Photography of the ‘primitive’ in Italy: perceptions of the peasantry at the turn of the twentieth century
Photography of the ‘primitive’ in Italy: perceptions of the peasantry at the turn of the twentieth century
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意大利“原始”摄影：二十世纪初农民的看法
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发表时间：
2012
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通讯作者：
L. Harris
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文献类型：
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作者：
L. Harris
摘要 摄影艺术是塑造意大利民族形象的强大力量。摄影本身就是工业的产物，它与提倡国家现代化的进步和创新有着内在的亲和力。由于其可重复性，该介质还具有有效的教学功能。它为展览的参观者以及书籍和杂志的用户提供了统一的图像，围绕这些图像构建新的意识。在意大利以罗马为首都统一的头五十年（1871-1921）中，这种标准化意象的一个关键焦点是“原始”意大利——未开发的乡村及其农民居民，他们的“简单”和“真实”生活方式既体现了意大利独特文化的起源，也体现了对其现代发展构成挑战或加剧的返祖倾向。对这些照片的仔细分析不仅揭示了原始主义在意大利意识形态形成中所发挥的根本作用，也揭示了摄影对伴随意大利乡村融入国家社会、经济和文化以及现代世界的辩论的贡献。
Abstract The art of photography was a powerful force in shaping an image of Italian national identity. Itself a product of industry, photography possessed an inherent affinity with progress and innovation that advocates for the country's modernization embraced. Because of its reproducibility, the medium also served an effective pedagogical function. It provided visitors to exhibitions, as well as users of books and magazine, with unifying images around which to construct a new consciousness. During the first fifty years of Italian unification with Rome as capital (1871–1921), a key focus of this standardizing imagery was ‘primitive’ Italy – the undeveloped countryside and its peasant inhabitants whose ‘simple’ and ‘genuine’ way of life embodied both the origins of Italy's distinct culture and the atavistic tendencies that challenged, or were aggravated by, its modern growth. Close analysis of such photographs reveals both the fundamental role primitivism played in the ideological formation of Italy and also the contribution of photography to debates that accompanied the integration of rural Italy into the national society, economy and culture, and the modern world.