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dc.contributor.author Jenny en_US
dc.date.accessioned 2008-11-05T15:34:24Z
dc.date.available 2008-11-05T15:34:24Z
dc.date.issued 2005-10-04 en_US
dc.identifier http://dx.doi.org/10.1080/14797580500252548 en_US
dc.identifier.citation Edkins , J 2005 , ' Exposed singularity ' Journal for Cultural Research , vol 9 , no. 4 , pp. 359 - 386 . , 10.1080/14797580500252548 en_US
dc.identifier.other PURE: 80668 en_US
dc.identifier.other dspace: 2160/804 en_US
dc.identifier.uri http://hdl.handle.net/2160/804
dc.description.abstract In his photographs of children in displaced persons' camps, Salgado takes each subject seriously. His images dis-place us through their dignity and presence. We are no longer spectators but engaged: each gaze demands a response and produces the self as exposed. Pictures of prisoners from Tuol Sleng in Cambodia take the same form: a single figure facing the camera. Here, however, we are caught in an additional and irresolvable aporia: we are faced with thousands to whom we cannot adequately respond. As Derrida argues, responsibility is only possible by sacrificing ethics: we can respond to one only by sacrificing whatever obliges us to respond to others. In the final set of images considered here, Daravuth's positing of the indistinguishability of victim and perpetrator disturbs any easy response once more. A reading of Nancy alongside and against Derrida points to significant differences in emphasis between the two, and throws further light on the aporia of responsibility. The essay concludes that Nancy's being singular plural is productive in emphasizing the need, politically, to focus not on how we might establish a bond between us, but rather on how it is that we seem separate at all. The photographs expose us to our inevitable engagement or being-with. en_US
dc.format.extent 28 en_US
dc.relation.ispartof Journal for Cultural Research en_US
dc.title Exposed singularity en_US
dc.contributor.pbl Aberystwyth University en_US
dc.contributor.pbl Department of International Politics en_US


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