Добірка наукової літератури з теми "Ristelhueber"

The work of Sophie Ristelhueber – including both examined projects, "WB" (2004) and "Fait" (1992) – proposes a kind of “phenomenology of trace”, meaning human traces, but also traces of war, catastrophe, demolition, and “war index” where affects are crucial.

Twórczość Sophie Ristelhueber – w tym oba omawiane tu projekty, "WB" (2004) i "Fait" (1992) – proponuje rodzaj „fenomenologii śladu”, skupionej zarówno na śladach człowieka, jak i wojen oraz destrukcji. Równocześnie jest to rodzaj „kartoteki wojennej”, na wejście do której pozwalają afekty.

Este artigo propõe a discussão de algumas mudanças no estatuto da fotografia contemporânea em contexto de conflito, insegurança e instabilidade e suas implicações no espectador. Imagens da dor e da guerra são publicadas constantemente pelos veículos de comunicação, acabando por gerar uma verdadeira iconografia do sofrimento. É possível uma imagem menos atrelada ao drama, ao acontecimento em si e à noção de testemunho e objetividade, características consideradas indispensáveis no fotojornalismo cotidiano, também conter traços que nos levem à reflexão e à rememoração de conflitos passados? O livro Fait (2009), de Sophie Ristelhueber – que apresenta uma série de 71 imagens da Guerra do Golfo, no deserto do Kuwait – é usado para apontar novas configurações da fotografia de guerra. O silêncio e uma certa fragilidade da inscrição dessas imagens abrem espaço para problematizar a potência do irrepresentável.

The essay takes as its subject Sophie Ristelhueber’s "Fait" and Werner Herzog’s "Lessons of Darkness" (both 1992) to interpret them as instances of ‘pensive’ images. As such – negating the transparency of the photographic image – they are able to internalize the logic of what Judith Butler called their “visual frame, coercive and consensually established,” allowing it to transpire from the picture itself, as well as to confront or to sidetrack the issues of rhetoric and address. The essay tries to see what the two works, in spite of their abstract and decontextualized character, can tell about the war in general, and the Gulf War in particular, claiming that pensive images reflect the world in a more obtuse, but at the same time more thoughtful way.

Cette étude s’organise autour d’une articulation : celle entre un médium (la photographie), une ville (Beyrouth), et les événements qui ont marqué son passé récent. Le thème des rapports entre la photographie et l’histoire, avec la pluralité de sens qui le décrit, vient, en arrière-fond de ces questions, délimiter l’horizon de cette étude ; le lien entre voir et savoir, antiquement aux sources de la connaissance historique (Hartog, Loraux), en représente la ligne de fuite. En premier plan, la relation photographique et historienne à l’événement constitue l’objet de cette recherche dont le propos est d’identifier dans la photographie une référence à l’histoire considérée en tant qu’écriture. Concrètement, cet argument se déplie sur deux mouvements. Il exige, dans un premier temps, une série d’analyses théoriques visant à étudier le potentiel de connaissance et le caractère formel de la photographie en qualité de représentation événementielle. En partant des expérimentations des avant-gardes (Lugon, Baqué), jusqu’au jumelage entre la photographie et la presse, il s’agira de montrer la part de lisibilité qui appartient aux narrations photographiques (Barthes, Lavoie). Ensuite, on prendra en considération le travail opéré par l’historien lors de l’opération historiographique visant à produire, autour de l’événement, une représentation historique (de Certeau, Ricœur, Ginzburg). Outre faire ressortir le caractère de visibilité qui appartient à l’écriture historienne, ce passage sera aussi l’occasion de produire une étude comparée de la photographie et de l’histoire (Kracauer) autour de notions ponctuelles, comme celles d’empreinte, d’indice et de témoignage. Le moteur de ce premier mouvement est la notion d’événement. Abordée d’un point de vue phénoménologique (Zarader, Marion, Dastur, Diano), elle nous permettra d’observer la photographie et l’histoire d’après la génétique de leur construction. Finalement, Beyrouth et son histoire façonnées par les images constituent le cadre à l’intérieur duquel s’organise le deuxième mouvement. Les analyses des œuvres de Sophie Ristelhueber (Beyrouth photographies, 1984), Robert Frank (Come again, 1991) et Lamia Joreige (Beyrouth, autopsie d’une ville, 2010) sont conçues comme autant d’espaces dialogiques entre la photographie, l’épistémologie de l’histoire et les événements historiques qu’elles représentent. Le propos est de faire ressortir le basculement qu’elles mettent en scène : de la chronique vers l’écriture d’histoire.
This study focuses on the connection between a medium (photography), a city (Beyrouth), and the events that have marked its recent past. The theme of the relationship between photography and history, with the plurality of meanings that describes it, defines the scope of this study. The link between seeing and knowing, which in Antiquity was the root of historical knowledge (Hartog, Loraux), represents its vanishing point. The photographic and historical relationship with the event constitutes the purpose of this research, the aim of which is to identify in photography a reference to history considered as writing. The argument of this dissertation unfolds in two stages. The first stage requires a series of theoretical analyses, which aim at studying the knowledge potential and the formal nature of photography as a factual representation. Starting with the experimentation of the avant-gardes (Lugon, Braqué), and exploring the twinning of photography and the press, our goal will be to demonstrate the part of readability that belongs to the photographic narratives (Barthes, Lavoie). We will then take into consideration the work accomplished by the historian during the historiographic process, aiming at producing an historical representation of the event (de Certeau, Ricoeur, Ginzburg). In addition to emphasizing the characteristic of visibility, which belongs to historical writing, this will also provide the occasion to produce a comparative study of photography and history through particular notions such as imprint, sign, and evidence. The driving force behind this first part is the notion of event. Broached from the point of view of phenomenology (Zarader, Marion, Dastur, Diano), it will enable us to analyze photography and history according to the genetics of their construction. Beyrouth and its history, shaped by images, are the context in which the second stage is organized. The analysis of the works of Sophie Ristelhueber (Beyrouth photographies, 1984), Robert Frank (Come again, 1991), and Lamia Joreige (Beyrouth, autopsie d’une ville, 2010) are conceived as dialogical spaces between photography, the epistemology of history and the historical events that they represent. The aim is to emphasize the shift they present in moving from chronicle to the writing of history.