MARC Record from marc_columbia

LEADER: 04051cam a2200649 a 4500
001 11548926
005 20160123212707.0
008 141202s2014 ctuah b 000 0 eng
010 $a 2014472828
019 $a905894451$a908070742
020 $a9780990468622
020 $a0990468623
024 $a99964002309
035 $a(OCoLC)ocn897282236
035 $a(OCoLC)897282236$z(OCoLC)905894451$z(OCoLC)908070742
035 $a(NNC)11548926
040 $aNLM$beng$cNLM$dGTA$dOCLCF$dN15$dEUW$dEMU$dYDXCP$dBDX$dDLC$dGZM$dPAU$dOCLCO$dGUA
042 $anlmcopyc
050 14 $aDA950.7$b.G43 2014
060 00 $a2015 F-871
060 10 $aWZ 70 GI6
082 04 $a941.5081$223
100 1 $aGibbons, Luke.
245 10 $aLimits of the visible :$brepresenting the great hunger /$cLuke Gibbons.
246 1 $aRepresenting the great hunger
260 $aHamden, CT:$bQuinnipiac University Press,$cc2014.
300 $a39 p. :$bcol. ill., facsims. ;$c28 cm.
336 $atext$btxt$2rdacontent
336 $astill image$bsti$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aIreland's Great Hunger Museum / Niamh O'Sullivan, Grace Brady
500 $aThe absence of photographs of the Irish Famine has been attributed to the shorcomings of a medium then in its infancy, but it may also be due to certain limitations in the visible itself. Susan Sontag argued that images can evoke sentimental responses but cannot address wider political questions of obligation and justice. In this essay, Luke Gibbons revisits representations of the Famine, particularly those in Ireland's Great Hunger Museum to argie that images can not only give visual pleasure but demand ethical interventions on the part of spectators. This fusing of sympathy and affective response with the right of redress is conveyed by a 'judicious obscurity,' a determination not to show all, whcih places an obligation on the spectator to complete what is beyond representation, or what is left to the imagination.--back cover.
504 $aIncludes bibliographical references (p. 35-37).
505 0 $aRepresenting the great hunger -- The dark side of the landscape -- The unflinching eye -- The politics of vision -- Projecting the nation.
520 $aThe absence of photographs of the Irish Famine has been attributed to the shorcomings of a medium then in its infancy, but it may also be due to certain limitations in the visible itself. Susan Sontag argued that images can evoke sentimental responses but cannot address wider political questions of obligation and justice. In this essay, Luke Gibbons revisits representations of the Famine, particularly those in Ireland's Great Hunger Museum to argue that images can not only give visual pleasure but demand ethical interventions on the part of spectators. This fusing of sympathy and affective response with the right of redress is conveyed by a 'judicious obscurity,' a determination not to show all, which places an obligation on the spectator to complete what is beyond representation, or what is left to the imagination. --Page [4] of cover.
611 27 $aFamine (Ireland : 1845-1852)$2fast$0(OCoLC)fst01353092
650 12 $aStarvation$xhistory.
651 2 $aIreland.
650 22 $aArt.
650 22 $aHistory, 19th Century.
650 22 $aHuman Migration$xhistory.
650 22 $aSocial Conditions$xhistory.
650 0 $aFamines$zIreland.
650 0 $aFamines in art.
650 0 $aHunger in art.
651 0 $aIreland$xHistory$yFamine, 1845-1852.
651 0 $aIreland$xHistory$y19th century.
650 7 $aFamines.$2fast$0(OCoLC)fst00920590
650 7 $aFamines in art.$2fast$0(OCoLC)fst01199981
650 7 $aHunger in art.$2fast$0(OCoLC)fst00964109
651 7 $aIreland.$2fast$0(OCoLC)fst01205427
648 7 $a1800 - 1899$2fast
655 7 $aHistory.$2fast
710 2 $aIreland's Great Hunger Museum.
830 0 $aIreland's Great Hunger Museum / Niamh O'Sullivan, Grace Brady.
852 00 $boff,fax$hDA950.7$i.G43 2014g