トマス・エイキンズと写真的視覚の発見 : アメリカン・リアリズム再考
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What is the essence of "American Realism"? This paper tries to answer this difficult question from a new perspective by reconsidering "realism" as a socially constructed narrative, re-examining the differences between the cultural contexts of European and American realisms, and reintroducing the significance of photographic vision into the discussion of American Realism. As Michael Davitt Bell points out, "it is hard to see Howells, Twain, and James-not to mention such successors as Sarah Orne Jewett, Frank Norris, Stephen Crane, and Theodore Dreiser-as constituting any single literary tradition or "school" of literature; the differences among their characteristic modes are far more striking than the similarities." Then how did they conceive "realism" in the almost same sense? Instead of arguing this problem in the conventional field of literature, this paper explores pictorial realisms-especially Thomas Eakins's realism-and the cultural roles of photography in the late nineteenth century in order to introduce an interdisciplinary approach, and concludes that, for Americans of the period, photographic vision represented the way they visualized and realized their own imagined communities and themselves. Because of limited space, my analysis is applied only to a pair of oil paintings Thomas Eakins's Max Schmitt in a Single Scull and Jean Leon Gerome's Excursion of the Harem-, but I believe that my argument is valid even in the general discussion of American Realism.
- 東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター,Center for Pacific and American Studies of The University of Tokyo,東京大学（院）の論文
東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター,Center for Pacific and American Studies of The University of Tokyo,東京大学（院） | 論文
- トマス・エイキンズと写真的視覚の発見 : アメリカン・リアリズム再考
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