Mina Loy, Twentieth-Century Photography, and Contemporary Women Poets

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A01=Linda A. Kinnahan
Arthur Cravan
Atget's Photographs
Atget’s Photographs
Author_Linda A. Kinnahan
Aviator's Eyes
Aviator’s Eyes
Bellmer's Photographs
Bellmer’s Photographs
Bird's Eye
Bird’s Eye
Caroline Bergvall
Category=AJC
Category=DSBJ
Category=DSC
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Dead Men
Derelict Spaces
Documentary Photography
documentary photography analysis
Doll Image
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FSA Photograph
gender representation
Hans Bellmer
Human Suffering
Loy's Poems
Loy's Poetry
Loy's Portraits
Loy's Return
loys
Loy’s Poems
Loy’s Poetry
Loy’s Portraits
Loy’s Return
Lunar Baedeker
Mac Orlan
Man Ray
modernist poetics
photographic influence on poetry
poems
poetry
Straight Photography
Street Photography
surrealist aesthetics
Surrealist Photography
Twentieth Century Photography
Urban Environs
urban poverty discourse
visual culture studies

Product details

  • ISBN 9781472489197
  • Weight: 580g
  • Dimensions: 156 x 234mm
  • Publication Date: 14 Mar 2017
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
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In Mina Loy, Twentieth-Century Photography, and Contemporary Women Poets, Linda A. Kinnahan explores the making of Mina Loy’s late modernist poetics in relation to photography’s ascendance, by the mid-twentieth century, as a distinctively modern force shaping representation and perception. As photography develops over the course of the century as an art form, social tool, and cultural force, Loy’s relationship to a range of photographic cultures emerging in the first half of the twentieth century suggests how we might understand not only the intriguing work of this poet, but also the shaping impact of photography and new technologies of vision upon modernist poetics. Framing Loy’s encounters with photography through intersections of portraiture, Surrealism, fashion, documentary, and photojournalism, Kinnahan draws correspondences between Loy’s late poetry and visual discourses of the body, urban poverty, and war, discerning how a visual rhetoric of gender often underlies these mappings and connections. In her final chapter, Kinnahan examines two contemporary poets who directly engage the camera’s modern impact –Kathleen Fraser and Caroline Bergvall – to explore the questions posed in their work about the particular relation of the camera, the photographic image, and the construction of gender in the late twentieth century.

Linda A. Kinnahan is Hillman Distinguished Professor at Duquesne University, USA.

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