Since the discovery of photography in the 19th century, the image has been a source of both concern and hope among literary critics who seized on its great capabilities. Symptoms of this growing interest are the so-called pictorial turn (the turn toward the visual theorized by W. J. T. Mitchell) and the emergence of visual studies. In this thesis, several cases of dialogue between writing and photography are presented, starting with critical texts on visual culture by authors who approach the world of images in order to grasp its secrets and alternative uses, and then I will focus on the study of a major artistic collaboration in the Italian context. Luigi Ghirri and Gianni Celati are in fact two perfect examples of this dialogue, which is beneficial for both of them, as it allows them to give more strength to each of their favorite mediums. The objective of their collaboration is the photographic and literary recording of post-industrial Italy, and a group of photographers, exponents of the "Italian landscape school," also takes part in this initiative, which will contribute to the realization of the artistic project of the exhibition "Viaggio in Italia," curated by Ghirri in 1984 and presented at the Pinacoteca Principale in Bari, whose photos will later be published in the volume of the same name accompanied by a text by Gianni Celati.
Fin dall’invenzione della fotografia nel XIX secolo l’immagine è stata fonte di timori e di speranze dei critici letterari che ne coglievano le grandi capacità. Sintomi di questo crescente interesse sono il cosiddetto pictorial turn (la svolta verso il visuale teorizzata da W. J. T. Mitchell) e la nascita dei visual studies. Nella tesi sono presentati diversi casi di dialogo fra scrittura e fotografia, partendo da testi critici di cultura visuale di autori che si avvicinano al mondo delle immagini per carpirne i segreti e gli usi alternativi, per poi dedicarmi allo studio di una collaborazione artistica di grande importanza in ambito italiano. Luigi Ghirri e Gianni Celati sono infatti due perfetti esempi di questo dialogo che risulta per entrambi fruttuoso, in quanto permette di dare più forza a ciascun medium da loro prediletto. Obiettivo della loro collaborazione è la registrazione fotografica e letteraria dell’Italia post-industriale, e a questa iniziativa prende parte anche un gruppo di fotografi, esponenti della “scuola di paesaggio italiana”, che contribuirà alla realizzazione del progetto artistico della mostra “Viaggio in Italia”, curata da Ghirri nel 1984 e presentata presso la Pinacoteca Principale di Bari, le cui foto verranno poi pubblicate nell’omonimo volume accompagnato da un testo di Gianni Celati.
"Pensare per immagini". Interazioni fototestuali nelle opere di Luigi Ghirri e Gianni Celati
COLASANTO, PAOLA
2022/2023
Abstract
Since the discovery of photography in the 19th century, the image has been a source of both concern and hope among literary critics who seized on its great capabilities. Symptoms of this growing interest are the so-called pictorial turn (the turn toward the visual theorized by W. J. T. Mitchell) and the emergence of visual studies. In this thesis, several cases of dialogue between writing and photography are presented, starting with critical texts on visual culture by authors who approach the world of images in order to grasp its secrets and alternative uses, and then I will focus on the study of a major artistic collaboration in the Italian context. Luigi Ghirri and Gianni Celati are in fact two perfect examples of this dialogue, which is beneficial for both of them, as it allows them to give more strength to each of their favorite mediums. The objective of their collaboration is the photographic and literary recording of post-industrial Italy, and a group of photographers, exponents of the "Italian landscape school," also takes part in this initiative, which will contribute to the realization of the artistic project of the exhibition "Viaggio in Italia," curated by Ghirri in 1984 and presented at the Pinacoteca Principale in Bari, whose photos will later be published in the volume of the same name accompanied by a text by Gianni Celati.File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.12608/59724