Writing (prosaic, non-fictional and (auto)biographical) and photography (as aesthetics and techno... more Writing (prosaic, non-fictional and (auto)biographical) and photography (as aesthetics and technology, language, material object and practice) can communicate and interrelate in the narration and depiction of physical disorders. The five articles in this Special Issue explore how the body and its pain and disorders can be accessed in projects that either interlace words and images within themselves or that communicate and interrelate with other written or visual texts produced by others. In these photo-textual encounters (or clashes), wounded, tormented, weakened bodies are narrated and mediated, as well as marked, modified and exposed by personal and emotional choices or by ideological and socio-historical circumstances. The articles invite us to reflect on the ideological discourses, issues of power, practice, ethics and agency that any illness implicates, as well as the flexible boundaries of the written and visual language narrating such an overpowering experience.
This article explores how La ragazza con la Leica (The Girl with the Leica) (2017) by Helena Janeczek implicates photography in a continuous motion from production, human practice, and technical work to circulation and use of the photo-image where forms of untruths-fabrications, manipulation, deception, fiction, conjectures-disclose the authority and essence of an existence. Janeczek retells the story of Gerda Taro-the young German Jewish photographer who died in the Spanish Civil War, and who was Robert Capa's lover-through a combination of narrative layers, games of mirrors, and coincidences. In La ragazza con la Leica, veracity and invention interlock on two main levels: on the level of the protagonists' personal and professional lives and on the level of the photographs in the text. In the book, writing and photography diachronically collaborate in the retrieval and construction of life and history through forms of un-truths-or other truths-that reveal lost, forgotten, or unseen realities and, eventually, auto/biographical coincidences. Résumé Cet article examine comment La ragazza con la Leica (The Girl with the Leica) (2017) de Helena Janeczek implique la photographie dans un mouvement continu de la production, pratique humaine et travail technique à la circulation et l'usage de l'image photographique dans laquelle les formes de non-vérité-invention, manipulation, tromperie, fiction, présomption-dévoilent l'autorité et l'essence d'une existence. Janeczek raconte l'histoire de Gerda Taro-la jeune photographe Juive allemande morte pendant la guerre civile espagnole, qui a été l'amante de Robert Capa-à travers une combinaison de couches narratives, jeux de miroirs et coïncidences. Dans La ragazza con la Leica, la véracité et l'invention se rencontrent à deux niveaux principaux : le niveau des vies personnelles et professionnelles des protagonistes et le niveau des photographies dans le texte. Dans le livre, l'écriture et la photographie collaborent d'un point de vue diachronique pour retracer et construire la vie et l'histoire à travers des formes de non-vérités-ou autres vérités-pour révéler des réalités perdues, oubliées ou invisibles ainsi que des coïncidences (auto)biographiques.
Special Issue on "Photographic Untruths in Fiction", edited by Agnes Neier and Nancy Pedri
This article explores the meaning of photographic portraits of First World War Italian migrants, ... more This article explores the meaning of photographic portraits of First World War Italian migrants, in terms of the tensions that emerge from their visual codes and the extent to which the subject's interior reality and individuality might emerge from the reassuring surface imagery of photography and war. By analysing photographs of Italian migrants who either joined Italy’ s army or enrolled in their adopted country’ s army, we can see how the ‘otherness’ of the war –its artificial face of idealised glory, honour, and ordinariness, as presented through the portrait’ s aesthetic codes –supplants the ‘otherness’ of the migrant individual, that is, their ambivalent life in between different cultures, traditions and identities. Yet, beyond the physical and psychological annihilation of the modern war, the photographic portrait, with its fabricated order and ‘otherness’, becomes, for the migrant soldier, a means of giving coherence to his dislocated existence. The nostalgic visual codes of the photograph, however, evoke an order that is now denied by the destructive mobility and mobilisation of both migration and war.
