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dc.contributor.authorDanchev, Alex
dc.identifier.citationDanchev , A 2015 , ' Our Brothers’ Keeper : moral witness ' , Alternatives , vol. 40 , no. 3-4 , pp. 191-200 .
dc.identifier.otherPURE: 233928278
dc.identifier.otherPURE UUID: dad4a646-aee9-4635-af55-4fc4b41d1fae
dc.identifier.otherScopus: 84951033779
dc.identifier.otherWOS: 000366374100001
dc.description.abstractThis article considers the practice of witness in the world – witness to the world – in particular the character and temper, nature and purpose, significance and resonance of “moral witness,” a kind of ideal type, as conceived by the philosopher Avishai Margalit. It proposes that the artist plays an important role as a moral witness; and that the work of art itself performs the same function, even after the fact – the phenomenon of “post-witness.” In this context it identifies an ethics of precision or exactitude, and adduces a variety of exemplars, ranging from poetry to photography, including Shot at Dawn (2014), a suite of landscape photographs which are also war photographs and memorial photographs, and acts of moral witness, by Chloe Dewe Mathews.
dc.rightsCopyright The Author(s) 2015. This article is distributed under the terms of the Creative Commons Attribution 3.0 License ( which permits any use, reproduction and distribution of the work without further permission provided the original work is attributed as specified on the SAGE and Open Access page (
dc.subjectMoral witnessen
dc.subjectWar photographyen
dc.subjectJZ International relationsen
dc.subjectSDG 16 - Peace, Justice and Strong Institutionsen
dc.titleOur Brothers’ Keeper : moral witnessen
dc.typeJournal articleen
dc.description.versionPublisher PDFen
dc.contributor.institutionUniversity of St Andrews. School of International Relationsen
dc.description.statusPeer revieweden

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