Abstract
This article uses Roland Barthes's text, Camera Lucida: Reflections on Photography, to critique photography's truth claim to the real by reading the photographic discourse of “indexicality” as a “symptom,” as defined in the work of Slavoj Žižek. The implications of this symptomatic relationship between photography and the real are analyzed in relation to the question of photographic spectatorship on the one hand, and to the inarticulability of affect on the other. In conclusion this article turns to Kant's notion of subjective universality as it is challenged by Barthes's theory of photography.
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