Photopoetics: Sisyphus Outdone, the Apostrophal Subject and the Elusive Image

IF 0.5 Q3 CULTURAL STUDIES
Esther Sánchez-Pardo
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引用次数: 0

Abstract

Abstract In Sisyphus Outdone (2012), Nathanaël’s particular tribute to Albert Camus’ The Myth of Sisyphus (1942), the reader faces a challenging hybrid text in which the verbal and visual dimensions intermingle to produce an idiosyncratic type of narrative. Fragmentary, elliptical, a web of quotations, dictums, and meditations on the difficult condition of the individual in the current image-saturated scenario of the first decades of the 21st century, the text manages to propose a rigorous reflection upon crucial aspects of representation from History and temporality, to the Subject now, photography, catastrophe theory, architecture, failure and translation, among the most salient. Sisyphus, I suggest, exhibits a strategic photopoetics which operates as a self-reflective mechanism contributing to the persistence of an impermanent liminal subject and to the (re)production of textuality and the proliferation of voices against silence.
摄影诗学:西西弗斯、撇号主体与隐逸意象
摘要在纳撒内尔对阿尔伯特·加缪的《西西弗斯的神话》(1942)的特别致敬《西西福斯的结局》(2012)中,读者面临着一个充满挑战的混合文本,在这个文本中,语言和视觉维度交织在一起,产生了一种独特的叙事类型。在21世纪头几十年的当前图像饱和的场景中,文本是支离破碎的、椭圆形的、关于个人困难状况的引文、格言和沉思的网络,它设法对表现的关键方面提出了严格的反思,从历史和时间性,到现在的主题,摄影、灾难理论、建筑,失败和翻译,其中最突出。我认为,西西弗斯表现出一种战略性的光视觉,它作为一种自我反思机制,有助于一个短暂的边缘主体的持续存在,并有助于文本性的(重新)产生和反对沉默的声音的扩散。
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来源期刊
Open Cultural Studies
Open Cultural Studies CULTURAL STUDIES-
CiteScore
0.80
自引率
0.00%
发文量
18
审稿时长
15 weeks
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