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Transnational Communities: The Quest forDevelopment and South-South Connections 跨国社区:寻求发展和南南联系
IF 0.3 Q4 SOCIOLOGY Pub Date : 2021-01-25 DOI: 10.1007/978-981-15-7118-3
A. Farah
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引用次数: 0
Prelude to Action 行动前奏
IF 0.3 Q4 SOCIOLOGY Pub Date : 2018-04-01 DOI: 10.4324/9781315040318-14
J. Matthews
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引用次数: 0
Islam and Popular Culture 伊斯兰教与大众文化
IF 0.3 Q4 SOCIOLOGY Pub Date : 2018-01-01 DOI: 10.7560/308875
L. McLean
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引用次数: 11
Cosmopoesis: Navigating the Strangeness of Planetary Realizations 宇宙学:导航行星实现的奇异性
IF 0.3 Q4 SOCIOLOGY Pub Date : 2017-01-01 DOI: 10.1007/978-981-15-7118-3_5
M. Bussey
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引用次数: 1
Earth and World: Roots and Routes 地球与世界:根与路
IF 0.3 Q4 SOCIOLOGY Pub Date : 2017-01-01 DOI: 10.1007/978-981-15-7118-3_3
F. Dallmayr
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引用次数: 1
First and Second Nature 第一本性和第二本性
IF 0.3 Q4 SOCIOLOGY Pub Date : 2017-01-01 DOI: 10.1007/978-981-15-7118-3_4
P. Strydom
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引用次数: 0
Understanding “Roots and Routes” from a Post-Kantian Tradition of Critique 从后康德的批判传统理解“根与路”
IF 0.3 Q4 SOCIOLOGY Pub Date : 2017-01-01 DOI: 10.1007/978-981-15-7118-3_6
Iván Márquez
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引用次数: 0
Picturing Atrocity: Photography in Crisis 拍摄暴行:危机中的摄影
IF 0.3 Q4 SOCIOLOGY Pub Date : 2013-07-01 DOI: 10.5860/choice.50-1293
R. Watkins
Batchen G. Gidley M., Miller N. and Prosser J. 2011, Picturing Atrocity: Photography in crisis, Reaktion Books. ISBN 9781861898722 by Ross Watkins.The visual display of the suffering of others and the ethics of 'looking' have historically focused on the violence and trauma of war photography. Picturing Atrocity: Photography in Crisis contributes to that body of literature by presenting diverse short essays which explore these concepts via (arguably) iconic and lesser known twentieth century photographic images. With 27 contributors discussing a range of instances of human atrocity-from Wounded Knee (1890) through to Haiti (2010)-and with generally accessible language, the scope of this book creates the potential for wide appeal.In Susan Sontag's well-known On Photography (1989) she states that the 'ethical content of photographs is fragile' due to their potential to be decontextualised by time and their dependency on a viewer's political consciousness to maintain an 'emotional charge' (1989: 19-21). This fragility is tested in Picturing Atrocity, which presents the case that any image capturing an occurrence of atrocity engages the viewer's consideration of their own subjectivity compared with that which has been represented. In this way, the 'reader' of an image may actively construct a sense of 'familiarity' to make meaning; familiarity which 'builds our sense of the present and immediate past' (Sontag 2004: 76). Iconic imagery-'familiarity' on a public scale-is most likely to engage a reader's sense of ethics in the construction of meaning. In the increasingly visual media climate, photography