Professional Documents
Culture Documents
Abel, Elizabeth. “Domestic Borders, Cultural Boundaries: Black Feminists Re-View the
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---. Light Writing and Life Writing: Photography in Autobiography. Chapel Hill: U of North
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Alexie, Sherman. The Lone Ranger and Tonto Fistfight in Heaven. New York: Harper
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Appiah, Kwame Anthony. “The Uncompleted Argument: DuBois and the Illusion of Race.” In
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Armstrong, Nancy. Desire and Domestic Fiction: A Political History of the Novel. New York:
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---. Fiction in the Age of Photography: The Legacy of British Realism.
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Atkinson, Oriana. “John Steinbeck and Robert Capa, Record a Russian Journey.” New York
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Attridge, Derek. “Roland Barthes’s Obtuse Sharp Meaning and the Responsibilities of
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Baker, Stephen. The Fiction of Postmodernity. Lanham, MD: Rowan and Littlefield, 2000.
Bal, Mieke. The Mottled Screen: Reading Proust Visually. Stanford: Stanford UP, 1995.
Barrett, Laura. “Compositions of Reality: Photography, History, and Ragtime”. Modern Fiction
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Barthes, Roland. A Barthes Reader. Ed. Susan Sontag. New York: Farrar, Strauss, Giroux, 1982.
---. Critical Essays. Trans. Richard Howard. Evanston, IL: Northwestern UP, 1972.
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---. Image/Music/Text. Trans. Stephen Heath. New York: Hill and Wang, 1977.
---. Roland Barthes by Roland Barthes. Trans. Richard Howard. New York: Hill and Wang,
1977.
---. Writing Degree Zero. Trans. Annette Lavers and Colin Smith. New York: Hill and Wang,
1968.
Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge, MA: MIT
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Baudrillard, Jean. America. Trans. Chris Turner. New York: Verso, 1988.
---. “The Precession of Simulacra.” Trans. Paul Foss and Paul Patton. Art after Modernism:
Rethinking Representation. Ed. Brian Wallis. New York: Museum of Contemporary Art,
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Benjamin, Walter. “A Short History of Photography.” Classic Essays on Photography. Ed. Alan
Trachtenberg. New Haven: Leete’s Island, 1980. 199-216.
---.. “The Work of Art in the Age of Mechanical Reproduction.” Illuminations. Ed.
Hannah Arendt. Trans. Harry Zohn. New York: Schocken Books, 1969. 217-251.
Berlant, Lauren. The Queen of America Goes to Washington City: Essays on Sex and
Citizenship. Durham: Duke UP, 1997.
Berlatsky, Eric. “Memory as Forgetting: The Problem of the Postmodern in Kundera’s The
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Bezner, Lili Corbus. Photography and Politics in America: From the New Deal to the Cold War.
Baltimore: Johns Hopkins UP, 1999.
Bourke-White, Margaret. “Life Begins.” 1964. Heron, Liz and Val Williams, eds. Illuminations:
Women Writing on Photography from the1850's to the Present. Durham: Duke UP, 1996.
133-139.
Bright, Deborah. “Of Mother Nature and Marlboro Men: An Inquiry into the Cultural Meanings
of Landscape Photography.” Heron, Liz and Val Williams, eds. Illuminations: Women
Writing on Photography from the1850's to the Present. Durham: Duke UP, 1996.
Brown, Andrew. Roland Barthes: The Figures of Writing. Oxford: Oxford UP, 1992.
Budick, E. Miller. “Forced Confessions: The Case of Art Spiegelman’s Maus.” Prooftexts. 21.3
(2001): 379-398.
Burgin,Victor. The End of Art Theory: Criticism and Postmodernity. Atlantic Highlands:
Humanities P, 1986.
---. In/Different Spaces: Place and Memory in Visual Culture. Berkeley: U of California P, 1996.
Campbell, Mary Schmidt. Tradition and Conflict: Images of a Turbulent Decade, 1963-1973.
New York: Studio Museum in Harlem, 1985.
Capa: The Definitive Collection. Ed. Richard Whelan. London: Phaidon, 2001.
Capa, Robert and John Steinbeck. “Russian Journey: An Introduction to the Soviet People.”
Illustrated Magazine. May 1, 1948.
--. “Women and Children in Soviet Russia.” Ladies Home Journal. February 1948: 44-59.
Davis, Thadious. “Reading the Woman’s Face in Langston Hughes and Roy DeCarava’s The
Sweet Flypaper of Life. Langston Hughes: The Man, His Art, and His Continuing Influence.
