The Machine's Dialogue Author(s): Steve Edwards Reviewed work(s): Source: Oxford Art Journal, Vol. 13, No.

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The Machine'sDialogue

STEVE EDWARDS Ifwelookatcontemporary cultural intheUnited studies we discover a curious echoofthereverberations States, between 'twotrends in the philosophy Volosinov's of language'.On the one hand, structuralist and poststructuralist models assert theautonomous determining oflanguage, itspriority force overhumansubjects. On theother hand,a moreconservative and institutionally entrenched "humanist" claims to defend the paradigm autonomy ofthecreative subject. Forthose ofuswhoare inphotography, involved thepolarities ofthis debate are quiteevident, both intheory andinpractice. AllanSekula.' Over the last fewyearsphotographic and history has turned theory on thequestionofthe increasingly studioas a siteof ideology, even ifit has not been statedin theseterms. In thisperiod,critical photographic has come,moreand morefrequently, theory to take as its objects those images of 'power/ knowledge'producedin the asylum,the hospital, theprison, themissionhall,and so on, all ofwhich are studio picturesof variouskinds.At the same time,radicalphotographic has movedinto practice the studio, undoubtedlyprovidingwomen and black photographers with a productivespace in which to explore questionsof identity and hegemonicrepresentations. As a controlled space it has enabled thosevoiceswhichare usuallysilentto be heard.This is forcefully in therecent demonstrated workofJo Spence,in whichphotographic therapy sessions in thestudioresult in imageswhicherupt as the repressed 'unofficialconsciousness' of the Family Album.2 Similarly,the theoretical work elaboratedaround 19th-century studiopictures has allowed us to reconsider the photographic field, to lookagainat thosepractices thathavebeentoooften dismissed as 'marginal' and 'unworthy'by a dominantart historical criticism. The discovery of these'ignoblearchives'has allowed us to comprehend the partplayedby photography in theworkings of social power; the way it has presseddown upon thebodies oftheexploited and theoppressed. It has also alerted us to theproblem ofsimply reconhistories ofthesegroupsfrom stituting archives that were,invariably, producedto do instrumental jobs. The benefits of thisworkon and in the studio, needtobe locatedwithin however, thegeneral suspicion ofthe realist mode thathas developedin, and around, post-structuralist theory.Anti-realism, it could be argued,is one oftheforces whichis boosting the statusof the studio and reducingphototo itsphantasmagorical graphy residue. JohnTagg, for in hisessayon Powerand Photography, instance,
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whichintroduced manyofthesethemes intophotographic criticism,argues that realism is the dominant form ofsignification in bourgeois society. As a consequence, Tagg believes, a politics ofrepresentation wouldnecessitate a disturbance creating in the productionof realism that would then have repercussions throughout thesocialformation, from economics to sexuality. He asks: What woulditmeanin photography to struggle notfor 'correct consciousness' buttochange thepolitical, econandinstitutional omic, regime oftheproduction oftruth, to detach itspower from thespecific forms ofhegemony inwhich itnowoperates, andtoproject thepossibility of a newpolitics constructing oftruth?3 The answer,I believe,is that it would look like Maclntyre's in After nightmare Virtue. A dreamofa sciencein whichanything worldwithout can be said because nothingcan be tested.4 is a Photography peculiar formof representation as occupying, it does,thegap between artand science;itseffects are - it focuses variform powerand desirebut it also producesknowledge. The effect ofanti-realist episis alwaysto negateone wingof thiscontemology tradiction, some practicesover others;it elevating turnsknowledgeinto power, or into desire,and scienceintoart. The questionofthephotographer's studiomight prove tobe a particularly useful one aroundwhich to examinerecent photographic This I intend theory. to do by drawing on the conceptsofDialogue and Monologue theorisedby the Bakhtinschool.5As Raymond Williams notedin one ofhislastessays,6 it is a sobering thought thatthosemethods whichhave come to figure so prominently in theimpasseofthe late 1980s, principallystructuralism and postbut also certain kinds of psychostructuralism, analysis,'had already received decisive criticism duringthe 1920s at the hands of Volosinovand Medvedev.In theprocessofengaging withFormalist linguistics and theworkofFreud,thewriters of the Bakhtinschool produceda theory ofdiscourse thatnotonlyaddressedquestions whichwerenotto becomeissueswithin cultural for politics another 50 yearsbut,moreover, addressed themin a mode they whichwas thoroughly historical and materialist. In the workof the Bakhtinschool an argument about the sign's reciprocaldetermination, what these theoristscalled dialogue, constitutesthe central In theformal category. sensedialogueis only one specific form ofdiscourse butthesewriters use it
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accidental and the contradictory. Those deviant objectsofbourgeois fear and dreadare brought into thestudioso thatthey might becometheir opposite. The colonialsubject orthenakedwomanherecome to figure as theciphers ofthephotographer's imaginaire.The flux ofjuxtaposition and opposition that goes on outsideof the studio,on the otherhand, remains recalcitrant to the photographiclook. Transitory and unpredictable, the spaces beyond is understanding innature, isdialogic true understanding Any the studio render the patternings of desire and Underis toanother. as onelineofdialogue toutterance power problematic; unlikethe studio mannequin wordwitha counter thesubjects speaker's seeksto match standing hereanswer back. language a foreign to comprehend word. Onlyin trying The studio is a site on which these patterns of word.7 with word do wetry tomatch contradiction can be negotiated; every daysociallife is collapsedintoit,controlled and cleanedup. The ofunderstand- studiomight In opposition to thisdialogicform be seenas a placewhere thefantasies of the notionof monologue, ing Bakhtinintroduces are focused, thephotographer a placewhere taxonoto whichwe are whichis, he argues,the utterance mies of powerand desireare developedand roam a reply.His major exampleof unable to formulate free. In her discussionof colonial photography, thisis a dead language; one whose themesare no Sarah Graham-Brown arguedthatthe studiooperMonolonger investedwith social contradiction. ates as a kind of symbolicappropriation of space logue is here linked to the formsof behavioural dense withthe signsof urban or geographic landoftheother. in itsrefusal ideology A space whichalwayssoughtto be another scape.10 of the All discourseaccordingto the thinkers moreprivate or moredubious.In one ofthose19thBakhtinschool liveson the boundarybetweenits centurymanuals on the studio which typically own and an alien context;it is this process that mixed designand decorum,scienceand ideology, social.The willto internally renders representation ofthat HenryPeach Robinsondetailedthecreation of dialogismmeans thatthe questionof reference most symbolicspace - the bourgeois drawing can, or cannot,be relatedto signification whether room. But his was a drawing room ofa peculiarly Discourse, becomesa non-issue. theextra-discursive fluidnature, coveredin linoleumforease ofmoveon such a basis. Without is onlyintelligible in fact, on castors; and backgrounds itmight ment, carpets, takes in whichtheutterance situations theconcrete If moment its continent.11 Robinson at any change that organizes those place, the social hierarchy ofstudio refused to use themass-produced fantasies it whichthisproduces, and theintonations speakers of or the furniture Seavey'sbackgrounds, majority this cannot be understood.Volosinov illustrates moment did not.And in a historical photographers witha passage from Dostoytheoretical argument in a backofthehorizon in whicheventheposition intellilabourers hold a perfectly in whichfive evsky for groundcould becomethebattleground a debate in whicheach ofthemutters only gibleconversation we need to be aware on the photographer's status, ofas thought Discourse, is,here, one obsceneword.8 about thatthe questionofthe studiowasn'tsimply a kind of homologyin which the voices,and the within itbutwas also theimagesthat wereproduced thatinvestthem,are always intersocial interests concerned withissuescloserto hand. Meaningthen,does notremainfixed nallypresent. For Bakhtinit is necessary to separateout the in a sign; it is ratherdependenton the sign in a human and the naturalsciencesas dialogicaland and thisnecessitates monological respectively. itscirculators, between position He insists that while The fact that the signcannot activeunderstanding. naturalsciencecontemplates things and, therefore, stablemeaning, however, the only subject presentis the one who does the witheternal, be invested relativism. As Ken us totheoretical does notcommit the human sciences,on the concomprehending, has Hirschkop argued: are a relationbe exactbecausethey can never trary, ship betweensubjects.Here, the subjectof study is theidea that deconstruction] Whatis missing [from be voiceless cannot without, simultaneously, ceasing entail arerepeatandthesubject they contexts positions in be a This is what the studio to subject.12 happens In fact location. andhistorical social dialogiableinboth turns of camera the where the monologue subject that to theextent are repeatable linguistic cal elements fascination intoan objectwhich thephotographer's a neednotbe. Thereare in many situations, elements dumb.Bakhtin callsthisthingificais,by definition, thesame willproduce which oflinguistic options variety a process we knowas reification,his own termfor is is absolutely that every context To assert unique effect. tion.He writes ofthismonologue: as thecauseofhistory.9 time toreify WhatI wantto argueis thatthestudioconstitutes it operates site;forthephotographier a monological overtheobject mastery as a space in whichto assert the the uncontrolled, forrepressing of fascination,
64

