The Visual Documentation of Antietam: Peaceful Settings, Morbid Curiosity, and a Profitable Business

On September 17, 1862, Confederate General Robert E. Lee led the Army of Northern Virginia into Sharpsburg, Maryland to confront Federal General George McClellan and the Army of the Potomac. The battle that followed became the single bloodiest day in American history. There were approximately 25,000 American casualties and battlefields were left in desolation, strewn with corpses needing burial. The Battle of Antietam, or Sharpsburg, is a well-documented and important battle of the Civil War. Endless research has been done regarding its impact on the war, military strategies, and politics. However, there is a unique aspect of Antietam which merits closer attention: its visual documentation. [excerpt

‘You Can Interview Me, But I Don’t Have a Story’: Local Accounts of Queensland Women, Rewondering Queensland Landscapes

This paper investigates how contemporary works of women’s travel writing are reworking canonical formations of environmental literature by presenting imaginative accounts of travel writing that are both literal and metaphorical. In this context, the paper considers how women who travel/write may intersect the spatial hybridities of travel writing and nature writing, and in doing so, create a new genre of environmental literature that is not only ecologically sensitive but gendered. As the role of female travel writers in generating this knowledge is immense but largely unexamined, this paper will investigate how a feminist geography can be applied, both critically and creatively, to local accounts of travel. It will draw on my own travels around Queensland in an attempt to explore how many female storytellers situate themselves, in and against, various discourses of mobility and morality

Vom Straßenmädchen bis hin zur römischen Göttin: Entstehung zahlreicher visueller Alice-Gestalten im Zeitraum von 1858 bis 1872

Victorian representations of childhood are found in a wide variety of cultural texts, from literary descriptions to visual images. Alice’s Adventures in Wonderland by Lewis Carroll (1865) is no different in this sense. However, Alice’s character is one of the first of its kind to behave as a cross-media figure, thus becoming a fantasy literature heroine as well as a popular cultural icon. This paper focuses on Alice’s artistic representations in three forms: (a) Lewis Carroll’s verbal art; (b) the photographic prints of the “real” Alice Liddell taken in 1858 and 1872 by Carroll and Julia Margaret Cameron respectively; and (c) the visual illustrations by Carroll and by John Tenniel (1864 and 1865, respectively). The aim of the paper is to discuss whether Alice was ever a “real” Victorian girl, by examining her multiple representations in the given corpus. It also aims at analysing Alice’s visual characteristics in order to reveal Alice as a visual concept of her times.Viktorijanske prikaze djetinjstva nalazimo u raznolikim kulturnim tekstovima, i to u različitim verbalnim i vizualnim oblicima – od književnih opisa do samostalnih slika. Aličine pustolovine u Čudozemskoj Lewisa Carrolla (1865.) u tome smislu ne predstavljaju iznimku. Međutim, Aličin lik jedan je od prvih koji se prometnuo u intermedijsku figuru, pri čemu je Alica postala junakinjom fantastične književnosti kao i ikonom popularne kulture. Ovaj se rad usmjerava na tri oblika Aličina umjetničkoga prikaza: (a) verbalni Lewisa Carrolla, (b) fotografske otiske „prave“ Alice, Alice Liddell, koje su načinili Carroll, 1858. godine, i Julia Margaret Cameron, 1872. godine, kao i na (c) ilustracije Lewisa Carrolla (1864.) i Johna Tenniela (1865.). Istražujući višestruke Aličine prikaze u odabranome korpusu, cilj je rada utvrditi je li Carrollova junakinja ikada bila „prava“ viktorijanska djevojčica. Nadalje, u radu se analiziraju Aličine vizualne karakteristike u svrhu razotkrivanja Alice kao onodobnoga vizualnoga koncepta.Viktorianische Kindheitsdarstellungen sind in diversen kulturellen Texten vorzufinden, und zwar im Rahmen unterschiedlicher verbaler und visueller Darstellungsformen – von literarischen Beschreibungen bis hin zu autonomen Bildern. Das Werk von Lewis Carroll Alice im Wunderland (1865) stellt in diesem Sinne keine Ausnahme dar. Dennoch ist Alice eine der ersten Gestalten, die sich zu einer intermedialen Figur entwickelte, um dabei sowohl zur Heldin der fantastischen Literatur als auch zur Ikone der Popkultur zu werden. Im Beitrag werden drei Formen der künstlerischen Darstellung von Alice besprochen: (a) die verbale Form von Lewis Carroll, (b) die fotografischen Abbildungen der ‚wahren‘ Alice, Alice Liddell, die Carroll 1858 und Julia Margaret Cameron 1872 hergestellt haben, sowie (c) die Illustrationen von Lewis Carroll (1864) und John Tenniel (1865). Anhand der Auseinandersetzung mit der mehrfachen Darstellung von Alice im Rahmen des oben angeführten Korpus möchte man feststellen, ob Carrolls Heldin jemals ein ‚echtes‘ viktorianisches Mädchen war. Darüber hinaus werden im Beitrag auch die visuellen Merkmale der Alice-Gestalt analysiert, um Alice als ein aus jener Zeit stammendes visuelles Konzept darzustellen

