The Visual Divide between Islam and the West: Image - download pdf or read online

By Hatem N. Akil

ISBN-10: 1137565829

ISBN-13: 9781137565822

ISBN-10: 1137569646

ISBN-13: 9781137569646

This booklet considers the ways that Muslims view the way in which they're being seen, no longer considered, or incorrectly considered, via the West. The ebook underscores a definite “will-to-visibility” wherein Muslims/ Arabs want simply to be “seen” and to be marked as fellow people. the writer relates the failure to accomplish this visibility to a country of desperation that inextricably and symmetrically ties visibility to violence. while Syrian and Palestinian refugees lately begun refusing to be photographed, they essentially ushered the eventual yet inevitable cave in of the picture and its ultimate futility. The picture has been thoroughly emptied of its final ultimate probability of signification.

The e-book makes an attempt to interact with questions about the ways that photos are perceived inside move cultural contexts. Why and the way do humans from diverse cultural backgrounds view a similar snapshot in opposing methods; why do sketch, pictures, and video clips develop into either the reason and goal of bloody political violence – as witnessed lately by means of the lethal assaults opposed to Charlie Hebdo in France and within the speedy army reaction through the USA, Jordan, France, and others to videotaped violence by way of ISIS.

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Example text

Was the colonized more ruthless against the natives than their colonial masters? Such stories abound in the narrative works of Jean Genet, Frantz Fanon, and others. Anderson points out, at the beginning of his work, that a nation is a “fraternity that makes it possible … not so much to kill, as willingly to dies for such limited imaginings” (7). As we just witnessed, the willingness to kill or die for a nation can incorporate others in that same process. Think of this weird dynamic as, seemingly, continued in the US tradition of using non-US citizens to fight in the US military.

Cloud remarks that the Taliban have been making it more difficult for Afghani women to organize. Women’s organizations there also flatly rejected the United States’ help that would come “in the form of bombs and military occupation” (279). In that sense, the women were rejecting a much-needed assistance because it comes bundled with military domination.

But, one could further observe that this is where the “deadly” theater had abandoned its seekers. Locking the experience of art as a shamanistically controlled ritual, a privilege threatened by mechanical TECHNOLOGIES OF SEEING 37 reproduction. In the Emancipated Spectator, Jacques Rancière opens up the theater as a space for a dialogical state of conversion. Both Bertolt Brecht and Antonin Artaud attempt to make the same participatory involvement even though they come at this quest from seemingly different directions.

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The Visual Divide between Islam and the West: Image Perception within Cross-Cultural Contexts by Hatem N. Akil


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