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Focusing on Walter Benjamin's discussions of the flashes and images of history, this book argues that the questions raised by this link between photography and history touch on issues that belong to the entire trajectory of Benjamin's writings.

Criticism [Historical ] --- Critique historique --- Geschiedkundige methodologie --- Geschiedschrijving --- Geschiedschrijving--Methodologie --- Historical criticism --- Historical method --- Historical methodology --- Historiografie --- Historiographie --- Historiography --- Historische kritiek --- Historische methode --- Historische methodologie --- History--Criticism --- Kritiek [Historische ] --- Methodologie [Historische ] --- Methodology [Historical ] --- Historiography. --- Photography --- Philosophy. --- 82:77 --- Literatuur en fotografie --- 82:77 Literatuur en fotografie --- Benjamin, Walter --- Philosophy --- Photography - Philosophy. --- CDL --- 77.01 --- Historiographies --- History --- Authorship --- Criticism --- Benjamin, Walter, --- Holz, Detlef, --- Benjamin, W. --- Banyaming, --- Benʼyamin, Varutā, --- Peñcamin̲, Vālṭṭar, --- Binyamin, Ṿalṭer, --- בנימין, ולטר --- בנימין, ולטר, --- ולטר, בנימין, --- Penyamin, Palt'ŏ, --- 벤야민 발터,

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Photography --- Photography, Artistic --- Photographie --- Photographie artistique --- History --- Histoire --- fotografie --- fotografietheorie --- fotografiegeschiedenis --- negentiende eeuw --- twintigste eeuw --- eenentwintigste eeuw --- globalisering --- archieven --- archivering --- collecties --- verzamelingen --- Alvarez Bravo Manuel --- Alvarez Bravo Lola --- Amodio Michele --- Blanco Florencia --- Boote Samuel --- Brehme Hugo --- Brodsky Marcele --- Colom Joan --- Ferrez Marc --- Fontcuberta Joan --- Iturbide Graciela --- Klumb Revert Henrique --- Lopez Nacho --- Medina Elsa --- Meiselas Susan --- Metinides Enrique --- Minelli Gian Paolo --- Modotti Tina --- Monasterio Pablo Ortiz --- Strand Paul --- Vasconcellos Cássio --- Verger Pierre --- Wolfenson Bob --- de Zuviria Facundo --- 77.01 --- Exhibitions --- 77.04 --- 77.03 --- Artistieke fotografie. Foto's naar het onderwerp --- Documentaire fotografie --- 77.03 Documentaire fotografie --- 77.04 Artistieke fotografie. Foto's naar het onderwerp --- Histoire.

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Here Eduardo Cadava demonstrates that Walter Benjamin articulates his conception of history through the language of photography. Focusing on Benjamin's discussions of the flashes and images of history, he argues that the questions raised by this link between photography and history touch on issues that belong to the entire trajectory of his writings: the historical and political consequences of technology, the relation between reproduction and mimesis, images and history, remembering and forgetting, allegory and mourning, and visual and linguistic representation. The book establishes the photographic constellation of motifs and themes around which Benjamin organizes his texts and thereby becomes a lens through which we can begin to view his analysis of the convergence between the new technological media and a revolutionary concept of historical action and understanding. Written in the form of theses--what Cadava calls "snapshots in prose"--the book memorializes Benjamin's own thetic method of writing. It enacts a mode of conceiving history that is neither linear nor successive, but rather discontinuous--constructed from what Benjamin calls "dialectical images." In this way, it not only suggests the essential rapport between the fragmentary form of Benjamin's writing and his effort to write a history of modernity but it also skillfully clarifies the relation between Benjamin and his contemporaries, the relation between fascism and aesthetic ideology. It gives us the most complete picture to date of Benjamin's reflections on history.

Historiography. --- Photography --- Philosophy. --- Benjamin, Walter,

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Celebrated nineteenth-century photographer -- and writer, actor, caricaturist, inventor, and balloonist -- Félix Nadar published this memoir of his photographic life in 1900 at the age of eighty. Composed as a series of vignettes (we might view them as a series of "written photographs"), this intelligent and witty book offers stories of Nadar's experiences in the early years of photography, memorable character sketches, and meditations on history. It is a classic work, cited by writers from Walter Benjamin to Rosalind Krauss. This is its first and only complete English translation.In When I Was a Photographer (Quand j'étais photographe), Nadar tells us about his descent into the sewers and catacombs of Paris, where he experimented with the use of artificial lighting, and his ascent into the skies over Paris in a hot air balloon, from which he took the first aerial photographs. He recounts his "postal photography" during the 1870-1871 Siege of Paris -- an amazing scheme involving micrographic images and carrier pigeons. He describes technical innovations and important figures in photography, and offers a thoughtful consideration of society and culture; but he also writes entertainingly about such matters as Balzac's terror of being photographed, the impact of a photograph on a celebrated murder case, and the difference between male and female clients. Nadar's memoir captures, as surely as his photographs, traces of a vanished era.

Photography --- Photographers --- Artists --- Nadar, Félix, --- Tournachon, Félix, --- Nadar, --- Tournachon, Gaspard Félix, --- Nadard, --- ARTS/Photography & Film/General --- HUMANITIES/Biography & Autobiography --- Nadar