无法控制的眼睛:摄影,殖民统治和爱尔兰叛乱

IF 0.3 2区 艺术学 0 ART
Justin Carville
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引用次数: 1

摘要

在迈克尔·福柯关于治理的著作中,通过反行为的概念将摄影和治安联系起来,本文讨论了摄影在19世纪中期爱尔兰叛乱运动的殖民治理中的挑衅。1866年,英国当局立法暂停人身保护令,以回应他们认定的芬尼亚人对现代自由主义国家理想的威胁。芬尼亚叛乱不仅是一场反殖民运动,而且是一个跨大西洋的不对称政治兄弟会,成员包括美国内战退役军人。为了识别和监视穿越大西洋和爱尔兰海的芬尼亚人,摄影被用来逮捕那些威胁国家及其殖民地安全的个人。在这个过程中,照片作为一种物质图像对象的大量可复制性和机动性被用于识别可疑的叛乱分子。这篇文章探讨了摄影、警察和芬尼亚爱尔兰人相互交织的历史,讨论了摄影如何同时促进和破坏殖民统治。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Ungovernable Eye: Photography, Colonial Governmentality and Irish Insurgency
Framing photography and policing through Michael Foucault’s concept of counter-conducts in his writings on governmentality, this article discusses photography’s provocations within colonial governmentality of the Irish insurgent movements of the mid nineteenth century. In 1866, British authorities legislated for suspension of habeas corpus in response to what they identified as the Fenian threat to the ideals of the modern liberal state. Fenian insurgency was not just an anti-colonial movement but an asymmetrical political fraternity with a trans-Atlantic membership that included retired American Civil War veterans. Mobilised for the identification and surveillance of Fenians traversing across the Atlantic and the Irish Sea, photography was used to arrest the likenesses of individuals whose mobility threatened the security of the state and its colonies. In this process, the photograph’s mass reproducibility and mobility as a material image-object was pressed into action to identify suspected insurgents. Exploring the entwined histories of photography, policing and the Fenian Irish, the article discusses how photography simultaneously contributed to and undermined colonial governmentality.
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来源期刊
CiteScore
0.30
自引率
50.00%
发文量
23
期刊介绍: History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.
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