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Słowo w kadrze. Literatura i fotografia. Fotografia i literatura

100%
Koszowy M.
Rocznik Komparatystyczny
|
2014
|
vol. 5
p. 249-263
EN
The paper covers theoretical, culture-related basic research on the comparative analysis of the theory of visual arts and the literary theory. It focuses on the anthropological and cultural analysis of the contemporary phenomenon of mutual penetration of arts. The purpose of the research is to gain knowledge on the social and cultural transformations on the basis of an analysis of a discourse in the photographic and literary attempts. The hybrid (photography and literature) will be the research material in this project. The thorough consideration of the relations between photographic images and text, and their structural dependencies, has not been done yet. The assessment of the social aspect of the changes – the impact of the hegemony of an image on the model of perceiving and on the cultural representation – has also been omitted. The purpose of this paper is, therefore, the acquisition of knowledge on the two phenomena which shape the contemporary model of culture in the perspective of historical changes. Both literature and photography are currently and historically the basic models of representation, which also record the changes in the perception of the world. The present transformation of the relation between the analysed fields has not yet been properly and innovatively described.
2
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Foto-teksty? W poszukiwaniu narzędzia analizy współczesnej artystycznej fotografi i dokumentalnej

100%
Michałowska M.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2011
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issue 2
15-26
EN
A term "photo-text" emphasizes a contemporary change in visual culture researches, where photography is a link between a photographed object and its cultural meaning. In a book titled “Phototextuality” Andrea Noble and Alex Hughes stated that phototextuality plays “between the culturally fabricated nature of photographic artifact and its fundamental indexality, that is, its status as a trace of the real; and evidential manifestation of what has been”. Photo-texts characterised by critical, self-reflective and intertextual attitude towards culture go together with contemporary interests with narration, memory and history. The text is divided into few parts. I consider a status of phototextuality in the first one and present basic researches on textuality of photography in the second. I compare Roland Barthes’s analysis to a John Berger’s and Jean Mohr’s project there. Part three is dedicated to visual studies, where phototextuality is a field of discussion with models of art and popular culture (on an example of Gregor Brandler work). Finally, in the fourth part a critical attitude of photo-texts towards history is presented. In conclusion, photo-texts are regarded as an effective tool of contemporary culture analysis, both on the level of its production and on “reading” level. This reading is not a “free” or “mis” –reading, that tears the meanings off the objects of reference, but rather which “anchorages” those meanings in represented object.
3

Phototextuality as a Phenomenon of Present-Day British Prose

63%
Sudliankova V.
CLEaR
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2016
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vol. 3
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issue 2
9-15
EN
Like many other world literatures, the English literature of the last few decades has been marked by an intensive search for new narrative techniques, for innovative ways and means of arranging a plot and portraying characters. The search has resulted, among other things, into merging literature with visual arts like painting, film and photography. This phenomenon got the name of ekphrasis and has become a popular field of literary research lately. Suffice it to cast a glance at several of the novels published around the year 2000 to see that incorporation of photographic images into fiction allows writers to use new means of organizing literary texts, to employ non-conventional devices of structuring a plot and delineating personages as well as to pose various problems of aesthetic, ethical, ideological nature. We suggest to look briefly at seven novels published in the last three decades to see the various roles assigned to photography by their authors: Out of this World (1988) by Graham Swift, Ulverton (1992) by Adam Thorpe, Master Georgie (1998) by Beryl Bainbridge, The Dark Room (2001) by Rachel Seiffert, The Photograph (2003) by Penelope Lively, Double Vision (2003) by Pat Barker and The Rain Before It Falls (2007) by Jonathan Coe. The scenes of the novels are set widely apart and have time spans of various duration. Ulverton and Master Georgie have a mid-19th century setting, The Dark Room is centered round WWII, Out of this World and The Rain before It Falls contain their heroes’ long life stories, while The Photograph and Double Vision are set at the end of the last century and their characters are our contemporaries. The novels also differ by the particular place photographs occur in the novels, by the roles they play there, as well as by the issues associated with them.
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