Detalhes bibliográficos
| Ano de defesa: |
2010 |
| Autor(a) principal: |
Ruiz, Paulo Eduardo Rodrigues |
| Orientador(a): |
Critelli, Dulce Mara |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Filosofia
|
| Departamento: |
Filosofia
|
| País: |
BR
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/11547
|
Resumo: |
The aim of this dissertation is to analyze the question of the photographic ambiguity in the 19th century from the theoretical assumption that photography was considered, in its origins, a kind of pencil of nature . This concept was developed by the English researcher and photographer William Henry Fox Talbot, in the work The Pencil of Nature, published between 1844 and 1846. Our discussion is based on the assumption that The Pencil of Nature already presented ambiguities and ambivalences typical of the photographic practice in the 19th century and, to an extent, until today, as regards the technical, scientific, commercial and artistic appeal of an industrial society. We draw examples from the photographic production at the time, using concepts developed by philosophers and theorists of photography such as Martin Heidegger, Walter Benjamin, Roland Barthes, Susan Sontag, Philippe Dubois, André Rouillé and Boris Kossoy, related to some basic notions about the photographic language: the question of technology and photographic verisimilitude, the shift in the perception of reality through photography and the presence of death in the photographic image |
