The Paradox of PhotographyThe Paradox of Photography analyzes the discourse on photography by four of the most important modern French poets and theorists (Baudelaire, Breton, Barthes and Valéry). It stresses in particular the importance of this visual language for the development of both new forms of narrative and original critical studies on issues of representation in art. It also reflects upon the integration of photography within the domain of technical modernity while emphasizing its aesthetic identity stemming from the Western tradition of figurative painting. |
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actually aesthetic André Breton André Masson appear art form artist artwork assert avant-garde Barthes Baudelaire Baudelaire’s beauty becomes belongs Benjamin Brassaï Breton century Chambre Claire cinema classical contradiction Corot critical discourse critique Cubism Dada Daguerreotype defined definition Delacroix dimension domain emphasizes entails essay essential everyday existence existential expression fascination Gallimard gaze human identity implies instance issue L'Amour Fou language literary literature lumière Lyotard Marcel Duchamp meaning medium Nadja narrator nature never notion object ongoing opposed original painter painting paradox Paris particular Peinture perspective philosophical pictorial Pièces poet poetic poetry portrait possibility precisely presence primarily profound Public moderne Punctum purely radical reality refers reflects regard relationship representation Roland Barthes romanticism Rosalind Krauss sense sheer social society sort specific stems stresses Surrealism Surrealist technical technique tradition true truly underlines unique Utopia Valéry Valéry’s viewer visible world vision visual Walter Benjamin words writing