%PDF-1.3 1 0 obj << /Type /Catalog /Outlines 2 0 R /Pages 3 0 R >> endobj 2 0 obj << /Type /Outlines /Count 0 >> endobj 3 0 obj << /Type /Pages /Kids [6 0 R 14 0 R 25 0 R 27 0 R 29 0 R ] /Count 5 /Resources << /ProcSet 4 0 R /Font << /F1 8 0 R /F2 9 0 R /F3 10 0 R >> /XObject << /I1 11 0 R >> >> /MediaBox [0.000 0.000 595.280 841.890] >> endobj 4 0 obj [/PDF /Text /ImageC ] endobj 5 0 obj << /Creator (DOMPDF) /CreationDate (D:20140707161154+01'00') /ModDate (D:20140707161154+01'00') /Title (Afterimage of Empire: Photography in Nineteenth-Century India) >> endobj 6 0 obj << /Type /Page /Parent 3 0 R /Annots [ 12 0 R ] /Contents 7 0 R >> endobj 7 0 obj << /Length 4261 >> stream q 381.750 0 0 120.000 34.016 687.874 cm /I1 Do Q 0.000 0.000 0.000 rg BT 34.016 676.469 Td /F1 12.0 Tf [(Published on )] TJ ET BT 99.356 676.469 Td /F2 12.0 Tf [(Reviews in History)] TJ ET BT 190.016 676.469 Td /F1 12.0 Tf [( \()] TJ ET 0.000 0.000 0.800 rg BT 197.012 676.469 Td /F1 12.0 Tf [(http://www.history.ac.uk/reviews)] TJ ET 0.000 0.000 0.800 RG 0.24 w 0 J [ ] 0 d 197.012 675.075 m 357.332 675.075 l S 0.000 0.000 0.000 rg BT 357.332 676.469 Td /F1 12.0 Tf [(\))] TJ ET 0.502 0.502 0.502 RG 0.75 w 0 J [ ] 0 d 34.391 653.743 526.499 1.500 re S BT 34.016 615.321 Td /F3 18.0 Tf [(Afterimage of Empire: Photography in Nineteenth-Century India)] TJ ET BT 34.016 273.323 Td /F1 12.0 Tf [(Although photography was introduced to India soon after its 1839 European invention, it was not until 1857 )] TJ ET BT 34.016 259.067 Td /F1 12.0 Tf [(that the new technology proliferated in the subcontinent. In Zahid R. Chaudhary?s heavily illustrated study, )] TJ ET BT 34.016 244.811 Td /F1 12.0 Tf [(focused on colonial photographic practices following the Sepoy Revolt by Indian recruits \(1857?8\), this )] TJ ET BT 34.016 230.555 Td /F1 12.0 Tf [(proliferation is central. Chaudhary?s numerous photographic case-studies ? portraiture, landscape, )] TJ ET BT 34.016 216.299 Td /F1 12.0 Tf [(commercial and anthropological ? untangle the complex and particularly modern relationship among )] TJ ET BT 34.016 202.043 Td /F1 12.0 Tf [(colonial photographers, their cameras, and the represented colonial subject. These compelling analyses )] TJ ET BT 34.016 187.787 Td /F1 12.0 Tf [(foreground photography?s irreversible effect on the modern formation of the senses; photography activated )] TJ ET BT 34.016 173.531 Td /F1 12.0 Tf [(the human sensorium by transforming the very way in which British and Indian subjects )] TJ ET BT 460.640 173.531 Td /F2 12.0 Tf [(sensed)] TJ ET BT 492.632 173.531 Td /F1 12.0 Tf [( the world ? )] TJ ET BT 34.016 159.275 Td /F1 12.0 Tf [(it became a means through which to )] TJ ET BT 210.320 159.275 Td /F2 12.0 Tf [(make sense)] TJ ET BT 264.632 159.275 Td /F1 12.0 Tf [( of the world. This volume is heavily documented, and an )] TJ ET BT 34.016 145.019 Td /F1 12.0 Tf [(exemplar of interdisciplinarity: shuttling effortlessly between phenomenological philosophy, photography, )] TJ ET BT 34.016 130.763 Td /F1 12.0 Tf [(literary, postcolonial and affect theory, Chaudhary elucidates the historical, political and aesthetic formation )] TJ ET BT 34.016 116.507 Td /F1 12.0 Tf [(of the senses during the latter half of the 19th century.)] TJ ET BT 34.016 90.251 Td /F1 12.0 Tf [(While necessarily historical, Chaudhary?s study is not organized in a chronological sequence; rather, each )] TJ ET BT 34.016 75.995 Td /F1 12.0 Tf [(thematic chapter traces a different dimension of the photographic medium and its impact on the lived and )] TJ ET BT 34.016 61.739 Td /F1 12.0 Tf [(affective aspect of visual experience under colonial conditions. Chapter one explains the role of the )] TJ ET BT 34.016 584.699 Td /F3 12.0 Tf [(Review Number:)] TJ ET BT 34.016 570.443 Td /F1 12.0 Tf [(1368)] TJ ET BT 34.016 556.187 Td /F3 12.0 Tf [(Publish date:)] TJ ET BT 34.016 541.931 Td /F1 12.0 Tf [(Thursday, 24 January, 2013)] TJ ET BT 34.016 527.675 Td /F3 12.0 Tf [(Author:)] TJ ET BT 34.016 513.419 Td /F1 12.0 Tf [(Zahid Chaudhary)] TJ ET BT 34.016 499.163 Td /F3 12.0 Tf [(ISBN:)] TJ ET BT 34.016 484.907 Td /F1 12.0 Tf [(9780816677498)] TJ ET BT 34.016 470.651 Td /F3 12.0 Tf [(Date of Publication:)] TJ ET BT 34.016 456.395 Td /F1 12.0 Tf [(2012)] TJ ET BT 34.016 442.139 Td /F3 12.0 Tf [(Price:)] TJ ET BT 34.016 427.883 Td /F1 12.0 Tf [(22.50)] TJ ET BT 34.016 413.627 Td /F3 