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Becoming: The Photographs of Clementina, Viscountess Hawarden

Mavor, Carol

20 valoraciones por Goodreads
ISBN 10: 0822323559 / ISBN 13: 9780822323556
Editorial: Duke University Press, Durham, NC, U.S.A., 1999
Condición: Very Good Encuadernación de tapa dura
Librería: Book Dispensary (Vaughan, ON, Canada)

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VERY GOOD hardcover, no marks in text, tight binding, clean exterior. N° de ref. de la librería 062143

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Detalles bibliográficos

Título: Becoming: The Photographs of Clementina, ...

Editorial: Duke University Press, Durham, NC, U.S.A.

Año de publicación: 1999

Encuadernación: Hard Cover

Condición del libro:Very Good

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Sinopsis:

Clementina, Viscountess Hawarden (1822–1865) produced over eight hundred photographs during her all-too-brief life. Most of these were portraits of her adolescent daughters. By whisking away the furniture and bric-a-brac common in scenes of upper-class homes of the Victorian period, Lady Hawarden transformed the sitting room of her London residence into a photographic studio—a private space for taking surprising photos of her daughters in fancy dress. In Carol Mavor’s hands, these pictures become windows into Victorian culture, eroticism, mother-daughter relationships, and intimacy.
With drama, wit, and verve, Lady Hawarden’s girls, becoming women, entwine each other, their mirrored reflections and select feminine objects (an Indian traveling cabinet, a Gothic-style desk, a shell-covered box) as homoerotic partners. The resulting mise-en-scène is secretive, private, delicious, and arguably queer—a girltopia ripe with maternality and adolescent flirtation, as touching as it is erotic. Luxuriating in the photographs’ interpretive possibilities, Mavor makes illuminating connections between Hawarden and other artists and writers, including Vermeer, Christina Rossetti, George Eliot, Lewis Carroll, and twentieth-century photographers Sally Mann and Francesca Woodman. Weaving psychoanalytic theory and other photographic analyses into her work, Mavor contemplates the experience of the photograph and considers the relationship of Hawarden’s works to the concept of the female fetish, to voyeurism, mirrors and lenses, and twins and doubling. Under the spell of Roland Barthes, Mavor’s voice unveils the peculiarities of the erotic in Lady Hawarden’s images through a writerly approach that remembers and rewrites adolescence as sustained desire.
In turn autobiographical, theoretical, historical, and analytical, Mavor’s study caresses these mysteriously ripped and scissored images into fables of sapphic love and the real magic of photography.

From the Back Cover:

"The author's perspectives on Victorian and contemporary issues of intimacy, exhibition, maternity, sexuality, just to name a few of the themes in play here, open up new perspectives for the reader, who thus feels inspired to stop and dream for a while, hoping to do so as acutely and as inventively as Mavor does."--Joseph Litvak, author of "Strange Gourmets: Theory, Sophistication, and the Novel"

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