Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

PL EN


2018 | 61 | 1(125) | 67-83

Article title

Photo-literary Strategies in Three Collaborative Projects (I Spy Pinhole Eye, Co robi łączniczka and Áladerrida)

Content

Title variants

Languages of publication

EN

Abstracts

EN
Collaborative photo-texts are not only experiments with page layout and the material aspect of the book. Such complicated and demanding projects employ various intermedial strategies of co-creating meaning, but they are not necessarily harmonious. This article presents an analysis of three photo-textual strategies: filling the frame, cut and paste technique and creative transformation of absent images/texts in photo-textual exchange. Three post-millennial works (I Spy Pinhole Eye by Philip Gross and Simon Denison, Co robi łączniczka by Darek Foks and Zbigniew Libera and Áladerrida by Tadeusz Różewicz and Jerzy Olek) serve here as representative examples of those photo-textual strategies.

Year

Volume

61

Issue

Pages

67-83

Physical description

Dates

published
2018

Contributors

  • Instytut Filologii Polskiej, Wydział Filologiczny Uniwersytetu Wrocławskiego

References

  • Bojarska Katarzyna (2014), Liaison Officers, Imagined Love-and-War Affairs, and History Displaced, “Widok. Teorie i Praktyki Kultury Wizualnej”, is-sue 5, http://pismowidok.org/index.php/one/article/view/166/298, [access: 12 October 2017].
  • Bruijn Babeth (2014), I Spy Pinhole Eye: Seeing Visual Society’s Blind Spot, http://www.simondenison.co.uk/229.html [access: 12 October 2017].
  • Brunet François (2009), Photography and Literature, Reaktion Books, London.
  • Co robiła łączniczka. Rozmowy ze Zbigniewem Liberą i Darkiem Foksem (2006) [in:] Co robiła łączniczka. Książka o książce, ed. S. Cichocki, By-tomskie Centrum Kultury, Bytom.
  • Cosgrove Peter (1995), Snapshots of the Absolute: Mediamachia in Let Us Now Praise Famous Men, “American Literature” LXVII/2.
  • Cunningham David, Andrew Fisher, Sas Mays (2008), Introduction [in:] Pho-tography and Literature in the Twentieth Century, eds. D. Cunningham, A. Fisher, S. Mays, Cambridge Scholars Publishing, Cambridge, Newcastle.
  • Denison Simon (2009), Endnotes [in:] P. Gross, S. Denison, I Spy Pinhole Eye, Cinnamon Press, Blaenau Ffestiniog.
  • Dentith Simon (2000), Parody, Routledge, London–New York.
  • Derrida Jacques (1987), Truth in Painting, trans. G. Bennington, I. McLeod, The University of Chicago Press, Chicago–London.
  • Duttlinger Carolin (2004), Traumatic Photographs: Remembrance and the Technical Media in W.G. Sebald’s Austerlitz [in:] W.G. Sebald — a Critical Companion, eds. J.J. Long, A. Whithead, Edinburgh UP, Edinburgh.
  • Fjellestad Danuta (2015), Nesting–Braiding–Weaving: Photographic Interven-tions in Three Contemporary American Novels [in:] Handbook of Inter-mediality: Literature–Image–Sound–Music, ed. G. Rippl, Walter de Gruy-ter, Berlin.
  • Foks Darek, Zbigniew Libera (2004), Co robi łączniczka, Instytucja Kultury Ars Cameralis Silesiae Superioris, Katowice.
  • Fototesti: Letteratura e cultura visuale (2016), eds. M. Cometa, R. Coglitore, Quodlibet, Macerata.
  • Gibbons Alison (2012), Multimodality, Cognition, and Experimental Literature, Routledge, New York.
  • Gross Philip, Simon Denison (2009), I Spy Pinhole Eye, Cinnamon Press, Blae-nau Ffestiniog.
  • Gross Philip (2009), Endnotes [in:] P. Gross, S. Denison, I Spy Pinhole Eye, Cin-namon Press, Blaenau Ffestiniog.
  • Gyöngi Pal (2010), La photo-littérature en France dans la secondemoitié du XXe siècle. Analyse del’œuvre de François-Marie Banier, Jean-Loup Tras-sard, Lorand Gaspar et Denis Roche, Éditions Universitaires Eu-ropéennes, Saarbrücken.
  • Hagstrum Jean (1958), The Sister Arts: The Tradition of Literary Pictorialism and English Poetry from Dryden to Gray, University of Chicago Press, Chicago.
  • Heffernan James W. (2004), Museum of Words: Poetics of Ekphrasis from Homer to Ashbery, The University of Chicago Press, Chicago–London.
  • Heidegger Martin (2008), Basic Writings: from Being and Time (1927) to The Task of Thinking (1964), ed. D.F. Krell, Routledge, London.
  • Jarniewicz Jerzy (2006), Łączniczka w konspiracji [in:] Co robiła łączniczka. Książka o książce, ed. S. Cichocki, Bytomskie Centrum Kultury, Bytom.
  • Kennedy David (2012), The Ekphrastic Encounter in Contemporary British Literature and Elsewhere, Ashgate, Farnham.
  • Kowalczyk Izabela (2010), Krzywe zwierciadła historii (Co robi łączniczka) [in:] eadem, Podróż do przeszłości. Interpretacje najnowszej historii polskiej w polskiej sztuce krytycznej, SWPS Academica, Warszawa.
  • Kraenzle Christina (2007), Picturing Place: Travel, Photography, and Imagina-tive Geography in W.G. Sebald’s Rings of Saturn [in:] Searching for Se-bald. Photography after W.G. Sebald, ed. L. Patt, The Institute of Cultural Inquiry, Los Angeles.
  • Krieger Murray (1967), The Ekphrastic principle and the Still Movement of Poetry, or Laokoon Revisited [in:] The Poet as Critic, ed. P.W. McDowell, Northwestern UP, Evanston.
  • Jacques Lacan (1998), The Seminar Book XI: The Four Fundamental Concepts of Psychoanalysis, ed. J.-A. Miller, trans. A. Sheridan, W.W. Norton & Company, New York.
  • Łukasiewicz Jacek (2006), Łączniczka, “Odra”, issue 6.
  • Lyotard Jean-François (1984), The Sublime and the Avant-Garde, “Artforum”, April.
  • Martin Stewart (2008), W.G. Sebald and the modern art of memory [in:] Pho-tography and Literature in the Twentieth Century, eds. D. Cunnigham, A. Fisher, S. Mays, Cambridge Scholars Publishing, Newcastle.
  • Mayakovski Vladimir (2009), Pro eto — That’s what, trans. G. Hyde, L. Gure-yeva, photomontages by A. Rodchenko, Arc Publications, Todmorden.
  • Mitchell William J.T. (1995a), Ekphrasis and the Other [in:] idem, Picture The-ory, The University of Chicago Press, Chicago.
  • Mitchell William J.T. (1995b), The Photographic Essay: Four Case Studies [in:] idem, Picture Theory, The University of Chicago Press, Chicago.
  • Mizerkiewicz Tomasz (2008), Parodia, czyli poszerzanie bezsilności, “Nowe Książki”, issue 12.
  • Mulvey Laura (1999), Visual Pleasure and Narrative Cinema [in:] Film Theory and Criticism: Introductory Readings, eds. L. Braudy, M. Cohen, Oxford UP, New York.
  • Patt Lise (2007), Introduction. Searching for Sebald. What I Know for Sure [in:] Searching for Sebald. Photography after W.G. Sebald, ed. L. Patt, The In-stitute of Cultural Inquiry, Los Angeles.
  • Photolittérature: Répertoire de la Photolittérature Ancienne et Contem-poraine, www.phlit.org.
  • Photo-Textualities: Reading Photographs and Literature (1996), ed. M. Bryant, Newark, Delaware.
  • Phototextualities: Intersections of Photography and Narrative (2003), ed. A. Huges, Andrea Noble, Albuquerque: New Mexico.
  • Prodżekt Foks. O pisarstwie Darka Foksa rozmawiają Grzegorz Jankowicz, Ryszard Koziołek, Dariusz Nowacki i Anna Kałuża (2011), “Śląskie Studia Polonistyczne”, issue 1.
  • Queneau Raymond (1983), One Hundred Million Million Poems, trans. J. Crombie, Kickshaws, Paris.
  • „Revue de sciences humaines”, (Photolittérature) (1988), no. 210.
  • Różewicz Tadeusz (2008), Áladerrida, phot. Jerzy Olek [in:] idem, Kup kota w worku (work in progress), Biuro Literackie, Wrocław.
  • Schapiro Meyer (1968), The Still Life as a Personal Object: A Note on Heidegger and Van Gogh [in:] The Reach of Mind, eds. M.L. Simmel, K. Goldstein, Springer, Berlin.
  • Searching for Sebald. Photography after W.G. Sebald (2007), ed. L. Patt, The Institute of Cultural Inquiry, Los Angeles.
  • Sebald Winfried Georg, Köhler Andrea (2002), Die Durchdringung des Dunkels: W.G. Sebald und Jan Peter Tripp — ein letzter Blickwechsel, “Neue Zü-rcher Zeitung”, 291, 14–15 December 2002.
  • Sontag Susan (1977), On Photography, Farrar, Strauss and Giroux, New York.
  • Stafford Andy (2010), Photo-texts: Contemporary French Writing of Photo-graphic Image, Liverpool UP, Liverpool.
  • Trilling James (1998), The Image Not Made by Hands and the Byzantine Way of Seeing [in:] The Holy Face and the Paradox of Representation, eds. H.L. Kessler, G. Wolf, Nuova Alfa, Bologna.
  • Zaleski Marek (2012), Liberation from Memory: Memory, Postmemory, or Sub-verted Memory in What Does the Messenger Girl Do by Foks & Libera [in:] Germany, Poland and Postmemorial Relations: In Search of a Liva-ble Past, eds. K. Kopp, J. Niżynska, Palgrave Macmillan, New York.
  • Żeleński (Boy) Tadeusz (1987), Słówka, Wydawnictwo Literackie, Kraków.

Document Type

Publication order reference

YADDA identifier

bwmeta1.element.desklight-7501aea4-d471-4cc2-a660-c38e9fd63a57
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.