Advancing Toward Photography: the Birth of Modernity The
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Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880 Heather Marlene Bennett University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the European History Commons Recommended Citation Bennett, Heather Marlene, "Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880" (2013). Publicly Accessible Penn Dissertations. 734. https://repository.upenn.edu/edissertations/734 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/734 For more information, please contact [email protected]. Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880 Abstract The traumatic legacies of the Paris Commune and its harsh suppression in 1871 had a significant impact on the identities and voter outreach efforts of each of the chief political blocs of the 1870s. The political and cultural developments of this phenomenal decade, which is frequently mislabeled as calm and stable, established the Republic's longevity and set its character. Yet the Commune's legacies have never been comprehensively examined in a way that synthesizes their political and cultural effects. This dissertation offers a compelling perspective of the 1870s through qualitative and quantitative analyses of the influence of these legacies, using sources as diverse as parliamentary debates, visual media, and scribbled sedition on city walls, to explicate the decade's most important political and cultural moments, their origins, and their impact. -
Each Wild Idea: Writing, Photography, History
e “Unruly, energetic, unmastered. Also erudite, engaged and rigorous. Batchen’s essays have arrived at exactly the e a c h w i l d i d e a right moment, when we need their skepticism and imagination to clarify the blurry visual thinking of our con- a writing photography history temporary cultures.” geoffrey batchen c —Ross Gibson, Creative Director, Australian Centre for the Moving Image h In Each Wild Idea, Geoffrey Batchen explores widely ranging “In this remarkable book, Geoffrey Batchen picks up some of the threads of modernity entangled and ruptured aspects of photography, from the timing of photography’s by the impact of digitization and weaves a compelling new tapestry. Blending conceptual originality, critical invention to the various implications of cyberculture. Along w insight and historical rigor, these essays demand the attention of all those concerned with photography in par- the way, he reflects on contemporary art photography, the role ticular and visual culture in general.” i of the vernacular in photography’s history, and the —Nicholas Mirzoeff, Art History and Comparative Studies, SUNY Stony Brook l Australianness of Australian photography. “Geoffrey Batchen is one of the few photography critics equally adept at historical investigation and philosophi- d The essays all focus on a consideration of specific pho- cal analysis. His wide-ranging essays are always insightful and rewarding.” tographs—from a humble combination of baby photos and —Mary Warner Marien, Department of Fine Arts, Syracuse University i bronzed booties to a masterwork by Alfred Stieglitz. Although d Batchen views each photograph within the context of broader “This book includes the most important essays by Geoffrey Batchen and therefore is a must-have for every schol- social and political forces, he also engages its own distinctive ar in the fields of photographic history and theory. -
Clara E. Sipprell Papers
Clara E. Sipprell Papers An inventory of her papers at Syracuse University Finding aid created by: - Date: unknown Revision history: Jan 1984 additions, revised (ASD) 14 Oct 2006 converted to EAD (AMCon) Feb 2009 updated, reorganized (BMG) May 2009 updated 87-101 (MRC) 21 Sep 2017 updated after negative integration (SM) 9 May 2019 added unidentified and "House in Thetford, Vermont" (KD) extensively updated following NEDCC rehousing; Christensen 14 May 2021 correspondence added (MRC) Overview of the Collection Creator: Sipprell, Clara E. (Clara Estelle), 1885-1975. Title: Clara E. Sipprell Papers Dates: 1915-1970 Quantity: 93 linear ft. Abstract: Papers of the American photographer. Original photographs, arranged as character studies, landscapes, portraits, and still life studies. Correspondence (1929-1970), clippings, interviews, photographs of her. Portraits of Louis Adamic, Svetlana Allilueva, Van Wyck Brooks, Pearl S. Buck, Rudolf Bultmann, Charles E. Burchfield, Fyodor Chaliapin, Ralph Adams Cram, W.E.B. Du Bois, Albert Einstein, Dorothy Canfield Fisher, Ralph E. Flanders, Michel Fokine, Robert Frost, Eva Hansl, Roy Harris, Granville Hicks, Malvina Hoffman, Langston Hughes, Robinson Jeffers, Louis Krasner, Serge Koussevitzky, Luigi Lucioni, Emil Ludwig, Edwin Markham, Isamu Noguchi, Maxfield Parrish, Sergei Rachmaninoff, Eleanor Roosevelt, Dane Rudhyar, Ruth St. Denis, Otis Skinner, Ida Tarbell, Howard Thurman, Ridgely Torrence, Hendrik Van Loon, and others Language: English Repository: Special Collections Research Center, Syracuse University Libraries 222 Waverly Avenue Syracuse, NY 13244-2010 http://scrc.syr.edu Biographical History Clara E. Sipprell (1885-1975) was a Canadian-American photographer known for her landscapes and portraits of famous actors, artists, writers and scientists. Sipprell was born in Ontario, Canada, a posthumous child with five brothers. -