This article explores the use of photography in the little-known novel La perdita di Diego (1992)... more This article explores the use of photography in the little-known novel La perdita di Diego (1992) by Carla Cerati. Photographs in Cerati’s book appear as material objects that are sought out and scrutinized as part of an active practice of remembering. They are also interrogated for their potential to shed light on an inexplicable loss and make sense of life histories. Death, loss, absence, objectification and reality are issues emerging from the three main types of photographs verbally described in Cerati’s story: photographs of social events occurring in the 1970s, photographic portraits, and domestic photographs. By reading the book alongside Cerati’s ideas on her work and aspects of her private and artistic life, the article discusses the way photographs and narrative participate in performances of memory, the construction of stories and the (re)construction of history in personal, interactive, collective and public contexts.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
This article discusses how female characters are presented through visual means in Melania Mazzuc... more This article discusses how female characters are presented through visual means in Melania Mazzucco’s works. By focusing on selected scenes from Il bacio della Medusa (1996) and Limbo (2012), the article considers how photography—as object, act, and mode of seeing—reflects and supports the delineation of female characters as mobile and vanishing. This novelistic disposition toward the photographic becomes the means to engage the reader in a consideration of the way we perceive reality in the contemporary world.
... migration stories in Anna Maria Riccardi's ... (Rome: Gangemi, 2005) by Anna Mar... more ... migration stories in Anna Maria Riccardi's ... (Rome: Gangemi, 2005) by Anna Maria Riccardi and Pane amaro (Milan: Rizzoli, 2006) by Elena Gianini Belotti.2 These books are hybrid texts, an amalgam of biography, autobiographical writing, history, memoir and fiction. ...
... 13645145.2010.501206 Giorgia Alù * pages 285-302. ... Wet grass, glow of white camellias on t... more ... 13645145.2010.501206 Giorgia Alù * pages 285-302. ... Wet grass, glow of white camellias on the black bush, the new pine just my height. That pure surge of pleasure, flash flood of joyto find the electric jolt of the outside place that corresponds to the insidethat's it. ...
Writing (prosaic, non-fictional and (auto)biographical) and photography (as aesthetics and techno... more Writing (prosaic, non-fictional and (auto)biographical) and photography (as aesthetics and technology, language, material object and practice) can communicate and interrelate in the narration and depiction of physical disorders. The five articles in this Special Issue explore how the body and its pain and disorders can be accessed in projects that either interlace words and images within themselves or that communicate and interrelate with other written or visual texts produced by others. In these photo-textual encounters (or clashes), wounded, tormented, weakened bodies are narrated and mediated, as well as marked, modified and exposed by personal and emotional choices or by ideological and socio-historical circumstances. The articles invite us to reflect on the ideological discourses, issues of power, practice, ethics and agency that any illness implicates, as well as the flexible boundaries of the written and visual language narrating such an overpowering experience.
This article explores how La ragazza con la Leica (The Girl with the Leica) (2017) by Helena Janeczek implicates photography in a continuous motion from production, human practice, and technical work to circulation and use of the photo-image where forms of untruths-fabrications, manipulation, deception, fiction, conjectures-disclose the authority and essence of an existence. Janeczek retells the story of Gerda Taro-the young German Jewish photographer who died in the Spanish Civil War, and who was Robert Capa's lover-through a combination of narrative layers, games of mirrors, and coincidences. In La ragazza con la Leica, veracity and invention interlock on two main levels: on the level of the protagonists' personal and professional lives and on the level of the photographs in the text. In the book, writing and photography diachronically collaborate in the retrieval and construction of life and history through forms of un-truths-or other truths-that reveal lost, forgotten, or unseen realities and, eventually, auto/biographical coincidences. Résumé Cet article examine comment La ragazza con la Leica (The Girl with the Leica) (2017) de Helena Janeczek implique la photographie dans un mouvement continu de la production, pratique humaine et travail technique à la circulation et l'usage de l'image photographique dans laquelle les formes de non-vérité-invention, manipulation, tromperie, fiction, présomption-dévoilent l'autorité et l'essence d'une existence. Janeczek raconte l'histoire de Gerda Taro-la jeune photographe Juive allemande morte pendant la guerre civile espagnole, qui a été l'amante de Robert Capa-à travers une combinaison de couches narratives, jeux de miroirs et coïncidences. Dans La ragazza con la Leica, la véracité et l'invention se rencontrent à deux niveaux principaux : le niveau des vies personnelles et professionnelles des protagonistes et le niveau des photographies dans le texte. Dans le livre, l'écriture et la photographie collaborent d'un point de vue diachronique pour retracer et construire la vie et l'histoire à travers des formes de non-vérités-ou autres vérités-pour révéler des réalités perdues, oubliées ou invisibles ainsi que des coïncidences (auto)biographiques.
