LEADER 03908cam a2200481 i 4500003 hubpceuo 005 20231009163619.0 008 170918t20182018onca b 001 0 eng d 010 2017955504 015 GBB822469 |2bnb 016 7 018717206 |2Uk 020 9780262037877 |q(hardcover) 020 0262037874 |q(hardcover) 040 YDX |beng |cYDX |erda |dOCL |dQGQ |dIL4J6 |dDLC |dhubpceuo 041 1 eng |hfre 042 lccopycat 050 00 PT2603.R397 |bZ589513 2019 082 04 940.5 100 1 Didi-Huberman, Georges, |d1953- 240 10 Quand les images prennent position. |lEnglish 245 14 The eye of history : |bwhen images take positions / |cGeorges Didi-Huberman ; translated by Shane B. Lillis. 260 Toronto ;Cambridge, Mass. : |bRIC Books ; |bMIT Press, |c2018. 300 xxix, 257 p. : |bill. ; |c24 cm. 337 unmediated 490 0 RIC books. Essentials ; |v[2] 500 "Originally published as Quand les images prennent position. L'Eil de l'histoire, 1, ©Les Editions de Minuit, 2009"--Title page verso. 504 Includes bibliographical references and index (p. 256-257). 505 0 Preface: Emancipating the eyes of history -- 1. The position of the exiled: exposing the war -- 2. The disposition towards things: observing the uncanny -- 3. The dysposition of things: dismantling order -- 4. The composition of forces: showing politics again -- 5. The interposition of fields: revisiting history -- 6. The position of the child: being exposed to images. 520 "From 1938 to 1955, Bertolt Brecht created montages of images and text, filling his working journal (Arbeitsjournal) and his idiosyncratic atlas of images, War Primer, with war photographs clipped from magazines and adding his own epigrammatic commentary. In this book, Georges Didi-Huberman explores the interaction of politics and aesthetics in these creations, explaining how they became the means for Brecht, a wandering poet in exile, to "take a position" about the Nazi war in Europe. Illustrated with pages from the Arbeitsjournal and War Primer and contextual images including Raoul Hausmann's poem-posters and Walter Benjamin's drawings, The Eye of History offers a new view of important but little-known works by Brecht. Didi-Huberman shows that Brecht took positions without taking sides; he used these montages to challenge the viewpoints of the press and propose other readings, to offer a stylistic and political response to the inescapable visibility of historical events enabled by the photographic medium. Brecht's montages disrupt and scrutinize this visibility by juxtaposing representations of war found in magazines with his own epigrams -- a "documentary lyricism" that dismounts and remounts modern history. The montages created meaningful disorder, exposing the truth by disorganizing -- a process Didi-Huberman calls a "dialectic of the monteur." These works are examples of "the eyes of history"--When seeing may simultaneously deepen and critique historical knowledge. The montages Didi-Huberman argues, are Brecht's most Benjaminian works." -- publisher's website. 546 Translated from the French. 600 10 Brecht, Bertolt, |d1898-1956. |tArbeitsjournal. |lEnglish. 600 10 Brecht, Bertolt, |d1898-1956. |tKriegsfibel. |lEnglish. 600 10 Brecht, Bertolt, |d1898-1956 |xNotebooks, sketchbooks, etc. 650 0 World War, 1939-1945 |vPictorial works. 650 0 World War, 1939-1945 |vPoetry. 700 1 Lillis, Shane B. |q(Shane Brendan), |etranslator. 880 |6245 942 |2ddc |cBK 952 |00 |10 |2ddc |40 |6940_500000000000000_DID |70 |8REF |9163248OSA |bOSA |d2023-10-05 |eOSA |o940.5 DID |r2023-10-05 |w2023-10-05 |yBK |cReference 920 01 Mom50roD 992 01 940_500000000000000_DID |bQVZ_UZZZZZZZZZZZZZZ_MHM 966 |cIn the Research Room