Revolution at a Standstill: Photography and the Paris Commune of 1871 Author(S): Jeannene M
Revolution at a Standstill: Photography and the Paris Commune of 1871 Author(s): Jeannene M. Przyblyski Source: Yale French Studies, No. 101, Fragments of Revolution (2001), pp. 54-78 Published by: Yale University Press Stable URL: http://www.jstor.org/stable/3090606 Accessed: 02-04-2018 16:28 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Yale University Press is collaborating with JSTOR to digitize, preserve and extend access to Yale French Studies This content downloaded from 136.152.208.140 on Mon, 02 Apr 2018 16:28:15 UTC All use subject to http://about.jstor.org/terms JEANNENE M. PRZYBLYSKI Revolution at a Standstill: Photography and the Paris Commune of 1871* Revolution is a drama perhaps more than a history, and its pathos is a condition as imperious as its authenticity. -Auguste Blanqui "Angelus Novus'1 Look at them. Heads peering over piles of paving stones, smiling for the camera or squinting down the barrel of a gun (Fig. 1). They stand bathed in the flat light of late winter, suspended between the fact of photographic stillness and the promise of fighting in the streets. It hardly needs saying that in March of 1871 Paris itself was no less be- tween states-half taken apart, half put back together. -
Cara A. Finnegan Professional Summary
Cara A. Finnegan Department of Communication University of Illinois at Urbana-Champaign 3001 Lincoln Hall, MC-456 Email: [email protected] 702 S. Wright St. Telephone: 217-333-1855 Urbana, Illinois 61801 Web: carafinnegan.com Professional Summary University Scholar, University of Illinois system. Professor, Department of Communication, University of Illinois at Urbana-Champaign, 2015-present. Public Voices Fellow with The Op Ed Project, University of Illinois system, 2019-20. Fellow, National Endowment for the Humanities, 2016-17. Associate, Center for Advanced Study, University of Illinois at Urbana-Champaign, 2015-16. Associate Head, Department of Communication, University of Illinois at Urbana-Champaign, 2015-present. (On leave 2016-17.) Conrad Humanities Scholar, College of Liberal Arts and Sciences, University of Illinois at Urbana-Champaign, 2012-2017. Interim Associate Dean, Graduate College, University of Illinois at Urbana-Champaign, January-August 2015. Associate Professor, Department of Communication, University of Illinois at Urbana- Champaign, 2005-2015. Director of Graduate Studies, Department of Communication, University of Illinois at Urbana- Champaign, 2010-2014. Director of Oral and Written Communication (CMN 111-112), University of Illinois at Urbana- Champaign, 1999-2009. Assistant Professor, Department of [Speech] Communication, University of Illinois at Urbana- Champaign, 1999-2005. Affiliated (zero-time) appointments in Center for Writing Studies (2004-present), Program in Art History (2006-present), and Department of Gender and Women’s Studies (2009- present), University of Illinois at Urbana-Champaign. William S. Vaughn Visiting Fellow, Robert Penn Warren Center for the Humanities, Vanderbilt University, 2006-2007. Updated 8.25.20 Finnegan 2 Education Ph. D. Communication Studies, Northwestern University Degree Awarded: June 1999 Concentration: Rhetorical Studies M. -
Download Newsletter
Historic Camera Newsletter © HistoricCamera.com Volume 14 No. 03 Street, Liverpool. The introduction of the Miral and Flexet reflector cameras became a success. By 1904 the firm employed about 18 young workmen. The new building was called the "Miral Works". The firm of Talbot & Eamer dates In 1906, the business was purchased by Mr. back to 1884, F. Strettell. He continued manufacture of the where Mr. Henry same equipment, but with improved and up- Percy Tattersall to-date lines. founded the establishment at The business was became Talbot & Eamer 11 Exchange- Ltd. in 1909 but quickly declined over the street in Blackburn, following few years. Operations completely England. The closed in 1923. relation or derivation of the See our website for completed detail on business's name Talbot & Eamer cameras. Talbot & Eamer to Tattersall is unknown. He was sometimes listed as a scientific instrument maker. Mr. Tattersal was one of the first manufacturers to make box cameras with a bag changing arrangement. During the 1890s, the business prospered with the introduction of the Talmer, Economic, Diamond and Tattersall Patent hand cameras. In 1897 the firm was located at on 58 Ainsworth Street, Blackburn in the county of Lancaster. The exact date of the move from exchange-street is unknown. Due to financial problems Tattersall sold the business to Mr. G. Jones, a native of Ref: Blackburn in 1901. Mr. Jones bought the 1890 July The Photographic news, p. 581 1897 The London Gazette - Page 159 business for his sons and the business was 1904 May, Photographic Dealer, p. 118 1906 British Journal of Photography vol. -
