The Surviving Image

Originally published in French in 2002, examines the life and work of art historian Aby Warburg. Demonstrates the complexity and importance of Warburg's ideas, addressing broader questions regarding art historians' conceptions of time, memory, symbols, and the relationship between art and the rational and irrational forces of the psyche.

According to Didi-Huberman, visual representation has an "underside" in which intelligible forms lose clarity and defy rational understanding. Art historians, he contends, fail to engage this underside, and he suggests that art historians look to Freud's concept of the "dreamwork", a mobile process that often involves substitution and contradiction.

Of one and a half million surviving photographs related to Nazi concentration camps, only four depict the actual process of mass killing perpetrated at the gas chambers. Images in Spite of All reveals that these rare photos of Auschwitz, taken clandestinely by one of the Jewish prisoners forced to help carry out the atrocities there, were made as a potent act of resistance. Available today because they were smuggled out of the camp and into the hands of Polish resistance fighters, the photographs show a group of naked women being herded into the gas chambers and the cremation of corpses that have just been pulled out. Georges Didi-Huberman’s relentless consideration of these harrowing scenes demonstrates how Holocaust testimony can shift from texts and imaginations to irrefutable images that attempt to speak the unspeakable. Including a powerful response to those who have criticized his interest in these images as voyeuristic, Didi-Huberman’s eloquent reflections constitute an invaluable contribution to debates over the representability of the Holocaust and the status of archival photographs in an image-saturated world.

Surviving in the Hour of Darkness: The Health and Wellness of Women of Colour and Indigenous Women addresses the health issues - physical, mental, emotional, and spiritual - of black women, First Nations women, and other women of colour. The book is a collection of scholarly essays, case studies, personal essays, poetry, and prose written by over 45 contributors. It illustrates, through the voices of many women, that gender, religious, cultural, and class background strongly influence how one experiences illness, how and when one is diagnosed, and how one is treated within the healthcare system. The book also focuses on the need for cultural sensitivity and inclusiveness in the delivery of health services. Surviving in the Hour of Darkness: The Health and Wellness of Women of Colour and Indigenous Women aims to promote and generate knowledge with and about minority women while identifying key strategies for promoting their health, thus contributing to a broader understanding of how the experience of being a minority woman affects one's health and well-being. With Contributions By: Byllye Y. Avery Dr. Wanda Thomas Bernard Dr. Ana Bodnar Shirley Brozzo Nora Burrell Bishakha Chowdhury LindaCornwell Charmaine Crawford Karen Flynn Randa Hammadieh CiajDiannHarris Layla Hassan Troy Hunter Rolanda C. Kane Rosamond S. King Heather MacLeod Kristine Maitland Marisa Marharaj Notisha Massaquoi Naomi North Sima Qadeer Talata Reeves Carla R. Ribeiro Ingrid Rivera Anakana Schofield Beldan Sezen Farah M. Shroff Neeta Singh Lorraine Thomas Roxane Tracey Wendy Vincent Vera M. Wabegijig Ingrid Waldron Pitche Wasayananung Crystal E. Wilkinson Gitane Williams Judith K. Witherow Valerie Wood

48 teenagers are trapped at a camp in the southern Sierra Nevada Mountains by a mysterious brown fog covering the Earth below.

This memoir chronicles the unique ordeals of identical twin sisters Diana and Julia Lockwood. Even among twins, Diana and Julia were especially close and deeply entwined--they were more than just sisters or best friends, they were like one soul in two bodies. While their total attunement sometimes saved them in funny and unexpected ways, it also eventually destroyed them. A survivor of sexual assault and anorexia and living with Asperger's, the author tells her own life story while weaving Julia's letters and journal entries into the text. While Diana survived the struggles that led her to three suicide attempts, her twin unfortunately took her own life only a year after their father did the same. This book explores the life and relationship of twins separated by tragedy and follows a woman's struggle to make it on her own.

Surviving Images explores the prominent role of cinema in the development of cultural memory around war and conflict in colonial and postcolonial contexts. It does so through a study of three historical eras: the colonial period, the national-independence struggle, and the postcolonial. Beginning with a study of British colonial cinema on the Sudan, then exploring anti-colonial cinema in Algeria, Egypt and Tunisia, followed by case studies of films emerging from postcolonial contexts in Palestine, Iran, Lebanon, and Israel, this work aims to fill a gap in the critical literature on both Middle Eastern cinemas, and to contribute more broadly to scholarship on social trauma and cultural memory in colonial and postcolonial contexts. This work treats the concept of trauma critically, however, and posits that social trauma must be understood as a framework for producing social and political meaning out of these historical events. Social trauma thus sets out a productive process of historical interpretation, and cultural texts such as cinematic works both illuminate and contribute to this process. Through these discussions, Surviving Images illustrates cinema's productive role in contributing to the changing dynamics of cultural memory of war and social conflict in the modern world.

The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures." Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries.