The Eye of History: When Images Take Positions

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Georges Didi-Huberman (Directeur d'études, Ecole des Hautes Etudes en Sciences Sociales) Shane B. Lillis

The Eye of History

When Images Take Positions

Georges Didi-Huberman (Directeur d'études, Ecole des Hautes Etudes en Sciences Sociales), Shane B. Lillis, Thierry Gervais (Assistant Professor, Ryerson University)

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English

MIT Press
02 March 2018

Collage & photomontage; Diaries, letters & journals; Literary studies: from c 1900 -; Literary studies: poetry & poets

Series: RIC BOOKS (Ryerson Image Centre Books)

"An exploration of the interaction of aesthetics and politics in Bertolt Brecht's ""photoepigrams.""From 1938 to 1955, Bertolt Brecht created montages of images and text, filling his working journal (Arbeitsjournal) and his idiosyncratic atlas of images, War Primer, with war photographs clipped from magazines and adding his own epigrammatic commentary. In this book, Georges Didi-Huberman explores the interaction of politics and aesthetics in these creations, explaining how they became the means for Brecht, a wandering poet in exile, to ""take a position"" about the Nazi war in Europe. Illustrated with pages from the Arbeitsjournal and War Primer and contextual images including Raoul Hausmann's poem-posters and Walter Benjamin's drawings, The Eye of History offers a new view of important but little-known works by Brecht. Didi-Huberman shows that Brecht took positions without taking sides; he used these montages to challenge the viewpoints of the press and propose other readings, to offer a stylistic and political response to the inescapable visibility of historical events enabled by the photographic medium. Brecht's montages disrupt and scrutinize this visibility by juxtaposing representations of war found in magazines with his own epigrams-a ""documentary lyricism"" that dismounts and remounts modern history. The montages created meaningful disorder, exposing the truth by disorganizing-a process Didi-Huberman calls a ""dialectic of the monteur."" These works are examples of ""the eyes of history""-when seeing may simultaneously deepen and critique historical knowledge. The montages Didi-Huberman argues, are Brecht's most Benjaminian works."

By: Georges Didi-Huberman (Directeur d'études Ecole des Hautes Etudes en Sciences Sociales)
Translated by: Shane B. Lillis
Series edited by: Thierry Gervais (Assistant Professor Ryerson University)
Imprint: MIT Press
Country of Publication: United States
Dimensions: Height: 229mm, Width: 178mm, Spine: 14mm
ISBN: 9780262037877
ISBN 10: 0262037874
Series: RIC BOOKS (Ryerson Image Centre Books)
Pages: 282
Publication Date: 02 March 2018
Recommended Age: From 18 years
Audience: Professional and scholarly , College/higher education , Undergraduate , A / AS level
Format: Hardback
Publisher's Status: Active

Georges Didi-Huberman, a philosopher and art historian based in Paris, teaches at the cole des Hautes tudes en Sciences Sociales. Recipient of the 2015 Adorno Prize, he is the author of more than fifty books on the history and theory of images, including Invention of Hysteria- Charcot and the Photographic Iconography of the Salpatri re (MIT Press), Bark (MIT Press), Images in Spite of All- Four Photographs from Auschwitz, and The Surviving Image- Phantoms of Time and Time of Phantoms- Aby Warburg's History of Art. Shane B. Lillis is a researcher, translator, and lecturer at the University of Nantes, France.