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Distributed for Dartmouth College Press

Trauma and Visuality in Modernity

This groundbreaking collection is among the first in the field of art history to explore the relation between the traumatic and the visual field in the modern period. Ranging across media and spanning from the origins of modernity to the present, the essays gathered here pursue trauma as a structuring yet elusive subject of representation. Examining the most revelatory instances of encounter between event and image, between history and visual form, this collection offers an account of the centrality of trauma’s visualization to an understanding of modernity.

304 pages | 6 x 9

Film Studies

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Table of Contents

Acknowledgments • Introduction: Lisa Saltzman and Eric Rosenberg • IMAGE • Isabelle Wallace, Trauma as Representation: A Meditation on Manet and Johns • Eric Rosenberg, Walker Evans’s Depression and the Trauma of Photography • MONUMENT • Erika Naginski, Canova’s Penitent Magdalene: On Trauma’s Prehistory • Lisa Saltzman, When Memory Speaks: A Monument Bears Witness • PERFORMANCE AND INSTALLATION • Judith F. Rodenbeck, Car Crash, 1960 • Anna C. Chave, “Normal Ills”: On Embodiment, Victimization, and the Origins of Feminist Art • Gwendolyn DuBois Shaw, The “Rememory” of Slavery: Kara Walker’s The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven • FILM • Cathy Caruth, Literature and the Enactment of Memory: (Duras, Resnais, Hiroshima mon amour) • Ernst van Alphen, The Revivifying Artist: Boltanski’s Efforts to Close the Gap • HISTORIOGRAPHY • Mark Jarzombek, The Post-traumatic Turn and the Art of Walid Ra’ad and Krzysztof Wodiczko: From Theory to Trope to Beyond • Epilogue: Lisa Saltzman and Eric Rosenberg • List of Contributors • Index

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