Sharon Sliwinski – författare

From the fundamental rights proclaimed in the American and French declarations of independence to the 1948 Universal Declaration of Human Rights and Hannah Arendt's furious critiques, the definition of what it means to be human has been hotly debated. But the history of human rights - and their abuses - is also a richly illustrated one. Following this picture trail, "Human Rights In Camera" takes an innovative approach by examining the visual images that have accompanied human rights struggles and the passionate responses people have had to them. Sharon Sliwinski considers a series of historical events, including the 1755 Lisbon earthquake and the Holocaust, to illustrate that universal human rights have come to be imagined through aesthetic experience. The circulation of images of distant events, she argues, forms a virtual community between spectators and generates a sense of shared humanity. Joining a growing body of scholarship about the cultural forces at work in the construction of human rights, "Human Rights In Camera" is a novel take on this potent political ideal.

A captivating and trailblazing look at how dreams serve as one of our most powerful ways to understand and radically change our world. Borrowing from the traditional alphabet book genre for children, An Alphabet for Dreamers provides adult readers with a new grammar for dreams, or what neuroscientist Sidarta Riberio calls oracles of the night. In this book, Sharon Sliwinski restores dreaming to its proper place as an important worldmaking activity, one that offers a gateway to another way of seeing. Each of the short 26 chapters engages a dream from the historical record from both the recent and distant past to show how these experiences can help make sense of profound social conflicts and transform our shared reality. Thinking alongside the dreams of powerful exemplars from Harriet Tubman to contemporary Indigenous activist Abigail Echo-Hawk readers come to understand how dream life is a crucial resource for generating new worlds and new ways of being. The book brings together urgent concerns from the domains of critical theory, visual culture, and mental health to show how dreaming serves as a vital source of knowledge and a crucial mode of thinking. As with traditional alphabet books, illustrations provide an integral voice. Each chapter of the book is accompanied by an original watercolor painting by Melinda Josie that visually underscores the way dreams serve as a unique medium for processing our lived experience. Together, the images and text form a delicate dialogue, drawing attention to the details of the central scenes, extending the book s special mode of thinking in painted form. By working alongside dreamers from the past and present, An Alphabet for Dreamers begins a new and much-needed conversation about the social and political importance of dream life.

Inspired by one of Nelson Mandela’s recurring nightmares, Mandela’s Dark Years offers a political reading of dream-life. Sharon Sliwinski guides the reader through the psychology of apartheid, recasting dreaming as a vital form of resistance to political violence, away from a rational binary of thinking.This short, provocative study blends political theory with clinical psychoanalysis, opening up a new space to consider the politics of reverie.  Forerunners is a thought-in-process series of breakthrough digital works. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.

Photography is one of the principal filters through which we engage the world. The contributors to this volume focus on Walter Benjamin's concept of the optical unconscious to investigate how photography has shaped history, modernity, perception, lived experience, politics, race, and human agency. In essays that range from examinations of Benjamin's and Sigmund Freud's writings to the work of Kara Walker and Roland Barthes's famous Winter Garden photograph, the contributors explore what photography can teach us about the nature of the unconscious. They attend to side perceptions, develop latent images, discover things hidden in plain sight, focus on the disavowed, and perceive the slow. Of particular note are the ways race and colonialism have informed photography from its beginning. The volume also contains photographic portfolios by Zoe Leonard, Kelly Wood, and Kristan Horton, whose work speaks to the optical unconscious while demonstrating how photographs communicate on their own terms. The essays and portfolios in Photography and the Optical Unconscious create a collective and sustained assessment of Benjamin's influential concept, opening up new avenues for thinking about photography and the human psyche.Contributors. Mary Bergstein, Jonathan Fardy, Kristan Horton, Terri Kapsalis, Sarah Kofman, Elisabeth Lebovici, Zoe Leonard, Gabrielle Moser, Mignon Nixon, Thy Phu, Mark Reinhardt, Shawn Michelle Smith, Sharon Sliwinski, Laura Wexler, Kelly Wood, AndrÉs Mario ZervigÓn

Photography is one of the principal filters through which we engage the world. The contributors to this volume focus on Walter Benjamin's concept of the optical unconscious to investigate how photography has shaped history, modernity, perception, lived experience, politics, race, and human agency. In essays that range from examinations of Benjamin's and Sigmund Freud's writings to the work of Kara Walker and Roland Barthes's famous Winter Garden photograph, the contributors explore what photography can teach us about the nature of the unconscious. They attend to side perceptions, develop latent images, discover things hidden in plain sight, focus on the disavowed, and perceive the slow. Of particular note are the ways race and colonialism have informed photography from its beginning. The volume also contains photographic portfolios by Zoe Leonard, Kelly Wood, and Kristan Horton, whose work speaks to the optical unconscious while demonstrating how photographs communicate on their own terms. The essays and portfolios in Photography and the Optical Unconscious create a collective and sustained assessment of Benjamin's influential concept, opening up new avenues for thinking about photography and the human psyche.Contributors. Mary Bergstein, Jonathan Fardy, Kristan Horton, Terri Kapsalis, Sarah Kofman, Elisabeth Lebovici, Zoe Leonard, Gabrielle Moser, Mignon Nixon, Thy Phu, Mark Reinhardt, Shawn Michelle Smith, Sharon Sliwinski, Laura Wexler, Kelly Wood, AndrÉs Mario ZervigÓn

What do dreams manage to say-or indeed, show-about human experience that is not legible otherwise? Can the disclosure of our dream-life be understood as a form of political avowal? To what does a dream attest? And to whom? Blending psychoanalytic theory with the work of such political thinkers as Hannah Arendt and Michel Foucault, Sharon Sliwinski explores how the disclosure of dream-life represents a special kind of communicative gesture-a form of unconscious thinking that can serve as a potent brand of political intervention and a means for resisting sovereign power. Each chapter centers on a specific dream plucked from the historical record, slowly unwinding the significance of this extraordinary disclosure. From Wilfred Owen and Lee Miller to Frantz Fanon and Nelson Mandela, Sliwinski shows how each of these figures grappled with dream-life as a means to conjure up the courage to speak about dark times. Here dreaming is defined as an integral political exercise-a vehicle for otherwise unthinkable thoughts and a wellspring for the freedom of expression. Dreaming in Dark Times defends the idea that dream-life matters-that attending to this thought-landscape is vital to the life of the individual but also vital to our shared social and political worlds.