History of Photography, Spring, 2008:  Bulletin Board  This will be updated frequently and throughout the semester, so check it at least once a week and print out any postings you don't already have.   Any xeroxes provided in class will also be posted here.
Title	Subject	Relevant to lectures and discussions of week:
some quotes related to our first class	Technological determinism, linear and synchronic approaches to history	Week 1
A summary of formalist vs. contextualist approaches to the historiography of photography:	Modernist (formalist) vs. postmodernist (contextualist) modes of thinking about photography	Week 1
Walter Benjamin on “constellar thinking”	Concerning the need to see the past and present in relation to each other	Week 1
Regis Debray's three ages of vision (or  "mediaspheres") in the history of images.	A framework for thinking about the evolution of images and their function in western culture	Week 1
Guidelines for panel discussions	Purpose of panels and how they'll be structured to maximize student participation.	Week 1
Plato's Cave	Platonic opposition of the world of ideals and the world of things	Week 1
Short compilation of quotes related to the daguerreotype	Initial reactions to photography	Week 2
Guidlines to 1st short paper	Suggestions for how to approach the first 3-4 page paper on a single photograph seen through the "lens" of orientalism	Week 3
A selection of quotes related to the concept of  "the spectacle"	Panoramic consciousness and its manifstations in contemporary visual experience.	Week 4
Front row spectators	The modern spectator as both the consumer and imagined producer of the spectacle	Week 4
Orientalism (from Emory University)	Definitions of Orientalism after the work of Edward Said	Week 4
Images from Nochlin's essay "The Imaginary Orient"	Illustrations to Nochlin's discussion of orientalism	Week 4
Charles Baudelaire on "the flaneur"	The flaneur as a 19th "prototype" for the 20th century street photographer and for the modern spectator	Week 5
Baudelaire's prose poem: "The Eyes of the Poor" from "Paris Spleen"	Art grounded in the observation of the of modern life;  theory of correspondences	Week 5
Excerpt from Walt Whitman's "Leaves of Grass"	American poet whose art, like Baudeliare, is grounded in the immediacy of modern life;  Whitman's "generalization of beauty" (see Sontag, chapter 2)	Week 5
Excerpt from "Photography and Artistic-Photography by Marius De Zayas	Photo-Secessionist distinction between Art Photography and Photography	Week 6
Theory of Sacrifices	Elaborated by Delacroix and others in the 19th century, a foundational argument for Pictorialist photography	Week 6
denotation and connotation in the photograph	Review of class discussion about Robert Doisneau photograph through the ideas of Roland Barthes	Week 7
Alan Sekula's "two poles of photographic meaning"	summary two "folk myths" of photography as discussed in Sekula article	Week 7
"The Photographer" by Dariuz Jablonski	reference to film shown in class	Week 9
Guidlines for 2nd short paper on a personal photograph	due date t.b.a.	Week 11
"Let Us Now Praise Famous Men: Agee and Evans' Great Experiement", by                     Suzanne A. Austgen	short article which provides excellent background to the film screened in class: "Let Us Now Praise Famous Men Revisited"	Week 12
Walker Evans photographs from "Let Us Now Praise Famous Men"	on-line photographs from the book (from Univ. of Virginia)	Week 12
Reference photographs for the assigned reading Propganda and Persuasion by Estelle Jussim	Two photographs by FSA photographers Russell Lee and Dorothea Lange	Week 12
Some quotes on surrealism	Excerpts from writings by surrealist artists and writers which explicitly or implicity relate to photography	Week 12
Key passages from Walter Benjamin's "Work of Art in the Age of Mechanical Reproduction:	Emancipatory effects of photography and cinema, loss of the aura, etc.	Week 13