O revivalismo medieval pelas lentes do gênero: as fotografias De Julia Margaret Cameron para a obra the Idylls of the King e outros poemas de Alfred Tennyson
DOI:
https://doi.org/10.5433/2237-9126.2017v11n20p119Palabras clave:
Medievalismo, Gênero, FotografiaResumen
Pioneira na arte da fotografia, Julia Margaret Cameron (1815-1879) produziu centenas de retratos e tableaux vivants. Estes últimos, embora inseridos no movimento Pré-Rafaelita então em voga na Inglaterra, davam mostra de uma visão da Idade Média um pouco distinta da que seus contemporâneos ajudaram a construir: menos heroica e mais íntima, com grande quantidade e protagonismo de mulheres. A fim de estudar suas ideias a esse respeito, analisaremos neste artigo um conjunto de imagens feitas por ela em 1874 para a obra The Idylls of the King, de Alfred Tennyson, com histórias da corte do rei Artur (além de cinco outros poemas também marcados pelo medievalismo), e faremos comparações com outro conjunto de imagens feitas para aquela mesma obra: as 36 gravuras que o ilustrador francês Gustave Doré publicou entre 1867 e 1868Descargas
Los datos de descargas todavía no están disponibles.
Citas
AHERN, Stephen. Listening to Guinevere: Female Agency and the Politics of Chivalry in Tennyson’s “Idylls”. Studies in Philology, v. 101, n. 1, 2004, p. 88-112.
ARMSTRONG, Carol. Cupid’s Pencil of Light: Julia Margaret Cameron and the Maternalization of Photography. October, v. 76, 1996, p. 114-141.
BRÄCHER, Andréa. Julia Margaret Cameron e a fotografia de Madonas. In: GERALDO, Sheila Cabo; COSTA, Luiz Cláudio (Org.). Anais do Encontro da Associação Nacional de Pesquisadores em Artes Plásticas. Rio de Janeiro: ANPAP, 2012. p. 1352-1361.
CAMERON, Julia Margaret. Illustrations to Tennyson’s Idylls of the King and Other Poems. London: Henry S. King and Company, 1875, 2 v.
CAMERON, Julia Margaret. The Annals of My Glass House. In: NEWHALL, Beaumont (Ed.). Photography, Essays and Images. Illustrated Readings in the History of Photography. New York/Boston: MoMA/New Graphic Society, 1980, p. 135- 139.
CAWS, Mary Ann; JOSEPH, Gerhard. Naming and Not Naming: Tennyson and Mallarmé. Victorian Poetry, v. 43, n. 1, 2005, p. 1-18.
COX, Julian; FORD, Colin. Julia Margaret Cameron. The complete photographs. Los Angeles: J. Paul Getty Museum, 2003.
DORÉ, Gustave. Doré’s illustrations for Idylls of the King. New York: Dover, 1995.
FORD, Colin. A Pre-Raphaelite Partnership: Dante Gabriel Rossetti and John Robert Parsons. The Burlington Magazine, v. 146, n. 1214, 2004, p. 308-318.
FREUD, Sigmund. O Moisés de Michelângelo. In: FREUD, Sigmund. Leonardo da Vinci e uma lembrança de sua infância: o Moisés de Michelângelo. Tradução de Walderedo Ismael de Oliveira e Órizon Carneiro Muniz. Rio de Janeiro: Imago, 1997, p. 103-134.
FRY, Roger; WOOLF, Virginia. Victorian photographs of famous men and fair women. London: Hogarth Press, 1926.
GERNSHEIM, Helmut. Julia Margaret Cameron: Her Life and Photographic Work. Millerton: Aperture Press, 1975.
HARPER’S Weekly, v. XXI, n. 1079, September the 1st 1877. HILL, Marylu. “Shadowing Sense at war with Soul”: Julia Margaret Cameron’s Photographic Illustrations of Tennyson’s “Idylls of the King”. Victorian Poetry, v. 40, n. 4, 2002, p. 445-462.
LAURETIS, Teresa de. The technology of gender. In: LAURETIS, Teresa de. The technologies of gender. Essays on Theory, Film, and Fiction. Bloomington/Indianopolis: Indiana University Press, 1983, p. 1-30.
LUKITSH, Joanne. Julia Margaret Cameron’s Photographic Illustrations to Alfred Tennyson’s “The Idylls of the King”. In: FENSTER, Thelma (Ed.). Arthurian women. A casebook. New York: Routledge, 2015, 2 ed., p. 247-262.
