Ariella Aïsha Azoulay and Georges Didi-Huberman: the persistence of lost worlds

In two striking books released in 2019, Ariella Aïsha Azoulay and Georges Didi-Huberman explicitly draw a connection between their respective theoretical approaches to images and their family histories. In Potential History: Unlearning Imperialism, Azoulay recounts the suppression of the existence o...

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Autor principal:	Stijn De Cauwer
Formato:	article
Lenguaje:	EN
Publicado:	Taylor & Francis Group 2021
Materias:	ariella aïsha azoulay georges didi-huberman photography images imperialism Arts in general NX1-820 Aesthetics BH1-301
Acceso en línea:	https://doaj.org/article/3be9195038514659a77df17213c1b07d
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spelling	oai:doaj.org-article:3be9195038514659a77df17213c1b07d2021-11-11T14:23:42ZAriella Aïsha Azoulay and Georges Didi-Huberman: the persistence of lost worlds2000-421410.1080/20004214.2021.1994179https://doaj.org/article/3be9195038514659a77df17213c1b07d2021-01-01T00:00:00Zhttp://dx.doi.org/10.1080/20004214.2021.1994179https://doaj.org/toc/2000-4214In two striking books released in 2019, Ariella Aïsha Azoulay and Georges Didi-Huberman explicitly draw a connection between their respective theoretical approaches to images and their family histories. In Potential History: Unlearning Imperialism, Azoulay recounts the suppression of the existence of her Algerian-Jewish grandmother Aïsha by her father, who wanted to hide his Arabic-Algerian origins. Azoulay consequently develops a critical view on the history of photography and its role in the imperialist destruction of entire lifeworlds. In Pour Commencer Encore, Didi-Huberman recounts the story of his mother, who had to hide her Jewishness to survive the Nazi occupation of France, and of his father, who migrated to France as a Jewish Tunisian. In both cases, their relatives’ cultural identity had to remain invisible for various reasons in the countries in which their children grew up. Azoulay and Didi-Huberman present their approaches to images as influenced by the injustices experienced by these relatives and their commitment to them even goes as far as both them of changing their author names: Azoulay added “Aïsha” to her name and Didi-Huberman adopted his paternal (“Didi”) and maternal (“Huberman”) family name. However, this commitment led them to develop vastly different approaches to images and photographs. Whereas Azoulay emphasizes the role of photography in the imperialist destruction of worlds, remaining cautious of even reproducing certain photographs in her book, Didi-Huberman argues that worlds are never completely lost and that traces of these worlds always reappear by means of images. Azoulay aligns photography with imperialism and colonialism, while Didi-Huberman associates photography with migration. In their desire to do justice to the sufferings of their relatives, both influential theorists of images develop strongly diverging views on the politics of photographs and how they can reveal traces of lost worlds.Stijn De CauwerTaylor & Francis Grouparticleariella aïsha azoulaygeorges didi-hubermanphotographyimagesimperialismArts in generalNX1-820AestheticsBH1-301ENJournal of Aesthetics & Culture, Vol 13, Iss 1 (2021)
institution	DOAJ
collection	DOAJ
language	EN
topic	ariella aïsha azoulay georges didi-huberman photography images imperialism Arts in general NX1-820 Aesthetics BH1-301
spellingShingle	ariella aïsha azoulay georges didi-huberman photography images imperialism Arts in general NX1-820 Aesthetics BH1-301 Stijn De Cauwer Ariella Aïsha Azoulay and Georges Didi-Huberman: the persistence of lost worlds
description	In two striking books released in 2019, Ariella Aïsha Azoulay and Georges Didi-Huberman explicitly draw a connection between their respective theoretical approaches to images and their family histories. In Potential History: Unlearning Imperialism, Azoulay recounts the suppression of the existence of her Algerian-Jewish grandmother Aïsha by her father, who wanted to hide his Arabic-Algerian origins. Azoulay consequently develops a critical view on the history of photography and its role in the imperialist destruction of entire lifeworlds. In Pour Commencer Encore, Didi-Huberman recounts the story of his mother, who had to hide her Jewishness to survive the Nazi occupation of France, and of his father, who migrated to France as a Jewish Tunisian. In both cases, their relatives’ cultural identity had to remain invisible for various reasons in the countries in which their children grew up. Azoulay and Didi-Huberman present their approaches to images as influenced by the injustices experienced by these relatives and their commitment to them even goes as far as both them of changing their author names: Azoulay added “Aïsha” to her name and Didi-Huberman adopted his paternal (“Didi”) and maternal (“Huberman”) family name. However, this commitment led them to develop vastly different approaches to images and photographs. Whereas Azoulay emphasizes the role of photography in the imperialist destruction of worlds, remaining cautious of even reproducing certain photographs in her book, Didi-Huberman argues that worlds are never completely lost and that traces of these worlds always reappear by means of images. Azoulay aligns photography with imperialism and colonialism, while Didi-Huberman associates photography with migration. In their desire to do justice to the sufferings of their relatives, both influential theorists of images develop strongly diverging views on the politics of photographs and how they can reveal traces of lost worlds.
format	article
author	Stijn De Cauwer
author_facet	Stijn De Cauwer
author_sort	Stijn De Cauwer
title	Ariella Aïsha Azoulay and Georges Didi-Huberman: the persistence of lost worlds
title_short	Ariella Aïsha Azoulay and Georges Didi-Huberman: the persistence of lost worlds
title_full	Ariella Aïsha Azoulay and Georges Didi-Huberman: the persistence of lost worlds
title_fullStr	Ariella Aïsha Azoulay and Georges Didi-Huberman: the persistence of lost worlds
title_full_unstemmed	Ariella Aïsha Azoulay and Georges Didi-Huberman: the persistence of lost worlds
title_sort	ariella aïsha azoulay and georges didi-huberman: the persistence of lost worlds
publisher	Taylor & Francis Group
publishDate	2021
url	https://doaj.org/article/3be9195038514659a77df17213c1b07d
work_keys_str_mv	AT stijndecauwer ariellaaishaazoulayandgeorgesdidihubermanthepersistenceoflostworlds
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Ariella Aïsha Azoulay and Georges Didi-Huberman: the persistence of lost worlds

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