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摘要
摘要
Through an intensive examination of photographs and engravings from European, Peruvian, and U.S. archives, Deborah Poole explores the role visual images and technologies have played in shaping modern understandings of race. Vision, Race, and Modernity traces the subtle shifts that occurred in European and South American depictions of Andean Indians from the late eighteenth to the early twentieth centuries, and explains how these shifts led to the modern concept of "racial difference." While Andean peoples were always thought of as different by their European describers, it was not until the early nineteenth century that European artists and scientists became interested in developing a unique visual and typological language for describing their physical features. Poole suggests that this "scientific" or "biological" discourse of race cannot be understood outside a modern visual economy. Although the book specifically documents the depictions of Andean peoples, Poole's findings apply to the entire colonized world of the nineteenth century.
Poole presents a wide range of images from operas, scientific expeditions, nationalist projects, and picturesque artists that both effectively elucidate her argument and contribute to an impressive history of photography. Vision, Race, and Modernity is a fascinating attempt to study the changing terrain of racial theory as part of a broader reorganization of vision in European society and culture.
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Poole's book makes a valuable contribution to understanding the place of visual discourses and technologies in the production and constitution of racial thought. Her initial interest--to examine the impact of photographic technology on representation of the Andean world--deepened to encompass a study of "How European perceptual regimes have changed over time and in relation to an increasing interest in non-European peoples," and "How visual images have shaped European perceptions of race as a biological and material fact." Poole reviews late-18th- and 19th-century philosophies of knowledge and the evolving languages of the biological sciences in the context of the politics of colonial subjugation. "Typification, comparability, and equivalency," principles around which differences and new information were organized by European scientists, philosophers, and naturalists, are shown to be operative in popularized and widely circulated images of Andean people that include photographs, engravings, book plates, and portraits. Poole uses these images to "examine race as a visual technology founded on the same principles of equivalency and comparison" that informed and supported the power of the European state. Her book offers original insight on race and makes a brilliant contribution to the anthropology of visual communication. Upper-division undergraduates and above. L. De Danaan Evergreen State College
目录
List of Illustrations | |
Acknowledgments | |
Ch. 1 Introduction | p. 3 |
Ch. 2 The Inca Operatic | p. 25 |
Ch. 3 An Economy of Vision | p. 58 |
Ch. 4 A One-Eyed Gaze | p. 85 |
Ch. 5 Equivalent Images | p. 107 |
Ch. 6 The Face of a Nation | p. 142 |
Ch. 7 The New Indians | p. 168 |
Ch. 8 Negotiating Modernity | p. 198 |
Notes | p. 217 |
References | p. 239 |
Index | p. 253 |