| Description: | This study analyzes how the Art-Union, a British journal interested only in the fine arts, approached photography between 1839 and 1854. It is informed by Karl Marx’s materialism-informed commodity fetishism, Gerry Beegan’s conception of knowingness, Benedict Anderson’s imagined community, and an art critical discourse that was defined by Roger de Piles and Joshua Reynolds. The individual chapters are each sites in which to examine these multiple theoretical approaches to the journal’s and photography’s association in separate, yet sometimes overlapping, periods. One particular focus of this study concerns the method through which the journal viewed photography—as an artistic or scientific enterprise. A second important focus of this study is the commodification of both the journal and photography in Britain. Also, it determines how the journal’s critical engagement with photography fits into the structure and development of a nineteenth-century British social collectivity focused on art and the photographic enterprise. |
|---|---|
| Creator(s): | Boetcher, Derek Nicholas |
| Creation Date: | August 2011 |
| Partner(s): |
UNT Libraries
|
| Collection(s): |
UNT Theses and Dissertations
|
| Usage: |
Total Uses: 186
Past 30 days: 14
Yesterday: 0
|
| Creator (Author): |
|
|
|---|---|---|
| Publisher Info: |
Publisher Name: University of North Texas
Publisher Info: Web: www.unt.edu
Place of Publication: Denton, Texas
|
|
| Original Creation Date: | August 2011 | |
| Description: | This study analyzes how the Art-Union, a British journal interested only in the fine arts, approached photography between 1839 and 1854. It is informed by Karl Marx’s materialism-informed commodity fetishism, Gerry Beegan’s conception of knowingness, Benedict Anderson’s imagined community, and an art critical discourse that was defined by Roger de Piles and Joshua Reynolds. The individual chapters are each sites in which to examine these multiple theoretical approaches to the journal’s and photography’s association in separate, yet sometimes overlapping, periods. One particular focus of this study concerns the method through which the journal viewed photography—as an artistic or scientific enterprise. A second important focus of this study is the commodification of both the journal and photography in Britain. Also, it determines how the journal’s critical engagement with photography fits into the structure and development of a nineteenth-century British social collectivity focused on art and the photographic enterprise. |
|
| Degree: |
Grantor:
University of North Texas
Department:
Department of History
Discipline:
History
Level:
Master's
Name:
Master of Arts
PublicationType:
Master's Thesis
|
|
| Language(s): | ||
| Subject(s): |
|
|
| Keyword(s): | The Art-Union | fetishism | commodity | Talbot | Daguerre | talbotype | daguerreotype | photography | |
| Contributor(s): |
|
|
| Partner: |
UNT Libraries
|
|
| Collection: |
UNT Theses and Dissertations
|
|
| Identifier: |
|
|
| Resource Type: | Thesis or Dissertation | |
| Format: | Text | |
| Rights: |
Access:
Public
Holder:
Boetcher, Derek Nicholas
License:
Copyright
Statement:
Copyright is held by the author, unless otherwise noted. All rights reserved.
|
|
