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首页> 外文学位 >Telling pictures: The traffic of images in contemporary French fiction (Claude Simon, Georges Perec, Joseph Mankiewicz, Tanguy Viel).
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Telling pictures: The traffic of images in contemporary French fiction (Claude Simon, Georges Perec, Joseph Mankiewicz, Tanguy Viel).

机译：讲图片：当代法国小说中的图片流量（克劳德·西蒙，乔治·佩雷克，约瑟夫·曼凯维奇，坦u·维尔）。

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摘要

This dissertation seeks to identify the space that literature occupies in a society overrun with commodified visual forms. From the mass-produced objects of optical consumption that abound in Claude Simon's Triptyque (1973), to a spectacular series of forged paintings in Georges Perec's Un Cabinet d'amateur (1979) and the appropriation of Joseph Mankiewicz's film Sleuth in Tanguy Viel's Cinema (1999), a number of recent French novels wrap pictures into the fabric of fiction and collectively enact narrative's coming to terms with the claim that contemporary culture is a "culture of the image." I suggest that these texts incorporate images as part of a typically postmodern strategy that resonates with work by many of the period's most prominent visual artists and their critics, and brings to bear on a set of issues crucial to much cultural production today: namely, the reaction against the hegemonic tenets of Modernism; the celebration of the false in the debate surrounding the "end of art"; the critique of the artwork as commodity; and the crisis of originality in an age where the recycling of culture has become the norm. In spite of their dynamic engagement with the visual arts, however, these texts ultimately remain weary of the status of images in everyday life and constitute a specifically literary corollary to what intellectual historian Martin Jay has termed a "denigration of vision" in contemporary French thought. Mapping the paradoxical position of the visual sign in postmodern culture, they therefore propose that, despite its undeniable ubiquity, the image is generally not to be trusted. In an age in which the practice of reading literature has been eclipsed by the unbridled consumption of popular visual culture, I argue that those novels that tell pictures "write back" in an act of self-preservation and revalorization since, no matter how much they engage the image, they ultimately, and quite simply, do things with words.
机译：本文试图通过文学化的视觉形式来识别文学在一个社会所占据的空间。从克劳德·西蒙（Claude Simon）的三联画（Tripleque）（1973）中大量生产的光学消费品到乔治·佩雷克（Georges Perec）的联合国内阁成员（Un Cabinet d'amateur）（1979）中一系列伪造的绘画作品，以及约瑟夫·曼基维奇（Torman Mankiewicz）的电影《探戈》（Sleuth）在Tanguy Viel的电影院（ （1999年），许多法国近代小说将图片包裹在小说的结构中，并集体叙述叙事，声称当代文化是“图像文化”。我建议将这些文字纳入图像，作为一种典型的后现代策略的一部分，该策略与该时期许多最杰出的视觉艺术家及其批评家的作品产生共鸣，并涉及对当今许多文化生产至关重要的一系列问题：对现代主义霸权主义原则的反应；在围绕“艺术终结”的辩论中庆祝虚假；对艺术品作为商品的评论；在文化循环利用已成为常态的时代，创意危机已成定局。尽管它们与视觉艺术有着千丝万缕的联系，但这些文本最终仍然使他们对日常生活中的图像状态感到厌倦，并且构成了知识史学家马丁·杰伊（Martin Jay）在当代法国思想中所称的“视觉贬低”的特定文学推论。 。他们绘制了视觉符号在后现代文化中的悖论性位置，因此提出，尽管存在不可否认的普遍意义，但图像通常还是不值得信赖的。在这个时代，阅读文学的实践被流行视觉文化的无休止的消费所掩盖，我认为那些告诉图片以自我保护和恢复价值的方式“写回”的小说，因为无论它们多少最终，他们非常简单地用文字来做事。

著录项

  • 作者

    Blatt, Ari Jason.;

  • 作者单位

    University of Pennsylvania.;

  • 授予单位 University of Pennsylvania.;
  • 学科 Literature Romance.
  • 学位 Ph.D.
  • 年度 2005
  • 页码 218 p.
  • 总页数 218
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 世界文学;
  • 关键词

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