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Follow authors to get new release updates, plus improved recommendations. Ulrich Baer is University Professor at New York University where he teaches literature, photography and some texts of continental philosophy. He has published books on poetry, photography, art, and culture, and written for the New York Times, the New York Review of Books, and the Los Angeles Book Review, and various galleries and museum catalogues, including the Irish Museum of Modern Art. His translations of Rainer Maria Rilke’s letters are available as audiobooks read by Ethan Hawke and Rosanne Cash. He hosts two podcasts on big ideas and great books, Think About It and The Proust Questionnaire, with co-host Caroline Weber, and has published editions of numerous classic books with Warbler Press, including Pride and Prejudice, The Scarlet Letter, Jane Eyre, The Picture of Dorian Gray, Beyond Good and Evil, Heart of Darkness, Civilization and its Discontents, The Great Gatsby, Mrs. Dalloway, To The Lighthouse, The Great Gatsby, The Sun Also Rises, and others. His single-author books include: Spectral Evidence: The Photography of Trauma (MIT Press); Remnants of Song: Poetry and the Experiences of Modernity in Charles Baudelaire and Paul Celan (Stanford UP); The Rilke Alphabet (Fordham UP); What Snowflakes Get Right: Speech, Equality and Truth in the University (Oxford UP). He is editor and/or translator of: The Dark Interval: Rilke's Letters of Loss, Grief and Transformation (Random House/Bloomsbury); 110 Stories: New York Writes After September 11 (NYU Press); Rainer Maria Rilke: Letters on Life (Random House); The Claims of Reading: A Shoshana Felman Reader (Fordham UP; with Emily Sun and Eyal Peretz); Hannah Arendt zwischen den Disziplinen (Wallstein; edited with Amir Eshel), and new editions numerous classic books of literature and philosophy. He is the father of two children and lives in New York City, where he practices Shaolin kung fu and maintains a tiny plot in an urban garden. Find out more at www.ulrichbaer.com. Read more about this author Read less about this author Read more about this author Read less about this author
From Library JournalApplying psychoanalytical theory to photo criticism, Baer (German, NYU) makes comparisons between the notion of the photograph's "arrested moment" and how the human psyche processes trauma. He draws from Freud, Barthes, Benjamin, and Charcot, as well as recent studies in trauma, to prove that images representing a traumatic history lack the concept of "future" and forward movement that characterizes conventional documentary photographs. Traumatic memory, like the camera, freezes the moment and removes it from the forward motion of linear time. Instead of sensational images, as the title might suggest, Baer uses seemingly commonplace photographs to illustrate his ideas, thus placing the viewer in the role of witness instead of innocent onlooker. Ultimately, Baer is able to support his premise by establishing the connection between the concept of trauma and the development of the photograph, making this research original as well as timely. Baer is the editor of No One Bears Witness for the Witness: The Culture of Memory and Historical Responsibility after the Shoah and the forthcoming 110 Stories: New York Writes After September 11. The current volume contains an extensive bibliography and notes and is recommended for graduate and research collections. Shauna Frischkorn, Millersville Univ. Lib., PACopyright 2002 Cahners Business Information, Inc.
About the AuthorUlrich Baer is Associate Professor of German and Comparative Literature at New York University.
Thông tin sách: Spectral Evidence: The Photography of Trauma (Hardcover, 216 trang) – Mit Pr, 2002. Ngôn ngữ: Tiếng Anh.
In this remarkable contribution to photographic criticism and psychoanalyticliterature, Ulrich Baer traces the hitherto overlooked connection between the experience of traumaand the photographic image. Instead of treating trauma as a photographic "theme," Baer examines thestriking parallel between those moments arrested mechanically by photography and those arrestedexperientially by the traumatized psyche -- moments that bypass normal cognition and memory. Takingas points of departure Charcot's images of hysteria and Freud's suggestion that the unconscious isstructured like a camera, Baer shows how the invention of photography and the emergence of themodern category of "trauma" intersect. Drawing on recent work in the field of trauma studies, heshows how experiences that are inherently split between their occurrence and their remembrance mightregister in and as photographic images.In light of contemporary discussions of recovered memoriesand the limits of representing such catastrophes as the Holocaust, Baer examines photographs ofartistic, medical, and historical subjects from the perspective of witnessing rather than merelyviewing. He shows how historicist approaches to photography paradoxically overlook precisely thosecataclysmic experiences that define our age. The photograph's apparent immunity to time is seen as acall for a future response--a response that is prompted by the ghostly afterlife of everyphotograph's subject. In a moving discussion of a rare collection of color slides taken by a Naziofficial in the Lodz ghetto, Baer makes us aware that it is the viewer's responsibility to accountfor the spectral evidence embedded in every image.
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