Photographers Women
WOMEN PHOTOGRAPHERS WOMEN BORIS FRIEDEWALD PHOTOGRAPHERS From Julia Margaret Cameron to Cindy Sherman PRESTEL Munich · London · New York In a profession like this it is both an advantage and a dis- advantage to be a woman … From time to time, I have been able to take photos where my male colleagues had failed … Not many women work as photo reporters, a profession that requires absolute health, patience, and curiosity, as well as an open approach, skill, and courage in completely unex - p ec ted situations: all qualities that women possess. Gisèle Freund, 1977 Contents 006 | Introduction 078 | Lady Clementina Hawarden 166 | Sarah Moon 082 | Florence Henri 170 | Inge Morath 086 | Candida Höfer 174 | Zanele Muholi 008 | Berenice Abbott 090 | Evelyn Hofer 178 | Madame d’Ora 012 | Eve Arnold 094 | Graciela Iturbide 182 | Bettina Rheims 016 | Anna Atkins 098 | Lotte Jacobi 186 | Viviane Sassen 020 | Ellen Auerbach 102 | Gertrude Käsebier 190 | Shirana Shahbazi 024 | Jessica Backhaus 108 | Rinko Kawauchi 194 | Cindy Sherman 028 | Tina Barney 112 | Herlinde Koelbl 198 | Dayanita Singh 034 | Lillian Bassman 118 | Germaine Krull 202 | Rosalind Solomon 038 | Sibylle Bergemann 122 | Dorothea Lange 206 | Grete Stern 042 | Margaret Bourke-White 126 | An-My Lê 210 | Ellen von Unwerth 046 | Claude Cahun 130 | Helen Levitt 214 | JoAnn Verburg 050 | Julia Margaret Cameron 134 | Vera Lutter 218 | Carrie Mae Weems 054 | Imogen Cunningham 138 | Vivian Maier 222 | Francesca Woodman 058 | Rineke Dijkstra 142 | Sally Mann 226 | Madame Yevonde 060 | Trude Fleischmann 146 | Hellen van Meene 064 | Martine Franck 150 | Susan Meiselas 068 | Gisèle Freund 154 | Lee Miller 231 | List of Images 070 | Nan Goldin 158 | Lisette Model 237 | Selected Literature 074 | Jitka Hanzlová 162 | Tina Modotti 240 | Imprint Introduction A woman. -
ROOTS of FRENCH PHOTOGRAPHY-Exhibit
THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE. CIRCLE 5-8900 1+91123 ~ 81L FOR WEDNESDAY RELEASE NOTE: Pre3s Preview, Tuesday November 29, 2-5 P«m<, ROOTS OF FRENCH PHOTOGRAPHY, a loan exhibition from the George Eastman House, Inc<>5 in Rochester, New York, will go on view at the Museum of Modern Art, 11 West 53 Street, on November 30 and will remain on the first floor through January 15> 1950* The George East'.nan House has been established as a permanent home for photography, in memory of George Eastman, founder of the Eastman Kodak Company9 Edward Steichen, Director of the Museum's Department of Photography, has assembled from the Eastman House collection an exhibition of the first 30 years of French photography to commemorate the opening of the George Eastman House on November 9« The photographs to be shown are a part of the famous Cromer Collection acquired by the Eastman Kodak Company,* The earliest work to be shown will be daguerreotypes and daguer~> reotype stereos. The cartes-de-visite to be included in the show are by Disderi, the first person to establish photography as a business in Paris. He popularized this early type of portraiture in France's court of Napoleon IIIo Small-sized photographs suitable for use as calling cards, they depicted the visitors gesturing and in dress appropriate for the occasion of the call, as for example with hat tipped and a smile of greeting for social occasions, with umbrella for rainy weather, in traveling costume for leave-taking* Of unusual interest is a series by Delmaet and Durandelle show ing the construction of the Paris Opera House between 1862 and 1875. -
Dorothea Lange 1934