constitutes a significant component of journalism's 'truth claims' (Hanusch 2010: 56) and as such images depicting trauma during catastrophic events become iconic in encapsulating a 'collective memory' of the event's actuality. However, as Sontag points out, the root function of iconic imagery in a socio-cultural context is fictive, or at least narrative based:Photographs that everyone recognises are now a constituent part of what a society chooses to think about, or declares that it has chosen to think about. It calls these ideas 'memories', and that is, over the long run, a fiction. Strictly speaking, there is no such thing as collective memory [...] All memory is individual, unreproducible-it dies with each person. What is called collective memory is not a remembering but a stipulating: that this is important, and this is the story about how it happened, with the pictures that lock the story in our minds. (2004: 76-77)Many of the images featured in Picturing Atrocity will not be familiar to the reader and this appears to be a contention for some of the book's reviewers. …
巴陈G.吉德利M.,米勒N.和普罗瑟J. 2011,拍摄暴行:危机中的摄影,反应图书。ISBN 9781861898722,作者:Ross Watkins。对他人痛苦的视觉展示和“观看”的伦理在历史上一直关注战争摄影的暴力和创伤。《描绘暴行:危机中的摄影》通过展示各种短文,通过(可以说)标志性的和鲜为人知的20世纪摄影图像来探索这些概念,从而为这一文学体系做出了贡献。27位作者讨论了一系列人类暴行——从1890年的《伤膝》(Wounded Knee)到2010年的《海地》(Haiti)——以及通俗易懂的语言,这本书的范围创造了广泛吸引力的潜力。在苏珊·桑塔格著名的《论摄影》(1989)中,她指出,“照片的伦理内容是脆弱的”,因为它们有可能被时间剥离,而且它们依赖于观众的政治意识来维持一种“情感控制”(1989:19-21)。这种脆弱性在《描绘暴行》中得到了检验,它展示了这样一种情况,即任何捕捉暴行发生的图像都会让观众考虑到自己的主观性,而不是被呈现的东西。通过这种方式,图像的“读者”可能会主动构建一种“熟悉感”来产生意义;“建立我们对现在和过去的感觉”的熟悉感(Sontag 2004: 76)。标志性的意象——公共尺度上的“熟悉感”——最有可能在意义的构建中引起读者的道德感。在日益增长的视觉媒体环境中,摄影构成了新闻“真相声明”的重要组成部分(Hanusch 2010: 56),并且这些描绘灾难性事件中创伤的图像在封装事件现实的“集体记忆”方面成为标志性的。然而,正如桑塔格指出的那样,在社会文化背景下,标志性图像的根本功能是虚构的,或者至少是基于叙事的:每个人都认识的照片现在是一个社会选择思考的组成部分,或者宣称它已经选择思考。它把这些想法称为“记忆”,也就是说,从长远来看,这是虚构的。严格地说,没有集体记忆这种东西…所有的记忆都是独立的,不可复制的——它随着每个人的消逝而消逝。所谓的集体记忆不是一种记忆,而是一种约定:这是很重要的,这是一个关于它是如何发生的故事,用图片把故事锁在我们的脑海里。(2004: 76-77)《描绘暴行》中出现的许多图像对读者来说并不熟悉,这似乎是一些书评家争论的焦点。…
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引用次数: 39
Community Enterprises: Imagining and enacting alternatives to capitalism 社区企业:想象和实施资本主义的替代方案
IF 0.3 Q4 SOCIOLOGY Pub Date : 2010-07-28 DOI: 10.4324/9781315279251.CH10
K. Gibson, J. Graham, J. Cameron
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引用次数: 45
What Color Is the Sacred 什么颜色是神圣的
IF 0.3 Q4 SOCIOLOGY Pub Date : 2010-01-01 DOI: 10.5860/choice.47-1510
Christopher J. Gilbert
What Color Is the Sacred? By Michael Taussig 2009. Chicago: The University of Chicago Press ISBN-13: 978-0-226-79006-0. To approach this book as if it is simply about colour, a final word on the history of colour, or even the colour of history would be amiss. Rather, one should go in with the understanding that, at its core, Taussig's project is a critique of experience. It is an in-depth, provocative exploration of life in colour (and colour in life) that begins in the seventh century AD and culminates in the present day. Indeed, the title could easily be figured as a rhetorical question and rewritten to read, 'what is sacred about colour?' This, after all, is the question that Taussig attempts to answer by way of a genealogical account and quasi-ethnography of