Portrait and Mugshot: Metonymical Foundation of Photographic Genres

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F26482789%3A_____%2F24%3A10152570" target="_blank" >RIV/26482789:_____/24:10152570 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.tandfonline.com/doi/full/10.1080/1535685X.2023.2213578?scroll=top&needAccess=true&role=tab" target="_blank" >https://www.tandfonline.com/doi/full/10.1080/1535685X.2023.2213578?scroll=top&needAccess=true&role=tab</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1080/1535685X.2023.2213578" target="_blank" >10.1080/1535685X.2023.2213578</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Portrait and Mugshot: Metonymical Foundation of Photographic Genres

Popis výsledku v původním jazyce

This article focuses on the genre distinction between artistic and legal photographs of faces: while the artistic portrait tends to express the singular soul of the person pictured, the biometric mugshot aims to scan singular physical traits without any psychological expression. How do these photographic genres allow us to identify the represented person? What do each of them seek to recognize? To grasp our metaphysical expectations of photographic technology, and thus to bridge the gap between discursive styles of these two photographic genres, I revise Derrida&apos;s deconstruction of the law of genre. Further, I argue that Derrida&apos;s and Nancy&apos;s subversive readings of Kant&apos;s concepts of parergon and schema help us to understand the rhetorical setting of the human mind, which organizes the photographic work of framing fragments. Finally, I explain the metaphysical conditions of possibility for both photographic genres by situating their opposite goals in the interval of personal recognition constructed by metonymical schematism.

Název v anglickém jazyce

Portrait and Mugshot: Metonymical Foundation of Photographic Genres

Popis výsledku anglicky

This article focuses on the genre distinction between artistic and legal photographs of faces: while the artistic portrait tends to express the singular soul of the person pictured, the biometric mugshot aims to scan singular physical traits without any psychological expression. How do these photographic genres allow us to identify the represented person? What do each of them seek to recognize? To grasp our metaphysical expectations of photographic technology, and thus to bridge the gap between discursive styles of these two photographic genres, I revise Derrida&apos;s deconstruction of the law of genre. Further, I argue that Derrida&apos;s and Nancy&apos;s subversive readings of Kant&apos;s concepts of parergon and schema help us to understand the rhetorical setting of the human mind, which organizes the photographic work of framing fragments. Finally, I explain the metaphysical conditions of possibility for both photographic genres by situating their opposite goals in the interval of personal recognition constructed by metonymical schematism.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

—

OECD FORD obor

60500 - Other Humanities and the Arts

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2024

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Law and Literature

ISSN

1535-685X

e-ISSN

1541-2601

Svazek periodika

36

Číslo periodika v rámci svazku

3

Stát vydavatele periodika

GB - Spojené království Velké Británie a Severního Irska

Počet stran výsledku

20

Strana od-do

481-500

Kód UT WoS článku

001000100100001

EID výsledku v databázi Scopus

2-s2.0-85161403080