"Wie kam es zu dem ikonischen Überschuss des christlichen Heiligenbildes? Janine Luge-Winter geht dieser Frage nach, indem sie die verschiedenen Argumente byzantinischen Bildapologien des 8. und 9. Jahrhunderts und der modernen Ikonentheorien des 20. Jahrhunderts erstmals in ihrer Studie versammelt
...
, miteinander vergleicht und kontextualisiert. Sie zeigt, dass das Mehr der Ikone deren besonderer Sichtbarkeit ist, die eine Überwindung der Undarstellbarkeit des Undarstellbaren evoziert, indem sie das Undarstellbare konkret als solches akzeptiert. Verständlich wird dies nur, wenn die Ikone als »etwas anderes« als ein repräsentationales oder mimetisches Bild anerkannt wird." (Verlagsbeschreibung)
more
"While the importance of visualization of war, conflict, and violence has gathered great momentum in disciplines such as International Relations (IR), far less has been said about the visualization of peace in IR, history, and even in Peace and Conflict Studies. As Maria Elena Diez Jorge and Francis
...
co Muñoz Muñoz point out, "[v]iolence has received the attention, while peace and its entire semantic sphere have been left out of the spotlight". It is this relative blind spot that this special issue wants to address as it aims to reflect on the politics, policy, and pedagogy of visualizing peace. Among other questions, it will reflect on how peace is visualized in cultural artifacts and what these representations of peace (and their absence) do politically. In other words, what is presented in the picture of peace and what is left out? What consequences can this have for the construction of politics? In addition, the special issue considers how visual artifacts can contribute to real-world peace after violent conflict. How can visualization in film, photography, or documentaries help build peace and contribute to conflict resolution, reconciliation, transitional justice, and peace pedagogy? If we accept the argument of the cultural turn and believe in the co-constitution of culture and politics and in the idea that cultural artifacts such as movies take part in the construction of a dichotomous understanding of self and other, thereby contributing to the legitimation of violence and conflict, then this may also work the other way around: Cultural artifacts like movies can play an important role in peace processes." (Page 5)
more
"Generally, images in art forms occupy a controversial position in the Islamic world. The Sunni branch of Islam, considered more conservative and strict does not approve or condone representational art of the human form for fear that it would eventually turn into an object of worship. The Shi’ite
...
branch of Islam, however, has a radically opposing perspective and consequently allows figurative representation in its art forms. The situation becomes more complicated when it comes to depicting prophets, who, starting from the Prophet Muhammad, are prohibited in Sunni Islam from being figuratively represented in any form. This article discusses the representation of spirituality in religious media in Nigeria, especially the reception of the representation of Biblical and Islamic prophets in dubbed Iranian films targeted at popular culture consumption. I situate my discussion within the matrix of social control and censorship in northern Nigerian Muslim cultures." (Abstract)
more
"This article examines the many factors influencing NGO advertisements and their visual representations of the Third World. Focusing on two specific advertisements, this work explores the influence of practical constraints and specific marketing techniques. Applying the work of Edward Said and Homi
...
Bhabha in its analysis, this article will consider the relationship of the NGO advertisements to colonial discourse. Visual representations of the Third World that circulated into Europe during colonialism naturalized the division between white and black racial categories. This distinction, as utilized in the advertisements, is explored through Paulette Goudge's The Whiteness of Power. Following, an examination of imagery as grounded in a specific understanding of development is undertaken with reference to Arturo Escobar's work. Both advertisements' imagery is argued to be an essential part of justifying the development practices. It is concluded that as producers of visual representations, NGOs are in a position to disseminate alternative depictions of the Third World1 and, consequently, contribute to the production of new discourses within the field of development." (Abstract)
more