Ambivalent makes photography an engaging and important subject of historical investigation. Contributors bring photography into conversation with orality, travel writing, ritual, psychoanalysis, and politics, with new approaches to questions of race, time, and postcolonial and decolonial histories.
Ambivalent makes photography an engaging and important subject of historical investigation. Contributors bring photography into conversation with orality, travel writing, ritual, psychoanalysis, and politics, with new approaches to questions of race, time, and postcolonial and decolonial histories.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Patricia Hayes is National Research Foundation SARChI (South African Research Chairs Initiative) Chair in Visual History and Theory at the Centre for Humanities Research, University of the Western Cape in South Africa. She has published extensively on colonial and documentary photography in southern Africa. Gary Minkley is National Research Foundation SARChI (South African Research Chairs Initiative) Chair in Social Change in the History Department at the University of Fort Hare in South Africa. Recent publications include the coauthored Unsettled History: Making South African Public Pasts.
Inhaltsangabe
List of Illustrations Acknowledgments Introduction Africa and the Ambivalence of Seeing (patricia hayes and gary minkley) PART 1 UNFIXING RACE AND VISUALITY: THE COLONIAL TEMPORARY Chapter 1 Ambivalent Mediations: Photographic Desire, Anxiety, and Knowledge in Nineteenth-Century Central Africa (isabelle de rezende) Chapter 2 Empty Photographs: Ethnography and the Lacunae of African History (patricia hayes) Chapter 3 Unstable Forms Photography, Race, and the Identity Document in South Africa (ingrid masondo) Chapter 4 The Pass Photograph and the Intimate Photographic Event in South Africa (gary minkley) Chapter 5 Photographic Genres and Alternate Histories of Independence in Mozambique (drew thompson) Chapter 6 Photography, Mass Violence, and Survivors: The Cassinga Massacre of 1978 (vilho shigwedha) PART 2 OSCILLATIONS: SURFACES AND DEPTHS Chapter 7 Images of Ambivalence: Photography in the Making of Omhedi, Northern Namibia (napandulwe shiweda) Chapter 8 The Profane and the Prophetic at a South African Beach (phindi mnyaka) Chapter 9 Photographing Aso. Ebì Of Surfacism and Digitality (okechukwu nwafor) Chapter 10 Boko Haram Insurgency and a New Mode of War in Nigeria (george emeka agbo) Chapter 11 Mirrors and Waters: the Practice and the Visual in Beninese Mami Wata Cults (jung ran forte) An Expanded Milieu Selected Bibliography Contributors Index
List of Illustrations Acknowledgments Introduction Africa and the Ambivalence of Seeing (patricia hayes and gary minkley) PART 1 UNFIXING RACE AND VISUALITY: THE COLONIAL TEMPORARY Chapter 1 Ambivalent Mediations: Photographic Desire, Anxiety, and Knowledge in Nineteenth-Century Central Africa (isabelle de rezende) Chapter 2 Empty Photographs: Ethnography and the Lacunae of African History (patricia hayes) Chapter 3 Unstable Forms Photography, Race, and the Identity Document in South Africa (ingrid masondo) Chapter 4 The Pass Photograph and the Intimate Photographic Event in South Africa (gary minkley) Chapter 5 Photographic Genres and Alternate Histories of Independence in Mozambique (drew thompson) Chapter 6 Photography, Mass Violence, and Survivors: The Cassinga Massacre of 1978 (vilho shigwedha) PART 2 OSCILLATIONS: SURFACES AND DEPTHS Chapter 7 Images of Ambivalence: Photography in the Making of Omhedi, Northern Namibia (napandulwe shiweda) Chapter 8 The Profane and the Prophetic at a South African Beach (phindi mnyaka) Chapter 9 Photographing Aso. Ebì Of Surfacism and Digitality (okechukwu nwafor) Chapter 10 Boko Haram Insurgency and a New Mode of War in Nigeria (george emeka agbo) Chapter 11 Mirrors and Waters: the Practice and the Visual in Beninese Mami Wata Cults (jung ran forte) An Expanded Milieu Selected Bibliography Contributors Index
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