《冷血中的卡波特》中的摄影、无意识光学与观察

IF 0.1 0 LITERATURE, AMERICAN

Arizona Quarterly Pub Date : 2019-06-01 DOI:10.1353/ARQ.2019.0011

Naomi Miyazawa

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引用次数: 0

摘要

摘要:本文通过探讨卡波特如何将围绕摄影和新闻摄影的当代紧张关系融入到他的作品《冷血》中，为现有的关于卡波特与摄影关系的学术研究做出贡献。这本书的矛盾体裁，他称之为“非虚构小说”，是通过结合摄影的两个不同维度进行实验的:事实报道和作为美术的表达。本文通过对文本中两种通过摄影进行的身份认同进行比较，探讨他如何在摄影上采用两极分化的语言来创造一种新的文学体裁。在此过程中，本文参考了瓦尔特·本雅明(Walter Benjamin)关于摄影的“无意识光学”，讨论了卡波特如何利用“无意识冲动”将杀人犯佩里·史密斯(Perry Smith)描绘成他创伤过去的受害者，将这些残酷的事件重构为美国悲剧。

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Photography, Unconscious Optics, and Observation in Capote’s In Cold Blood

Abstract:This essay contributes to existing scholarly research on Truman Capote’s relationship with photography by exploring how Capote integrated the contemporary tension surrounding photography and photojournalism into his work In Cold Blood. The oxymoronic genre of this book, the “non-fiction novel” as he called it, is experimented with by combining two different dimensions of photography: factual reporting and expression as a fine art. Comparing two types of identifications through photography in the text, this essay examines how he adopted polarized language on photography to create a new literary genre. In doing so, referring to Walter Benjamin’s “unconscious optics” of photography, this essay discusses how Capote used “unconscious impulses” to portray the murderer Perry Smith as a victim of his traumatic past, reconstructing the cruel incidents as an American tragedy.

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来源期刊

Arizona Quarterly LITERATURE, AMERICAN-

CiteScore

0.30

自引率

0.00%

发文量

期刊介绍： Arizona Quarterly publishes scholarly essays on American literature, culture, and theory. It is our mission to subject these categories to debate, argument, interpretation, and contestation via critical readings of primary texts. We accept essays that are grounded in textual, formal, cultural, and theoretical examination of texts and situated with respect to current academic conversations whilst extending the boundaries thereof.