12.0 Tf [(Pages:)] TJ ET BT 34.016 399.371 Td /F1 12.0 Tf [(256pp.)] TJ ET BT 34.016 385.115 Td /F3 12.0 Tf [(Publisher:)] TJ ET BT 34.016 370.859 Td /F1 12.0 Tf [(University of Minnesota Press)] TJ ET BT 34.016 356.603 Td /F3 12.0 Tf [(Publisher url:)] TJ ET BT 34.016 342.347 Td /F3 12.0 Tf [(Place of Publication:)] TJ ET BT 34.016 328.091 Td /F1 12.0 Tf [(Minneapolis, MN)] TJ ET BT 34.016 313.835 Td /F3 12.0 Tf [(Reviewer:)] TJ ET BT 34.016 299.579 Td /F1 12.0 Tf [(Carla Manfredi)] TJ ET endstream endobj 8 0 obj << /Type /Font /Subtype /Type1 /Name /F1 /BaseFont /Times-Roman /Encoding /WinAnsiEncoding >> endobj 9 0 obj << /Type /Font /Subtype /Type1 /Name /F2 /BaseFont /Times-Italic /Encoding /WinAnsiEncoding >> endobj 10 0 obj << /Type /Font /Subtype /Type1 /Name /F3 /BaseFont /Times-Bold /Encoding /WinAnsiEncoding >> endobj 11 0 obj << /Type /XObject /Subtype /Image /Width 509 /Height 160 /Filter /FlateDecode /DecodeParms << /Predictor 15 /Colors 3 /Columns 509 /BitsPerComponent 8>> /Mask [ 255 255 255 255 255 255 ] /ColorSpace /DeviceRGB /BitsPerComponent 8 /Length 3280>> stream x[EQ㎦fVttҒ +3O{?lGDQԯDrB^.ϯ%~'0۠/2>0AG_>0j0GCfE67>rB^}@  !&y+r?INp:erc b8f=rQC!~-Wf^^zF[)G 2ޯe7V_Go3Ke GEGOo8rώ#\1ZY~N6^H}yLxS-!:412V+u\-LSO?xVvZ|GjǮT_8EYJF=Tw^ 7GxfN/S:Ʌ~ʟtt?5n÷J'JcF-GVξx{rO~tJd;#a\7}|~y'>}c2C vR}f׈**h.)_&@pfzjsx:5;S\vKhM5j=!Cn+h"u]a EUN]jn=k<,:Ք>sU!ni~6EJ)¦72?G}[y}_vc$t?iSܟ2Zݞ,VN?_`='RFK1A2qv&X_lLRWY'%:I㢖zb_UEx\>&ɆBˏ~K@ \gYØU4}$8Dv!'Q'*+Εj(UCGo[#< 2Ja(sZi9fZKE Rn`u\9r^Zmɯ׹}mstO4uc~#'jEvۼ Dx[z ޏQ4KL5,5u3>i^uÒ-53ba ~,~/pyt1fMU'CVm:qv~=Y'Es"WsφG?l_kN5}],Ow7 uh`xƫ?zMl7ٻv$A(4Dl(wwH} ?=[=S;yC]^BK>㕪9`Z'Wj;E|:bf>kCԘ#RY,iv쵗~}n'"1u" *uO΄/2^Sxr(!/DD\~mJyZ!MmrA!#u[if|99WB WΡpp}w}sh#,\ &:%˳X?D3 %W0cC?o̲^} F3XLVn]Cߖiϧ!7}yZJ#P7]=)7Ρp;>> Ye^xx{Oafw{ ;>4gfLt ʊ:q%#r/)pv!O4wGh|dS ӣݽހ-gVUC'pBxrB^} 7JA^} /'8!`:r?}}],X  }6y!`/~Br?}Q< >k7vx"] ,' .3jn{-i}|~%-};b6#U)7繎kiEw 㤳:E}[޼c"rꬊ7Dc$~"/Y&zSd:tFȌCrʙ`7u .#[-<)j ?TGS(j~oTup(hjU4PlJ=}|it.ҽ@\wʨuXÞZcx18Wo<~ikOg,ވ\^?EneyZcc0[R١z|zv7_m:_n]a?osS3~j^ hD.a_X'KfBX6w wݶ"Oa:,bvhrWH[uCF-Xfc}>x+Rz)2N-B 7y^٨;[/vg? | |2Sve}=o䑰j[vWjF0{굦?VI~}xM(_TlG__+]:#к?S} c>GŸD7 !w{S{B =x7a?oE#)+Gz:o_4Q<;n?\tt7?mGCџQGu4kņOF>F?#} hP&ђߴM#u!.СtL2^#o nIk_i.~7tr@n 1P~3?.[]=S5b߮~Yo^HFH YBi8a4iom>CKgMy*;?zqEӕ` >zB9iFzC?XF?ޟIܰ펉A}{I5ᄊx%ez#Mp@rߎpi]IOVjzuJt\۰f׺u5><,J~PTJp1)}){9N {!`/> endstream endobj 12 0 obj << /Type /Annot /Subtype /Link /A 13 0 R /Border [0 0 0] /H /I /Rect [ 197.0117 675.3895 357.3317 687.2695 ] >> endobj 13 0 obj << /Type /Action /S /URI /URI (http://www.history.ac.uk/reviews) >> endobj 14 0 obj << /Type /Page /Parent 3 0 R /Annots [ 17 0 R 20 0 R 23 0 R ] /Contents 15 0 R >> endobj 15 0 obj << /Length 8129 >> stream 0.000 0.000 0.000 rg 0.502 0.502 0.502 RG 0.75 w 0 J [ ] 0 d BT 34.016 796.469 Td /F1 12.0 Tf [(photographic index in the genre of memorial photography that emerged following the Sepoy Revolt; chapter )] TJ ET BT 34.016 782.213 Td /F1 12.0 Tf [(two examines the representation of shock in documentary photography; chapter three argues that landscape )] TJ ET BT 34.016 767.957 Td /F1 12.0 Tf [(photography?s picturesque aesthetic manages the senses; chapter four examines photographs produced )] TJ ET BT 34.016 753.701 Td /F1 12.0 Tf [(during the multiple Indian famines of the late 19th century and highlights the fraught relationship between )] TJ ET BT 34.016 739.445 Td /F1 12.0 Tf [(the production of sympathy and the photographic medium.)] TJ ET BT 34.016 713.189 Td /F1 12.0 Tf [(Though phenomenology represents a significant conceptual strand within studies of visuality, its application )] TJ ET BT 34.016 698.933 Td /F1 12.0 Tf [(to photography theory remains underdeveloped.)] TJ ET 0.000 0.000 0.800 rg BT 264.308 698.933 Td /F1 12.0 Tf [(\(1\))] TJ ET 0.000 0.000 0.800 RG 0.24 w 0 J [ ] 0 d 264.308 697.539 m 278.300 697.539 l S 0.000 0.000 0.000 rg BT 278.300 698.933 Td /F1 12.0 Tf [( Instead of presuming an alignment between the medium )] TJ ET BT 34.016 684.677 Td /F1 12.0 Tf [(and the rationalist model of the camera obscura ? based on the appearance of a conceptual and physical )] TJ ET BT 34.016 670.421 Td /F1 12.0 Tf [(cleavage between the subject and the viewed object ? phenomenological approaches to photographic )] TJ ET BT 34.016 656.165 Td /F1 12.0 Tf [(practices consider how the camera mediates, enhances, or distorts the subject?s perception. The )] TJ ET BT 34.016 641.909 Td /F1 12.0 