Article | Kulturstudier i Sverige. Nationell forskarkonferens | John Ruskins Daguerreotypes of Venice

Title:
John Ruskins Daguerreotypes of Venice
Author:
Thordis Arrhenius: Arkitektskolan, Kungliga Tekniska Högskolan, Sweden
Download:
Full text (pdf)
Year:
2005
Conference:
Kulturstudier i Sverige. Nationell forskarkonferens
Issue:
015
Article no.:
008
Pages:
97-108
No. of pages:
12
Publication type:
Abstract and Fulltext
Published:
2005-12-30
Series:
Linköping Electronic Conference Proceedings
ISSN (print):
1650-3686
ISSN (online):
1650-3740
Publisher:
Linköping University Electronic Press; Linköpings universitet


Export in BibTex, RIS or text

This paper explores the connections between travel; heritage and photography. It suggests that the increasingly restless and expanding audience for heritage is directed by a yearning for closeness. The heritage tourist is driven by the perception that what is longed for is not to be found in the immediate surroundings; indeed the heritage industry feeds on the fact of distance and the promise of proximity. And yet; as anyone will discern who has travelled toexperience treasures from the past at close hand; the restrictions installed in-situ as protection – restricted access; barriers; prohibition to touch or even photograph the object in question – re-enact the delays of travel itself. The longing to be close is denied by distance; on the other hand without this distance played out in space and time; the old would be all too familiar to be desired. Using as a case-study the photographic documentation of Venice by the English writer and traveller John Ruskin; the paper speculates on how photography; since its emergence as a new technology in the first part of nineteenth century; has been implicated in generating this desire for the old.

Kulturstudier i Sverige. Nationell forskarkonferens

Author:
Thordis Arrhenius
Title:
John Ruskins Daguerreotypes of Venice
References:

Bachen; Geoffrey (1997): Burning with Desire: The Conception of Photography; MIT Press; Cam-bridge; Mass.;


Bann; Stephen (1984): The Clothing of Clio: A Study of the Representation of History in Nineteenth-century Britain and France; Cambridge University Press; Cambridge.


Barthes; Roland (1981): Camera Lucida; transl. Richard Howard; Hill and Wang; New York.


Bradley; John Lewis; ed. (1955): Ruskin’s Letters from Venice; 1851–52; Yale University Press; New Haven.


Burns; Karen (1997): Topographies of Tourism: Documentary Photography and The Stones of Ven-ice;” Assemblage 32; pp. 22–44.


Costantini; Paolo; and Zannier; Italo; ed. (1986): I Dagherrotipi Della Collezione Ruskin; Alinari; Firenze e Arsenale; Venezia.


Crary; Jonathan (1990): Techniques of the Observer: On Vision and Modernity in the Nineteenth Century; MIT Press; Cambridge; Mass..


Daguerre; Louis-Jacques-Mandes; “Daguerreotype”; in Classic Essays on Photography; ed. Alan Trachtenberg (1980): Leete’s Island Books; New Haven.


Damisch; Hubert (1994): The Origin of Perspective; MIT Press; Cambridge; Mass..


Elwall; Robert (1994): Photography Takes Command: The Camera and British Architecture 1890–39; Catalogue; Heinz Gallery; London;.


Fawcett; Jane; ed. (1976): The Future of the Past. Attitudes to conservation 1174–1974; Thames & Hudson; London.


Glacken; Clarence J. (1967): Traces on the Rhodian Shore: Nature and Culture in Western Thought from Ancient Times to the End of the Eighteenth Century; University of California Press; Berkeley.


Hanson; Brian (1981): “Carrying off the Grand Canal: Ruskin’s Architectural Drawings and the Daguerreotype”; The Architectural Review; ; pp. 104–109.


Harvey; Michael (1985): “Ruskin and Photography;” The Oxford Art Journal 7:2; pp. 25–33.


Haslam; Ray (1992): “‘For the Sake of the Subject’: Ruskin and the Tradition of Architectural Illus-tration”; in The Lamp of Memory; Ruskin; Tradition and Architecture; ed. Michael Wheeler and Nigel Whiteley; Manchester University Press; Manchester.


Jay; Martin (1993): Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought; University of California Press; Berkley;.


Lacan; Jacques (1994): The Four Fundamental Concepts of Psycho-analysis; transl. Alan Sheridan; Penguin Books; London.


Lacan; Jacques (1997): Écrits: A Selection; transl. Alan Sheridan (1977); Routledge; London.


Merleau-Ponty (1968): Maurice; The Visible and the Invisible; ed. Claude Lefort; transl. Alphonso Lingis; Northwestern University Press; Evanston.


Ruskin; John (1903–1912): The Complete Works of John Ruskin; ed. E. T. Cook and Alexander Wed-derburn; 39 vols.; George Allan; London;.


Ruskin; John (1851): Examples of the Architecture of Venice; Sketched and Drawn to Measurement from the Edifices; Sixteen plates with descriptions; 3 vols.; Smith; Elder & Co.; London.


Smith; Lindsay (1995): Victorian Photography; Painting; and Poetry: The Enigma of Visibility in Rus-kin; Morris and the Pre-Raphaelites; Cambridge University Press; Cambridge.


albot; William Henry Fox (1989): The Pencil of Nature: Brief historical sketch of the invention of the art; Longman & Co.; London; 1844. Reprinted as H. Fox Talbot’s The Pencil of Nature; anniver-sary facsimile; by Larry J. Schaaf; Kraus; New York.


Wheeler; Michael and Whiteley; Nigel; ed. (1992): The Lamp of Memory; Ruskin; Tradition and Architecture; Manchester University Press; Manchester.

Kulturstudier i Sverige. Nationell forskarkonferens

Author:
Thordis Arrhenius
Title:
John Ruskins Daguerreotypes of Venice
Note: the following are taken directly from CrossRef
Citations:
No citations available at the moment