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|Genre/Form:||Criticism, interpretation, etc|
|Material Type:||Government publication, State or province government publication, Internet resource|
|Document Type:||Book, Internet Resource|
|All Authors / Contributors:||
|Description:||xii, 287 p. ; 24 cm.|
|Contents:||Introduction. "Likeness men" : fiction and photography --
1. Nature herself : Hawthorne's self-representation --
2. Resembling oneself : James's photographic types --
3. Vanishing race : Faulkner's photographic face --
4. "Seeing myself like somebody else" : Hurston's similarities --
Conclusion. Likeness has ceased to be of any help : fiction and film.
Burrows argues for the centrality of photography to a set of writers commonly thought of as hostile to the camera-including Nathaniel Hawthorne, Henry James, William Faulkner, and Zora Neale Hurston. The photographic metaphors and allusions to the medium that appear throughout these writers' work demonstrate the ways in which one representational form actually influences another--by changing how artists conceive of identity, history, and art itself.
A Familiar Strangeness thus challenges the notion of an absolute break between nineteenth-century realism and twentieth-century modernism, a break that typically centers precisely on the two movements' supposedly differing relation to the camera. Just as modernist fiction interrupts and questions the link between visuality and knowledge, so American realist fiction can be understood as making the world less knowable precisely by making it more visible."--pub. desc.
- American fiction -- 19th century -- History and criticism.
- Literature and photography -- United States.
- Modernism (Literature)
- American fiction -- 20th century -- History and criticism.
- Realism in literature.
- Visual perception in literature.
- American fiction.
- Literature and photography.
- Visual perception.
- United States.