Abstract
This essay covers the relationship among images, in particular photography, and the literary text. The concept of alterity, in the relation between the subject who photograph, and the object, the “other”, which is photographed, is analyzed, as well as the iconoclasm that renders historically difficult the use of images and texts in combined midia. Most of existing studies concern the inclusion of photographs in literary texts, but some relate to photographs with short texts, like haikai, flash fiction and even epigrams. In the first case we study the works of W.G. Sebald that make extensive use of vernacular photographs around which the narratives are developed. In the second case we study the work of Bertolt Brecht, Kriegsfibel, where the author writes one epigram for each image of the WW II collected from the press, with the objective of awakening the critical reading of such images and the news that they refer to. In the end a description is made of the work of the author about Jorge Luis Borges. The work consists of an essay about the themes and obsessions of the Argentinian writer, four short stories inspired in his universe and photographs of Buenos Aires that refer indexically to his work and life.
Highlights
This essay covers the relationship among images, in particular photography, and the literary text
Ele designa a imagem/texto como um gap, uma rachadura ou até uma ruptura na representação; imagemtexto diria respeito a trabalhos ou conceitos que combinam imagem e texto, como as obras apresentadas a seguir; e imagem-texto, com hífen, as relações entre o visual e o verbal
Essa advertência quanto à relação – ou não relação – imagem-texto é explicitada também em algumas obras acima citadas, como O império dos signos, Atlas e Let Us Praise Famous Men. Falando do trabalho fotográfico de Atget, Benjamin comenta sua capacidade de “tirar a maquiagem do real, marca fundamental da autenticidade” devido a “uma extraordinária faculdade de se fundir com as coisas”[21]
Summary
This essay covers the relationship among images, in particular photography, and the literary text. Em que pese essas dificuldades, Mitchell tem apontado para uma “virada visual” (pictorial turn), que podemos ver materializada nas obras de altíssima cultura de Bertold Brecht, de Walker Evans e James Agee, de Alexander Kluge, de W.G. Sebald, de Paulo Leminski, de Marília Garcia, de Anne Carson, de Umberto Eco, de Victor Burgin e muitos outros que ousaram transitar por esse espaço maldito, in between a literatura e as artes visuais.
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