LUPACK, Alan. Popular Images Derived from Tennyson’s Arthurian Poems. Arthuriana, v. 21, n. 2, 2011, p. 90-118.
OLSEN, Victoria C. Idylls of Real Life. Victorian Poetry, v. 33, n. 3/4, 1995, p. 371- 389.
PFORDRESHER, John. A Bibliographic History of Alfred Tennyson’s “Idylls of the King”. Studies in Bibliography, v. 26, 1973, p. 193-218.
POLLOCK, Griselda. Woman as Sign in Pre-Rapahelite Literature. The Representation of Elizabeth Siddall. In: POLLOCK, Griselda. Vision and Difference. Feminism, Femininity and the Histories of Art. London/New York: Routledge, 2003. 2 ed. p. 128-162.
ROSEN, Jeff. Julia Margaret Cameron’s “fancy subjects”. Photographic allegories of Victorian identity and empire. Manchester: Manchester University Press, 2016.
SAUNDERS, Clare Broome. Women writers and nineteenth-century medievalism. New York: Palgrave Macmillan, 2009.
SIMMONS, Laurence. Rome II: The Monument of ornament. In: SIMMONS, Laurence. Freud’s Italian journey. Amsterdam/New York: Rodopi, 2006, p. 214-245.
STAINES, David. Tennyson's Camelot: the Idylls of the King and its medieval sources. Ontario: Wilfrid Laurier University Press, 1982.
TENNYSON, Alfred. Idylls of the King. In: RICKS, Christopher (Ed.). The Poems of Tennyson. Berkeley: University of California Press, 1987, 3 v., v. 3.
TENNYSON, Hallam. Alfred Lord Tennyson: A Memoir. New York: Macmillan, 1897, 2 v.
THOMAS, Julia. Always another poem: Victorian illustrations of Tennyson. In: CHESHIRE, Jim et al. (Ed.). Tennyson Transformed: Alfred Lord Tennyson and Visual Culture. Aldershot: Lund Humphries, 2009, p. 20-31.
WYNNE-DAVIES, Marion. “Thro’ the brilliant eye”: Julia Margaret Cameron’s Illustrations to Tennyson’s Idylls. In: WYNNE-DAVIES, Marion. Women and Arthurian Literature: Seizing the sword. London/New York: Macmillan, 1996, p. 150-161.
ARMSTRONG, Carol. Cupid’s Pencil of Light: Julia Margaret Cameron and the Maternalization of Photography. October, v. 76, 1996, p. 114-141.
BRÄCHER, Andréa. Julia Margaret Cameron e a fotografia de Madonas. In: GERALDO, Sheila Cabo; COSTA, Luiz Cláudio (Org.). Anais do Encontro da Associação Nacional de Pesquisadores em Artes Plásticas. Rio de Janeiro: ANPAP, 2012. p. 1352-1361.
CAMERON, Julia Margaret. Illustrations to Tennyson’s Idylls of the King and Other Poems. London: Henry S. King and Company, 1875, 2 v.
CAMERON, Julia Margaret. The Annals of My Glass House. In: NEWHALL, Beaumont (Ed.). Photography, Essays and Images. Illustrated Readings in the History of Photography. New York/Boston: MoMA/New Graphic Society, 1980, p. 135- 139.
CAWS, Mary Ann; JOSEPH, Gerhard. Naming and Not Naming: Tennyson and Mallarmé. Victorian Poetry, v. 43, n. 1, 2005, p. 1-18.
COX, Julian; FORD, Colin. Julia Margaret Cameron. The complete photographs. Los Angeles: J. Paul Getty Museum, 2003.
DORÉ, Gustave. Doré’s illustrations for Idylls of the King. New York: Dover, 1995.
FORD, Colin. A Pre-Raphaelite Partnership: Dante Gabriel Rossetti and John Robert Parsons. The Burlington Magazine, v. 146, n. 1214, 2004, p. 308-318.
FREUD, Sigmund. O Moisés de Michelângelo. In: FREUD, Sigmund. Leonardo da Vinci e uma lembrança de sua infância: o Moisés de Michelângelo. Tradução de Walderedo Ismael de Oliveira e Órizon Carneiro Muniz. Rio de Janeiro: Imago, 1997, p. 103-134.
