FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2013687670> ?p ?o ?g. }

• W2013687670 endingPage "328" @default.
• W2013687670 startingPage "288" @default.
• W2013687670 abstract "“Facing the Fact: Word and Image in Muriel Rukeyser’s ‘Worlds Alongside’”1 Catherine Gander (bio) In 1939, the small format picture magazine Coronet featured two photo-textual experiments. These were arranged as a “portfolio of photographs” supported by a poetic prose “narrative” by Muriel Rukeyser. They were published in the September and October issues, and were titled, respectively, “Adventures of Children” and “Worlds Alongside.” The photo-narratives were experimental not least in the fact that they did not adhere to established contemporary formulae regarding the presentation of word-image pairings in magazine reports, such as those featured in Life or Time since the height of the Great Depression, as well as those featured previously in the more arts-orientated Coronet. Hailed by the editors of Coronet as “infinitely superior to the usual picture-gallery treatment” of photographs and descriptive captions in the publication (120), Rukeyser’s photo-narratives nevertheless puzzled several readers, offended some, and remain an intriguing and, I argue, vital part of her oeuvre. For the purposes of this essay, which will attempt to unravel the complexity of Rukeyser’s use of word and image, tracing the aesthetic, ideological, and poetic implications of her photo-narrative work, I will dedicate my analysis to the second of the pieces, “Worlds Alongside.” Although both photo-narratives utilize the format of the picture magazine to explore dual aspects of modern life—the separate yet parallel social spheres of wealth and poverty, of civilized sophistication and primitive simplicity, for example—“Worlds [End Page 288] Alongside,” as its title would indicate, provides a richer text through which to interrogate these themes, as well as Rukeyser’s management of them. Sixteen pages in length, the photo-narratives each contain six image pairings, in which two photographs are arranged to face each other on the verso and recto of the double-page spread: one combination of four images, organized in double pairings on the same format, and two single images, one beginning and one ending the photo-narrative, the text of which runs beneath each photograph in neat, centered font. The theme of duality in “Worlds Alongside,” then, begins in its formal presentation. “Worlds living now!” opens the narrative (Figure 1), an exclamatory sentence that seems at odds with the silent tranquility of the image of verdant landscape above it. The prosperous fecundity of this portion of American existence2 is highlighted by Rukeyser’s choice of descriptors—“rich” and “fertility” (83)—which further enhance the effect of the image directly overleaf: a larger documentary photograph by Dorothea Lange of dustbowl desolation, in which the twin rudimentary and disused post-boxes indicate that this part of “the same country’s” (84) landscape cannot sustain life of any kind (Figure 2). The ornate city “tower” (85) to the right of the dustbowl image, doubled through the windowpane of the tower in which the photographer obviously stands, serves to cement the established theme of duality and difference visible in the “same” world. Exploiting what Edwin Rosskam in the same year had termed the “new unit” of communication, “the double-paged spread in which word and image complemented each other” (7), Rukeyser stages encounters between representative images of ostensibly social, cultural, or ethnic opposites. The potential for communication between these worlds resides in the ocular dialectic that Rukeyser highlights as symptomatic of the Depression era’s dependency on visuality: a self-other relation bound up in the introspection and objectification generated by the documentary gaze. For example, appearing two thirds of the way through “Worlds Alongside,” Figure 3 demonstrates the layers of meaning constructed in Rukeyser’s use of image, text, and format; more precisely, Depression-era documentary photographs (Farm Security Administration [FSA] images by Dorothea Lange and Arthur Rothstein respectively), a textual narrative [End Page 289] Click for larger view View full resolution Figure 1. “Worlds Alongside,” Coronet Oct. 1939, page 83, FSA photograph, photographer unknown. Reprinted courtesy of the Library of Congress. [End Page 290] Click for larger view View full resolution Figure 2. “Worlds Alongside,” Coronet Oct. 1939, pages 84–85. FSA photograph by Dorothea Lange (left) reprinted courtesy of the Library of Congress. that both reflects and complicates the images to which it..." @default.
• W2013687670 created "2016-06-24" @default.
• W2013687670 creator A5032141710 @default.
• W2013687670 date "2013-01-01" @default.
• W2013687670 modified "2023-10-17" @default.
• W2013687670 title "“Facing the Fact: Word and Image in Muriel Rukeyser’s ‘Worlds Alongside’”" @default.
• W2013687670 cites W1491330651 @default.
• W2013687670 cites W1527529558 @default.
• W2013687670 cites W1530010952 @default.
• W2013687670 cites W1531212105 @default.
• W2013687670 cites W1573287456 @default.
• W2013687670 cites W1581025959 @default.
• W2013687670 cites W1592579995 @default.
• W2013687670 cites W1596440771 @default.
• W2013687670 cites W1602129699 @default.
