By Birgit Haehnel, Melanie Ulz
Slavery, either in its ancient and glossy kinds, is still an issue of undiminished political and social relevance. this can be reflected by way of an expanding curiosity in scholarly study in addition to via severe statements from in the box of up to date paintings. the current quantity is designed to collect artists and students from quite a few fields of research discussing trauma and visuality, or extra accurately, reminiscence and denial of demanding historical past inside of visible discourses. the aim of this undertaking is to place the phenomenon of latest paintings creation facing the difficulty of slavery right into a wider, interdisciplinary and transcultural context. The booklet covers present case reports targeting various media and together with visible, literary and performative methods of facing the historical past of slavery in West-African, American and eu cultures. Birgit Haehnel (Ph.D., collage of Trier, 2004) lives as an self sustaining pupil of artwork heritage in Vienna. She is the writer of "Regelwerk und Umgestaltung. Der Nomadismusdiskurs in der Kunst nach 1945" (2007). She has released generally on modern artwork and on paintings of the seventeenth, nineteenth and twentieth centuries with a unique specialize in gender and post-colonialism. Melanie Ulz (Ph.D., collage of Trier, 2005) is an paintings historian and lives in Berlin. She is the writer of "Auf dem Schlachtfeld des Empire. Männlichkeitskonzepte in der Bildproduktion zu Napoleons Ägyptenfeldzug" (Marburg, 2008). She has released on paintings and visible tradition of the 18th, nineteenth and twentieth centuries with a spotlight on gender and postcolonial thought
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Additional info for Slavery in art and literature : approaches to trauma, memory, and visuality
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The book functioned as a key giving access to the artwork in the sense that the paintings were to be read through the history of the slave trade and its laws. Like the monsters emerging from the unconscious of a hidden past into the mind, the floating body fragments and unsinkable shackles in William Turner’s painting Slavers Throwing Overboard the Dead and Dying—Typhon [sic] Coming on may be similarly read as signifiers of a repressed history. These elements seem to surface from the depth of the sea to stay in the viewer’s imagination.