Tf [(phenomenology of photographic vision, therefore, goes beyond bleak postmodern assumptions about the )] TJ ET BT 34.016 627.653 Td /F1 12.0 Tf [(observer/object hierarchy by considering the dialectic of photographer and photographed. Recent )] TJ ET BT 34.016 613.397 Td /F1 12.0 Tf [(scholarship?s efforts to revise postmodern approaches to colonial photography argue, broadly, for the need )] TJ ET BT 34.016 599.141 Td /F1 12.0 Tf [(to particularize the colonial subject?s experience and his/her photographic practice and to understand vision )] TJ ET BT 34.016 584.885 Td /F1 12.0 Tf [(?as a material engagement in and with the object world?.)] TJ ET 0.000 0.000 0.800 rg BT 307.292 584.885 Td /F1 12.0 Tf [(\(2\))] TJ ET 0.24 w 0 J [ ] 0 d 307.292 583.491 m 321.284 583.491 l S 0.000 0.000 0.000 rg BT 324.284 584.885 Td /F2 12.0 Tf [(Afterimage)] TJ ET BT 377.612 584.885 Td /F1 12.0 Tf [( represents a rigorous contribution to )] TJ ET BT 34.016 570.629 Td /F1 12.0 Tf [(such revisionist projects: Chaudhary rewrites the oft-rehearsed paradigm which correlates the colonial )] TJ ET BT 34.016 556.373 Td /F1 12.0 Tf [(photograph with its ideological context and reduces it to a homogenized instrument of asymmetrical power )] TJ ET BT 34.016 542.117 Td /F1 12.0 Tf [(relations. This approach to the medium is bolstered by the phenomenology of the photograph: because )] TJ ET BT 34.016 527.861 Td /F1 12.0 Tf [(photographic inscription invariably records an excess of visual information, thus going beyond the )] TJ ET BT 34.016 513.605 Td /F1 12.0 Tf [(photographer?s intention, the meaning rendered by the medium is unstable and resists the fixity of archival )] TJ ET BT 34.016 499.349 Td /F1 12.0 Tf [(narratives.)] TJ ET BT 34.016 473.093 Td /F1 12.0 Tf [(Maurice Merleau-Ponty?s philosophy of vision and perception directly influences Chaudhary?s )] TJ ET BT 34.016 458.837 Td /F1 12.0 Tf [(phenomenological examination of colonial representation and perception. Merleau-Ponty describes the )] TJ ET BT 34.016 444.581 Td /F1 12.0 Tf [(visual experience as a confluence of subject and world, positing an ontological model considerably different )] TJ ET BT 34.016 430.325 Td /F1 12.0 Tf [(from the reifying and isolating experience of modernist vision. He positions the subject as ontologically )] TJ ET BT 34.016 416.069 Td /F1 12.0 Tf [(immersed in a reciprocal relationship with the object of his gaze. His treatment of perception depends on an )] TJ ET BT 34.016 401.813 Td /F1 12.0 Tf [(understanding of the senses in the wider context of a person's physical immersion in the world; this is in )] TJ ET BT 34.016 387.557 Td /F1 12.0 Tf [(contrast to a Cartesian model which posits sensation and the senses as isolated, non-corporeal phenomena. )] TJ ET BT 34.016 373.301 Td /F1 12.0 Tf [(Building on this break with Cartesian duality, Chaudhary considers the colonial photographer as a corporeal, )] TJ ET BT 34.016 359.045 Td /F1 12.0 Tf [(sensate being, and argues that the camera functions as a ?sensory prosthetic? \(p. 10\). This understanding of )] TJ ET BT 34.016 344.789 Td /F1 12.0 Tf [(the camera?s relationship to the photographer significantly underscores the fact that the camera is not )] TJ ET BT 34.016 330.533 Td /F1 12.0 Tf [(necessarily experienced as a discrete object detached from the body, and instead becomes ?an area of )] TJ ET BT 34.016 316.277 Td /F1 12.0 Tf [(sensitivity, extending the scope and active radius of touch, and providing a parallel to sight? \(p. 25\). This )] TJ ET BT 34.016 302.021 Td /F1 12.0 Tf [(philosophical approach to the medium offers a striking alternative to the prevailing iconophobic postcolonial )] TJ ET BT 34.016 287.765 Td /F1 12.0 Tf [(analysis of colonial photography; indeed, Chaudhary demonstrates an acute awareness of colonial forms of )] TJ ET BT 34.016 273.509 Td /F1 12.0 Tf [(violence but proposes, nonetheless, that photographs can be more than abstract concepts engaged in colonial )] TJ ET BT 34.016 259.253 Td /F1 12.0 Tf [(violence. Rather, photographs ? due to the medium?s unique persuasive capabilities ? can be considered as )] TJ ET BT 34.016 244.997 Td /F1 12.0 Tf [(active forms of bodily engagement.)] TJ ET BT 34.016 218.741 Td /F1 12.0 Tf [(Chapter one, ?Death and the rhetoric of photography: x marks the spot? highlights the rhetoric of the )] TJ ET BT 34.016 204.485 Td /F1 12.0 Tf [(photographic index in the post-Sepoy Revolt photographic practices of John Dannenberg and Harriet Tytler, )] TJ ET BT 34.016 190.229 Td /F1 12.0 Tf [(especially their memorializing photographs of dead British officers and civilians. Chaudhary questions the )] TJ ET BT 34.016 175.973 Td /F1 12.0 Tf [(utility of the concept of the index with regard to these memorializing photographs: ?what does it mean to )] TJ ET BT 34.016 161.717 Td /F1 12.0 Tf [(capture absence indexically?? \(p. 39\). From its very infancy, after all, the photograph promised that the )] TJ ET BT 34.016 147.461 Td /F1 12.0 Tf [(event and people which it recorded actually took place and existed: that the image stood for an indexical )] TJ ET BT 34.016 133.205 Td /F1 12.0 Tf [(trace of the object; as Roland Barthes famously writes in )] TJ ET BT 309.308 133.205 Td /F2 12.0 Tf [(Camera Lucida)] TJ ET BT 384.308 133.205 Td /F1 12.0 Tf [(, ?in Photography I can never deny )] TJ ET BT 34.016 118.949 Td /F1 12.0 Tf [(that )] TJ ET BT 55.016 118.949 Td /F2 12.0 Tf [(the thing has been there)] TJ ET BT 170.336 118.949 Td /F1 12.0 Tf [(. There is a superimposition here: of reality and of the past?.)] TJ ET 0.000 0.000 0.800 rg BT 459.284 118.949 Td /F1 12.0 Tf [(\(3\))] TJ ET 0.24 w 0 J [ ] 0 d 459.284 117.555 m 473.276 117.555 l S 0.000 0.000 0.000 rg BT 473.276 118.949 Td /F1 12.0 Tf [( This undeniable )] TJ ET BT 34.016 104.693 Td /F1 12.0 Tf [(presence is embodied in the term index \(devised by the American philosopher Charles S. Peirce\), which is )] TJ ET BT 34.016 90.437 Td /F1 12.0 Tf [(used by critics to describe a quality of causal contiguity: the image produced by the photographer is always a )] TJ ET BT 34.016 76.181 Td /F1 12.0 Tf [(record of the event of the entrance of light through a lens.)] TJ ET BT 34.016 49.925 Td /F1 12.0 Tf [(Chaudhary explains the indexical rhetoric of a series of Tytler?s photographs that document the empty )] TJ ET endstream endobj 16 0 obj [14 0 R /Fit] endobj 17 0 obj << /Type /Annot /Subtype /Link /A 18 0 R /Border [0 0 0] /H /I /Rect [ 264.3077 697.8535 278.2997 709.7335 ] >> endobj 18 0 obj << /Type /Action >> endobj 19 0 obj [14 0 R /Fit] endobj 20 0 obj << /Type /Annot /Subtype /Link /A 21 0 R /Border [0 0 0] /H /I /Rect [ 307.2917 583.8055 321.2837 595.6855 ] >> endobj 21 0 obj << /Type /Action >> endobj 22 0 obj [14 0 R /Fit] endobj 23 0 obj << /Type /Annot /Subtype /Link /A 24 0 R /Border [0 0 0] /H /I /Rect [ 459.2837 117.8695 473.2757 129.7495 ] >> endobj 24 0 obj << /Type /Action >> endobj 25 0 obj << /Type /Page /Parent 3 0 R /Contents 26 0 R >> endobj 26 0 obj << /Length 7373 >> stream 0.000 0.000 0.000 rg 0.000 0.000 0.800 RG 0.24 w 0 J [ ] 0 d BT 34.016 796.469 Td /F1 12.0 Tf [(spaces in which decisive battles took place. The inclusion, in Tytler?s photographs, of ?too much )] TJ ET BT 34.016 782.213 Td /F1 12.0 Tf [(foreground? \(p. 39\) urges the viewer to imagine the event that occurred in that precise location; indeed, this )] TJ ET BT 34.016 767.957 Td /F1 12.0 Tf [(obsessive recording of empty spaces, Chaudhary argues, is characteristic of post-Sepoy Revolt photography. )] TJ ET BT 34.016 753.701 Td /F1 12.0 Tf [(He explains that these photographs of empty spaces possess powerful rhetorical strategy because ? although )] TJ ET BT 34.016 739.445 Td /F1 12.0 Tf [(they do not depict violence per se ? they have an indexical relationship to violent events. Moreover, since the )] TJ ET BT 34.016 725.189 Td /F1 12.0 Tf [(object of these images is absence and loss, the photographs also possess allegorical significance: ?the )] TJ ET BT 34.016 710.933 Td /F1 12.0 Tf [(photographs allegorically disclose loss to the spectator and stand in for meanings and correspondences )] TJ ET BT 34.016 696.677 Td /F1 12.0 Tf [(ultimately indeterminate, because they cannot contain the object of loss? \(p. 52\). Faith in the photographic )] TJ ET BT 34.016 682.421 Td /F1 12.0 Tf [(index, according to Chaudhary, allows such post-Revolt photographs to straddle the realms of the )] TJ ET BT 34.016 668.165 Td /F1 12.0 Tf [(supernatural and the material: even though these photographs deliver ?empty traces? \(p. 68\), their allegorical )] TJ ET BT 34.016 653.909 Td /F1 12.0 Tf [(meaning allows the viewer to experience a sense of fulfillment since memorial photographs are ?inflected )] TJ ET BT 34.016 639.653 Td /F1 12.0 