Auto-maticity: Ruscha and Performative Photography

This piece argues that Ed Ruscha's books, such as Twentysix Gasoline Stations, are not journalistic or amateurish in style, as Jeff Wall contends, but rather performative and instructional, that is, following in a tradition initiated by Marcel Duchamp's 3 Standard Stoppages

<Articles>Learning as Translation in Our Own Lives: Interpreting Lost in Translation

特集I : 京都大学大学院教育学研究科 ユニバーシティ・カレッジ・ロンドン教育研究所 国際合同授業 （2022年2月5日-7日, オンライン）“Thinking about Education through Film”, International Collaborative Course, Graduate School of Education, Kyoto University and UCL IOE (February 5-7, 2022, Online)I want to explore the meaning of ‘learning as translation’ by interpreting the film Lost in Translation, drawing on Stanley Cavell's idea. Especially in this article, I pay attention to the feeling of lostness appearing in the protagonist of the movie, Charlotte. She is in Tokyo for the first time, accompanying her photographer-husband who is there for work. At first glance, her wandering mind and confusion seem to be a response to linguistic and cultural differences. A closer look reveals, however, problems in her sense of identity, with her lack of career, and with family, rather than just in her exposure to this unfamiliar Japanese culture. She is confused about her relationship with her husband and about what she has done after college. In particular, when it comes to Charlotte's previous learning experiences, if we pay close attention to the college she attended, her major, and her career problems, we can rethink the meaning of learning in life. In this paper, I am going to divide charlotte's learning experiences into two types: one is learning as initiation into a course of study (and, that is, into a particular curricular content), and the other is learning as translation of the meaning in the course of one's own life. After examining these two possibilities of learning, I suggest that the learning that matters most involves a transformation of the self through translation, appropriate to the particular context of one's life

State Highlights 3/19/1952

This is the student newspaper from Western State High School, the high school that was on the campus of Western Michigan University, then called State Highlights, in 1952

The city as a construction site — a visual record of a multisensory experience

In this article, I consider the reception of images that are present in a city space. I focus on the juxtaposition of computer‑generated images covering fences surrounding construction sites and the real spaces which they screen from view. I postulate that a visual experience is dependent on input from the other human senses. While looking at objects, we are not only standing in front of them but are being influenced by them. Seeing does not leave a physical trace on the object; instead the interference is more subtle — it influences the way in which we perceive space. Following in the footsteps of Sarah Pink, Michael Taussig and William J. T. Mitchell, I show that seeing (to paraphrase the title of an article by the last of the above mentioned scholars) is a cultural practice. The last part of the article presents a visual essay as a method that can contribute to cultural urban studies. I give as an example of such a method a photo‑essay about chosen construction sites in Poznań, which I photographed between December 2014 and June 2015

Camera Obscura

Camera Obscura is a feature-length script about a 19th-century photographer who must document the unraveling Civil War while struggling to come to terms with deaths of his loved ones. It is a historical fiction film about memory, death, and human costs. Rutherford Holding, an adept yet recluse photographer, stands between a mobilizing country bound for war and the trauma of losing his loved ones years ago. As those around him enlist and prepare in nationalistic fervor for what is to be the American Civil War, Holding desires to evade any chance to meet death face-to-face once again. However, he pigeonholes himself in a scathingly unpopular position of a coward, unable to provide for the Union. After a visit from his mentor who offers him a chance to capture photographs of the war, Holding begins a journey that would explore the notion of the ‘honorable’ death, how it rips people apart from those they love with disgrace and antipathy. Photography was a budding medium, representing reality with unseen palpability for which citizens populating the homefront would feast their cautiously curious eyes. The image became a verge between the homefront and the battlefront. Palpability notwithstanding, the image had the ability to lie to its spectator through the means of its production. Where the camera is placed and what is in the frame are all deliberate choices of the photographer usually unknown to the recipients of these images. Holding, seeing that in order to restore honorific attention towards the dead, must combine the authenticity of the image with its deceit it produces simultaneously. The art, and ultimate significance, of post-mortem photography allowed him to ease the pain of those who lost, thereby easing the pain of his loss

The City: Art and the Urban Environment

The City: Art and the Urban Environment is the fifth annual exhibition curated by students enrolled in the Art History Methods class. This exhibition draws on the students’ newly developed expertise in art-historical methodologies and provides an opportunity for sustained research and an engaged curatorial experience. Working with a selection of paintings, prints, and photographs, students Angelique Acevedo ’19, Sidney Caccioppoli ’21, Abigail Coakley ’20, Chris Condon ’18, Alyssa DiMaria ’19, Carolyn Hauk ’21, Lucas Kiesel ’20, Noa Leibson ’20, Erin O’Brien ’19, Elise Quick ’21, Sara Rinehart ’19, and Emily Roush ’21 carefully consider depictions of the urban environment in relation to significant social, economic, artistic, and aesthetic developments. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1029/thumbnail.jp