance. --- Wiedergutmachung. --- Wissen. --- Wissenssoziologie. --- sociology of knowledge. --- Acquisition --- Moral and ethical aspects. --- Acquisitions --- Aspect moral. --- Philosophie.
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Palestinian Arabs --- Arab Palestinians --- Arabs --- Arabs in Palestine --- Palestinians --- Ethnology --- National movements --- Photography --- anno 1940-1949 --- Israel --- Palestine
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Arad, Boaz --- Kratzman, Miki --- Eldan, David --- Deüelle-Lüski, Aïm --- Guez, Dor --- Rothenberg, Beno --- Shalem, Efrat
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This volume is a collection of drawings and captions for "unshowable" photographs taken in Palestine in 1947-50, gathered from the International Committee of the Red Cross archives in Geneva.
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sculpting --- Sculpture --- assemblages [sculpture] --- installations [visual works] --- Art --- Primor, Sigal --- anno 1900-1999 --- Israel
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Photographic criticism --- Photography --- Political aspects --- Philosophy --- fotografie --- fotografietheorie --- fotografie en politiek --- twintigste eeuw --- geschiedenis --- Israël --- Palestina --- midden-oosten --- 77.01 --- 77.044 --- Nieuwsfotografie. Reportage --- Fotografie--Semiotiek van de fotografie. Theorie --- 77.01 Fotografie--Semiotiek van de fotografie. Theorie --- 77.044 Nieuwsfotografie. Reportage --- Photography criticism --- Criticism --- Photographic criticism - Israel --- Photography - Political aspects - Israel --- Photography - Philosophy
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Photography --- Lüski, Aïm Deüelle --- Aeral photograph reading --- Interpretation [Photographic ] --- Photo interpretation --- Photographic interpretation --- Cameras --- Deʻuʼel Lusḳi, Ḥayim --- 77 DEÜELLE LÜSKI, AÏM --- #SBIB:316.7C214 --- Fotografie--DEÜELLE LÜSKI, AÏM --- Cultuursociologie: plastische kunsten, monumenten --- 77 --- 77.01 --- Academic collection --- 378.4 <493 KUL> --- #SBIB:309H122 --- 77 Fotografie --- Fotografie --- 378.4 <493 KUL> Universiteiten: Katholieke Universiteit Leuven--KUL --- Universiteiten: Katholieke Universiteit Leuven--KUL --- 77.01 Fotografie--Semiotiek van de fotografie. Theorie --- Fotografie--Semiotiek van de fotografie. Theorie --- Fotogrammen: functies, genres, historiek --- History --- Deüelle Lüski, Aïm --- Criticism and interpretation --- Philosophy --- Deüelle Lüsli, Aïm --- Photography - History
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Photography, writes Ariella Azoulay in this book, is an event and an encounter, irreducible to its end product - the photograph. This shift in focus to the practice of producing photographs brings to light how images can both reinforce and resist power regimes.
Photography --- Palestinian Arabs --- Arab-Israeli conflict --- fotografie --- fotografietheorie --- fotografie en politiek --- fotografie en propaganda --- twintigste eeuw --- Midden-Oosten --- Palestina --- Israël --- 77.01 --- Arab-Israeli conflict in mass media --- Arab Palestinians --- Arabs --- Arabs in Palestine --- Palestinians --- Ethnology --- Political aspects --- Public opinion --- Mass media and the conflict
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