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BORDERS of the VISIBLE • II Intersections Between Literature and Photography Comparative Studies in Modernism CoSMo N. 14 • 2019 | 2281-6658 BORDERS OF THE VISIBLE • II Intersections Between Literature and Photography edited by Luigi Marfè UNIVERSITÀ DEGLI STUDI DI TORINO ALMA UNIVERSITAS TAURINESIS CoSMo Comparative Studies in Modernism n. 14 (Spring) • 2019 COMITATO DI DIREZIONE Direttore responsabile Maria Teresa GIAVERI, Università di Torino Direttori editoriali Giuliana FERRECCIO, Vicedirettore, Università di Torino Franca BRUERA, Università di Torino Roberto GILODI, Università di Torino Pier Giuseppe MONATERI, Università di Torino Federico VERCELLONE, Università di Torino JOURNAL MANAGERS Chiara LOMBARDI, Università di Torino Luigi MARFÈ, Università di Padova Alberto MARTINENGO, Scuola Normale Superiore, Pisa Roberto MERLO, Università di Torino Daniela NELVA, Università di Torino COMITATO DI REDAZIONE Mauro BALESTRIERI, Krizia BONAUDO, Mattia CRAVERO, Davide GIANTI, Salvatore SPAMPINATO, Gregorio TENTI COMITATO SCIENTIFICO Elena AGAZZI, Università di Bergamo Ann BANFIELD, University of California, Berkeley Alessandro BERTINETTO, Università di Torino Olaf BREIDBACH†, Universität Jena Jens BROCKMEIER, The American University of Paris Andrei BRONNIKOV, Independent Scholar, Amsterdam Laurence CAMPA, Université Paris Nanterre Nadia CAPRIOGLIO, Università di Torino Andrea CAROSSO, Università di Torino Daniela CARPI, Università di Verona Melita CATALDI, Università di Torino Remo CESERANI†, Stanford University Anna CHIARLONI, Università di Torino Gaetano CHIURAZZI, Università di Torino Cristina COSTANTINI, Università di Perugia Enrico DE ANGELIS, Università di Pisa Alexander ETKIND, European University Institute, Florence Daniela FARGIONE, Università di Torino Elio FRANZINI, Università di Milano Massimo FUSILLO, Università dell’Aquila Sergio GIVONE, Università di Firenze William MAR X, Université Paris Nanterre Luigi MARFÈ, Università di Padova Alberto MARTINENGO, Scuola Normale Superiore, Pisa Manfred PFISTER, Freie Universität, Berlin Chiara SANDRIN, Università di Torino Gianni Carlo SCIOLLA†, Università di Torino Chiara SIMONIGH, Università di Torino EDITORE Università di Torino – Centro Studi “Arti della Modernità” c/o Dipartimento di Studi Umanistici Via S. Ottavio 20, 10124 Torino http://centroartidellamodernita.it/ CONTATTI sito web: htt p://w w w.ojs.unito.it/index .php/CoSMO/ e-mail: [email protected] © 2012 Centro Studi “Arti della Modernità” ISSN: 2281-6658 CoSMo Comparative Studies in Modernism n. 14 (Spring) • 2019 SOMMARIO BORDERS OF THE VISIBLE • II INTERSECTIONS BETWEEN LITERATURE AND PHOTOGRAPHY 7 LUIGI MARFÈ Introduction HEADLINES 13 W.J.T. MITCHELL Present Tense Time, Madness, and Democracy FOCUS 27 ANGELA BREIDBACH Between Allegory and Modern Montage The Images in W.G. Sebald’s Vertigo 41 EPIFANIO AJELLO Per una autobiografia fotografica 53 MARGARET OWENS Photography as Automaton Roland Barthes and Fellini’s Mechanical Doll 67 JULIE GAILLARD In Search of “the Aleph of the Other” Photographic Archive and Narrative Structuring in the Biographic Prose of Édouard Levé 77 AYŞE EREK, ESRA ALMAS Photographs, Memories, Monuments and Movements Black and White Istanbul in the work of Orhan Pamuk and Ara Güler 87 FEDERICO FASTELLI Senso e funzioni della fotografia nella poesia verbo-visiva 97 LAURENCE PETIT Brief Lives, d’Anita Brookner (1990) ou L’Invitation au dernier voyage 107 SERENA FUSCO “Fading into Unborn Photographs” Narrativising/Allegorising the Historical Object in Michael Ondaatje’s Fiction 3 CoSMo Comparative Studies in Modernism n. 14 (Spring) • 2019 123 RODRIGO FONTANARI L’Instant devient l’instant dans la photographie Haruo Ohara et le haïkaï PERCORSI 137 GABRIELLA BOLOGNA Henry James e Alvin Langdon Coburn L’autorità dello scrittore e la libertà del fotografo nei frontespizi per la New York Edition 147 ANNALISA FEDERICI “Truth! Truth! Truth!” Image and Text, Fact and Fiction in Virginia Woolf’s Orlando 161 SALVATORE SPAMPINATO “L’arte dell’osservazione” La Kriegsfibel di Brecht e le sue edizioni italiane: prospettiva, intermedialità e didattica 181 SOPHIE MAYR The Many Faces of Sylvia Plath Photographs in Literary Biographies 189 SILVIA MAZZUCCHELLI La realtà, la scena e la tragedia Lo sguardo di Antigone nei romanzi e nelle fotografie di Carla Cerati 199 SPENCER MEEKS Affective Images The Transformative Power of Photography in Siri Hustvedt’s The Blindfold 209 JIN YOUNG HWANG La Croisée des regards entre littérature et photographie Han Kang et Cha Mihye 221 VALERIA CAMMARATA Ombre di memoria Immagini e storie di migranti da Richard Mosse a Georges Perec 237 MARIA FESTA Black and White Photographs in Caryl Phillips’s, Andrea Levy’s and Teju Cole’s Literary Texts 247 EMANUELE CRESCIMANNO Il volto fotografato Logiche di potere e