Dorothea Lange 1934 Documentary photographer Dorothea Lange (1895–1965) is best known for her work during the 1930s with Roosevelt's Farm Security Administration (FSA). Born in New Jersey, Lange studied photography at Columbia University, then moved to San Francisco in 1919 earning a living as a successful portrait photographer. In 1935 in the midst of the Great Depression, Lange brought her large-format Graflex camera out of the studio and onto the streets. Her photos of the homeless and unemployed in San Francisco's breadlines, labor demonstrations, and soup kitchens led to a job with the FSA. From 1935 to 1939, Lange's arresting FSA images—drawing upon her strength as a portrait photographer—brought the plight of the nation's poor and forgotten peoples, especially sharecroppers, displaced families, and migrant workers, into the public eye. Her image "Migrant Mother" is arguably the best-known documentary photograph of the 20th century and has become a symbol of resilience in the face of adversity. Lange's reports from the field included not just photographs, but the words of the people with whom she'd spoken, quoted directly. "Somethin' is radical White Angel Breadline, 1933 wrong," one told her; another said, "I don't believe the President (Roosevelt) knows what's happening to us here." Lange also included her own observations. "They have built homes here out of nothing," she wrote, referring to the cardboard and plywood "Okievilles" scattered throughout California's Central Valley. "They have planted trees and flowers. These flimsy shacks represent many a last stand to maintain self-respect." At the age of seven Lange contracted polio, which left her right leg and foot noticeably weakened. -
Landscaping India: from Colony to Postcolony
Syracuse University SURFACE English - Dissertations College of Arts and Sciences 8-2013 Landscaping India: From Colony to Postcolony Sandeep Banerjee Follow this and additional works at: https://surface.syr.edu/eng_etd Part of the English Language and Literature Commons, Geography Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Banerjee, Sandeep, "Landscaping India: From Colony to Postcolony" (2013). English - Dissertations. 65. https://surface.syr.edu/eng_etd/65 This Dissertation is brought to you for free and open access by the College of Arts and Sciences at SURFACE. It has been accepted for inclusion in English - Dissertations by an authorized administrator of SURFACE. For more information, please contact [email protected]. ABSTRACT Landscaping India investigates the use of landscapes in colonial and anti-colonial representations of India from the mid-nineteenth to the early-twentieth centuries. It examines literary and cultural texts in addition to, and along with, “non-literary” documents such as departmental and census reports published by the British Indian government, popular geography texts and text-books, travel guides, private journals, and newspaper reportage to develop a wider interpretative context for literary and cultural analysis of colonialism in South Asia. Drawing of materialist theorizations of “landscape” developed in the disciplines of geography, literary and cultural studies, and art history, Landscaping India examines the colonial landscape as a product of colonial hegemony, as well as a process of constructing, maintaining and challenging it. In so doing, it illuminates the conditions of possibility for, and the historico-geographical processes that structure, the production of the Indian nation. -
Some Pioneer Families of Wisconsin
.. .... -. ,. .. ,. ......i ......- -- SOME PIONEER FAMILIES OF WISCONSIN - An Index - edited by Betty Patterson A Bicentennial Project of the Wisconsin State Genealogical Society, Inc. Madison, Wisconsin 1977 Copyright@1977, Wisconsin State Genealogical Society, Inc. Library of Congress Cata log Card No.: 77-11739 PUBLISHED BY THE WISCONSIN STATE c;:+ICAL SOCIETY INC. PRINTED IN THE UNITED STATES OF AMERICA BY .•.• tht: PRINl'shop OF DIXON, ILLINOIS ' ' This little book is dedicated to those who have sensed the thrill of unraveling their family mystery stories and the quiet satisfaction that comes from traveling vicariously with generations of grandparents long unknown. It is hoped that, at least in Wisconsin, it may make their searching a little easier. ERRATA II p. 2, Line 31 should read: "Spelling was an imprecise art in times past, Line 38 should read: 11 Jorndt, while the other (Fern Smith, #1815 .... 11 p. 126, Lines 70, 71, & 72, the spouses in column 4 should be Ann Eliza Taylor, George J. Beach, and Edward L. Myers. Background of the Pioneer and Century Certificate Project Even before the impetus of the Bicentennial year and the appearance of Alex Haley's Roots, more and more people were becoming interested in genealogy. Fifty years ago, the word was apt to mean an exercise aimed at qualifying for membership in an exclusive society. Today, its meaning has broadened to acconnnodate an increased awareness of the value of family and national heritages. Realization has come, too, that in a time of great social change, the knowledge of these--placing the individual, as it were, in a context--can stabilize and illuminate the sense of self. -
Century British Photography and the Case of Walter Benington by Robert William Crow
Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography.