{"product_id":"the-ethics-of-seeing-photography-and-twentieth-century-german-history-9781789205183","title":"The Ethics of Seeing: Photography and","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \tThroughout Germany’s tumultuous twentieth century, photography was an indispensable form of documentation. Whether acting as artists, witnesses, or reformers, both professional and amateur photographers chronicled social worlds through successive periods of radical upheaval. \u003cem\u003eThe Ethics of Seeing\u003c\/em\u003e brings together an international group of scholars to explore the complex relationship between the visual and the historic in German history. Emphasizing the transformation of the visual arena and the ways in which ordinary people made sense of world events, these revealing case studies illustrate photography’s multilayered role as a new form of representation, a means to subjective experience, and a fresh mode of narrating the past.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \t\u003cem\u003e“The contributions of the volume are almost invariably subtle, insightful and illuminating…What [they] demonstrate, with exceptional clarity, is that no German history is complete without photography—and that geographical boundaries and chronological sub-divisions of this history we have come to take for granted are often challenged by the way images and ways of seeing moved across them.”\u003c\/em\u003e \u003cstrong\u003e• German History\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“Asking what photographs ‘do’ to history is a deceivingly simple question with pressing and increasingly complex answers for historians working in the digital age. As such, this book is both essential reding for scholars delving into visual history as well as a helpful guide for historians considering the ethical implications of photography and its uses in the modern era.”\u003c\/em\u003e \u003cstrong\u003e• German Studies Review\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“In the work’s epilogue, Julia Adeney Thomas reminds readers that photography is fraught with moral questions, and photographers and viewers alike need to develop an ethics for the medium. This is a welcome conclusion to a volume, the premise of which is in many ways fundamentally moral.”\u003c\/em\u003e \u003cstrong\u003e• Studies in 20th \u0026amp; 21st Century Literature\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“…traditionally, photographs have been treated as a kind of secondary or tertiary source with which apprentice historians should engage only after they master the ‘real’ or ‘more important’ meat and potatoes of the historical profession: the traditional archival document.…The contributors to\u003c\/em\u003e The Ethics of Seeing \u003cem\u003edo a tremendous service by challenging this orthodoxy. The issue this volume raises, then, is not only ‘What can the scholarly methods of history tell us about photographs?’ but also ‘What can photographs tell us about historical method?’”\u003c\/em\u003e \u003cstrong\u003e• The German Quarterly\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“\u003c\/em\u003eThe Ethics of Seeing \u003cem\u003egathers together very useful and highly readable contributions to the history of German photography. These stimulating essays give a broad perspective on the German twentieth century, and in many cases address important gaps in the historical record.”\u003c\/em\u003e \u003cstrong\u003e• Simon Ward\u003c\/strong\u003e, Durham University\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“This is a profoundly important contribution to the field. It analyzes an impressively wide range of photographic materials—including artistic, scientific, vernacular, queer, colonial, institutional, and journalistic sources—in a way that enriches art history while also addressing the specific concerns of historians working in visual culture.”\u003c\/em\u003e \u003cstrong\u003e• Donna West Brett\u003c\/strong\u003e, The University of Sydney\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \tList of Illustrations\u003cbr\u003e \tAcknowledgements\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eIntroduction:\u003c\/strong\u003e Photography as an Ethics of Seeing\u003cbr\u003e \t\u003cem\u003eJennifer Evans\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 1.\u003c\/strong\u003e Thoughts on Photography and the Practice of History\u003cbr\u003e \t\u003cem\u003eElizabeth Edwards\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 2.\u003c\/strong\u003e Seeing the ‘Savage’ and the Suspension of Time: Photography, War and Concentration Camps in South West Africa, 1904-1908\u003cbr\u003e \t\u003cem\u003eClaudia Siebrecht\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 3.\u003c\/strong\u003e The “Face of War” in Weimar Visual Culture\u003cbr\u003e \t\u003cem\u003eAnnelie Ramsbrock\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 4.\u003c\/strong\u003e Documenting \u003cem\u003eHeimkehr\u003c\/em\u003e: Photography, Displacement and “Homecoming” in the Nazi Resettlement of Ethnic Germans, 1939-1940\u003cbr\u003e \t\u003cem\u003eElizabeth Harvey\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 5.\u003c\/strong\u003e Visible Trophies of War: German Occupiers’ Photographic Perceptions of France, 1940-44\u003cbr\u003e \t\u003cem\u003eJulia Torrie\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 6.\u003c\/strong\u003e Gazing at Ruins: German Defeat as Visual Experience\u003cbr\u003e \t\u003cem\u003eStefan-Ludwig Hoffmann\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 7.\u003c\/strong\u003e Edmund Kesting’s Polyphonic Portraits and the Abstract Face of the Socialist Self in East Germany\u003cbr\u003e \t\u003cem\u003eSarah E. James\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 8.\u003c\/strong\u003e Seeing Subjectivity: Erotic Photography and the Optics of Desire\u003cbr\u003e \t\u003cem\u003eJennifer Evans\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 9.\u003c\/strong\u003e Photographing Reurbanization in West Berlin, 1977-84\u003cbr\u003e \t\u003cem\u003eAnna Ross\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 10.\u003c\/strong\u003e The Diversification of East Germany’s Visual Culture\u003cbr\u003e \t\u003cem\u003eCandice M. Hamelin\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 11.\u003c\/strong\u003e The Intimacy of Revolution: 1989 in Pictures\u003cbr\u003e \t\u003cem\u003ePaul Betts\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eEpilogue:\u003c\/strong\u003e Hope Flies, Death Dances: Moving Toward an Ethics of Seeing\u003cbr\u003e \t\u003cem\u003eJulia Adeney Thomas\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \tIndex\u003c\/p\u003e","brand":"Berghahn Books","offers":[{"title":"Default Title","offer_id":51042557395287,"sku":"9781789205183","price":26.55,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781789205183.jpg?v=1750954636","url":"https:\/\/bookcurl.com\/products\/the-ethics-of-seeing-photography-and-twentieth-century-german-history-9781789205183","provider":"Book Curl","version":"1.0","type":"link"}