Ed. C. James Trotman. New York: Garland, 1995.
Dawes, Greg. “The Storm of Progress: Three Farmers on Their Way to a Dance.” Review of
Contemporary Fiction. 18.3 (1998): 42-50.
DeCarava, Roy. The Sound I Saw: The Jazz Photographs of Roy DeCarava. New York: Studio
Museum of Harlem, 1982.
---. The Sound I Saw: Improvisation on a Jazz Theme. New York: Phaidon, 2001.
DeCarava, Roy and Langston Hughes. The Sweet Flypaper of Life. New York: Simon
and Schuster, 1955.
Doyle, Laura. Bordering on the Body: The Racial Matrix of Modern Fiction and Culture. New
York: Oxford UP, 1994.
Driskell, David. “The Evolution of a Black Aesthetic, 1920-1950” Two Centuries of Black
American Art. New York: Knopf, 1976.
DuPlessis, Rachel Blau. Writing beyond the Ending: Strategies of Twentieth-Century Women
Writers. Bloomington: Indiana UP, 1985.
Duncan, David Douglas. This is War! A Photo-Narrative of the Korean War. Boston: Little
Brown, 1951.
Eisinger, Joel. Trace and Transformation: American Criticism of Photography in the Modernist
Period. Albuquerque: U of New Mexico P, 1995.
Epstein, Edward. The Assassination Chronicle. New York: Carroll and Graf, 1992.
Fiedler, Leslie. Love and Death in the American Novel. 1960. Normal, IL: Dalkey Archive P,
1997.
Fields, Barbara J. “Ideology and Race in American History.” In Region, Race, and
Reconstruction. Ed. J. Morgan Kousser and James M. McPherson. New York: Oxford UP,
1982. 143-178.
Fitzpatrick, Kathleen. “The Exhaustion of Literature: Novels, Computers, and the Threat of
Obsolescence.” Contemporary Literature. 43.3 (2002): 515-59.
Freeman, Mark. Rewriting the Self: History, Memory, Narrative. New York: Routledge,
1993.
Galassi, Peter. “Introduction” Roy DeCarava: A Retrospective. Ed. Peter Galassi and Sherry
Turner DeCarava. New York: Museum of Modern Art, 1991.
Gallop, Jane. “The Pleasure of the Phototext.” Heron, Liz and Val Williams, eds. Illuminations:
Women Writing on Photography from the1850's to the Present. Durham: Duke UP, 1996.
394-402.
Galton, Francis. Finger Prints. 1892. Reprint. New York: DeCapo, 1965.
---. Hereditary Genius: An Inquiry into Its Laws and Consequences. London: Macmillan, 1892.
---. Inquiries into Human Faculty and Its Development. 2nd Ed. London: J.M. Dent and Sons,
1907.
Gates, Henry Louis. The Signifying Monkey: A Theory of African American Criticism. Oxford:
Oxford UP, 1988.
---. “The Trope of a New Negro and the Reconstruction of the Image of the Black.”
Representations 24 (Fall 1988): 129-155.
Goldberg, Vicki. Photography in Print. New York: Simon and Schuster, 1981.
---. The Power of Photography: How Photographs Changed Our Lives. New York: Abbeville P,
1991.
Goodwin, George M. “More Than a Laughing Matter: Cartoons and Jews.” Modern Judaism.
21.2 (2001) 146-174.
Gordon, Linda and Gary Y. Okihiro, eds. Impounded: Dorothea Lange and the Censored Images
ofJapanese Internment. New York: Norton, 2006.
Green, Jonathan. “Surrogate Reality.” American Photography: A Critical History 1945 to the
Present. New York: Harry Abrams, 1984.
Grimm, Tom. The Basic Book of Photography. New York: Penguin, 1997.
Groth, Gary. “Working in the Shadows: Spiegelman on Hope and Hopelessness.” The Comics
Journal. (Winter 2004).44-51.
Guimond, James. American Photography and the American Dream. Chapel Hill, U of North
Carolina P, 1991.
Hansberry, Lorraine. The Movement: Documentary of a Struggle for Equality. New York: Simon
and Schuster, 1964.
Harrison, Charles. “The Effects of Landscape”. Landscape and Power: Space, Place, and
Landscape. Ed. W.J.T. Mitchell. Chicago: U of Chicago P, 1994.
