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An eye for an I: Contemporary art, ...

Benbassat, Karen.

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An eye for an I: Contemporary art, memory, and pedagogy.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	An eye for an I: Contemporary art, memory, and pedagogy./
作者:	Benbassat, Karen.
面頁冊數:	90 p.
附註:	Source: Masters Abstracts International, Volume: 44-06, page: 2507.
Contained By:	Masters Abstracts International44-06.
標題:	Education, Art. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=MR16103
ISBN:	9780494161036

An eye for an I: Contemporary art, memory, and pedagogy.
Benbassat, Karen.

An eye for an I: Contemporary art, memory, and pedagogy. - 90 p.

Source: Masters Abstracts International, Volume: 44-06, page: 2507.

Thesis (M.A.)--University of Toronto (Canada), 2006.

This thesis examines the art of trauma about mass violence, colonial relations and social suffering. It looks at the visual art, performance, and installation works of artists of Ruth Liberman, Lawrence Paul Yuxweluptun and Miyoung Song and argues that witnessing trauma and reactions of anger and revenge are both related contingencies, and are key pedagogical concepts that should be included in understandings of trauma and art theory. Its foundational theories about witnessing, trauma and revenge are drawn from several theorists, particularly Roger Simon, Shoshana Felman, Jill Bennet, Cathy Caruth and Frantz Fanon. The thesis ends with a chapter that critiques the museum, arguing that it could do more to engage the public in discourses about trauma and memory artworks.

ISBN: 9780494161036Subjects--Topical Terms:

1018432
Education, Art.

An eye for an I: Contemporary art, memory, and pedagogy.
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520 $a This thesis examines the art of trauma about mass violence, colonial relations and social suffering. It looks at the visual art, performance, and installation works of artists of Ruth Liberman, Lawrence Paul Yuxweluptun and Miyoung Song and argues that witnessing trauma and reactions of anger and revenge are both related contingencies, and are key pedagogical concepts that should be included in understandings of trauma and art theory. Its foundational theories about witnessing, trauma and revenge are drawn from several theorists, particularly Roger Simon, Shoshana Felman, Jill Bennet, Cathy Caruth and Frantz Fanon. The thesis ends with a chapter that critiques the museum, arguing that it could do more to engage the public in discourses about trauma and memory artworks.
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