‘The lived moment’: New aesthetics for migrant recollection

Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review

Standard

‘The lived moment’ : New aesthetics for migrant recollection. / Leese, Peter.

The Postcolonial Museum: The Arts of Memory and the Pressures of History. Taylor and Francis/Routledge, 2016. p. 219-227.

Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review

Harvard

Leese, P 2016, ‘The lived moment’: New aesthetics for migrant recollection. in The Postcolonial Museum: The Arts of Memory and the Pressures of History. Taylor and Francis/Routledge, pp. 219-227. https://doi.org/10.4324/9781315554105-18

APA

Leese, P. (2016). ‘The lived moment’: New aesthetics for migrant recollection. In The Postcolonial Museum: The Arts of Memory and the Pressures of History (pp. 219-227). Taylor and Francis/Routledge. https://doi.org/10.4324/9781315554105-18

Vancouver

Leese P. ‘The lived moment’: New aesthetics for migrant recollection. In The Postcolonial Museum: The Arts of Memory and the Pressures of History. Taylor and Francis/Routledge. 2016. p. 219-227 https://doi.org/10.4324/9781315554105-18

Author

Leese, Peter. / ‘The lived moment’ : New aesthetics for migrant recollection. The Postcolonial Museum: The Arts of Memory and the Pressures of History. Taylor and Francis/Routledge, 2016. pp. 219-227

Bibtex

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title = "{\textquoteleft}The lived moment{\textquoteright}: New aesthetics for migrant recollection",
abstract = "In 1975, when A Seventh Man was first published, writer John Berger and photographer Jean Mohr intended their book about the experience of Migrant Workers in Europe as both social critique and political intervention. It continues to be read in Istanbul, Madrid and Damascus, in the places from which migrant workers set off, and by those who themselves become migrant workers. The changing ways in which journalists, social commentators and sociologists, engravers, photographers or film-makers have attempted to render, or preferred to avoid, such lived moments is a revealing theme in the historical exploration of migrant experience. The meaning of migrant labour is especially revealing for Berger and Mohr since an understanding of systematic exploitation morally discredits capitals profit-driven self-justifications. A Seventh Man emerges from Berger's engagement with the oppositional artistic and political theory of the inter-war years.",
author = "Peter Leese",
note = "Publisher Copyright: {\textcopyright} Iain Chambers, Alessandra De Angelis, Celeste Ianniciello, Mariangela Orabona and Michaela Quadraro 2014.",
year = "2016",
month = jan,
day = "1",
doi = "10.4324/9781315554105-18",
language = "English",
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RIS

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PY - 2016/1/1

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N2 - In 1975, when A Seventh Man was first published, writer John Berger and photographer Jean Mohr intended their book about the experience of Migrant Workers in Europe as both social critique and political intervention. It continues to be read in Istanbul, Madrid and Damascus, in the places from which migrant workers set off, and by those who themselves become migrant workers. The changing ways in which journalists, social commentators and sociologists, engravers, photographers or film-makers have attempted to render, or preferred to avoid, such lived moments is a revealing theme in the historical exploration of migrant experience. The meaning of migrant labour is especially revealing for Berger and Mohr since an understanding of systematic exploitation morally discredits capitals profit-driven self-justifications. A Seventh Man emerges from Berger's engagement with the oppositional artistic and political theory of the inter-war years.

AB - In 1975, when A Seventh Man was first published, writer John Berger and photographer Jean Mohr intended their book about the experience of Migrant Workers in Europe as both social critique and political intervention. It continues to be read in Istanbul, Madrid and Damascus, in the places from which migrant workers set off, and by those who themselves become migrant workers. The changing ways in which journalists, social commentators and sociologists, engravers, photographers or film-makers have attempted to render, or preferred to avoid, such lived moments is a revealing theme in the historical exploration of migrant experience. The meaning of migrant labour is especially revealing for Berger and Mohr since an understanding of systematic exploitation morally discredits capitals profit-driven self-justifications. A Seventh Man emerges from Berger's engagement with the oppositional artistic and political theory of the inter-war years.

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