colour itself. In a mix and mingle of prose, poetry and aphorism, he blends first-hand accounts, second-hand interpretations, and a first-rate rhetorical invention that borrows insights from Walter Benjamin, William S. Burroughs, Marcel Proust and Friedrich Nietzsche. He begins by establishing a myriad of anecdotal accounts of colour that reappear throughout the book. Taking then as a given Goethe's notion that, in a natural state, uncivilized persons have an innate affinity for colour, Taussig recounts Western civilisation's proscription of colourlessness as a sign of refinement. Draped on bodies as clothing and upon the material world as decor, colour in the West, he contends, has become a matter of taste, a concord of experience and intellect, as well as a cause for "chromophobia. Recognising the contradictions, Taussig argues that this represents colour's core ambiguity, its oscillation between deceit and authenticity. Here he builds off his earlier work on light and heat in My Cocaine Museum to found a link between calor (heat) and colour, which eventually leads him to connect both with global warming. Prior to this, however, Taussig charts the colonisation of colour from the ethnographic work of Bronislaw Makinowski, who ostensibly formulated the standard Western notions of subjectivity. Specifically, he positions colonial authority as white and clothed, and indigenous Others as dark, naked and obscene. Yet a look at Makinowski's diaries reveals, Taussig claims, the contrivance of relational colourings. They also expose Makinowski as a parody of himself, a studious subject that was simultaneously an object of study. Underscored by Benjamin's notion of the 'mimetic faculty,' Taussig lauds such blurrings of self and otherness, colour and ritual, body and landscape as means for recapturing experience. He advances this further by interrogating the relationship of colour to slavery. Particularly, he shows how the purchase of slaves with coloured clothing during the African slave trade is a luminous shell that blinds the eye from a dark underbelly- the underbelly, Taussig posits, is the history of indigo. …
什么颜色是神圣的?作者:Michael Taussig, 2009。芝加哥:芝加哥大学出版社ISBN-13: 978-0-226-79006-0。如果把这本书仅仅看作是一本关于颜色的书,那么对颜色的历史,甚至是历史的颜色做最后的评述都是错误的。相反,人们应该理解,在其核心,陶西格的项目是对经验的批判。这是对色彩中的生活(以及生活中的色彩)的一次深入而富有挑衅性的探索,始于公元七世纪,并在今天达到高潮。事实上,这个标题很容易被理解为一个反问句,并被改写为“颜色有什么神圣之处?”毕竟,这是Taussig试图通过对族谱的描述和对颜色本身的准民族志来回答的问题。在散文、诗歌和格言的混合中,他融合了第一手资料、二手解释,以及借鉴了沃尔特·本雅明、威廉·s·巴勒斯、马塞尔·普鲁斯特和弗里德里希·尼采的见解的一流修辞发明。他首先建立了无数关于颜色的轶事,这些故事在书中反复出现。根据歌德的观点,在自然状态下,未开化的人对颜色有一种天生的亲和力,陶西格叙述了西方文明对无色的禁止,认为这是文雅的标志。他认为,在西方,色彩作为衣服披在身体上,作为装饰披在物质世界上,已经成为一种品味,一种经验和智力的和谐,以及“色彩恐惧症”的原因。认识到这些矛盾,陶西格认为这代表了颜色的核心模糊性,它在欺骗和真实之间摇摆。在《我的可卡因博物馆》中,他以早期关于光和热的作品为基础,发现了热量和颜色之间的联系,这最终使他将两者与全球变暖联系起来。然而,在此之前,Taussig从Bronislaw Makinowski的民族志作品中描绘了色彩的殖民化,Bronislaw Makinowski表面上阐述了标准的西方主体性概念。具体来说,他将殖民当局定位为白人和穿着衣服,而将土著其他人定位为黑暗,裸体和淫秽。然而,陶西格声称,看一看马基诺夫斯基的日记,就会发现关系色彩的发明。他们还揭露了马基诺夫斯基是对自己的恶搞,一个勤奋好学的主题,同时也是一个研究对象。在本雅明的“模仿能力”概念的强调下,陶西格称赞这种自我和他者、色彩和仪式、身体和景观的模糊,作为重新获得体验的手段。他进一步探究了肤色与奴隶制的关系。特别是,他展示了在非洲奴隶贸易中,购买穿着彩色衣服的奴隶是如何成为一个发光的外壳,蒙蔽了人们的眼睛,使人们看不到黑暗的腹部——陶西格认为,这个腹部是靛蓝的历史。…
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引用次数: 62
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