Hassan, Ihib. “The Culture of Postmodernism.” Theory, Culture, and Society. 2.3 (1985): 119-
32.
Herrnstein, Richard J. and Charles A. Murray. The Bell Curve: Intelligence and Class Structure
in American Life. New York: Free Press, 1994.
Heron, Liz. “Gateway to a Labyrinth.” Heron, Liz and Val Williams, eds. Illuminations:
Women Writingon Photography from the 1850's to the Present. Durham: Duke UP, 1996.
457-459.
Heron, Liz and Val Williams, eds. Illuminations: Women Writing on Photography from
the1850's to the Present. Durham: Duke UP, 1996.
Hirsch, Marianne. “Collateral Damage.” PMLA. 119.5 (October 2004):1209-1215.
---. “Surviving Images: Holocaust Photographs and the Work of Postmemory.” The Yale Journal
of Criticism. 14.1 (2001): 5-37.
Hoobler, Dorothy and Thomas. Photographing the Frontier. New York: Putnam, 1980.
hooks, bell. Art on My Mind: Visual Politics. New York: New Press, 1995.
---. Black Looks: Race and Representation. Boston: South End P, 1992.
Hughes, Langston. The Best of Simple. New York: Hill and Wang, 1962.
--. “The Negro Artist and the Racial Mountain.” The Nation. 122. (1926). rpt. in
Angelyn Mitchell, ed. Within the Circle: An Anthology of African American Literary
Criticism from the Harlem Renaissance to the Present. Durham: Duke UP, 1994.
Hughes, Langston and Roy DeCarava. The Sweet Flypaper of Life. 1955.
Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke
UP, 1991.
Jencks, Charles. What is Postmodernism? 1986. Third Edition. London: Academy Editions,
1989.
Kelley, Rosa Lee. “Family in the Photograph.” Unpublished Notes to a family tintype. 2000.
Lame Deer, John (Fire) and Richard Erdoes. Lame Deer: Seeker of Visions. 1972.
New York: Washington Square P, 1976.
Least Heat-Moon, William. Blue Highways. 1982. New York: Houghton Mifflin, 1991.
Lemann, Nicholas. Out of the Forties. New York: Simon and Schuster, 1985.
Levine, Michael G. “Necessary Stains: Speigelman’s Maus and the Bleeding of History.”
American Imago. 59.3 (2002): 317-341.
Lippard, Lucy. ed. Partial Recall. New York: New Press, 1992.
---. “Doubletake: The Diary of a Relationship with an Image.” Heron, Liz and Val Williams,
eds. Illuminations: Women Writing on Photography from the1850's to the Present.
Durham: Duke UP, 1996. 413-422.
Lyman, Christopher. The Vanishing Race and Other Illusions. New York: Pantheon, 1982.
Mavor, Carol. Pleasures Taken: Performances of Sexuality and Loss in Victorian
Photographs. Durham: Duke UP, 1995.
McCloud, Scott. Understanding Comics: The Invisible Art. New York: Harper, 1994.
McClure, John A. “Postmodern Romance: Don DeLillo and the Age of Conspiracy.” South
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McLoughlin, Erin Heather. “No Time Like the Present: Narrative and Time in Art Speigelman’s
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Melley, Timothy. Empire of Conspiracy: The Culture of Paranoia in Postwar America. Ithaca:
Cornell UP, 2000.
Miller, Nancy K. “Regarding Susan Sontag.” PMLA 120:3 (May 2005). 828-34.
Miller, Russell, Magnum: Fifty Years at the Front Line of History. New York: Grove, 1997.
Morris, Wright. The Inhabitants. New York: Charles Scribner’s Sons, 1946.
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Mulvey, Laura. "Visual Pleasure and Narrative." Art After Modernism: Rethinking
Representation. Ed. Brian Wallis. New York: Godine, 1984.
Nadel, Alan. Containment Culture: American Narratives, Postmodernism, and the Atomic
Age.Durham: Duke UP, 1995.
Natanson, Nicholas. The Black Image in the New Deal: The Politics of FSA Photography.
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“The New Face of America.” Time. 142:21 (special issue, Fall 1993).
Ostransky, Leroy. Jazz City: The Impact of Our Cities on the Development of Jazz. Englewood
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Palmquist, Peter E. ed. Camera Fiends and Kodak Girls: Fifty Selections by and about Women in
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Parks, Gordon. Choice of Weapons. New York: Harper and Row, 1966.
