New Humanities in Holocaust Studies: Bystanders in the Cadre of Visual Culture
In this essay, bystanders are analysed not through the lens of topography (i.e. geographical closeness to the events expressed in the term “by-stander”), but as visual subjects. Concerning those who witnessed the Holocaust, bystanders are linked with various types of scopic activities, especially ne...
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| Izdano u: | URI:https://journals.openedition.org/td, |
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| Glavni autor: | |
| Format: | Article ou chapitre numérique |
| Jezik: | Anglais |
| Izdano: |
Teksty Drugie
2024
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| Teme: | |
| Online pristup: | Accès Université d'Orléans et IFPM |
| Sažetak: | In this essay, bystanders are analysed not through the lens of topography (i.e. geographical closeness to the events expressed in the term “by-stander”), but as visual subjects. Concerning those who witnessed the Holocaust, bystanders are linked with various types of scopic activities, especially negative ones: they are often generalized as passive onlookers, as “those who stare” with libidinal pleasure [Polish: gapie; French: badauds; German: Schaulustige]. It is surprising, however, that the frequent use of scopic vocabulary is not necessarily associated with developed theoretical concerns. The recent visual (iconic) turn, co-constitutive for newer approaches in humanities, however, has provided a refined and varied set of tools for analysing the faculty of seeing. Therefore, it is no longer plausible to discuss the processes of seeing without precise conceptualizations. Instead of employing visual terms merely as synonyms, this essay challenges and restructures available categorizations for bystanders as those acquiring knowledge through the sense of sight. |
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