“Une révolution photographique” : Victor Hugo's projections during exile

From his exile in Jersey and Guernesey between 1852 and 1870, Victor Hugo sought to be present at the center of French society. Photography appears appeared as a means of ensuring that his figure and his work are were not forgotten and that they continued to exert an influence in the public sphere....

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Autor principal: de Cabo, Mariana
Formato: Artículo revista
Lenguaje:Español
Publicado: Departamento de Letras - Facultad de Humanidade 2024
Materias:
Victor Hugo
Fotografía
Exilio
Figura autoral
Photography
Exile
Figure of the author
Acceso en línea:https://revele.uncoma.edu.ar/index.php/letras/article/view/5649
Aporte de:
Repositorio de Revistas Electrónicas REVELE (UNComahue) de Universidad Nacional del Comahue
id I22-R128-article-5649
record_format ojs
spelling I22-R128-article-56492024-12-09T17:42:09Z “Une révolution photographique” : Victor Hugo's projections during exile “Une révolution photographique”: proyecciones de Victor Hugo durante el exilio de Cabo, Mariana Victor Hugo Fotografía Exilio Figura autoral Victor Hugo Photography Exile Figure of the author From his exile in Jersey and Guernesey between 1852 and 1870, Victor Hugo sought to be present at the center of French society. Photography appears appeared as a means of ensuring that his figure and his work are were not forgotten and that they continued to exert an influence in the public sphere. It is a family project: the photographs were taken by his sons, François-Victor and Charles Hugo, and Auguste Vacquerie, brother of the husband of Leópoldine Hugo, Hugo's daughter. Unlike his contemporaries, the writer recognized the mediatic power of photography and wished to construct his authorial figure on the basis of photographic images. In the 19th century, photography was not conceived as a product of artistic subjectivity and it was thought that the imagination of photographers was not involved in the process, or it was (agregué estas palabras, que no están en el original porque me parece que si no, no se entiende) only to a limited extent. Despite the technical limitations of the process, in correspondence with his publisher, Pierre-Jules Hetzel, Hugo expressed his desire to use photography instead of lithography and sensed the revolutionary potential of the camera. This paper seeks intends to explore the discussions between Hugo and Hetzel on the role of photography in the construction of the figure and work of the writer. Desde el exilio en Jersey y Guernesey, entre 1852 y 1870, Victor Hugo busca estar presente en el centro de la sociedad francesa. La fotografía aparece como un medio para que su figura y su obra no sean olvidadas y sigan ejerciendo una influencia en el ámbito público. Se trata de un proyecto familiar: sus hijos François-Victor y Charles Hugo y Auguste Vacquerie, hermano del esposo de Leópoldine Hugo, hija de Hugo, toman las fotografías. El escritor, a diferencia de sus contemporáneos, reconoce la capacidad mediática de la fotografía y desea construir su figura de autor a partir de imágenes fotográficas. En el siglo XIX, no se concibe la fotografía como un producto de la subjetividad artística y se piensa que la imaginación de los fotógrafos no interviene en el proceso o solo de forma limitada. A pesar de las limitaciones técnicas del procedimiento, en las correspondencias con su editor, Pierre-Jules Hetzel, Hugo expresa su voluntad de emplear la fotografía en lugar de la litografía e intuye el potencial revolucionario de la cámara. Este articulo busca explorar las discusiones entre Hugo y Hetzel en torno al rol de la fotografía en la construcción de la figura y obra del escritor. Departamento de Letras - Facultad de Humanidade 2024-12-09 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revele.uncoma.edu.ar/index.php/letras/article/view/5649 Language and Literature Magazine; No. 42 (2024): Revista de Lengua y Literatura; 60-72 Revista de Lengua y Literatura; Núm. 42 (2024): Revista de Lengua y Literatura; 60-72 2408-4646 0327-1951 spa https://revele.uncoma.edu.ar/index.php/letras/article/view/5649/62545 Derechos de autor 2024 Revista de Lengua y Literatura https://creativecommons.org/licenses/by-nc-nd/2.5/ar/
institution Universidad Nacional del Comahue
institution_str I-22
repository_str R-128
container_title_str Repositorio de Revistas Electrónicas REVELE (UNComahue)
language Español
format Artículo revista
topic Victor Hugo
Fotografía
Exilio
Figura autoral
Victor Hugo
Photography
Exile
Figure of the author
spellingShingle Victor Hugo
Fotografía
Exilio
Figura autoral
Victor Hugo
Photography
Exile
Figure of the author
de Cabo, Mariana
“Une révolution photographique” : Victor Hugo's projections during exile
topic_facet Victor Hugo
Fotografía
Exilio
Figura autoral
Victor Hugo
Photography
Exile
Figure of the author
author de Cabo, Mariana
author_facet de Cabo, Mariana
author_sort de Cabo, Mariana
title “Une révolution photographique” : Victor Hugo's projections during exile
title_short “Une révolution photographique” : Victor Hugo's projections during exile
title_full “Une révolution photographique” : Victor Hugo's projections during exile
title_fullStr “Une révolution photographique” : Victor Hugo's projections during exile
title_full_unstemmed “Une révolution photographique” : Victor Hugo's projections during exile
title_sort “une révolution photographique” : victor hugo's projections during exile
description From his exile in Jersey and Guernesey between 1852 and 1870, Victor Hugo sought to be present at the center of French society. Photography appears appeared as a means of ensuring that his figure and his work are were not forgotten and that they continued to exert an influence in the public sphere. It is a family project: the photographs were taken by his sons, François-Victor and Charles Hugo, and Auguste Vacquerie, brother of the husband of Leópoldine Hugo, Hugo's daughter. Unlike his contemporaries, the writer recognized the mediatic power of photography and wished to construct his authorial figure on the basis of photographic images. In the 19th century, photography was not conceived as a product of artistic subjectivity and it was thought that the imagination of photographers was not involved in the process, or it was (agregué estas palabras, que no están en el original porque me parece que si no, no se entiende) only to a limited extent. Despite the technical limitations of the process, in correspondence with his publisher, Pierre-Jules Hetzel, Hugo expressed his desire to use photography instead of lithography and sensed the revolutionary potential of the camera. This paper seeks intends to explore the discussions between Hugo and Hetzel on the role of photography in the construction of the figure and work of the writer.
publisher Departamento de Letras - Facultad de Humanidade
publishDate 2024
url https://revele.uncoma.edu.ar/index.php/letras/article/view/5649
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first_indexed 2025-02-05T23:00:51Z
last_indexed 2025-02-05T23:00:51Z
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