想象自己在非洲

IF 0.2 Q4 WOMENS STUDIES Meridians-Feminism Race Transnationalism Pub Date : 2023-10-01 DOI:10.1215/15366936-10637681
Grace L. Sanders Johnson
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引用次数: 0

摘要

摘要本文通过海地人类学家Suzanne comhaie - sylvain的已开发和未开发的摄影作品,探讨了影像、档案编目和非洲散居者归属之间的关系。作者利用她的家庭信件和对民间传说的研究,将她关于海地、比属刚果和尼日利亚的图像档案背景化,提出comhaie - sylvain的视觉目录可以通过她在非洲拍摄的未冲洗的图像来呈现。通过追踪科梅尔-西尔万在镜头前和镜头后的扭曲,作者展示了她未开发和未发表的游戏和实验成像实践,证明了一种学术和个人反思的媒介,这种媒介困扰着她专业研究实践的权威,并活跃了她散乱表达的范围。作者特别关注了1943年至1945年她在比属刚果期间拍摄的照片,以及1957年她长期返回海地的照片。作者认为,comhaie - sylvain的影像目录是最具煽动性的,因为她使用民间传说作为一种独特的技术,在侨民归属和知识探索的重叠地点之间制造意义。
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Picturing Herself in Africa
Abstract This essay explores the relationship between imaging, archival cataloging, and African diasporic belonging through the developed and undeveloped photography of Haitian anthropologist Suzanne Comhaire-Sylvain. Using her family correspondences and research on folklore to contextualize her image-based archive on Haiti, the Belgian Congo, and Nigeria, the author proposes that Comhaire-Sylvain’s visual catalog is rendered legible through her undeveloped images taken in Africa. Tracing Comhaire-Sylvain’s contortions in front of and behind the camera, the author shows that her undeveloped and unpublished imaging practices of play and experimentation exemplify a medium of scholarly and personal reflexivity that troubled the authority of her professional research practice and enlivened the range of her diasporic expression. With particular attention given to photos taken during her time in the Belgian Congo between 1943 and 1945 and her long-stay return to Haiti in 1957, the author argues that Comhaire-Sylvain’s imaging catalog is most provocatively read as an assemblage bound by her use of folklore as a unique technology for crafting meaning between overlapping sites of diasporic belonging and intellectual inquiry.
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CiteScore
0.50
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发文量
24
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