Das " lange 9. Jahrhundert" der Nationalstaatenbildung ist auch das Jahrhundert der " Erfindung" der Fotografie wie auch der Geburt der modernen Archivwissenschaften. Die Fotografie wurde bald von den Nationalstaaten in ihrem Bedürfnis nach bildlicher Visualisierung in den Dienst genommen. Nach dem II. Weltkrieg, dem Zerfall der kolonialistischen Systeme und schließlich dem Fall der Berliner Mauer erlangten nationale Fragen erneut Aktualität - nun in einem globalen Rahmen. Die Beiträge in diesem Band untersuchen den Zusammenhang zwischen Fotografie/Fotoarchiven und der Idee der Nation, wobei das Objektiv sich nicht auf einzelne Ikonen, sondern auf die weitreichende Dimension des Archivs richtet.
| Foreword |
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vii | |
| Photo Archives and the Idea of Nation |
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1 | (2) |
| Introduction: Photographs, Archives and the Discourse of Nation |
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3 | (14) |
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| Photographic Archives and the Idea of Nation: Images, Imaginings, and Imagined Community |
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17 | (24) |
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Photo Archives, Identity, Heritage |
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41 | (160) |
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Photography, the Archive and the Invention of the American West |
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43 | (16) |
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Performing Ethnography/Projecting History: Photography and Irish Cultural Nationalism in Ulster |
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59 | (18) |
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Before the Museum: Photography and the Construction of the Canon of Polish Material Culture |
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77 | (18) |
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Dalmatia in the Visual Narrative. Georg Kowalczyk and Cornelius Gurlitt: An Atlas of Photographs of Dalmatian Monuments |
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95 | (24) |
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Monumenta Historiae Patriae: Marubi's Photographic Documentation (1858--1970) and the Birth of the Albanian Nation |
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119 | (22) |
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Toward an Iconology of Medieval Studies: Approaches to Visual Narratives in Modern Scholarship |
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141 | (26) |
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Microfilm Services and their Application to Scholarly Study, Scientific Research, Education and Re-Education in the Post-War Period |
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167 | (12) |
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Cultural Heritage, Nation, Italian State: Politics of the Photographic Archive between Centre and Periphery |
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179 | (22) |
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Photo Archives, Revolution, National Heroes |
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201 | (62) |
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"And the Bombs Fell for Many Nights." Stefano Lecchi's photographs of the 1849 Siege of Rome in the Cheney Album |
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203 | (18) |
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The Photographic Portrait of Georgi Benkovski, or the De-Archivi of the National Hero |
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221 | (18) |
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Archives and Icons: Constructing Post-Revolutionary Identities in Mexico |
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239 | (24) |
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Photo Archives as Construction |
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263 | (56) |
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"You need not take a camel...": The Archive of the Afghan Tourist Organization |
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265 | (14) |
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Compound Nation: Migrant Worker Portraits in the Politics and Photography of 1980s Namibia |
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279 | (22) |
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Nostalgia for the Modern: Archive Fever in Egypt in the Age of Post-Photography |
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301 | (18) |
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| Afterword |
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319 | (2) |
| Photographs as Strong History? |
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321 | (10) |
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| Contributors |
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331 | (4) |
| Index |
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335 | |
Costanza Caraffa, Kunsthistorisches Institut in Florenz. Max-Planck-Institut, Italien Tiziana Serena, Universität Florenz, Italien.
Costanza Caraffa, Kunsthistorisches Institut in Florenz. Max-Planck-Institut, Italy Tiziana Serena, University of Florence, Italy.
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