Prof. Ellen Armour, Carpenter Chair of Feminist Theology at Vanderbilt Divinity School - burst 04

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Gender disability in parliament and visual culture as well as contemporary and confident in philosophy. Bunkum evan thank you gil. It's an honor to be here. yeah. I'm looking forward to this conversation. I don't cab not backout. They is that today. But as i agree mention dyke have little bit off background out As a catholic in south india and the us. i would consider myself to be an agnostic. i think the easiest conic nostitz confused atheists. I think they tended that. That's right. So so i just wanted to put that out there. So people know what. I'm coming from and my bias I want to start with the u. Twenty nineteen paper justice for allen cody philosophy photography and cosmo politics of and debt And you say here a photographs of the body of a ground three year old. Kurdish boy from sunia washed up on a turkish beach and capsulated the plight of refugees. Fleeing the so called civil war in syria that particular plateau said power to what these debts index you said assessment considers why the up and open onto the philosophical problem addicts embedded in the political issues Future crisis races. So they this is Of different things here I knew that you have an interest in In photography at at really pictures affect humans have decision making processes. And so i would like to start there and then and then move do be. She said he'd talk about in the sure sure Yeah that so. That interest in my interest in photography is Is as you say. It's it's an what photographs Main for us and how they move. Uh us You mentioned Or you actually quote me saying Through what photographs index through what these photographs index scholars the photography distinguish between what photographs index. That is there what i say there that then there and and what photographs opened up onto in what they call icon city. So if you think about an iconic photograph for example on the one hand Let's take the photographs of allen curti. they on one hand. What you see is what you get right. It's a photograph of a little boy. Dead washed up on a beach and some anna soldier. Picking him up after that. But we don't really know much about that photograph. We have to have some context for it to understand it

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