Photographic Literacy : : Cameras in the Hands of Russian Authors / / Katherine M. H. Reischl.
Photography, introduced to Russia in 1839, was nothing short of a sensation. Its rapid proliferation challenged the other arts, including painting and literature, as well as the very integrity of the self. If Leo Tolstoy and Fyodor Dostoevsky greeted the camera with skepticism in the nineteenth cent...
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Superior document: | Title is part of eBook package: De Gruyter Cornell University Press Complete eBook-Package 2018 |
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Place / Publishing House: | Ithaca, NY : : Cornell University Press, , [2018] ©2018 |
Year of Publication: | 2018 |
Language: | English |
Online Access: | |
Physical Description: | 1 online resource (320 p.) :; 20 color photos, 78 b&w halftones |
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Other title: | Frontmatter -- CONTENTS -- ILLUSTRATIONS -- NOTE ON TRANSLITERATION AND TRANSLATION -- INTRODUCTION. Chasing Pushkin’s Photograph -- 1. TOLSTOY IN THE AGE OF HIS TECHNOLOGICAL REPRODUCIBILITY -- 2. THE DIFFUSION OF DOMESTICATED PHOTOGRAPHY -- 3. MICROGEOGRAPHY, MACROWORLD -- 4. LOOK LEFT, YOUNG MAN! The International Exchange of Photo-Narratives -- CONCLUSION. Nabokov, Solzhenitsyn, and the Anxiety of Photographic Authorship -- NOTES -- INDEX |
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Summary: | Photography, introduced to Russia in 1839, was nothing short of a sensation. Its rapid proliferation challenged the other arts, including painting and literature, as well as the very integrity of the self. If Leo Tolstoy and Fyodor Dostoevsky greeted the camera with skepticism in the nineteenth century, numerous twentieth-century authors welcomed it with a warm embrace. As Katherine M. H. Reischl shows in Photographic Literacy, authors as varied as Leonid Andreev, Ilya Ehrenburg, and Alexander Solzhenitsyn picked up the camera and reshaped not only their writing practices but also the sphere of literacy itself.For these authors, a single photograph or a photograph as illustration is never an endpoint; their authorial practices continually transform and animate the frozen moment. But just as authors used images to shape the reception of their work and selves, Russian photographers—including Sergei Prokudin-Gorsky and Alexander Rodchenko—used text to shape the reception of their visual work. From the diary to print, the literary word imbues that photographic moment with a personal life story, and frames and reframes it in the writing of history. In this primer on photographic literacy, Reischl argues for the central place that photography has played in the formation of the Russian literary imagination over the course of roughly seventy years. From image to text and back again, she traces the visual consciousness of modern Russian literature as captured through the lens of the Russian author-photographer. |
Format: | Mode of access: Internet via World Wide Web. |
ISBN: | 9781501730481 9783110606553 9783110604252 9783110603255 9783110604184 9783110603187 |
DOI: | 10.7591/9781501730481 |
Access: | restricted access |
Hierarchical level: | Monograph |
Statement of Responsibility: | Katherine M. H. Reischl. |