• W2013687670 cites W182294198 @default.
• W2013687670 cites W1966312168 @default.
• W2013687670 cites W1998705529 @default.
• W2013687670 cites W2007234748 @default.
• W2013687670 cites W2017907728 @default.
• W2013687670 cites W2046921699 @default.
• W2013687670 cites W2075255833 @default.
• W2013687670 cites W2086950405 @default.
• W2013687670 cites W2095530131 @default.
• W2013687670 cites W2100556489 @default.
• W2013687670 cites W2127532958 @default.
• W2013687670 cites W213070537 @default.
• W2013687670 cites W2325069011 @default.
• W2013687670 cites W2336052401 @default.
• W2013687670 cites W2476911726 @default.
• W2013687670 cites W2493875923 @default.
• W2013687670 cites W2502903718 @default.
• W2013687670 cites W3150367839 @default.
• W2013687670 cites W427811599 @default.
• W2013687670 cites W560542751 @default.
• W2013687670 cites W577755251 @default.
• W2013687670 cites W584403765 @default.
• W2013687670 cites W611099921 @default.
• W2013687670 cites W642775994 @default.
• W2013687670 doi "https://doi.org/10.1353/jnt.2013.0017" @default.
• W2013687670 hasPublicationYear "2013" @default.
• W2013687670 type Work @default.
• W2013687670 sameAs 2013687670 @default.
• W2013687670 citedByCount "0" @default.
• W2013687670 crossrefType "journal-article" @default.
• W2013687670 hasAuthorship W2013687670A5032141710 @default.
• W2013687670 hasBestOaLocation W20136876702 @default.
• W2013687670 hasConcept C107038049 @default.
• W2013687670 hasConcept C111472728 @default.
• W2013687670 hasConcept C124952713 @default.
• W2013687670 hasConcept C126838900 @default.
• W2013687670 hasConcept C138885662 @default.
• W2013687670 hasConcept C142362112 @default.
• W2013687670 hasConcept C153349607 @default.
• W2013687670 hasConcept C164913051 @default.
• W2013687670 hasConcept C168725872 @default.
• W2013687670 hasConcept C199033989 @default.
• W2013687670 hasConcept C2776372474 @default.
• W2013687670 hasConcept C2776662206 @default.
• W2013687670 hasConcept C2777601897 @default.
• W2013687670 hasConcept C2780792186 @default.
• W2013687670 hasConcept C42133412 @default.
• W2013687670 hasConcept C52119013 @default.
• W2013687670 hasConcept C71924100 @default.
• W2013687670 hasConcept C95457728 @default.
• W2013687670 hasConceptScore W2013687670C107038049 @default.
• W2013687670 hasConceptScore W2013687670C111472728 @default.
• W2013687670 hasConceptScore W2013687670C124952713 @default.
• W2013687670 hasConceptScore W2013687670C126838900 @default.
• W2013687670 hasConceptScore W2013687670C138885662 @default.
• W2013687670 hasConceptScore W2013687670C142362112 @default.
• W2013687670 hasConceptScore W2013687670C153349607 @default.
• W2013687670 hasConceptScore W2013687670C164913051 @default.
• W2013687670 hasConceptScore W2013687670C168725872 @default.
• W2013687670 hasConceptScore W2013687670C199033989 @default.
• W2013687670 hasConceptScore W2013687670C2776372474 @default.
• W2013687670 hasConceptScore W2013687670C2776662206 @default.
• W2013687670 hasConceptScore W2013687670C2777601897 @default.
• W2013687670 hasConceptScore W2013687670C2780792186 @default.
• W2013687670 hasConceptScore W2013687670C42133412 @default.
• W2013687670 hasConceptScore W2013687670C52119013 @default.
• W2013687670 hasConceptScore W2013687670C71924100 @default.
• W2013687670 hasConceptScore W2013687670C95457728 @default.
• W2013687670 hasIssue "3" @default.
• W2013687670 hasLocation W20136876701 @default.
• W2013687670 hasLocation W20136876702 @default.
• W2013687670 hasOpenAccess W2013687670 @default.
• W2013687670 hasPrimaryLocation W20136876701 @default.
• W2013687670 hasRelatedWork W2061721244 @default.
• W2013687670 hasRelatedWork W2350000257 @default.
• W2013687670 hasRelatedWork W2363496435 @default.
• W2013687670 hasRelatedWork W2364594581 @default.
• W2013687670 hasRelatedWork W2365648407 @default.
• W2013687670 hasRelatedWork W2379933635 @default.
• W2013687670 hasRelatedWork W2383599784 @default.
• W2013687670 hasRelatedWork W2392951461 @default.
• W2013687670 hasRelatedWork W2748952813 @default.
• W2013687670 hasRelatedWork W3042030216 @default.

• next