strategie di resistenza 257 SILVIA VERDIANI Fra lingua e immagini Introduzione alla linguistica visuale LETTURE 275 TERESA PRUDENTE Virginia Woolf’s “Imageographie” On New Paths in the Modernist Text-Image Interconnection 4 CoSMo Comparative Studies in Modernism n. 13 (Fall) • 2018 285 LORENZO DEVILLA, RÉMY POQUIER Vendredi Plurilingue 303 LEE HERRMAN “Bothersome Forms, of Course, Were Mechanically Exterminated” Colonialism, Science, Racial Dysgenia, and Extermination in the Work of H.P. Lovecraft 5 CoSMo Comparative Studies in Modernism n. 14 (Spring) • 2019 BORDERS OF THE VISIBLE • II L. MARFÈ • Introduction Luigi Marfè INTRODUCTION Following up, and enlarging on Borders of the Visible: Intersections between Literature and Photography - I, the present collection of essays further explores the paths meandering between these two fields of artistic expression, adding a few essays devoted to tackling questions related to contemporary literature, art and culture. As in the previous volume, this collection presents a selection of the papers of the international conference Borders of the Visible: Intersections between Literature and Photograph, organised by the Centro Studi “Arti della Modernità” and held in Turin in November 2017. Both volumes explore the ways in which the borders traditionally separating the language of literature from the language of pictures are crossed and bridged, giving rise to all sorts of interactions, contaminations, hybridising which are examined from various scholarly angles, in a comparative and interdisciplinary way. This issue opens with a new section, Headlines, which will host, from now on, a choice of essays by international leading scholars focusing on theoretical questions that may have been at the heart of a lively critical debate or displayed particular relevance to current events. W.J.T. Mitchell, the author of our first “headline”, has contributed an essay focusing on the “images” and the “affects” that surround “temporality”. The author reflects on time as an “experiential and qualitative category”, placing his theme in a period of American political culture that has become “tense, uncertain, ‘interesting,’ and (above all) crazy”. Our Focus is explicitly devoted to “borders of the visible” and the critical questions related to the intersections between literature and photography. The essays of this section investigate the meaning and uses of photographs in different literary genres, such as autofiction, historical narrative, fictional representation of places, and experiments of visual poetry. They focus, among the others, on the works of such authors as Roland Barthes, W.G. Sebald, Giorgio Agamben, Ohran Pamuk, and Michael Ondaatje. Angela Breidbach analyses the images inserted in W.G. Sebald’s Schwindel. Gefühle (1990). At first sight, they work as their stories’ devices, but they soon 7 CoSMo Comparative Studies in Modernism n. 14 (Spring) • 2019 BORDERS OF THE VISIBLE • II L. MARFÈ • Introduction reveal a manipulative power. Sebald’s intermediality is more than a mix of genres. Images deploy their own critical impact, while the story meanders around them: absence does not come as abstraction, but through ostensive figuration. Epifanio Ajello explores a zone of life writing which is still almost uncharted: the photographic memoir, whose authors collect and order pictures to shape an autobiographical narrative. His analysis takes into account a prototypical text of this literary genre, Giorgio Agamben’s Autoritratto nello studio (2017). Margaret Owens comments on a passage of La Chambre claire (1980), focusing on an automaton in Fellini’s Casanova (1976), to describe Barthes’s notion of photography as a form of “shared hallucination.” The automaton is linked to a longstanding topos in Western culture: a Pygmalionesque fantasy in which the artificial woman metaphorically embodies the allure of visual media. Julie Gaillard focuses on the work of the photographer and writer Édouard Levé and on his poetics of the portrait as a genre on the threshold between the visible and the invisible. In works such as Autoportrait (2005) and Suicide (2008), Levé combines photographs and texts in order to reevoke imperceptible fragments of the past and thus to “translate time into space”. Ayse Erek and Esra Almas discuss Orhan Pamuk’s use of photography in Istanbul: Memories and the City (2003), a portrait of the writer as a young artist accompanied with black-and-white photographs of the city. Photographs provide documentary evidence of the past and, at the same time, endow the melancholy of narrative with a reality effect that goes beyond words. Federico Fastelli analyses the essential role of photography in Italian visual poetry. In the work of authors such as Lamberto Pignotti, Luciano Ori, Eugenio Miccini, and Lucia Marcucci,
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