Académique Documents
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DIRECTOR DE TESIS
Dr. Michael Pfeiffer
Departament dHumanitats
UNIVERSIDAD DE GUADALAJARA
Centro Universitario de Ciencias Sociales y Humanidades
Divisin de Estudios Histricos y Humanos
Departamento de Letras
A Hiram Mxim
explorador de su mundo
AGRADECIMIENTOS
Max, por tu confrontacin y abrazo, al final vamos creciendo juntos. A Luz. Faro, presencia
intermitente y constante, haz y sombra estn ah, indicando los escollos y la orilla. A mi madre
y mis hermanas, por todo el apoyo durante este proceso a pesar de la distancia. Muy
especialmente a una presencia constante durante todos estos aos, Aby, con cario. No puedo
dejar de nombrar, ya que de mi formacin acadmica se trata, el apoyo que por motivo de una
ausencia suscit un abrigo que siempre agradecer. Gracias Trino. Gracias Ral. A los amigos
de aqu y de all. A Martina, escucha entusiasta, irnica confidente. Gracias a Mart Llorens por
dejarme husmear en su maravillosa Biblioteca, lugar en el que tocar, oler y ver se hizo posible
entre objetos delicados y cmaras que vuelven a vivir. Por supuesto, gracias a Michael Pfeiffer,
su paciencia y claridad fueron fundamentales para llevar a buen puerto este proyecto. Por
todos los momentos, por todas las sorpresas. Por las largas sesiones leyendo, dndome la
oportunidad de leer.
RESUMEN
El presente estudio trata de la fotografa y escritura del viaje como formas de representacin de
la memoria durante el siglo XIX, especficamente entre las dcadas de 1840 y 1880. Se
atienden los procesos de consignacin de la memoria de la experiencia del viaje desde las
perspectivas de recepcin y produccin. Las representaciones visuales y textuales son
testimonios de una experiencia extrema en la que se ponen en juego diversos filtros para la
construccin cultural del otro y de s mismo. Estas representaciones se ven materializadas en
la forma arquetpica del libro. La concepcin de la fotografa como una representacin de la
naturaleza por contacto encuentra en el libro su configuracin e identidad, de manera que las
primeras ediciones de libros fotogrficos llevan consigo la impronta de la verdad de la
naturaleza y el conocimiento del mundo desvelado al hombre. De ah la pertinencia del
dispositivo fotogrfico dentro de la historia de la ciencia. La escritura del viaje ser entendida
no como gnero literario sino como formas de asimilar y representar el viaje. La fotografa ser
estudiada no desde la linealidad histrica sino desde los discursos culturales partiendo de
nociones como identidad y otredad. Se abordar de manera detallada la experiencia de cuatro
viajeros: Maxime du Camp, John Thomson, William Bradford y Arthur Rimbaud. Ellos a travs
de la imagen fotogrfica y del texto construyeron su testimonio.
ABSTRACT
This study deals with travel photography and writing as forms of memory representation in the
nineteenth century, specifically between 1840s and 1880s. It addresses memory processes of
the travel experience from the perspectives of reception and production. These visual and
textual representations are witnesses to the extreme experiences which are subject to different
filters according to the cultural construction of the other and the self. These representations are
embodied in the archetypal form of the book. The conception of photography as a
representation of nature by index finds in the book its configuration and identity. In this way, the
first editions of photographically illustrated books carry the imprint of the truth of nature and
world knowledge revealed to man, hence the relevance of photographic device in the history of
science. In this study, travel writing is understood not as a literary genre but as a way to
assimilate and represent the journey. The photograph will be studied not only through historical
lineage but by cultural discourses based on notions such as identity and otherness. It will
address in detail the experience of four travelers: Maxime du Camp, John Thomson, William
Bradford and Arthur Rimbaud, who through photographic imagery and text built their testimony.