Perloff, Marjorie. “’What Has Occurred Only Once’”: Barthes’s Winter Garden/Boltanski’s
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Porter, James A. Modern Negro Art. Washington, D.C.: Howard UP, 1992.
Rampersad, Arnold. The Life of Langston Hughes, Volume II: 1941-1967, I Dream a World.
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Riis, Jacob. How the Other Half Lives. 1890. Reprint. New York: Dover, 1971.
Robins, Kevin. “Will Image Move Us Still?” The Photographic Image in Digital Culture. Ed.
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Romy, Fatimah Tobing. The Third Eye: Race, Cinema and Ethnographic Spectacle. Durham,
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Rubin, Derek. “’The Hunger Must Be Preserved at All Cost’:A Reading of The Invention of
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Ruby, Jay. Secure the Shadow: Death and Photography in America. Cambridge: MIT
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Rudisill, Richard. The Mirror Image: The Influence of the Daguerreotype on American
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Shawcross, Nancy M. “The Filter of Culture and the Culture of Death: How Barthes and
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Sicher, Ephraim. “The Future of the Past: Countermemory and Postmemory in Contemporary
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Siebers, Tobin. “Words Stare like a Glass Eye: From Literary to Visual to Disability Studies and
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Sligh, Clarissa. We Read See, It, Go. From The Dick and Jane Photographic
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Slater, Don. “Domestic Photography and Digital Culture.” The Photographic Image in Digital
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Squiers, Carol. “Looking at Life.” Heron, Liz and Val Williams, eds. Illuminations: Women
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Strange, Maren. “Illusion Complete Within Itself”: Roy DeCarava’s Photography.” The Yale
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Sturken, Marita. “The Image as Memorial: Personal Photographs in Cultural Memory.” The
Familial Gaze. Ed. Marianne Hirsch. Hanover, NH: U of New England P, 1999.
Sweet, Timothy. “Ghost Dance?: Photography, Agency and Authenticity in Lame Deer, Seeker
of Visions.” Modern Fiction Studies. 40.3 (1994): 493-508.
Tabachnick, Stephen Ely. “The Religious Meaning of Art Spiegelman’s Maus.” Shofar: An
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“Time Manipulates Photograph.” The Washington Post. Vol. 114: 28. June 22, 1994. 2.
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Wexler, Laura. “Seeing Sentiment: Photography, Race, and the Innocent Eye.” In Female
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New Press, 1994.
---. “A Search for Self: The Photograph and Black Family Life.” The Familial Gaze. Ed.
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Wright, Richard. 12 Million Black Voices. photo direction by Edwin Rosskam. 1941. New York:
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Marianne Hirsch. Hanover, NH: U of New England P, 1999.
Squiers, Carol. “Looking at Life.” Heron, Liz and Val Williams, eds. Illuminations: Women
Writing on Photography from the1850's to the Present. Durham: Duke UP, 1996. 140-
150.
Strange, Maren. “Illusion Complete Within Itself”: Roy DeCarava’s Photography.” The Yale
Journal of Criticism 9.1 (1996) 63-92.
---. Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950. New York:
Cambridge UP, 1989.
Sturken, Marita. “The Image as Memorial: Personal Photographs in Cultural Memory.” The
Familial Gaze. Ed. Marianne Hirsch. Hanover, NH: U of New England P, 1999.
Sweet, Timothy. “Ghost Dance?: Photography, Agency and Authenticity in Lame Deer, Seeker
of Visions.” Modern Fiction Studies. 40.3 (1994): 493-508.
Tabachnick, Stephen Ely. “The Religious Meaning of Art Spiegelman’s Maus.” Shofar: An
Interdisciplinary Journal of Jewish Studies. 22.4 (2004).
“Time Manipulates Photograph.” The Washington Post. Vol. 114: 28. June 22, 1994. 2.
Trachtenberg, Alan. Reading American Photographs: Images as History, Mathew
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VanDerZee, James, Camille Billops, and Owen Dodson. The Harlem Book of the
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Vizenor, Gerald. Fugitive Poses: Native American Indian Scenes of Absence and
Presence. Lincoln: U of Nebraska P, 1998.
Wallis, Brian. ed. Art After Modernism: Rethinking Representation. New York: New Museum of
Contemporary Art, 1984.
Wexler, Laura. “Seeing Sentiment: Photography, Race, and the Innocent Eye.” In Female
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Nathan Lyons. Englewood Cliffs, NJ: Prentice-Hall, 1966. 168-75
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