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Frontmatter -- Contents -- Challenges and Methodologies in the Visual History of Education -- Part 1: Contested Pasts, Democratic Struggles, and the Image -- Chapter 1 “Imagined Education”: Nationalistic Politics and Emotions in Two Visual Depictions of the Past and Present of Chilean Education (1941 and 1975) -- Chapter 2 Memories of Light in Apparitions of the Disappeared: Impressions on the Latin American Landscape by Visual Artist Gabriel Orge -- Chapter 3 Images That Portray, Challenge, and Refuse: Visual Content and Education in Francoist Spain, 1939–1975 -- Chapter 4 “And Now, Who Will Defend Us?”: Heroes, Salvation, and Counter-Narratives in the Television Show El Chapulín Colorado -- Chapter 5 Sports, Politics, and Aesthetics: Educating Bodies and Sensibilities through Cinema in Peronist Argentina -- Part 2: Images as Humanitarian Action -- Chapter 6 Seeing, Feeling, Educating: British and American Quakers and the Visual Record of Humanitarian Relief Work in Russia and Poland, 1916–1924 -- Chapter 7 Westward Religious Image Vistas: Female Roman Catholicism in Colonial and Postcolonial India, 1904–1960 -- Chapter 8 Humanitarian Photography Beyond the Picture: David “CHIM” Seymour’s Children of Europe -- Part 3: Recovering the Image as Artifact -- Chapter 9 Marked Surfaces: Analog and Digital Re-inscriptions of a Portrait -- Chapter 10 Can Images Have the Last Word?: Images and Narratives of Children at Play in Late Nineteenth-Century Argentina -- Chapter 11 The Enigma and Value of “Found” School Photographs for Historians of Education -- Notes on Contributors The visual turn recovers new pasts. With education as its theme, this book seeks to present a body of reflections that questions a certain historicism and renovates historiographical debate about how to conceptualize and use images and artifacts in educational history, in the process presenting new themes and methods for researchers. Images are interrogated as part of regimes of the visible, of a history of visual technologies and visual practices. Considering the socio-material quality of the image, the analysis moves away from the use of images as mere illustrations of written arguments, and takes seriously the question of the life and death of artifacts – that is, their particular historicity. Questioning the visual and material evidence in this way means considering how, when, and in which régime of the visible it has come to be considered as a source, and what this means for the questions contemporary researchers might ask
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