INDICE
INTRODUCCIN
13
15
19
23
29
34
35
1.5.2 La gua
40
49
51
56
67
72
85
87
90
94
103
105
109
112
120
131
133
141
156
173
5.1 El equipaje
175
183
197
210
214
216
219
232
246
7.1 El libro
248
251
277
286
289
295
306
309
314
319
326
CONCLUSIONES
332
BIBLIOGRAFA
336
INTRODUCCIN
siglo XIX hacan falta no pocos segundos para obtener una imagen ntida. La toma
fotogrfica requera de una preparacin compleja, en condiciones desfavorables como puede ser el viaje - las complicaciones, pausas y fallos son la norma. Fascinante
es la experimentacin con el dispositivo fotogrfico hacia la dcada de 1840. Las
imgenes por fin tenan una presencia fsica. Podamos tocar una imagen. Huella ms
visible y reconocible del mundo no exista hasta entonces.
La fotografa es el hilo conductor de la aproximacin a la representacin de la
experiencia del viaje. No son tratadas en este estudio las fotografas sueltas o postales
sino las narraciones de viaje conformadas de imagen y texto, verdaderos relatos de
viaje en los que la fotografa no es una simple ilustracin sino el itinerario mismo. Sin
entrar en jerarquizaciones propias de los estudios ecfrsticos respecto a la
problemtica sobre si la imagen ilustra la accin del texto o si el texto describe lo que
se ve en la imagen, la perspectiva que adoptamos es la de los procesos de produccin
y recepcin, perspectiva ms prxima a la fenomenologa que a la esttica. Por ello
nos acercaremos a la escritura de viaje no como gnero literario sino como formas de
asimilar y representar el viaje. La fotografa ser estudiada no desde la linealidad
histrica sino desde los discursos culturales. Sobre el viaje, dentro de un estudio
pragmtico ambos medios son francamente indisociables pero en una y otra forma de
representacin
totalmente diferentes. El
BIBLIOGRAFA
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MAXIME DU CAMP
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BALLERINI, Julia.
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____________ The In/visibility of Hadji-Ishmael: Maxime du Camps 1850 Photographs in Egypt, The
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____________ La maison demolie: photographs of Egypt by Maxime du Camp 1849-1850, Home and
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DEWANCHTER, Michel. Un voyageur en gypte vers 1850: Le Nil de Maxime du Camp, Paris, Sand /
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DU CAMP, Maxime. Souvenirs et paysages dOrient, Paris, A. Bertrand, 1848.
____________ 2 albums et 168 photographies du voyage en gypte, en Nubie et en Syrie de Maxime
Du Camp en 1849-1850, provenant de la bibliothque d'Henri Duveyrier, Bibliothque
Nationale de France. Edicin digitalizada en Bibliothque National de France, Gallica
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http://gallica.bnf.fr/ark:/12148/btv1b77021632.item.r=du+camp.f1.langES.
____________ gypte, Nubie, Palestine et Syrie, dessins photographiques recueillis pendant les
annes 1849, 1850 et 1851, accompagns dun texte explicatif et prcds dune
introduction par Maxime Du Camp, charg dune mission archologique en Orient par le
ministre de lInstruction publique, Paris, Gide et Baudry, fascculos semanales, 1852.
Edicin digitalizada en New York Public Library,
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JOHN THOMSON
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____________ China, the Land and its People: Early Photographs by John Thomson, ed. John Warner,
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____________ China and its people in early photographs: an unabridged reprint of the classic 1873/4
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____________ The Antiquities of Cambodia: A series of photographs taken on the spot / With
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Annimo
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____________ Rapport sur El-Yemen et partie du pays dHadramaut (Arabie), Paris, Imprimerie
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____________ Barr-Adjam: souvenirs dAfrique orientale, 1880-1887, precedido de Le patron de
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____________ Arthur Rimbaud. uvres, vers et proses, pomes retrouvs, revues, mises en ordre et
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____________ La vie de Rimbaud et son uvre, Paris, Mercure de France, 1929.
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____________
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____________
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EPLOGO
18
Me voici au bord de lespace et loin des circonstances
Je men vais tendrement comme une lumire
Vers la route des apparences
Je reviendrai masseoir sur les genoux de mon pre
Un beau printemps rafrachi par lventail des ailes
Quand les poissons dchirent le rideau de la mer
Et le vide est gonfl dun regard virtuel
Je reviendrai sur les eaux du ciel
[]
Vicente Huidobro, Tout coup, 1925