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City correspondence: Text and photog...

D'Andrea, Michael John.

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City correspondence: Text and photograph in modern Paris and New York (France).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	City correspondence: Text and photograph in modern Paris and New York (France)./
作者:	D'Andrea, Michael John.
面頁冊數:	262 p.
附註:	Adviser: Vincent Farenga.
Contained By:	Dissertation Abstracts International59-08A.
標題:	Architecture. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9902792
ISBN:	0591999285

City correspondence: Text and photograph in modern Paris and New York (France).
D'Andrea, Michael John.

City correspondence: Text and photograph in modern Paris and New York (France). - 262 p.

Adviser: Vincent Farenga.

Thesis (Ph.D.)--University of Southern California, 1998.

This dissertation is not a historical study of ways literary texts and photographs document modern Paris and New York. Instead, it examines how we can interpret texts and photographs as attempts to recover meaning and reverse the dehumanizing aspects of an urban environment. Part I compares poems from Baudelaire's "Tableaux parisiens" (Les Fleurs du Mal) and prose poems from Spleen de Paris with the Second Empire city photographs of Charles Marville. Part II juxtaposes passages from John Dos Passos' Manhattan Transfer with photographs by Alfred Stieglitz, Alvin Langdon Coburn, and Berenice Abbott. Methodologically, the dissertation identifies in these texts and photographs "points of loss," or experiences of alienation, dehumanization, and the inability to communicate as catalysts for the contemplation of individual identity in the modern city. Chapter One, after an introduction to the Haussmannian transformation of the "aura" and "gaze." Chapter Two applies theory to readings of poem and photograph.

ISBN: 0591999285Subjects--Topical Terms:

523581
Architecture.

City correspondence: Text and photograph in modern Paris and New York (France).
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520 $a This dissertation is not a historical study of ways literary texts and photographs document modern Paris and New York. Instead, it examines how we can interpret texts and photographs as attempts to recover meaning and reverse the dehumanizing aspects of an urban environment. Part I compares poems from Baudelaire's "Tableaux parisiens" (Les Fleurs du Mal) and prose poems from Spleen de Paris with the Second Empire city photographs of Charles Marville. Part II juxtaposes passages from John Dos Passos' Manhattan Transfer with photographs by Alfred Stieglitz, Alvin Langdon Coburn, and Berenice Abbott. Methodologically, the dissertation identifies in these texts and photographs "points of loss," or experiences of alienation, dehumanization, and the inability to communicate as catalysts for the contemplation of individual identity in the modern city. Chapter One, after an introduction to the Haussmannian transformation of the "aura" and "gaze." Chapter Two applies theory to readings of poem and photograph.
520 $a A brief interlude associates the Paris chapters with the New York section's focus on the skyscraper through the Statue of Liberty and its "Colossal Vision." Chapter Three briefly chronicles the cultural dynamics and physical characteristics of the New York skyscraper, symbol of urban "progress" and human disintegration in Manhattan Transfer. Chapter Four tracks the artistic development of Dos Passos and examines the ironic suggestiveness of an impotent language (commercial and interpersonal) within the debilitating Manhattan cityscape; Dos Passos' distortion of traditional narrative and his journalist-protagonist's loss of faith in language serve as defamiliarizing motifs that focus our critical gaze on the oppressive city and the capacity to perceive it. The final chapter identifies these ideas as a "figurative aphasia" in the novel and also in the photographs' inherent void of narrative, thereby effecting a "negative ephiphany" through the viewer's instinctive imposition of narrative onto the frozen details of the image. Hence, it is argued that the response of the reader/viewer to these experiences of loss redeems them paradoxically by provoking a humanizing perspective on the modern city.
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