{"id":31121,"date":"2010-01-12T05:00:00","date_gmt":"2010-01-12T10:00:00","guid":{"rendered":"https:\/\/www.yorku.ca\/researchdev\/2010\/01\/12\/profs-new-book-re-examines-the-forces-at-play-in-interpreting-photographs-2\/"},"modified":"2025-01-29T14:36:48","modified_gmt":"2025-01-29T19:36:48","slug":"profs-new-book-re-examines-the-forces-at-play-in-interpreting-photographs-2","status":"publish","type":"post","link":"https:\/\/www.yorku.ca\/research\/2010\/01\/12\/profs-new-book-re-examines-the-forces-at-play-in-interpreting-photographs-2\/","title":{"rendered":"Professor's new book re-examines the forces at play in interpreting photographs"},"content":{"rendered":"<p><!--[%ArtFullText%]--><\/p>\n<p>A picture may tell a thousand words, but what if the image is distorted or the meaning misconstrued? The newly published <em>Photographs, Histories, and Meanings<\/em>, co-edited by York Professor Marlene Kadar, re-examines photographs and their social history, exploring the ideological, ethical, political and esthetic forces that influence their interpretation.<\/p>\n<p><em>Photographs, Histories, and Meanings<\/em> (Palgrave Macmillan, 2009) looks at how photographs have shaped public perception and social meaning for the last century and a half. Its contributors trace shifting historical contexts, intentional or accidental interpretive distortions, and ambiguous and multiple meanings.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.yorku.ca\/yfile\/photos\/20090107\/MarleneKadarCvr.jpg\" alt=\"\" hspace=\"8\" vspace=\"8\" width=\"171\" height=\"258\" align=\"left\" \/>They search for the answers to <span>how images can be believed given the public\u2019s awareness of the uncertainty of meaning. In the end, the contributors believe the histories conveyed in these photographs tell the stories of our lives. To know the photographs is to know ourselves with all our ambiguities, distortions and complexities on display.<\/span><\/p>\n<p>\u201cMany photographs had a particular meaning at the time they were taken, but now something dramatic or traumatic has happened to change the way we\u2019ve received these images,\u201d says Kadar. She points to the practice of Nazi photographers taking photographs of concentration camps as they were constructed or altered so as to maintain a record of them. The photos were also used to demonstrate to organizations like the International Committee of the Red Cross that nothing was amiss in the camps\u2019 operations.<\/p>\n<p>Photos taken of Ravensbr\u00fcck Concentration Camp portray women working on camp grounds, appearing healthy, well-nourished and adequately dressed, says Kadar. But these photos were completely staged. Some contemporary scholars, however, refer to them in their research as if they were accurate depictions of daily life. She contends that people must be vigilant in their interpretation of archival and artifactual materials, considering them in the context of politics, culture and history.<\/p>\n<blockquote><p><strong><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.yorku.ca\/yfile\/photos\/20100112\/MarleneKadar.jpg\" alt=\"\" hspace=\"8\" vspace=\"8\" width=\"140\" height=\"177\" align=\"right\" \/>Right: Marlene Kadar<\/strong><\/p><\/blockquote>\n<p>The essays in <em>Photographs, Histories, and Meanings<\/em>, range from \u201cStrange Birth: Reading Hands, Reflecting Race in Richard Wright\u2019s <em>Twelve Million Black Voices<\/em><span>\u201d by Petra Dreiser and \u201cAmbivalent Image: Twisted Use\u201d by Kadar to \u201cCaptured Childhoods: Photographs in Indian Residential School Memoir\u201d by Linda Warley and \u201cDocumenting Disaster: Rothstein\u2019s \u2018Steer Skull\u2019 and the Use of Photographic Evidence in Environmental and Political Narratives\u201d by James Hewitson.<\/span><\/p>\n<p>Kadar is a humanities and women\u2019s studies professor in\u00a0York's Faculty of Liberal Arts\u00a0&amp; Professional Studies\u00a0and former director of the Graduate Program in Interdisciplinary Studies in the Faculty of Graduate Studies. She is the editor of the <a href=\"http:\/\/www.wlu.ca\/press\/Series\/lw.cgi\" target=\"_blank\" rel=\"noopener noreferrer\">Life Writing Series<\/a> at Wilfrid Laurier University Press, which to date has published\u00a038 books, and is the literary editor of <em>Canadian Woman Studies<\/em>. Previous edited works include the reader <em>Reading Life Writing<\/em> (Oxford University Press, 1993) and <em>Essays on Life Writing: From Genre to Critical Practice<\/em> (University of Toronto Press, 1992), which won the Gabrielle Roy Prize for Criticism\u00a0in 1993.<\/p>\n<p>She also co-edited <em>Tracing the Autobiographical<\/em> with Jeanne Perreault, Linda Warley and Susanna Egan. Her current research focuses on the life and career of a former concentration camp guard, and on the memoir of a Hungarian-born survivor of the Holocaust who spent the most difficult years in the former Yugoslavia.<\/p>\n<p>In 2008, Kadar was\u00a0named one of Canada\u2019s most powerful women in the category of Trailblazers\u00a0&amp; Trendsetters by the Women\u2019s Executive Network (WXN), an advocacy organization for women in the workplace. She was one of 100 top female winners chosen in eight categories from across Canada. Her\u00a0inclusion in\u00a0Canada's\u00a0Most Powerful Women: Top 100 by WXN recognizes her work in forging a new path for autobiography.<\/p>\n<p><em>Photographs, Histories, and Meanings<\/em> was co-edited\u00a0with Warley, an English professor at the University of Waterloo, and <span>Perreault, an English professor at the University of Calgary.<\/span><\/p>\n<p><em>Republished courtesy of <a href=\"https:\/\/www.yorku.ca\/yfile\">YFile<\/a> \u2013 York University\u2019s  daily e-bulletin.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A picture may tell a thousand words, but what if the image is distorted or the meaning misconstrued? The newly published Photographs, Histories, and Meanings, co-edited by York Professor Marlene Kadar, re-examines photographs and their social history, exploring the ideological, ethical, political and esthetic forces that influence their interpretation. Photographs, Histories, and Meanings (Palgrave Macmillan, [&hellip;]<\/p>\n","protected":false},"author":37,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[48,39],"tags":[77,79,357,358,359,360,361,362],"class_list":["post-31121","post","type-post","status-publish","format-standard","hentry","category-humanities","category-news","tag-books","tag-faculty-of-liberal-arts-professional-studies","tag-humanities","tag-marlene-kadar","tag-photography","tag-social-history","tag-womens-studies","tag-womens-executive-network-wxn"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Professor&#039;s new book re-examines the forces at play in interpreting photographs | Research &amp; Innovation<\/title>\n<meta name=\"description\" content=\"For immediate release: Professor&#039;s new book re-examines the forces at play in interpreting photographs. 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