ORCID Profile
0000-0001-6434-2358
Current Organisation
University of Sydney
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In Research Link Australia (RLA), "Research Topics" refer to ANZSRC FOR and SEO codes. These topics are either sourced from ANZSRC FOR and SEO codes listed in researchers' related grants or generated by a large language model (LLM) based on their publications.
Comparative Language Studies | Historical Studies | Australian History (excl. Aboriginal and Torres Strait Islander History)
Understanding Australia's Past | Communication Across Languages and Culture |
Publisher: Informa UK Limited
Date: 2002
Publisher: Oxford University Press
Date: 26-05-2021
DOI: 10.1093/ACREFORE/9780190201098.013.1201
Abstract: Since its invention in 1839, photography—its aesthetics, practices, and product—has incited, inspired, and occupied Italian literary writing. Both literature and photography in Italy have responded to social and cultural changes occurring in the country from photography’s first arrival and since Italian unification in 1861. Literature’s relation to photography, therefore, can be understood by looking at the country’s connection to modernity and to its interlinks with the powerful aesthetic and visual perspective typical of Italian culture. Through photography, fiction, non-fiction prose, and poetry have dynamically and often ambiguously engaged discourses and reflections on reality, authenticity, and subjectivity. Such a relationship has offered a multitude of imaginary, emotional, and stylistic possibilities that have implied a challenge to literary realism as well as to photographic claim of truth and objectivity. Early daguerreotype plates of classical ruins, architecture, and landscapes were central to the first creative stage that joined photographic images and written words. At the end of the 19th century, during Italy’s transition from a pre-industrial age to an industrial one, photography appeared to embody the ideal model of that objective relationship to reality longed for by Positivism. The potential power of the camera to record the world also enchanted the veristi writers who established a relationship between resistance and acceptance with photographic image and practice. Concerns about the power of photography to alter the human perception of reality persisted into the 20th century. Nevertheless, the interrelation between literary texts and photography offered further viewpoints that multiplied or expanded perceptions of events, places, and people. Writers and artists also creatively and subversively exploited this relationship, especially thanks to modern printing techniques. During the Fascist period, at a time of crucial cultural transformation and modernization, photography became particularly instrumental in promulgating the regime’s ideology. Through mass circulation of popular illustrated periodicals, photographs also entered sophisticated photo-textual collaborations that developed further in postwar Italy. The documentary nature of the photographic image was challenged during the neorealist period and in erse post–World War II literary works. At the same time, especially since the 1950s, Italian literature lified earlier patterns of fictional investigations, and photography entered more dynamically into discourses and reflections on subjectivity, memory, and language. Following the emergence of international theoretical approaches to photography in the 1970s and 1980s, Italian literature engaged more critically with theory to investigate the social and political impact of photography, as well as its historical and artistic significance. The creative pairing of the photograph’s capacity to offer precise details of the real and simultaneously provoke a significant degree of referential uncertainty, in particular through digital technology, has continued to inspire Italian writers and bring changes in contemporary imaginative reproduction.
Publisher: Informa UK Limited
Date: 02-04-2016
Publisher: Liverpool University Press
Date: 2014
Publisher: Informa UK Limited
Date: 28-11-2016
Publisher: University of Toronto Press
Date: 31-01-2015
Publisher: Informa UK Limited
Date: 02-04-2020
Publisher: Cambridge University Press (CUP)
Date: 08-2017
DOI: 10.1017/MIT.2017.34
Abstract: This article explores the meaning of photographic portraits of First World War Italian migrants, in terms of the tensions that emerge from their visual codes and the extent to which the subject’s interior reality and in iduality might emerge from the reassuring surface imagery of photography and war. By analysing photographs of Italian migrants who either joined Italy’s army or enrolled in their adopted country’s army, we can see how the ‘otherness’ of the war – its artificial face of idealised glory, honour, and ordinariness, as presented through the portrait’s aesthetic codes – supplants the ‘otherness’ of the migrant in idual, that is, their ambivalent life in between different cultures, traditions and identities. Yet, beyond the physical and psychological annihilation of the modern war, the photographic portrait, with its fabricated order and ‘otherness’, becomes, for the migrant soldier, a means of giving coherence to his dislocated existence. The nostalgic visual codes of the photograph, however, evoke an order that is now denied by the destructive mobility and mobilisation of both migration and war.
Publisher: University of Technology, Sydney (UTS)
Date: 27-08-2013
Abstract: In this article I discuss some of the uncanny characteristics of photographic portraits by turning attention to photographs representing Italian migrants in Australia. These are images of mobility through time and space. These photographs also reduced spatial distance, transporting migrants’ own desires and unknown faraway lives into the imagination of the viewers at home. The migrant’s desire is for both a new life (as it will be mostly discussed here) and for familiar affects. It is also—in Lacanian terms—a desire from the Other: the desire to be the object of the Other’s desire, emotions and gaze.In particular, I will analyse studio photographic portraits produced in Australia during the initial period of the Italian diaspora from the end of the nineteenth century to the first three decades of the twentieth century. By drawing mostly from Freud’s definition of the uncanny and Barthes’s reflection on photography, I will look at these photographs as uncanny visual traces—and promoters—of emotions, desire and of a journey to a multi-faced identity.
Publisher: Informa UK Limited
Date: 03-07-2021
Publisher: University of Toronto Press
Date: 31-01-2015
Publisher: Informa UK Limited
Date: 02-01-2017
Publisher: Uopen Journals
Date: 22-12-2014
Publisher: MDPI AG
Date: 25-08-2020
DOI: 10.3390/H9030093
Abstract: Writing (prosaic, non-fictional and (auto)biographical) and photography (as aesthetics and technology, language, material object and practice) can communicate and interrelate in the narration and depiction of physical disorders. The five articles in this Special Issue explore how the body and its pain and disorders can be accessed in projects that either interlace words and images within themselves or that communicate and interrelate with other written or visual texts produced by others. In these photo-textual encounters (or clashes), wounded, tormented, weakened bodies are narrated and mediated, as well as marked, modified and exposed by personal and emotional choices or by ideological and socio-historical circumstances. The articles invite us to reflect on the ideological discourses, issues of power, practice, ethics and agency that any illness implicates, as well as the flexible boundaries of the written and visual language narrating such an overpowering experience.
Publisher: Informa UK Limited
Date: 02-01-2018
Publisher: Informa UK Limited
Date: 02-2010
Publisher: Informa UK Limited
Date: 09-2010
Location: United Kingdom of Great Britain and Northern Ireland
Start Date: 2021
End Date: 2024
Funder: Australian Research Council
View Funded ActivityStart Date: 2021
End Date: 12-2024
Amount: $949,564.00
Funder: Australian Research Council
View Funded Activity