Florence Henri's Oblique∗.
This essay considers Florence Henri's interwar photographic project from the standpoint of phenomenology. In doing so, it displaces the disinterested formalist framework that generally straightjackets her work to look askance at the terrain of subject-object relations that was urgently being rethoug...
| Publicado en: | October no. 172; pp. 8 - 35 |
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| Formato: | Artículo |
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MIT Press
Spring2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=143827854&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 143827854 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01622870 OCT jtl: October issn: 01622870 maglogo: N pubinfo: dt: Spring2020 iid: 172 pid: 776 pub: MIT Press artinfo: ui: 143827854 10.1162/octo_a_00391 ppf: 8 ppct: 27 formats: fmt: @attributes: type: P size: 21.6MB tig: atl: Florence Henri's Oblique∗. aug: au: Kriebel, Sabine su: Henri, Florence, ca. 1893-1982 Women photographers Interwar Period (1918-1939) Photography Husserl, Edmund, 1859-1938 Plessner, Hellmuth sug: subj: Henri, Florence, ca. 1893-1982 Women photographers Interwar Period (1918-1939) Photography Husserl, Edmund, 1859-1938 Plessner, Hellmuth ab: This essay considers Florence Henri's interwar photographic project from the standpoint of phenomenology. In doing so, it displaces the disinterested formalist framework that generally straightjackets her work to look askance at the terrain of subject-object relations that was urgently being rethought by Edmund Husserl, Martin Heidegger, and Hellmuth Plessner, among others, in the turbulent decade after World War I. Composed in a cultural context in which the boundaries between self and other and between individuality and collectivity were being renegotiated, Henri's photographs materialize human-object kinships that query the operations of sovereign subjecthood in the postwar world. Ineluctably drawn to the dynamics of isolation and empathy, Henri exploits the paradox of photography's simultaneous objectivity and intimacy, staging subject-object encounters whose apparent technological, material rationality is subtended by volatility, contingency, and groundlessness. Allied with Bauhaus precepts, Henri's photographs amount to a set of investigations about subjecthood in a material world that propose new pathways of Being in modernity. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of October is the property of MIT Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: October holder: MIT Press dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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