Tf [(with affect? \(p. 68\).)] TJ ET BT 34.016 613.397 Td /F1 12.0 Tf [(In chapter two, ?Anaesthesis and violence: a colonial history of shock?, Chaudhary analyzes a series of )] TJ ET BT 34.016 599.141 Td /F1 12.0 Tf [(photographs by the commercial photographer, Felice Beato \(1832?1909\), documenting the major sites of the )] TJ ET BT 34.016 584.885 Td /F1 12.0 Tf [(Sepoy Revolt. In a peripatetic career that spanned five decades, Beato covered much of East Asia; following )] TJ ET BT 34.016 570.629 Td /F1 12.0 Tf [(in the wake of Britain's vast colonial empire, he was among the primary photographers to provide images of )] TJ ET BT 34.016 556.373 Td /F1 12.0 Tf [(newly opened countries such as India, China, Japan, Korea, and Burma. Since the Sepoy Revolt and its )] TJ ET BT 34.016 542.117 Td /F1 12.0 Tf [(brutal suppression by British troops were widely covered by the press, Beato was eager to take advantage of )] TJ ET BT 34.016 527.861 Td /F1 12.0 Tf [(Western interest in the conflict: he arrived in India in February 1858 to record the rebellion's aftermath. )] TJ ET BT 34.016 513.605 Td /F1 12.0 Tf [(Guided by military officers, he made images of the conflict?s main sites ? Delhi, Cawnpore, and Lucknow ? )] TJ ET BT 34.016 499.349 Td /F1 12.0 Tf [(that he sequenced and captioned to re-create the Revolt?s primary events.)] TJ ET BT 34.016 473.093 Td /F1 12.0 Tf [(According to Chaudhary, Beato?s startling exhumation and restaging of native corpses, posed amidst )] TJ ET BT 34.016 458.837 Td /F1 12.0 Tf [(architectural ruins, are examples of a complex ?phantasmagoric aesthetic.? This aesthetic, Chaudhary )] TJ ET BT 34.016 444.581 Td /F1 12.0 Tf [(explains, derives from the phantasmagoria show, which originated in the late 18th century when the )] TJ ET BT 34.016 430.325 Td /F1 12.0 Tf [(mechanism of the traditional magic lantern show was developed by using projection in order to keep the )] TJ ET BT 34.016 416.069 Td /F1 12.0 Tf [(audience unaware of the lanterns. As a concept, phantasmagoria persists through the works of such diverse )] TJ ET BT 34.016 401.813 Td /F1 12.0 Tf [(critics as Marx, Freud, Adorno and Benjamin; the latter two use the spectator of the phantasmagoria as a )] TJ ET BT 34.016 387.557 Td /F1 12.0 Tf [(figurative explanation of the consumer under capitalism. Chaudhary, following Benjamin, explains that the )] TJ ET BT 34.016 373.301 Td /F1 12.0 Tf [(phantasmagoria ?came to designate all manner of mass distraction? and ?floods the senses and strives to )] TJ ET BT 34.016 359.045 Td /F1 12.0 Tf [(construct patterns of wholeness, unity, surface harmony in order to numb the body to reality? \(p. 92\). )] TJ ET BT 34.016 344.789 Td /F1 12.0 Tf [(Applying this critique of modernity ? self-alienation and perceptual numbing ? to colonialism?s civilizing )] TJ ET BT 34.016 330.533 Td /F1 12.0 Tf [(mission, Chaudhary demonstrates that, in order to manipulate and denigrate the colonized, the colonizer )] TJ ET BT 34.016 316.277 Td /F1 12.0 Tf [(must be alienated from his own pain. He extends this phantasmagoric dynamic to the rhetoric of Beato?s )] TJ ET BT 34.016 302.021 Td /F1 12.0 Tf [(work, in which images of massacred Indian corpses are presented to the viewer as if they were an immediate )] TJ ET BT 34.016 287.765 Td /F1 12.0 Tf [(photographic reality, rather than a carefully orchestrated scene. Thus, such photographs participate in the )] TJ ET BT 34.016 273.509 Td /F1 12.0 Tf [(modern subject?s experience of self-alienation: colonial photography such as Beato?s renders the violence of )] TJ ET BT 34.016 259.253 Td /F1 12.0 Tf [(colonial relations invisible by mystifying the violence of the Sepoy Revolt; it belongs, therefore, to a )] TJ ET BT 34.016 244.997 Td /F1 12.0 Tf [(?dialectic of \(in\)visibility? \(p. 90\), which ?is the precondition for an aesthetic that manages to convert )] TJ ET BT 34.016 230.741 Td /F1 12.0 Tf [(brutality into beauty? \(p. 90\).)] TJ ET BT 34.016 204.485 Td /F1 12.0 Tf [(In the following chapter, ?Armor and aesthesis: the picturesque in difference?, Chaudhary continues his )] TJ ET BT 34.016 190.229 Td /F1 12.0 Tf [(discussion of how photographs of violence incorporate strategies of sensual manipulation. Analyzing )] TJ ET BT 34.016 175.973 Td /F1 12.0 Tf [(Samuel Bourne?s 1860s landscape photography alongside that of Indian photographers Deen Dayal, Abbas )] TJ ET BT 34.016 161.717 Td /F1 12.0 Tf [(Ali, and Ahmed Ali Khan, Chaudhary argues for a perceptible struggle with the period?s shifting mimetic )] TJ ET BT 34.016 147.461 Td /F1 12.0 Tf [(practices in each photographer?s corpus. He frames this analysis with a discussion of Bourne?s conflation of )] TJ ET BT 34.016 133.205 Td /F1 12.0 Tf [(landscape photography and the picturesque aesthetic. Following a lucid history of the conventions of )] TJ ET BT 34.016 118.949 Td /F1 12.0 Tf [(picturesque painting, Chaudhary questions how this aesthetic impacts the photographic referent in colonial )] TJ ET BT 34.016 104.693 Td /F1 12.0 Tf [(India. His argument builds upon studies that stress that the colonial painter/photographer records his )] TJ ET BT 34.016 90.437 Td /F1 12.0 Tf [(imperialist agenda by turning the world into a picture to be displayed: for Chaudhary, Bourne?s )] TJ ET BT 34.016 76.181 Td /F1 12.0 Tf [(photographic picturesque is not only symptomatic of a dominating colonial vision which sees ?land as )] TJ ET BT 34.016 61.925 Td /F1 12.0 Tf [(landscape? \(p. 109\), but is also entangled with the modern relationship between bodily perception and the )] TJ ET endstream endobj 27 0 obj << /Type /Page /Parent 3 0 R /Contents 28 0 R >> endobj 28 0 obj << /Length 7902 >> stream 0.000 0.000 0.000 rg 0.000 0.000 0.800 RG 0.24 w 0 J [ ] 0 d BT 34.016 796.469 Td /F1 12.0 Tf [(image world. In a fascinating discussion Chaudhary concludes that photography?s indexicality cannot )] TJ ET BT 34.016 782.213 Td /F1 12.0 Tf [(accommodate Bourne?s straining towards the picturesque. Furthermore, he illuminates the paradox which )] TJ ET BT 34.016 767.957 Td /F1 12.0 Tf [(results from the combination of photography with the picturesque convention: if in order to truly experience )] TJ ET BT 34.016 753.701 Td /F1 12.0 Tf [(the world Bourne must set aside the conventions of the picturesque, then he also runs the risk of not actually )] TJ ET BT 34.016 739.445 Td /F1 12.0 Tf [(being able to make sense of, or understand, the world, since the role of the picturesque is to make the )] TJ ET BT 34.016 725.189 Td /F1 12.0 Tf [(unintelligible intelligible.)] TJ ET BT 34.016 698.933 Td /F1 12.0 Tf [(Chaudhary begins chapter four by questioning photography?s affective appeal: ?Just how much suffering )] TJ ET BT 34.016 684.677 Td /F1 12.0 Tf [(needs to be made visible before we are moved to compassion?? \(p. 176\). In the case of photographic )] TJ ET BT 34.016 670.421 Td /F1 12.0 Tf [(reproduction of Indian famines, he answers, the quantity appears to be ?infinite.? In order to begin an )] TJ ET BT 34.016 656.165 Td /F1 12.0 Tf [(analysis of how photography altered the grounds of sympathetic identification, Chaudhary draws on Adam )] TJ ET BT 34.016 641.909 Td /F1 12.0 Tf [(Smith and Edmund Burke; he examines how sympathy is both an affect and a technology ?that regulates our )] TJ ET BT 34.016 627.653 Td /F1 12.0 Tf [(reaction to the other, to ourselves, and by extension to the social body at large? \(p. 173\). Photography, )] TJ ET BT 34.016 613.397 Td /F1 12.0 Tf [(however, alters the process of ?mimetic sympathy? ? when one imagines oneself in the place of the other. )] TJ ET BT 34.016 599.141 Td /F1 12.0 Tf [(Indeed, with famine photographs, which remind the spectator of his or her bodily limits, the production of )] TJ ET BT 34.016 584.885 Td /F1 12.0 Tf [(sympathy for the emaciated victims is not guaranteed. Instead, this sensationally grotesque representation of )] TJ ET BT 34.016 570.629 Td /F1 12.0 Tf [(the human body highlights the extreme difference between the well-nourished body of the spectator and the )] TJ ET BT 34.016 556.373 Td /F1 12.0 Tf [(victim?s deprivation; such photographs do not generate identification, and thus, they do not ?guarantee a )] TJ ET BT 34.016 542.117 Td /F1 12.0 Tf [(referent for sympathetic mirroring? \(p. 186\). Unlike textual narratives about suffering, these photographs do )] TJ ET BT 34.016 527.861 Td /F1 12.0 Tf [(not have a clear referent for the viewer?s stirred sympathy: they are open-ended and offer a range of )] TJ ET BT 34.016 513.605 Td /F1 12.0 Tf [(affective responses \(shock, horror, or disgust\) without providing anything to stabilize the viewer?s emotion.)] TJ ET BT 34.016 487.349 Td /F2 12.0 Tf [(Afterimage)] TJ ET BT 87.344 487.349 Td /F1 12.0 Tf [( grounds itself concretely in