Naturaleza fotográfica. La representación del salvaje en el límite del concepto de imitación de Gabriel Tarde
The research presented the relationships between the representation of the savage and the definitions of photography. The thesis states that there is a relation between these objects beyond the anthropological photography, that is to say beyond the material (concrete, visible) image. We can summariz...
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| Tipo de recurso: | tesis doctoral |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Chile |
| OAI Identifier: | oai:repositorio.anid.cl:10533/253122 |
| Acceso en línea: | https://hdl.handle.net/10533/253122 |
| Access Level: | acceso abierto |
| Palabra clave: | Humanidades Arte (Artes, Historia del Arte, Artes Escénicas, Música) Otras Especialidades del Arte |
| Sumario: | The research presented the relationships between the representation of the savage and the definitions of photography. The thesis states that there is a relation between these objects beyond the anthropological photography, that is to say beyond the material (concrete, visible) image. We can summarize it as follows: as soon as photography transforms the concept of imitation, it becomes an unconscious psychic process which, exemplified in the savage, is considered as a natural condition of the subject, that ultimately transforms the concepts of photography itself. We will follow this route through three scenarios: (I) Art criticism of the 19th century. On the one hand, imitation and photography are identified as one and the same thing and, on the other hand, the savage becomes the perfect metaphor of the artist’s condition since the invention of photography. (II) The sociological project of Gabriel Tarde. Photography is the metaphor of an unconscious’s action, namely imitation, which anthropological reality is given by the savage. (III) The thoughts of Barthes and Benjamin on photography, concerning the moment when the savage abandons the otherness of men to become the otherness of language. In short, the savage is no longer the metaphor of the artist’s situation: he is the unlikeness of language. This becomes inseparable from the declaration of the disappearance of the savage tribes. If Benjamin and Barthes agree in their "desire to be a savage", it is because the photography shows that, as a human, the savage has already disappeared, even if he never truly existed. |
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