![]() ![]() In this perspective, the revolution caused by photography brings attention to the role played by the apparatus in the context of the nineteenth century as, attached to the ruling ideology, progressively turns photography into the main representative of an epistemology grounded on the belief in verisimilitude, realism and truth embedded in visual representation. From a re-evaluation of the emergence of modernity to the inquire on the invention of photography, and from there to the analysis of the works of Fierlants and Azevedo, the research draws a historical perspective focused on the importance of vision and the growing centrality of photography. By addressing a relation dear to visual culture, anthropology, history, urban studies and philosophy anew, the study’s embedded interdisciplinary character aims at expanding, also, the materialist tradition which legacy is attested, still today, in the areas in question. Inquiring into the origins of photography as a simultaneous product and producer of modernity, the study aims at offering a decentred perspective gathered from two cities which, during the moment in question, could be considered peripheral to the great capitalist metropolises. Building on a critical exploration of the opus of two mid-nineteenth century photographers – Edmond Fierlants from Antwerp, and Militão Augusto de Azevedo from São Paulo – the study aims to provide a theoretical and methodological dialogue between the field of visual culture and philosophy, especially through a Benjaminian materialist perspective. The current research focuses on the nexus between photography, modernity, and the city. The chapter concludes with the topic of death caused by the actions of paparazzo, as is portrayed in works by Leif Davidsen, Allan Russell, and Robert M. I describe how the photographer is portrayed in literature as the one who gets under the control of his or her apparatus and acts as a functionary of the machine that feeds on human images. I argue that the fictitious photographer plays the role of a trickster-psychopomp, as the click of the camera’s aperture often accompanies a dying person to the outer world. Such words as “trigger,” “aim,” and “shoot” are used by Ernest William Hornung, Victor Sawdon Pritchett, Margaret Atwood, and Anthony Horowitz to emphasize the danger of being photographed. Special attention is given in this chapter to the linguistic analogy between a camera and a gun. The photographer is often portrayed in literary fiction as the one who witnesses, records, or even causes death. Web.The article presents various ways in which the character of the photographer has been linked to death in literature. European Journal of Teacher Education, 40(5), 647–653. Denouement: teacher education and the persistence of memory. The subject matter of the work is time, and it is expressed in various meanings, where ants symbolize decay and the clock symbolizes time. The painting represents the contrast between reality and consciousness established in people’s minds in those times. The contradictions in society caused the inconsistency and fragmentation of human values. The 20th century is known for social and national struggle, resolved by world wars, revolutions, and the emergence of a new social system. Dali mixes color and shadow together to show different experiences.īeing created at the beginning of the 20th century, this masterpiece reflects the background of the value of society. There are more saturated and dark colors that are not bright or vivid. The colors used make the painting more alive and realistic. ![]() The plateau and the brown article have straight and symmetrical lines. ![]() Using lines also improves the realism of river mountain reflections. The mountains have clear lines, giving them a rugged and realistic look. Most of the photographs, with the exception of the mountains and the lashes of white figures, contain relatively thin, same-width lines. The Dali line in the picture depends on the shape he handles. The Persistence of Memory uses a variety of principles of design components such as contrast, repetition, and proportion. ![]()
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