Exposing wounds: Joseph Cundall and Robert Howlett's royal assignment
Exposing wounds: Joseph Cundall and Robert Howlett's royal assignment
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暴露伤口：约瑟夫·坎德尔和罗伯特·豪利特的皇家任务
DOI：
10.1080/23337486.2019.1631727
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发表时间：
2019
影响因子：
--
通讯作者：
Bates R
中科院分区：
文献类型：
--
作者：
Bates R
本文探讨了约瑟夫昆达尔和罗伯特豪利特在克里米亚战争（1854-1856）期间拍摄的鲜为人知的伤兵照片。这些图像是战争表现史上的重要来源，继查尔斯·贝尔在滑铁卢战役后生动的枪伤绘画和第一次世界大战前的面部毁伤图像之后。受维多利亚女王委托，在她公开访问查塔姆的军事医院期间，并保存在一本名为“克里米亚肖像1854-6年”的皇家相册中，以供后人使用。昆达尔和豪利特的照片揭示了王室对伤员的密切关注。我探讨了皇家纪念普通士兵和他们受伤的动机，认为这些图像是由人道主义和医学利益塑造的，以及皇家纪念幸存者和身体恢复力的愿望。我认为这些照片与当时报纸和医学期刊上描述伤员的报道和印刷品一起，可以让人感受到克里米亚战争期间受伤士兵的文化意义。通过将昆达尔和豪利特的照片置于战争的政治和情感冲突中，并考察个体受害者的表现，我问他们在多大程度上参与并挑战更广泛的治愈叙事。
This article explores Joseph Cundall and Robert Howlett’s little-known photographs of wounded soldiers taken during the Crimean War (1854–1856). These images are an important source in the history of war representation, following Charles Bell’s vivid paintings of gunshot wounds in the wake of the Battle of Waterloo and preceding World War One images of facial mutilation. Commissioned by Queen Victoria during her publicized visits to military hospitals at Chatham and kept for posterity in a royal album entitled ‘Crimean Portraits 1854–6ʹ, Cundall and Howlett’s photographs reveal the monarchy’s close interest in the wounded.I explore royal motives for memorializing rank and file soldiers and their injuries, arguing that the images are shaped by humanitarian and medical interests, as well as royal desire to commemorate survival and bodily resilience. I consider the photographs alongside contemporary reports and prints in newspapers and medical journals depicting the wounded, to give a sense of the cultural significance of the wounded soldier during the Crimean War. By situating Cundall and Howlett’s photographs against the political and emotional conflicts of the war and examining the representation of the individual sufferer, I ask to what extent they participate in, and challenge, wider narratives of healing.