the body of scholarship dedicated to colonial photography in India. )] TJ ET BT 34.016 473.093 Td /F1 12.0 Tf [(As I read this volume, however, I wondered about the possibility of transposing the study?s methodological )] TJ ET BT 34.016 458.837 Td /F1 12.0 Tf [(and theoretical apparatus to less-studied colonial photographic archives; indeed, this complex illumination of )] TJ ET BT 34.016 444.581 Td /F1 12.0 Tf [(the photographic practices of the British Raj might profitably be applied to other colonial environments, in )] TJ ET BT 34.016 430.325 Td /F1 12.0 Tf [(which photography was an element of colonial power. The South Pacific colonial records of British, French )] TJ ET BT 34.016 416.069 Td /F1 12.0 Tf [(and German imperialism are full of photographic representations that might benefit from a methodology )] TJ ET BT 34.016 401.813 Td /F1 12.0 Tf [(influenced by Chaudhary?s )] TJ ET BT 168.320 401.813 Td /F2 12.0 Tf [(Afterimage)] TJ ET BT 221.648 401.813 Td /F1 12.0 Tf [(. We might, for example, problematize the sensual manipulation that )] TJ ET BT 34.016 387.557 Td /F1 12.0 Tf [(is at work in photographs of 19th-century Tahiti. Chaudhary?s study seems to identify the preconditions for )] TJ ET BT 34.016 373.301 Td /F1 12.0 Tf [(the relationship between the real syphilitic destruction of Polynesian bodies with the popularly disseminated )] TJ ET BT 34.016 359.045 Td /F1 12.0 Tf [(photographs of lithe, bronzed, bare-chested young men and women in idyllic settings, who smile )] TJ ET BT 34.016 344.789 Td /F1 12.0 Tf [(ambiguously towards the camera displaying their heavily tattooed skin. Chaudhary?s expert scholarship, )] TJ ET BT 34.016 330.533 Td /F1 12.0 Tf [(while embedded in his own interest in colonial India, offers new avenues for the analysis of Western )] TJ ET BT 34.016 316.277 Td /F1 12.0 Tf [(colonial archives far beyond the Subcontinent; indeed, his study posits novel modes of interpretation for the )] TJ ET BT 34.016 302.021 Td /F1 12.0 Tf [(broader concept of photography?s entanglement with colonialism.)] TJ ET BT 34.016 275.765 Td /F1 12.0 Tf [(This work will not be of interest only to the obvious audience of historians of photography or of late )] TJ ET BT 34.016 261.509 Td /F1 12.0 Tf [(imperialism, but also to those concerned with understanding how sensory practices are marginalized, )] TJ ET BT 34.016 247.253 Td /F1 12.0 Tf [(repositioned and forged during the period of colonial modernity; as such, )] TJ ET BT 387.968 247.253 Td /F2 12.0 Tf [(Afterimage )] TJ ET BT 444.296 247.253 Td /F1 12.0 Tf [(can be read alongside )] TJ ET BT 34.016 232.997 Td /F1 12.0 Tf [(Christopher Pinney?s )] TJ ET BT 140.012 232.997 Td /F2 12.0 Tf [(The Coming of Photography in India)] TJ ET BT 317.684 232.997 Td /F1 12.0 Tf [( \(2008\), )] TJ ET BT 358.676 232.997 Td /F2 12.0 Tf [(Camera Indica: Social Life of Indian )] TJ ET BT 34.016 218.741 Td /F2 12.0 Tf [(Photographs)] TJ ET BT 96.020 218.741 Td /F1 12.0 Tf [( \(1997\), Elizabeth Edwards? )] TJ ET BT 235.652 218.741 Td /F2 12.0 Tf [(Raw Histories: Photographs, Anthropology and Museums)] TJ ET BT 514.316 218.741 Td /F1 12.0 Tf [( \(2001\), )] TJ ET BT 34.016 204.485 Td /F1 12.0 Tf [(and the essays collected in )] TJ ET BT 164.324 204.485 Td /F2 12.0 Tf [(Visual Sense: The Cultural Reader)] TJ ET BT 331.652 204.485 Td /F1 12.0 Tf [( \(2008\), )] TJ ET BT 372.644 204.485 Td /F2 12.0 Tf [(Sensible Objects: Colonialism, )] TJ ET BT 34.016 190.229 Td /F2 12.0 Tf [(Material Culture and the Senses)] TJ ET BT 189.344 190.229 Td /F1 12.0 Tf [( \(2006\) and )] TJ ET BT 247.664 190.229 Td /F2 12.0 Tf [(The Senses Still: Perception and Memory as Material Culture in )] TJ ET BT 34.016 175.973 Td /F2 12.0 Tf [(Modernity )] TJ ET BT 87.008 175.973 Td /F1 12.0 Tf [(\(1994\). These works prefigure Chaudhary?s study: they all, in their own manner, stress that )] TJ ET BT 34.016 161.717 Td /F1 12.0 Tf [(?visual? studies are moving into a broader domain as scholars engage with more than the disembodied eye of )] TJ ET BT 34.016 147.461 Td /F1 12.0 Tf [(the beholder and consider a bodily engagement with the world. Chaudhary?s work not only exemplifies this )] TJ ET BT 34.016 133.205 Td /F1 12.0 Tf [(new approach, but broadens its scope and signals a new place of departure for studies of colonialism, )] TJ ET BT 34.016 118.949 Td /F1 12.0 Tf [(photography and visuality.)] TJ ET BT 34.016 84.051 Td /F3 18.0 Tf [(Notes)] TJ ET BT 48.816 53.434 Td /F1 12.0 Tf [(1.)] TJ ET BT 64.016 53.429 Td /F1 12.0 Tf [(Mikael Pettersson, ?Depictive traces: on the phenomenology of photography?, )] TJ ET BT 443.624 53.429 Td /F2 12.0 Tf [(The Journal of )] TJ ET BT 64.016 39.173 Td /F2 12.0 Tf [(Aesthetics and Art Criticism)] TJ ET endstream endobj 29 0 obj << /Type /Page /Parent 3 0 R /Annots [ 31 0 R 33 0 R 35 0 R 37 0 R 39 0 R ] /Contents 30 0 R >> endobj 30 0 obj << /Length 2085 >> stream 0.000 0.000 0.000 rg 0.000 0.000 0.800 RG 0.24 w 0 J [ ] 0 d BT 64.016 796.469 Td /F1 12.0 Tf [(, 69, 2, \(2011\), 185?96.)] TJ ET 0.000 0.000 0.800 rg BT 176.336 796.469 Td /F1 12.0 Tf [(Back to \(1\))] TJ ET 0.24 w 0 J [ ] 0 d 176.336 795.075 m 230.324 795.075 l S 0.000 0.000 0.000 rg BT 48.816 782.218 Td /F1 12.0 Tf [(2.)] TJ ET BT 64.016 782.213 Td /F1 12.0 Tf [(Jessica Dubow, ??From a view )] TJ ET BT 215.984 782.213 Td /F2 12.0 Tf [(on )] TJ ET BT 230.984 782.213 Td /F1 12.0 Tf [(the world to a point of view )] TJ ET BT 367.304 782.213 Td /F2 12.0 Tf [(in)] TJ ET BT 376.640 782.213 Td /F1 12.0 Tf [( it?: rethinking sight, space and the )] TJ ET BT 64.016 767.957 Td /F1 12.0 Tf [(colonial subject?, )] TJ ET BT 151.004 767.957 Td /F2 12.0 Tf [(Interventions: International Journal of Postcolonial Studies,)] TJ ET BT 441.668 767.957 Td /F1 12.0 Tf [( 2, 1, \(2000\), 87?102.)] TJ ET 0.000 0.000 0.800 rg BT 64.016 753.701 Td /F1 12.0 Tf [(Back to \(2\))] TJ ET 0.24 w 0 J [ ] 0 d 64.016 752.307 m 118.004 752.307 l S 0.000 0.000 0.000 rg BT 48.816 739.450 Td /F1 12.0 Tf [(3.)] TJ ET BT 64.016 739.445 Td /F1 12.0 Tf [(Roland Barthes, )] TJ ET BT 144.344 739.445 Td /F2 12.0 Tf [(Camera Lucida: Reflections on Photography)] TJ ET BT 360.332 739.445 Td /F1 12.0 Tf [(, \(New York, NY, 1981\), p. 76.)] TJ ET 0.000 0.000 0.800 rg BT 510.968 739.445 Td /F1 12.0 Tf [(Back to )] TJ ET 0.24 w 0 J [ ] 0 d 510.968 738.051 m 550.964 738.051 l S BT 64.016 725.189 Td /F1 12.0 Tf [(\(3\))] TJ ET 0.24 w 0 J [ ] 0 d 64.016 723.795 m 78.008 723.795 l S 0.502 0.502 0.502 RG 0.75 w 0 J [ ] 0 d 34.391 708.463 526.499 1.500 re S 0.000 0.000 0.000 rg BT 34.016 690.683 Td /F3 12.0 Tf [(Source URL:)] TJ ET 0.000 0.000 0.800 rg BT 104.672 690.683 Td /F1 12.0 Tf [(http://www.history.ac.uk/reviews/review/1368)] TJ ET 0.000 0.000 0.800 RG 0.24 w 0 J [ ] 0 d 104.672 689.289 m 328.316 689.289 l S 0.000 0.000 0.000 rg BT 34.016 664.312 Td /F3 12.0 Tf [(Links:)] TJ ET BT 34.016 649.912 Td /F1 12.0 Tf [([1] http://www.history.ac.uk/reviews/item/47061)] TJ ET endstream endobj 31 0 obj << /Type /Annot /Subtype /Link /A 32 0 R /Border [0 0 0] /H /I /Rect [ 176.3357 795.3895 230.3237 807.2695 ] >> endobj 32 0 obj << /Type /Action /S /GoTo /D 16 0 R >> endobj 33 0 obj << /Type /Annot /Subtype /Link /A 34 0 R /Border [0 0 0] /H /I /Rect [ 64.0157 752.6215 118.0037 764.5015 ] >> endobj 34 0 obj << /Type /Action /S /GoTo /D 19 0 R >> endobj 35 0 obj << /Type /Annot /Subtype /Link /A 36 0 R /Border [0 0 0] /H /I /Rect [ 510.9677 738.3655 550.9637 750.2455 ] >> endobj 36 0 obj << /Type /Action /S /GoTo /D 22 0 R >> endobj 37 0 obj << /Type /Annot /Subtype /Link /A 38 0 R /Border [0 0 0] /H /I /Rect [ 64.0157 724.1095 78.0077 735.9895 ] >> endobj 38 0 obj << /Type /Action /S /GoTo /D 22 0 R >> endobj 39 0 obj << /Type /Annot /Subtype /Link /A 40 0 R /Border [0 0 0] /H /I /Rect [ 104.6717 689.6035 328.3157 701.4835 ] >> endobj 40 0 obj << /Type /Action /S /URI /URI (http://www.history.ac.uk/reviews/review/1368) >> endobj xref 0 41 0000000000 65535 f 0000000008 00000 n 0000000073 00000 n 0000000119 00000 n 0000000349 00000 n 0000000386 00000 n 0000000571 00000 n 0000000653 00000 n 0000004966 00000 n 0000005075 00000 n 0000005185 00000 n 0000005294 00000 n 0000008855 00000 n 0000008983 00000 n 0000009067 00000 n 0000009165 00000 n 0000017347 00000 n 0000017377 00000 n 0000017505 00000 n 0000017541 00000 n 0000017571 00000 n 0000017699 00000 n 0000017735 00000 n 0000017765 00000 n 0000017893 00000 n 0000017929 00000 n 0000017994 00000 n 0000025420 00000 n 0000025485 00000 n 0000033440 00000 n 0000033552 00000 n 0000035690 00000 n 0000035818 00000 n 0000035873 00000 n 0000036000 00000 n 0000036055 00000 n 0000036183 00000 n 0000036238 00000 n 0000036364 00000 n 0000036419 00000 n 0000036547 00000 n trailer << /Size 41 /Root 1 0 R /Info 5 0 R >> startxref 36643 %%EOF