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Abstract(s)
O presente trabalho tem como objecto o álbum fotográfico Der gefährliche Augenblick (1931) de Ernst Jünger, e pretende reflectir sobre a forma como expressa a cultura visual e as fotografias de violência e de morte na Alemanha de Weimar.
Destaca-se o ambiente de instabilidade política, económica e social da República de Weimar, com especial atenção no que diz respeito aos traumas da Primeira Guerra Mundial, e a sua influência na produção artística e cultural da época, em particular no campo da fotografia.
A partir da análise semiótica, estuda-se a obra Der gefährliche Augenblick no contexto da teoria de Jünger em relação ao perigo e ao domínio tecnológico. Questiona-se a relevância da selecção das fotografias de perigo e de morte iminente, que parte da intencionalidade de Jünger criar um homem imune à dor, e explora-se a relação que os espectadores mantêm com este tipo de imagens.
The present work discusses Ernst Jünger’s photo album Der gefährliche Augenblick (1931), and aims to reflect on the visual culture and the photographs of violence and death in Weimar Germany. Noteworthy is the political, economic and social environment experienced in the Weimar Republic, with special regard to the traumas of the First World War, and its influence on the artistic and cultural production, particularly in the field of photography. Drawing on semiotic analyses, the photo book Der gefährliche Augenblick is analyzed in tandem to Jünger’s theories on danger and technological supremacy. The dissertation argues that the relevance of Jünger’s selection of danger and imminent death photographs, which intend to create a man immune to pain, aims to create a visual literacy of disaster and further explores the relationship viewers have with such pictures.
The present work discusses Ernst Jünger’s photo album Der gefährliche Augenblick (1931), and aims to reflect on the visual culture and the photographs of violence and death in Weimar Germany. Noteworthy is the political, economic and social environment experienced in the Weimar Republic, with special regard to the traumas of the First World War, and its influence on the artistic and cultural production, particularly in the field of photography. Drawing on semiotic analyses, the photo book Der gefährliche Augenblick is analyzed in tandem to Jünger’s theories on danger and technological supremacy. The dissertation argues that the relevance of Jünger’s selection of danger and imminent death photographs, which intend to create a man immune to pain, aims to create a visual literacy of disaster and further explores the relationship viewers have with such pictures.