Special Issue on "Photographic Untruths in Fiction", edited by Agnes Neier and Nancy Pedri
This article explores the meaning of photographic portraits of First World War Italian migrants, ... more This article explores the meaning of photographic portraits of First World War Italian migrants, in terms of the tensions that emerge from their visual codes and the extent to which the subject's interior reality and individuality might emerge from the reassuring surface imagery of photography and war. By analysing photographs of Italian migrants who either joined Italy’ s army or enrolled in their adopted country’ s army, we can see how the ‘otherness’ of the war –its artificial face of idealised glory, honour, and ordinariness, as presented through the portrait’ s aesthetic codes –supplants the ‘otherness’ of the migrant individual, that is, their ambivalent life in between different cultures, traditions and identities. Yet, beyond the physical and psychological annihilation of the modern war, the photographic portrait, with its fabricated order and ‘otherness’, becomes, for the migrant soldier, a means of giving coherence to his dislocated existence. The nostalgic visual codes of the photograph, however, evoke an order that is now denied by the destructive mobility and mobilisation of both migration and war.
This article explores the use of photography in the little-known novel La perdita di Diego (1992)... more This article explores the use of photography in the little-known novel La perdita di Diego (1992) by Carla Cerati. Photographs in Cerati’s book appear as material objects that are sought out and scrutinized as part of an active practice of remembering. They are also interrogated for their potential to shed light on an inexplicable loss and make sense of life histories. Death, loss, absence, objectification and reality are issues emerging from the three main types of photographs verbally described in Cerati’s story: photographs of social events occurring in the 1970s, photographic portraits, and domestic photographs. By reading the book alongside Cerati’s ideas on her work and aspects of her private and artistic life, the article discusses the way photographs and narrative participate in performances of memory, the construction of stories and the (re)construction of history in personal, interactive, collective and public contexts.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
This article discusses how female characters are presented through visual means in Melania Mazzuc... more This article discusses how female characters are presented through visual means in Melania Mazzucco’s works. By focusing on selected scenes from Il bacio della Medusa (1996) and Limbo (2012), the article considers how photography—as object, act, and mode of seeing—reflects and supports the delineation of female characters as mobile and vanishing. This novelistic disposition toward the photographic becomes the means to engage the reader in a consideration of the way we perceive reality in the contemporary world.
... migration stories in Anna Maria Riccardi's ... (Rome: Gangemi, 2005) by Anna Mar... more ... migration stories in Anna Maria Riccardi's ... (Rome: Gangemi, 2005) by Anna Maria Riccardi and Pane amaro (Milan: Rizzoli, 2006) by Elena Gianini Belotti.2 These books are hybrid texts, an amalgam of biography, autobiographical writing, history, memoir and fiction. ...
... 13645145.2010.501206 Giorgia Alù * pages 285-302. ... Wet grass, glow of white camellias on t... more ... 13645145.2010.501206 Giorgia Alù * pages 285-302. ... Wet grass, glow of white camellias on the black bush, the new pine just my height. That pure surge of pleasure, flash flood of joyto find the electric jolt of the outside place that corresponds to the insidethat's it. ...
Journeys Exposed: Women’s Writing, Photography and Mobility examines contemporary literature writ... more Journeys Exposed: Women’s Writing, Photography and Mobility examines contemporary literature written by women that are all related to Italy in different ways. It argues that photography provides women with a means to expose aspects of their nomadic self and of others’ mobile lives within and beyond the writing process. By resorting to the visual, women individualistically respond to forms of hegemonic power, fragmentation, displacement, loss and marginality and make these experiences key to their creative production.
