Untitled - Wydawnictwo Uniwersytetu Jagiellońskiego

Naoczność
2
Roy E. Stryker, Paul H. Johnstone, Documentary Photographs, [w:] Caroline Ware
(red.), The Cultural Approach to History (New York 1940), s. 324–330; F. J. Hurley, Portrait of
a Decade: Roy Stryker and the Development of Documentary Photography (London 1972); Maren
Stange, Symbols of Social Life: Social Documentary Photography in America, 1890–1950
(Cambridge 1989); Alan Trachtenberg, Reading American Photographs: Images as History,
Mathew Brady to Walker Evans (New York 1989), s. 190–192.
3
John Tagg, The Burden of Representation: Essays on Photographies and Histories (Amherst
1988), s. 117–152; Stange, Symbols, s. 2, 10, 14–15, 18–19; Sarah Graham-Brown, Palestinians
and their Society, 1880–1946: A Photographic Essay (London 1980), s. 2.
4
Siegfried Kracauer, History: The Last Things before the Last (New York 1969), s. 51–52;
por. Dagmar Barnouw, Critical Realism: History, Photography and the Work of Siegfried Kracauer
(Baltimore 1994); Stryker, Johnstone, Photographs.
5
Raphael Samuel, The Eye of History, [w:] tegoż, Theatres of Memory, tom I (London
1994), s. 315–336, na s. 319.
6
Trachtenberg, Reading, s. 71–118, 164–230; Caroline Brothers, War and Photography:
A Cultural History (London 1997), s. 178–185; Michael Griffin, The Great War Photographs,
[w:] B. Brennen, H. Hardt (red.), Picturing the Past (Urbana 1999), s. 122–157, s. 137–138;
Tagg, The Burden, s. 65.
7
Paul Thompson, Gina Harkell, The Edwardians in Photographs (London 1979), s. 12;
John Ruskin, The Cestus of Aglaia (1865–1866: wznowienie w: tegoż: Works, vol. XIX [London
1905], s. 150); M.D. Knowles, Air Photography and History, [w:] J.K.S.St. Joseph (red.),
The Uses of Air Photography (Cambridge 1966), s. 127–137.
8
David Smith, Courtesy and its Discontents, „Oud-Holland” C (1986), s. 2–34; Peter
Burke, The Presentation of Self in the Renaissance Portrait, [w:] tegoż, Historical Anthropology
of Early Modern Italy (Cambridge 1987), s. 150–167; Richard Brilliant, Portraiture (London
1991).
9
Erving Goffman, The Presentation of Self in Everyday Life (New York 1958); przykłady
angielskie zaczerpnięto z: Desmond Shawe-Taylor, The Georgians: Eighteenth-Century Portraiture
and Society (London 1990).
10
Julia Hirsch, Family Photographs: Content, Meaning and Effect (New York 1981), s. 70.
11
Michael Marrinan, Painting Politics for Louis Philippe (New Haven 1988), s. 3.
12
J. Brian Harley, Deconstructing the Map (1989: wznowienie w: T.J. Barnes, James Duncan
(red.), Writing Worlds [London 1992], s. 231–247). Por. Jürgen Schulz, Jacopo Barbari’s
View of Venice: Map Making, City Views and Moralized Geography, „Art Bulletin”, LX (1978),
s. 425–474.
13
Ruth B. Yeazell, Harems of the Mind: Passages of Western Art and Literature (New Haven
2000).
14
Jan Bialostocki, The Image of the Defeated Leader in Romantic Art (1983: wznowienie
w tegoż: The Message of Images (Vienna 1988), s. 219–233 [wyd. pol. Jan Białostocki Pokonany
bohater w sztuce romantyzmu, „Twórczość” 1980, t. 36, nr 11 (przyp. tłum.)]; Arnold
Hauser, The Social History of Art (2 tomy, London 1951) [wyd. pol. Arnold Hauser, Społeczna
historia sztuki i literatury, tłum. Janina Ruszczycówna, posłowie Juliusz Starzyński, Warszawa
1974 (przyp. tłum.)]; por. krytykę autorstwa Ernesta H. Gombricha, The Social History of
Art (1953; wznowienie w Meditations on a Hobby Horse [London 1963], s. 86–94).
15
Keith Thomas, Man and the Natural World (London 1983), s. 102.
16
Carlo Ginzburg, Clues: Roots of an Evidential Paradigm (1978: wznowienie w tegoż:
Myths, Emblems, Clues [London 1990], s. 96–125).
17
Ivan Lermolieff (Giovanni Morelli), Kunstkritische Studien über italienische Malerei
(3 tomy, Leipzig 1890–1893), szczególnie tom I, s. 95–99; por. Hauser, Social History, s. 109–
110, oraz Ginzburg, Clues, s. 101–102; Aby Warburg, The Renewal of Pagan Antiquity (1932:
tłumaczenie ang. Los Angeles 1999).
18
Siegfried Kracauer, History of the German Film (1942: wznowienie w tegoż: Briefwechsel
(red.) V. Breidecker [Berlin 1996], s. 15–18).
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