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A Familiar Strangeness : American Fiction and the Language of Photography, 1839-1945.

By: Material type: TextTextPublisher: Athens : University of Georgia Press, 2008Copyright date: ©2008Edition: 1st edDescription: 1 online resource (302 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780820337418
Subject(s): Genre/Form: Additional physical formats: Print version:: A Familiar StrangenessDDC classification:
  • 810.9
LOC classification:
  • PS374.P43 B87 2008
Online resources:
Contents:
Intro -- Contents -- Acknowledgments -- Introduction. "Likeness Men": Fiction and Photography -- ONE: Nature Herself: Hawthorne's Self-Representation -- TWO: Resembling Oneself: James's Photographic Types -- THREE: Vanishing Race: Faulkner's Photographic Face -- FOUR: "Seeing Myself like Somebody Else": Hurston's Similarities -- Conclusion. Likeness Has Ceased to Be of Any Help: Fiction and Film -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Z.
Summary: Challenges the notion of a break between nineteenth-century realism and twentieth-century modernism based on the two movements' supposedly differing relation to the camera. Burrows argues that just as modernist fiction questions the link between visuality and knowledge, so realist fiction makes the world less knowable by making it more visible.
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Intro -- Contents -- Acknowledgments -- Introduction. "Likeness Men": Fiction and Photography -- ONE: Nature Herself: Hawthorne's Self-Representation -- TWO: Resembling Oneself: James's Photographic Types -- THREE: Vanishing Race: Faulkner's Photographic Face -- FOUR: "Seeing Myself like Somebody Else": Hurston's Similarities -- Conclusion. Likeness Has Ceased to Be of Any Help: Fiction and Film -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Z.

Challenges the notion of a break between nineteenth-century realism and twentieth-century modernism based on the two movements' supposedly differing relation to the camera. Burrows argues that just as modernist fiction questions the link between visuality and knowledge, so realist fiction makes the world less knowable by making it more visible.

Description based on publisher supplied metadata and other sources.

Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.

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