Errant modernism : the ethos of photography in Mexico and Brazil
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Copy number Shelfmark Shelf mark R015703 Ned. Fotomuseum $T GABARA.E 2008
TitleErrant modernism : the ethos of photography in Mexico and Brazil
Author
Place of publicationDurham
PublisherDuke Univ. Press
Year of publication2008
PaginationXII, 357 p.
IllustrationsZwart-Wit en kleur
Dimensions24 x 16 cm.
MaterialTekstboek
Document TypeBook
Series titleA John Hope Franklin Center Book.
ISBN97808223434009780822343233
External document
http://fotomuseum.adlibhosting.com/texts/015703_Esther_Gabara_2008_Errant_Modernism.pdf
Bibliographic NotesIncludes bibliographical references (p. [319]-343) and index.
SubjectLiteratuur en fotografie, Modernisme
Abstract
We cite from the cover:
"Making a vital contribution to the understanding of Latin American modernism, Esther Gabara rethinks the role of photography in the Brazilian and Mexican avant-garde movements of the 1920s and 1930s. During these decades, intellectuals in Mexico and Brazil were deeply engaged with photography. Authors who are now canonical figures in the two countries' literary traditions looked at modern life through the camera in a variety of ways. Mario de Andrade, known as the "pope" of Brazilian modernism, took and collected hundreds of photographs. Salvador Novo, a major Mexican writer, meditated on the medium's aesthetic potential as "the prodigal daughter of the fine arts." Intellectuals acted as tourists and ethnographers, and their images and texts circulated in popular mass media, sharing the page with photographs of the New Woman. In this richly illustrated study, Gabara introduces the concept of a modernist "ethos" to illuminate the intertwining of aesthetic innovation and ethical concerns in the work of leading Brazilian and Mexican literary figures, writers who were also photographers, art critics, and contributors to illustrated magazines during the 1920s and 1930s."
"Gabara argues that Brazilian and Mexican modernists deliberately made photography err: they made this privileged medium of modern representation simultaneously wander and work against its apparent perfection. They flouted the conventions of mainstream modernism so that their aesthetics registered an ethical dimension. Their photographic modernism strayed, dragging along the baggage of modernity lived in a postcolonial site. Through their "errant modernism," avant-garde writers and photographers critiqued the colonial history of Latin America and its twentieth-century formations."
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CONTENTS:
Chapter 1 Landscape: Errant Modernist Aesthetics in Brazil / -
Chapter 2 Portraiture: Facing Brazilian Primitivism / -
Chapter 3 Mediation: Mass Culture, Popular Culture, Modernism / -
Chapter 4 Essay: Las Bellas Artes Pøblicas, Photography, and Gender in Mexico / -
Chapter 5 Fiction: Photographic Fictions, Fictional Photographs / -
Epilogue / Notes / Appendix / Bibliography / Index.
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For facsimile view of table of Contents please click URL
"Making a vital contribution to the understanding of Latin American modernism, Esther Gabara rethinks the role of photography in the Brazilian and Mexican avant-garde movements of the 1920s and 1930s. During these decades, intellectuals in Mexico and Brazil were deeply engaged with photography. Authors who are now canonical figures in the two countries' literary traditions looked at modern life through the camera in a variety of ways. Mario de Andrade, known as the "pope" of Brazilian modernism, took and collected hundreds of photographs. Salvador Novo, a major Mexican writer, meditated on the medium's aesthetic potential as "the prodigal daughter of the fine arts." Intellectuals acted as tourists and ethnographers, and their images and texts circulated in popular mass media, sharing the page with photographs of the New Woman. In this richly illustrated study, Gabara introduces the concept of a modernist "ethos" to illuminate the intertwining of aesthetic innovation and ethical concerns in the work of leading Brazilian and Mexican literary figures, writers who were also photographers, art critics, and contributors to illustrated magazines during the 1920s and 1930s."
"Gabara argues that Brazilian and Mexican modernists deliberately made photography err: they made this privileged medium of modern representation simultaneously wander and work against its apparent perfection. They flouted the conventions of mainstream modernism so that their aesthetics registered an ethical dimension. Their photographic modernism strayed, dragging along the baggage of modernity lived in a postcolonial site. Through their "errant modernism," avant-garde writers and photographers critiqued the colonial history of Latin America and its twentieth-century formations."
*
CONTENTS:
Chapter 1 Landscape: Errant Modernist Aesthetics in Brazil / -
Chapter 2 Portraiture: Facing Brazilian Primitivism / -
Chapter 3 Mediation: Mass Culture, Popular Culture, Modernism / -
Chapter 4 Essay: Las Bellas Artes Pøblicas, Photography, and Gender in Mexico / -
Chapter 5 Fiction: Photographic Fictions, Fictional Photographs / -
Epilogue / Notes / Appendix / Bibliography / Index.
*
For facsimile view of table of Contents please click URL
| Copy number | R015703 |
| Institution name | |
| Shelf mark | $T GABARA.E 2008 |