He presents a sophisticated analysis of how artists from the United States, Europe, North Africa, and the Middle East depict the often ignored effects of globalization and the ways their works connect viewers to the lived experiences of political and economic crisis. Demos investigates the cinematic approaches Steve McQueen, the Otolith Group, and Hito Steyerl employ to blur the real and imaginary in their films confronting geopolitical conflicts between North and South.
He analyzes how Emily Jacir and Ahlam Shibli use blurs, lacuna, and blind spots in their photographs, performances, and conceptual strategies to directly address the dire circumstances of dislocated Palestinian people. He discusses the disparate interventions of Walid Raad in Lebanon, Ursula Biemann in North Africa, and Ayreen Anastas and Rene Gabri in the United States, and traces how their works offer images of conflict as much as a conflict of images. Throughout Demos shows the ways these artists creatively propose new possibilities for a politics of equality, social justice, and historical consciousness from within the aesthetic domain.
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Sign-in or register now to continue. A Prelude xiii Charting a Course: Exile, Diaspora, Nomads, Refugees: Moving Images of Globalization 21 1. The Essay-Films of the Otolith Group 54 3. Hito Steyerl's Traveling Images 74 Transit: Politicizing Aesthetics 90 Departure B. Life Full of Holes 95 4. The Art of Emily Jacir: Dislocation and Politicization 5. The Photographs of Ahlam Shibli 6.
The Right of Opacity: Going Offshore Departure C.
Zones of Conflict 7. Mobile Histories and the Politics of Fiction 8.
Ursula Biemann's Sahara Chronicle 9. Permission to Photocopy coursepacks If you are requesting permission to photocopy material for classroom use, please contact the Copyright Clearance Center at copyright.
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Title of the journal article or book chapter and title of journal or title of book 3. Page numbers if excerpting, provide specifics For coursepacks, please also note: The number of copies requested, the school and professor requesting For reprints and subsidiary rights, please also note: Your volume title, publication date, publisher, print run, page count, rights sought. This poem is free verse and in a prose poetry style. Because of the way Hendricks separated the lines and the content into stanzas, we almost feel as if we're moving along with the narrator's thoughts, moving along with the migrant.
We can easily see the connections between stanzas.
The language adds to that sense of story and fits in perfectly with the prose poetry style Hendricks used. The larger words, like "realization" and "piteous," make us feel as if we're reading a more advanced short story while the phrases help us clearly imagine the thoughts and the imagery. The tone of this language is very matter-of-fact, suggesting that no points of the story can be argued with and that everything occurring is just how things are supposed to be for these characters.
The imagery is largely used to create the setting. We know that the migrant and narrator are traveling, in some kind of terminal or station, and waiting in line for a door that says "Embarking Passengers Only. We don't get a clear image of the migrant, not being able to put an identifiable face to a body. This tactic makes it a little bit more easier for us, in our minds, to see ourselves at the migrant and imagine what she's going through. There's no hair color or eye color or clothing described to make us stop from seeing ourselves in this story.
We also don't get a clear image of what type of traveling she's doing, omitting from our minds the potential conditions that could lie ahead for it. It helps us focus on the present and the character in front of us. The travel brochures the migrant reads are the main form of symbolism in this poem.
They suggest a monotonous existence, with nothing better to do than succumb to what lies ahead and read about it in a small brochure. The name of the gate at the end, "Embarking Passengers Only," also symbolizes finality. Once the migrants step through the gate, there's no turning back. The poem "The Migrant" by A.
The language is formal, businesslike, and intellectual--a style that is unusual for poetry yet consistent with the bureaucratic feel of having to move to another country. Words like transit, realization, departure, appreciably, eventually , and considering are intellectual rather than emotional words. This formal language produces a somewhat detached although sympathetic tone.
The woman described is being observed from a distance by someone else who cannot fully read her emotions but knows her situation in a general sense. The poem is written in free verse without traditional rhyme, meter, or rhythm. It contains six stanzas, each of which could be considered simply a paragraph if this were written in prose. Lines usually begin with a new sentence or clause.
The first five stanzas focus solely on the woman, the migrant; the final stanza reveals the narrator and that he or she is a fellow migrant. The strongest imagery in the poem is of the travel brochures--we can picture them laid out in their glossy promise.