Buch, Englisch, Band 60, 252 Seiten, Format (B × H): 183 mm x 260 mm, Gewicht: 676 g
Reihe: Cambridge Studies in Nineteenth-Century Literature and Culture
Buch, Englisch, Band 60, 252 Seiten, Format (B × H): 183 mm x 260 mm, Gewicht: 676 g
Reihe: Cambridge Studies in Nineteenth-Century Literature and Culture
ISBN: 978-0-521-88525-6
Verlag: Cambridge University Press
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.
Autoren/Hrsg.
Fachgebiete
Weitere Infos & Material
Introduction: 'detestable introductions'; 1. Missing persons and model bodies: Victorian photographic figures; 2. Composing the novel body: re-membering the body and the text in Little Dorrit; 3. A model Jew: 'literary photography' and the Jewish body in Daniel Deronda; 4. Sexuality in the age of technological reproducibility: Wilde, identity, and photography; After-image: surviving the photograph; Select bibliography.
