This fascinating account of the relationship between photography and literary realism in Victorian Britain draws on detailed readings of photographs, writings about photography, and fiction by Charles Dickens, George Eliot and Oscar Wilde. While other critics have argued that photography defined what would be 'real' for literary fiction, Daniel A. Novak demonstrates that photography itself was associated with the unreal - with fiction and the literary imagination. Once we acknowledge that manipulation was essential rather than incidental to the project of nineteenth-century realism, our understanding of the relationship between photography and fiction changes in important ways. Novak argues that while realism may seem to make claims to particularity and individuality, both in fiction and in photography, it relies much more on typicality than on perfect reproduction. Illustrated with many photographs, this book represents an important contribution to current debates on the nature of Victorian realism.
0 有用 雅典菠萝 2022-03-20 19:49:33
两个路径:一是本雅明阿多诺、约翰伯格桑塔格这一路人的摄影媒介批评;二是卢卡奇马克思的小说理论和劳动关系。主要是狄更斯一章,摄影和人物的变形、写作,是互相影响的。听小杨怎么讲。
0 有用 雅典菠萝 2022-03-20 19:49:33
两个路径:一是本雅明阿多诺、约翰伯格桑塔格这一路人的摄影媒介批评;二是卢卡奇马克思的小说理论和劳动关系。主要是狄更斯一章,摄影和人物的变形、写作,是互相影响的。听小杨怎么讲。