FRY, Roger; WOOLF, Virginia. Victorian photographs of famous men and fair women. London: Hogarth Press, 1926.
GERNSHEIM, Helmut. Julia Margaret Cameron: Her Life and Photographic Work. Millerton: Aperture Press, 1975.
HARPER’S Weekly, v. XXI, n. 1079, September the 1st 1877. HILL, Marylu. “Shadowing Sense at war with Soul”: Julia Margaret Cameron’s Photographic Illustrations of Tennyson’s “Idylls of the King”. Victorian Poetry, v. 40, n. 4, 2002, p. 445-462.
LAURETIS, Teresa de. The technology of gender. In: LAURETIS, Teresa de. The technologies of gender. Essays on Theory, Film, and Fiction. Bloomington/Indianopolis: Indiana University Press, 1983, p. 1-30.
LUKITSH, Joanne. Julia Margaret Cameron’s Photographic Illustrations to Alfred Tennyson’s “The Idylls of the King”. In: FENSTER, Thelma (Ed.). Arthurian women. A casebook. New York: Routledge, 2015, 2 ed., p. 247-262.
LUPACK, Alan. Popular Images Derived from Tennyson’s Arthurian Poems. Arthuriana, v. 21, n. 2, 2011, p. 90-118.
OLSEN, Victoria C. Idylls of Real Life. Victorian Poetry, v. 33, n. 3/4, 1995, p. 371- 389.
PFORDRESHER, John. A Bibliographic History of Alfred Tennyson’s “Idylls of the King”. Studies in Bibliography, v. 26, 1973, p. 193-218.
POLLOCK, Griselda. Woman as Sign in Pre-Rapahelite Literature. The Representation of Elizabeth Siddall. In: POLLOCK, Griselda. Vision and Difference. Feminism, Femininity and the Histories of Art. London/New York: Routledge, 2003. 2 ed. p. 128-162.
ROSEN, Jeff. Julia Margaret Cameron’s “fancy subjects”. Photographic allegories of Victorian identity and empire. Manchester: Manchester University Press, 2016.
SAUNDERS, Clare Broome. Women writers and nineteenth-century medievalism. New York: Palgrave Macmillan, 2009.
SIMMONS, Laurence. Rome II: The Monument of ornament. In: SIMMONS, Laurence. Freud’s Italian journey. Amsterdam/New York: Rodopi, 2006, p. 214-245.
STAINES, David. Tennyson's Camelot: the Idylls of the King and its medieval sources. Ontario: Wilfrid Laurier University Press, 1982.
TENNYSON, Alfred. Idylls of the King. In: RICKS, Christopher (Ed.). The Poems of Tennyson. Berkeley: University of California Press, 1987, 3 v., v. 3.
TENNYSON, Hallam. Alfred Lord Tennyson: A Memoir. New York: Macmillan, 1897, 2 v.
THOMAS, Julia. Always another poem: Victorian illustrations of Tennyson. In: CHESHIRE, Jim et al. (Ed.). Tennyson Transformed: Alfred Lord Tennyson and Visual Culture. Aldershot: Lund Humphries, 2009, p. 20-31.
WYNNE-DAVIES, Marion. “Thro’ the brilliant eye”: Julia Margaret Cameron’s Illustrations to Tennyson’s Idylls. In: WYNNE-DAVIES, Marion. Women and Arthurian Literature: Seizing the sword. London/New York: Macmillan, 1996, p. 150-161.
Descargas
Publicado
2017-11-20
Cómo citar
Pereira, M. C. (2017). O revivalismo medieval pelas lentes do gênero: as fotografias De Julia Margaret Cameron para a obra the Idylls of the King e outros poemas de Alfred Tennyson. Domínios Da Imagem, 11(20), 119–153. https://doi.org/10.5433/2237-9126.2017v11n20p119
Número
Sección
Artigos do dossiê
Licencia
Domínios da Imagen adopta la Licencia Internacional Creative Commons Atribución 4.0, por lo tanto, los derechos de autor relativos a los artículos publicados pertenecen al autor(es), quienes otorgan a la revista el derecho exclusivo de primera publicación.
Bajo esta licencia usted puede: Compartir - copiar y redistribuir el material en cualquier medio o formato. Adaptar: remezclar, transformar y desarrollar sobre el material, otorgando el crédito correspondiente, proporcionando un enlace a la licencia e indicando si se realizaron cambios.
Las obras de esta publicación tienen licencia Creative Commons.