- Bibliography
Nicoletta Vallorani
-
- THE
BROTHERHOOD OF TWINS. CONRAD'S THE SECRET SHARER AND
PHOTOGRAPHY
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- AMBROSINI, R.
(1991), Conrad's Fiction As Critical
Discourse, Cambridge, CUP.
- BAKER, S. &
W.B.WHITE (1991), The Daguerreotype.
Nineteenth-Century Technology and Modern
Science, Washington & London, Smithsonian
Institution Press.
- BAKHTIN, M. M.
(1984), "Toward a Reworking of the Dostoevsky Book"
(1961) in Caryl Emerson (ed.), Problems of
Dostoevsky's Poetics, Minneapolis, University
of Minnesota Press, pp. 280-292.
- BENJAMIN, W.
(1966), "Piccola storia della fotografia" (1931),
in L'opera d'arte nell'epoca della sua
riproducibilità tecnica, Torino,
Einaudi, pp.57-78.
- CAMERON, J.
M.(1890), The Annals of My Glass House, in
Photo Beacon (Chicago) 2, pp. 157-160.
- CONRAD, J.
(1986), Collected Letters, vol.4, ed. by
F.R.Karl and Leonard Davies, Cambridge, Cambridge
University Press.
- CONRAD, J.
(1988), Heart of Darkness (1899), ed. by R.
Kimborough, New York & London, Norton &
Company.
- CONRAD, J.
(1999), The Secret Sharer (1912), in The
Secret Sharer and Other Stories, London,
Phoenix.
- ERDINAST-VULCAN,
D. (1991), Joseph Conrad and Modern Temper,
Oxford: Clarendon Press.
- ERDINAST-VULCAN,
D. (1999), The Strange Short Fiction of Joseph
Conrad. Writing, Culture and Subjectivity,
Oxford, Oxford University Press.
- FOX TALBOT, H.
(1844), The Pencil of Nature, London, Brown,
Green & Longmans.
- FRIZOT, M. (ed.)
(1994), A New History of Photography, Paris,
Koneman.
- KREILKAMP, I
(1997)., "A Voice Without a Body: The Phonographic
Logic of Heart of Darkness", in Victorian
Studies, Winter, vol. 40, N.2,
pp.211-244.
- LONDON, B.
(1990), The Appropriated Voice. Narrative
Authority in Conrad, Forster, and Woolf, Ann
Arbor, The University of Michigan
Press.
- LUCIE-SMITH, E.
(1975), The Invented Eye. Masterpieces of
Photography, 1839-1914, London, Paddington
Press.
- LUTZ MARSH,
J.(1995), "In a Glass Darkly. Photography, the
Pre-Modern and Victorian Horror", in Elazar Barkan
& Ronald Bush (eds) Prehistories of the
Future. The Primitivist Project and the Culture of
Modernism, Stanford, Stanford University Press,
pp. 159-173.
- MAXWELL, A.
(1999), Colonial Photography and Exhibitions.
Representations of the "Native" and the Making of
European Identities, London & New York,
Leicester University Press.
- NAJDER, Z.
(1993), Joseph Conrad. A Chronicle. New
Brunswick, Rutgers University Press.
- NEWHALL, B.
(ed.) (1980), Photography, Essays and
Images, New York, The Museum of Modern
Art.
- NEWHALL, B.
(1982), The History of Photography, London:
The Musuem of Modern Art.
- PRINET, J. &
A. DILASSER (1859), Nadar, Paris, Armand
Colin.
- THOMAS, A.
(1978), The Expanding Eye. Photography and the
Nineteenth-Century Mind, London, Croom
Helm.
- WELLS, H. G.
(1991), The Time Machine (1895), New York,
Bantam Books.
- WENDELL HOLMES,
O. (1859), "The stereoscope and the Stereograph",
The Atlantic Monthly 3 (June),
738-48.
- WILLIAMS, V.
(1986), The Other Observers. Women Photographers
in Britain 1900 to the Present, London, Virago
Press.
- WILLIS,
ANNE-MARIE, "Photography and Film: Figures in/of
history", in Leslie Devereux and Roger Hillman
(eds), Fields of Vision. Essays in Film Studies,
Visual Anthropology and Photography, Berkeley
and London, University of California Press, 1995,
pp.77-93.
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