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      “Camera to the World”: Walt Whitman’s Photobiographic Representation of the Civil War

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      https://www.riss.kr/link?id=A104072721

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      다국어 초록 (Multilingual Abstract)

      Among the American writers of the nineteenth century who participated in the Civil War, Whitman is believed to be a poet who had an artistic inclination toward photography. Throughout his writings of the Civil War, Whitman explicitly reveals his statu...

      Among the American writers of the nineteenth century who participated in the Civil War, Whitman is believed to be a poet who had an artistic inclination toward photography. Throughout his writings of the Civil War, Whitman explicitly reveals his status as a poet-photographer, stating “The great poet is he who performs the office of the camera to the world.” Significantly, Whitman’s references and implications for photography can be easily found everywhere in his wartime writings.
      For Whitman, writing is to visually catch and deliver the “knack of catching life on the run, in a flash, as it shifted, moved, evolved” like photography. Since Whitman rarely saw the actual battle scenes from the battlefront, he could learn to see the scenes only through the soldiers who participated in the war or the images of the photographers who followed the troops. Thus, Whitman had to take the war photographs taken by the pioneer photographers such as Brady and Gardner to write poems and memoranda for “the real war” which spread out on the battlefield more effectively. Given that he attempts to realistically deliver the battle scenes by “trying to photograph a tempest,” the Civil War sections in Whitman’s autobiography Specimen Days are considered the results of his photographic representation.
      Above all, the Civil War sections in Specimen Days explicitly reveal the photobiographic representation in relation to Whitman’s favorite photographer Alexander Gardner. Undeniably, Whitman successfully incorporates “the real atmosphere of a battle” inspired from Gardner’s Civil War photographs into his texts. Thus, it is not surprising that Gardner’s photographs such as A Burial Party, Cold Harbor, VA. and A Harvest of Death are in perfect accord with Whitman’s visually evocative language in Specimen Days. In this regard, Specimen Days should be considered a photobiography which has an inseparable connection with Gardner’s photographs.

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      참고문헌 (Reference)

      1 Klingsporn, Geoffrey, "“Icon of Real war: A Harvest of Death and American War Photography.” Velvet Light Trap: A" 45 : 4-19, 2010

      2 Katz, D. Mark, "Witness to an Era: The Life and Photographs of Alexander Gardner" Rutledge Hill 1991

      3 Traubel, Horace, "With Walt Whitman in Camden" Rowman and Littlefield 1996

      4 Folsom, "Whitman and the Visual Democracy of Photography" 10 : 51-65, 1988

      5 Folsom, "Walt Whitman’s Native Representations" Cambridge UP 1994

      6 Cox, James M., "Walt Whitman, Mark Twain, and the Civil War" 69 (69): 185-204, 1961

      7 Whitman, Walt, "Visit To Plumbe‘s Gallery’ July, 2 1846, in Literature and Photography: Interactions 1840-1990" U of New Mexico P 19-22, 1995

      8 Sweet, Timothy, "Traces of War: Poetry, Photography, and the Crisis of the Union" Johns Hopkins UP 1990

      9 Holmes, Oliver Wendell, "The Stereoscope and the Stereograph, in Photography in Print" Simon 100-114, 1981

      10 Meehan, Sean Ross, "The Mirror with Memory: Nineteenth-century American autobiography and the photographic imagination" U of Iowa 2002

      1 Klingsporn, Geoffrey, "“Icon of Real war: A Harvest of Death and American War Photography.” Velvet Light Trap: A" 45 : 4-19, 2010

      2 Katz, D. Mark, "Witness to an Era: The Life and Photographs of Alexander Gardner" Rutledge Hill 1991

      3 Traubel, Horace, "With Walt Whitman in Camden" Rowman and Littlefield 1996

      4 Folsom, "Whitman and the Visual Democracy of Photography" 10 : 51-65, 1988

      5 Folsom, "Walt Whitman’s Native Representations" Cambridge UP 1994

      6 Cox, James M., "Walt Whitman, Mark Twain, and the Civil War" 69 (69): 185-204, 1961

      7 Whitman, Walt, "Visit To Plumbe‘s Gallery’ July, 2 1846, in Literature and Photography: Interactions 1840-1990" U of New Mexico P 19-22, 1995

      8 Sweet, Timothy, "Traces of War: Poetry, Photography, and the Crisis of the Union" Johns Hopkins UP 1990

      9 Holmes, Oliver Wendell, "The Stereoscope and the Stereograph, in Photography in Print" Simon 100-114, 1981

      10 Meehan, Sean Ross, "The Mirror with Memory: Nineteenth-century American autobiography and the photographic imagination" U of Iowa 2002

      11 Rubin, Joseph Jay, "The Historic Whitman" Pennsylvania State UP 1973

      12 Greenberg, Clement, "The Camera Glass Eye" 294-296, 1946

      13 Nestor, Amy Ruth, "Straying Aside/Bodying Athwart—without the Lines of Traumatic History in Walt Whitman’s Specimen Days and W. E. B. Du Bois’ The Souls of Black Folk" U of New York at Buffalo 2005

      14 Whitman, Walt, "Specimen Days and Collect" Dover 1995

      15 Trachtenberg, Alan, "Reading American Photographs: Images as History, Mathew Brady to Walker Evans" Noonday-Hill 1989

      16 Rugg, Linda Haverty, "Picturing Ourselves: Photography and Autobiography" U of Chicago P 1997

      17 Mitchell, W. J. T., "Picture Theory: Essays on Verbal and Visual Representation" U of Chicago P 1994

      18 Trachtenberg, Alan, "Photography: The Emergence of a Keyword, in Photography in Nineteenth-Century America" Abrams 16-47, 1991

      19 Lee, Anthony W, "On Alexander Gardner’s Photographic Sketch Book of the Civil War" U of California P 2007

      20 Folsom, "Notes on the Major Whitman Photographers" 4 (4): 63-71, 1986

      21 Whitman, Walt, "Notebooks and Unpublished Prose Manuscripts" New York UP 1984

      22 Whitman, Walt, "Leaves of Grass" Norton 1973

      23 Gardner, Alexander, "Gardner’s Photographic Sketch Book of the Civil War" Dover 1959

      24 Green-Lewis, Jennifer, "Framing the Victorians: Photography and the Culture of Realism" Cornell UP 1996

      25 Whitman, Walt, "City Photographs, in Walt Whitman and the Civil Wa" A.S. Barnes 1963

      26 "Brady’s Photographs of the War"

      27 Whitman, Walt, "An American Primer" City Light 1970

      28 Peterson, Anne E., "Alexander Gardner in Review" 34 (34): 356-367, 2010

      29 Trachtenberg, Alan, "Albums of War: On Reading Civil War Photographs" 9 : 1-32, 1985

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