little known texts by Lamartine, Gautier, Renan, Gourmont, etc.. Philippe Ortel reads scripts famous Hugo, Baudelaire or Zola from the new image. It's also a way for him to revisit "outsider" from the photograph, many familiar concepts in literary criticism. In turn, the notion of model, the relationship between representation and scene creation, lyricism and technical thought, poem in prose and industries of the image, visual realism and realism literary cliche verbal and visual cliche. More broadly, The book shows how the photographic device becomes, for writers, an imaginary structure they use to think "photographic" art, society and the modern man.
On the question of "aesthetic value" of interest as much philosophy as the art of literary criticism, it is approached from the exemplary case of photogenic, yet little explored notion central to the arts.
Philippe Ortel defines the conditions of photographic aesthetics in the nineteenth century and locates the record in competitive practices, pictorial and literary.
The full text of a report of this book by Nicole Edelman in History Review of the nineteenth century , No. 24, 2002, pages 197-200:
" The emergence of the daguerreotype (1839) and then the photograph is, according to Philippe Ortel, a major caesura in modern history whose cultural impact has yet been measured until later in the late twentieth e century. The invention of Niepce and Daguerre creates a new historical and cultural landmark, it influences painters and writers. The study of the effects of photography on these has yet been long neglected, literature in the era of photography. Investigation of an invisible revolution Philippe Ortel, a lecturer in literature at the University of Toulouse Le Mirail, from a revised and completed thesis, supported under the direction of Philippe Hamon in 1996, seeks to fill this gap. To do this, the author travels the XIX th century, where the 1820 triumph with panoramas préphotographique aesthetics of the "view" to Proust whose work exceeds the century, but plays the role of transition as it integrates into his world of new images as the cinematographer.
In an introduction, Philippe Ortel questions the nature of the invention of photography and offers historical and cultural reasons for the long shelved the analysis of the relationship between text and images. In the nineteenth e century photography is increasing and is spreading widely, gradually losing its "status signal to reach the universe of dumb things" it becomes a useful object recognition but not aesthetics. Ubiquitous in everyday life, it is not for the Beautiful. For these reasons in addition to methodological difficulties: the text that gives and see that the image mean, is not false, but simplistic. The author then circumvents this obstacle by placing himself in the act of reading. "Reading a text is change the signs written in mental world where ideas and images combine in varying proportions. Speaking of visual effects in this case thus is not only a metaphor." As for the image, to understand, this is both the overall view but also the segment. Finally, texts and images are joined in a share of aesthetic pleasures, to information, they dream, they preserve the memory and link beings. The question then to address a central question of the book, namely "how literary works of the nineteenth e century have had to redefine their contents and rules under the pressure of photography."
Philippe Ortel considers necessary to recall what photography changed modes of production, distribution and reception of images. First, automation photography profoundly changed the "role of the hand in the implementation of images" setting of the first devices promotes the art of view and it is only the Kodak (1888) that s. the next becomes feasible. Reproducton the mass of photographs is another factor of change, the photographic image invades the space of the XIX th century, from the daguerreotype - we know the famous lithograph Maurisset, entitled, The daguerréotypomanie, edited in 1839 or that of Daumier, Nadar representative operating from his balloon (1862). There runoff trials, ubiquity of the photographic image that surrounds the literature and multiplying forms of interaction that remain elusive, however. Photography and has no well-defined aesthetic periods, at least before the Pictorialism (circa 1900), such as painting and literature. She collaborates with some writers. So when Maxime du Camp publishes Egypt, Nubia, Palestine and Syria in 1852, Flaubert, though traveling companion, is not involved in anything this album, and his comments on this photographic activity are ironic.
face the gap between photography and the ubiquity of discretion "evidence showing its presence" in the literature, Philippe Ortel mark what he calls an "unspoken model" which specifies the contours. The definition is possible because "the arts of graph were forced to borrow to photography some of its features, and simultaneously define their own territory within the visual cropping it imposed on them."
The author not only defines the idea of the model around the notion of "code" (Barthes), but about "all the means and procedures techniques constitutifs de la pratique destinée à jouer ce rôle". Il prend alors en compte trois niveaux de transposition, et tout d'abord "la scène de création (ou d'énonciation)", très présente dans les œuvres littéraires. "Comparer les pratiques, ce sera donc dégager une praxéologie commune à l'opérateur muni de la chambre noire et à l'écrivain tel qu'il se perçoit et figure son activité à travers ses textes". Puis le cadrage de la réalité constitue un deuxième niveau. Enfin ce cadrage étant conditionné par des médiations cognitives capables d'opérer la sélection, le troisième niveau se place autour of "interpreting", which means the mediation between the artist and reality. "Seeing Things" photographically "it will find in the outside world, configurations near the device, not missing the nature of black boxes (caves and glades, buildings), reflectors (lakes, floors, walls) and traces (fingerprints ...) ".
Around these three levels - scene of utterance context and interpreting - Philippe Ortel organizes his book. The scene creation is specifically linked to the Romantic period which reflects the role of the artist in the world the concept of framing is called by the rather realistic movement, and finally the literature of the 1880s, interest in the human psyche is similar to the view camera, which becomes "a kind of universal interpretation to describe the man and his faculties. "
Literature in the Age of Photography consists of four parts and broken down into eleven chapters. "A new stage of creation," as the first part has three chapters that compare the invention and practice of photography set design developed by the poets Romantic. The second part entitled "Photography and Representation" centers around a crisis of representation that fits around the arts of this crisis, namely photography and prose poems, inventors of a system utterance nine. The four chapters of Part Three - "The photographic model" - instead of considering the "view" and the light in the realistic aesthetic of the 1830s. Hugo, Balzac, Flaubert, Zola find a place. Finally, "Photography and Modernity", last section, explores the profound impact of photography on the attitudes and values, instead of the medium in social crisis in which the writers have been particularly sensitive. The new place in the darkroom and product structure, so the vision of society and changes the design of modern man, so the picture-card, invented by Disdéri (1854), offers a self-image that transforms man nineteenth e century. And, beyond the significance of photogenic and have questioned its aesthetic value.
Reading the book by Philippe Ortel is not easily accessible to the historian, who still has not mastered the many concepts of literary criticism which the author is of course that revisits the same purpose and pleasure. However Literature in the Age of Photography is an "investigation" as its subtitle indicates that takes us through little-known texts as well as major works of writers of the nineteenth th century . The book uncovers the complex relationships between photography and literature, opens on understanding the relationship between literature and communication and more broadly, "shows how the photographic device becomes a structure in the writers imagination they use to think" photographically " art, society and the modern man. "
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