Titlebook: Literature and Photography in Transition, 1850-1915; Owen Clayton Book 2015 Palgrave Macmillan, a division of Macmillan Publishers Limited

Concrete

OPINE

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自愛

tion of these procedural measures at both courts, taking intThis book deals with all the cases that came before the Permanent Court of International Justice (PCIJ) from 1922 to 1946, as well as those that were heard by its successor, the International Court of Justice (ICJ) from 1946 to 2020 in whic

盟軍

Introduction,ent you. Out of the two I shall compile for myself a likeness by degrees’.. The intervention of a human hand (though only a ‘trustworthy’ one) would bring life to the image, capturing something of the Emerson that Carlyle remembers from his first trip to England in 1833.

EVEN

Hybrid Photographies in ,,d later writings? It is my contention that they do. I will show that the distinctive nature of Mayhew’s images, the fact that they are hybrid daguerreotype-engravings, was concomitant with his desire to represent the poor according to an aesthetic of picturesque nobility.

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,: History and Photographic Difference, closer to recognising the potential usefulness of ‘photographies’. After discussing the effect of a belief in photographic unity upon concepts of photographic realism, I will provide a brief history of technological multiplicity. This will provide a basis for the re-examination of photographic difference in the chapters that follow.

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初學(xué)者

Book 2015Literature and Photography in Transition, 1850-1915 examines how British and American writers used early photography and film as illustrations and metaphors. It concentrates on five figures in particular: Henry Mayhew, Robert Louis Stevenson, Amy Levy, William Dean Howells, and Jack London.