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EnglishIn R.L. Stevenson’s The Beach of Falesà (1891) and Conrad’s Heart of Darkness (1899), the optical presentation of the confrontation with the Other is inspired by photographic, and proto-cinematographic representation. In both authors, it illuminates the fragmentariness, precariousness and subjectivity of the Ego, but, whereas in Stevenson the visual sensibility informed by the new visual arts is developed within the particular social context of the anthropological Other, in Conrad it opens to typically Modernist experimental forms and procedures.
Stevenson and Conrad: Colonial Imagination and Photography / MALLARDI R. - In: JOURNAL OF STEVENSON STUDIES. - ISSN 1744-3857. - 6(2009), pp. 97-117.
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| Titolo: | Stevenson and Conrad: Colonial Imagination and Photography |
| Autori: | |
| Data di pubblicazione: | 2009 |
| Rivista: | |
| Citazione: | Stevenson and Conrad: Colonial Imagination and Photography / MALLARDI R. - In: JOURNAL OF STEVENSON STUDIES. - ISSN 1744-3857. - 6(2009), pp. 97-117. |
| Abstract: | In R.L. Stevenson’s The Beach of Falesà (1891) and Conrad’s Heart of Darkness (1899), the optical presentation of the confrontation with the Other is inspired by photographic, and proto-cinematographic representation. In both authors, it illuminates the fragmentariness, precariousness and subjectivity of the Ego, but, whereas in Stevenson the visual sensibility informed by the new visual arts is developed within the particular social context of the anthropological Other, in Conrad it opens to typically Modernist experimental forms and procedures. |
| Handle: | http://hdl.handle.net/11586/12161 |
| Appare nelle tipologie: | 1.1 Articolo in rivista |
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