Transmediality in Symbolist and Surrealist Photo-Literature

Walden, Lauren (2017) Transmediality in Symbolist and Surrealist Photo-Literature. Open Cultural Studies, 1 (1). pp. 214-231. ISSN 2451-3474

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Abstract

The fin de siècle period throughout Europe undoubtedly cultivated the “interdisciplinary principle of la fraternité des arts” (Genova 158). Literature, poetry, visual art and music superseded former hierarchical structures favouring the painterly. Correspondence between intellectuals would cross-fertilise between disparate realms through publishing in interdisciplinary cultural journals that were distributed internationally across cosmopolitan cityscapes. The ability for the photograph to be mechanically reproduced, postulated by Walter Benjamin in 1936, allowed for one of the first transmedial aesthetics, to become known as photo-literature. Previously, reproduction had been confined to the textual realm. Bruges La Morte by Georges Rodenbach was the first ever work of photo-literature to commingle these respective art forms, sixty-five years after the invention of photography in 1827. Rodenbach’s novella was first published in 1892 at the height of the symbolist movement which spanned literature, painting, photography and more. Its pseudo-progeny, Andre Breton’s surrealist text Nadja was published in 1928 depicting the author’s meandering through the Parisian cityscape. In these works, text and image engender a sense of cosmopolitanism through the function of transposition.

Item Type: Article
Identification Number: https://doi.org/10.1515/culture-2017-0020
Date: 17 November 2017
Uncontrolled Keywords: Surrealism; Symbolism, Photo-Literature, Cosmopolitanism.
Subjects: R100 French studies
V300 History by topic
W100 Fine Art
Divisions: Faculty of Arts, Design and Media > School of Art
Depositing User: Lauren Walden
Date Deposited: 23 Apr 2020 07:34
Last Modified: 23 Apr 2020 07:34
URI: http://www.open-access.bcu.ac.uk/id/eprint/9159

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