Since the invention of photography was announced in 1839, photographic aesthetics, practices and ... more Since the invention of photography was announced in 1839, photographic aesthetics, practices and products have inspired literature in its varied forms. The development of the photographic camera in the nineteenth century reinforced an entrenched visual inclination towards things, people and events, a tendency that has always extended to literature. Yet, the relationship between photography and literary culture started at a time when scientific developments also impacted enormously on the understanding of health and disease.
In the last thirty years several academic works have studied the presence of disease (in its many manifestations) in literature (ex: D. Bevan, 1993; M. Healy, 2001; C. Lawlor, 2007), as well as the many forms of narratives about illness (ex: G. T. Couser 1997; E. Avrahami, 2007; A. Jurecic, 2012). At the same time, studies in visual culture have investigated how photography has engaged—artistically, scientifically, ethically – with sickness and ailment (S. B. Burns, 2007; C. Squiers, 2005). The ways writing and photography have encountered, clashed and collaborated in the narration of the body and its disorders, since the nineteenth century, is nevertheless a topic scarcely explored.
For this Special Issue of Humanities, contributions are invited to reflect on how the relationship between photography (as aesthetics, language, material object and practice) and diverse literary genres (prosaic and poetic, non-fictional, auto/biographical and novelistic forms) respond to:
psychological and moral illness;
chronic illness;
mental illness;
disability and damaged bodies;
imaginary and enacted illnesses;
sickness as metaphor;
malaise and collective illness;
disease and fear;
being ill and healing in the digital age.
The Issue will supplement the burgeoning field of literature & photography studies (ex: J.M Rabb, 1995; M. Bryant 1996; T.D. Adams, 2000; A. Safford, 2010) by exploring specifically how writing and photography have communicated and interrelated in the narration and depiction of physical, moral and mental disorders from the invention of photography up to today. How do photo-textual relations corroborate specific ideological discourses related to disease and sickness? How is illness domesticated, localised, celebrated or disowned through the multifarious interrelations of the verbal and the visual?
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https://www.mdpi.com/journal/humanities/special_issues/photography
This article explores how La ragazza con la Leica (The Girl with the Leica) (2017) by Helena Janeczek implicates photography in a continuous motion from production, human practice, and technical work to circulation and use of the photo-image where forms of untruths-fabrications, manipulation, deception, fiction, conjectures-disclose the authority and essence of an existence. Janeczek retells the story of Gerda Taro-the young German Jewish photographer who died in the Spanish Civil War, and who was Robert Capa's lover-through a combination of narrative layers, games of mirrors, and coincidences. In La ragazza con la Leica, veracity and invention interlock on two main levels: on the level of the protagonists' personal and professional lives and on the level of the photographs in the text. In the book, writing and photography diachronically collaborate in the retrieval and construction of life and history through forms of un-truths-or other truths-that reveal lost, forgotten, or unseen realities and, eventually, auto/biographical coincidences. Résumé Cet article examine comment La ragazza con la Leica (The Girl with the Leica) (2017) de Helena Janeczek implique la photographie dans un mouvement continu de la production, pratique humaine et travail technique à la circulation et l'usage de l'image photographique dans laquelle les formes de non-vérité-invention, manipulation, tromperie, fiction, présomption-dévoilent l'autorité et l'essence d'une existence. Janeczek raconte l'histoire de Gerda Taro-la jeune photographe Juive allemande morte pendant la guerre civile espagnole, qui a été l'amante de Robert Capa-à travers une combinaison de couches narratives, jeux de miroirs et coïncidences. Dans La ragazza con la Leica, la véracité et l'invention se rencontrent à deux niveaux principaux : le niveau des vies personnelles et professionnelles des protagonistes et le niveau des photographies dans le texte. Dans le livre, l'écriture et la photographie collaborent d'un point de vue diachronique pour retracer et construire la vie et l'histoire à travers des formes de non-vérités-ou autres vérités-pour révéler des réalités perdues, oubliées ou invisibles ainsi que des coïncidences (auto)biographiques.
Special Issue on "Photographic Untruths in Fiction", edited by Agnes Neier and Nancy Pedri
https://www.mdpi.com/journal/humanities/special_issues/photography
This article explores how La ragazza con la Leica (The Girl with the Leica) (2017) by Helena Janeczek implicates photography in a continuous motion from production, human practice, and technical work to circulation and use of the photo-image where forms of untruths-fabrications, manipulation, deception, fiction, conjectures-disclose the authority and essence of an existence. Janeczek retells the story of Gerda Taro-the young German Jewish photographer who died in the Spanish Civil War, and who was Robert Capa's lover-through a combination of narrative layers, games of mirrors, and coincidences. In La ragazza con la Leica, veracity and invention interlock on two main levels: on the level of the protagonists' personal and professional lives and on the level of the photographs in the text. In the book, writing and photography diachronically collaborate in the retrieval and construction of life and history through forms of un-truths-or other truths-that reveal lost, forgotten, or unseen realities and, eventually, auto/biographical coincidences. Résumé Cet article examine comment La ragazza con la Leica (The Girl with the Leica) (2017) de Helena Janeczek implique la photographie dans un mouvement continu de la production, pratique humaine et travail technique à la circulation et l'usage de l'image photographique dans laquelle les formes de non-vérité-invention, manipulation, tromperie, fiction, présomption-dévoilent l'autorité et l'essence d'une existence. Janeczek raconte l'histoire de Gerda Taro-la jeune photographe Juive allemande morte pendant la guerre civile espagnole, qui a été l'amante de Robert Capa-à travers une combinaison de couches narratives, jeux de miroirs et coïncidences. Dans La ragazza con la Leica, la véracité et l'invention se rencontrent à deux niveaux principaux : le niveau des vies personnelles et professionnelles des protagonistes et le niveau des photographies dans le texte. Dans le livre, l'écriture et la photographie collaborent d'un point de vue diachronique pour retracer et construire la vie et l'histoire à travers des formes de non-vérités-ou autres vérités-pour révéler des réalités perdues, oubliées ou invisibles ainsi que des coïncidences (auto)biographiques.
Special Issue on "Photographic Untruths in Fiction", edited by Agnes Neier and Nancy Pedri
In the last thirty years several academic works have studied the presence of disease (in its many manifestations) in literature (ex: D. Bevan, 1993; M. Healy, 2001; C. Lawlor, 2007), as well as the many forms of narratives about illness (ex: G. T. Couser 1997; E. Avrahami, 2007; A. Jurecic, 2012). At the same time, studies in visual culture have investigated how photography has engaged—artistically, scientifically, ethically – with sickness and ailment (S. B. Burns, 2007; C. Squiers, 2005). The ways writing and photography have encountered, clashed and collaborated in the narration of the body and its disorders, since the nineteenth century, is nevertheless a topic scarcely explored.
For this Special Issue of Humanities, contributions are invited to reflect on how the relationship between photography (as aesthetics, language, material object and practice) and diverse literary genres (prosaic and poetic, non-fictional, auto/biographical and novelistic forms) respond to:
psychological and moral illness;
chronic illness;
mental illness;
disability and damaged bodies;
imaginary and enacted illnesses;
sickness as metaphor;
malaise and collective illness;
disease and fear;
being ill and healing in the digital age.
The Issue will supplement the burgeoning field of literature & photography studies (ex: J.M Rabb, 1995; M. Bryant 1996; T.D. Adams, 2000; A. Safford, 2010) by exploring specifically how writing and photography have communicated and interrelated in the narration and depiction of physical, moral and mental disorders from the invention of photography up to today. How do photo-textual relations corroborate specific ideological discourses related to disease and sickness? How is illness domesticated, localised, celebrated or disowned through the multifarious interrelations of the verbal and the visual?
Abstracts of 250 words should be submitted by 1 February 2019: giorgia.alu@sydney.edu.au
Final submissions to be received by 1 October 2019.
Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website.