whichbrings concept;as a category as a theoretical This dialogical discourse. intobeingand organizes model of language presupposesthatwe orientate it into our upon the other'sword,we incorporate to it. whichonlytakesshape in relation utterance can ever be no utterance Withinthis perspective completebeingonlypartofwhat has come before insists: Volosinov and whatwillfollow.

Monologism, atitsextreme, denies theexistence outside itself of another consciousness withequal rights and equal responsibilities, another I with equalrights (thou). With a monologic approach (initsextreme orpure form)
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No and not anotherconsciousness. consciousness, isexpected from itthat couldchange response everything is finalized inthe world ofmy consciousness. Monologue itand and deafto theother's doesnotexpect response, it anydecisive force. does notacknowledge Monologue tosome without theother, andtherefore manages degree materializes all reality. to be the Monologue pretends It closesdowntherepresented world and ultimate word. represented persons.13 It is thismonologic addressthatFoucauldianphotographic criticismdescribes as the operation of And herea consideration ofthat power/knowledge. key Foucauldian figure, the prisoner, may prove useful. As partofthe19th-century debateon photographing criminals,that indefatigable champion and cataloguer of the photographicfield,H. Baden Pritchard, publishedseveral accountsofhisvisits to prison studios in The Photographic News. He describesthe achitecture, the distinctive sounds and smells,the warders, the prisoners and the studios but his main concern is withthe'criminal' subject's response to thephotographic event. In an article on MillbankPrison14 he detailsforus thenextsitter, a man of 'stalwart build', 'docile as a dog', 'clean shaven','ugly' and bearingthe L forLiferon his sleeve.The tone of the photogapher's instructions

another person remainswhollyand merelyan object of

leavesus withno doubtas to thepowerrelations of This is literally a monological the situation. event. is left the sitting, Pritchard Then, after temporarily ofbeing alonewith theLifer thefantasy entertaining Butnothing assaulted in a desperate escapeattempt. is: happens.As Pritchard putsittheconvict in a delightful Luxuriating moment of releasefrom work and monotonous drudging labour.Do whatyou wanthimto do? Willhe be obedient? he would Why, stand on hisheadto pleaseyouand toescapefor a few minutes hisdaily toil.... longer in his texton Pentonville Similarly, Penitentiary,16 Pritchard is concerned to stress theease withwhich convicts submitto photographic scrutiny. Whilehe notes that occasionallythe photographer might encounteran unrulysitter, undoubtedlymaking workdifficult, thiswas theexception. It is, however, he insists,the exceptionwhich the public hears about, with wierd accounts published of strange devicesand ingenioustricks used againstthe convict. He goeson todescribe SirLuke Fildes"talented picture'depictinga prisonerheld in positionby warders while the photographerattemptedto producea likeness.It is representations like these, Pritchardargues, that have leftsuch a marked impression on thepublicmind,and he is convinced

I
*

TheGraphic, 1873. Fig.1. SirLukeFildes,

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thattheyare erroneous for'a more docile body of sitters thanour convicts do notexist'. While at Pentonville he evidenced the photoofsixconvicts. graphing Thereis thesame attention to detail in his description of the men and their situation as before. The observation oftheir shaved heads,their dress, thechairand itsabsenceofa head rest,the narrowboards held above the prisoners ontowhichtheir number was chalked, and thesame kind of perfunctory intonation,discipline and command. He notes thatwhile the operatorprepares a double carteplate he rarely has to use the secondbecausethemenremain perfectly still for the seven seconds required. And then, one convict - here at last is our refuses to obey instructions refractory subject- butno, thisone turns outto be deaf. merely If Pritchard was convincedthat convictsitters couldbe described as 'docilebodies'hisfocus on the question of power wasn't a personal quirk. The questionwas a liveone among photographic commentators manyofwhom,indeed,recounted their ingeniousdevicesand tricks. Pritchard mighthave been on one definite wingofthephotographic establishment concerned to assertmonological ease but his discoursewas a responseto those otherswho understood thisprocessas a struggle. For throughout the photographic literature there was an obsessionwith'criminal photography' in general, and the refractory convictsitterin particular.The Photographic Newsin particular ran article after article on 'CriminalPhotography'. In additionto numerous and suggestions relatedto the power descriptions struggle in the prison studio it also republished and the materialfromthe foreign photographic domestic press.In an essaybyJuliusF. Sachse,for we are provided witha graphiccounterinstance, and a virtual pointto Pritchard literary accompanimentto theFildesimage: in which ittookfour The writer recollects one instance while the'artist' stalwart officers toholdoneprisoner got his picture. The 'cabinet'not onlyshowedthe face with horribly distorted, eyesshutand tongue out,but hisears, thesecond alsothehands ofoneofficer holding his hair,whilethe handsof the third officer holding as ifhewaschoking theprisoner."7 showed In thistext, fromTheAmerican Journal reprinted of Sachse pointedout thatany visitto a Photography, in a Police Stationwould convince 'roguesgallery' useless you how manyoftheimageswererendered Such stories werelegion by thiskindof resistance. withperhapsthe mostrecurrent themeconcerned with the way in which the clever 'rogue' might thwart thephotographic process by distorting hisor herfeatures at thedecisive moment. Such accounts wereinvariably accompaniedbythestratagems and techniques for outwitting theprisoner; a narrative of tripwires and Blitz illumination powder,of fake camerasand hiddenassistants, ofsecret hideaways
66

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Pleasures Fig. 2. CuthbertBede, Photographic Popuwith Pen &' Pencil, 1855. larly Portrayed phtgaph a ecived aunmeitdrpe toit exercise that candid looking yards suggests setato on col tat prtea nvrsltkno was bornofthisdisciplinary photography power.If this struggleto produce the monologicalimage seemed like an impossible labour thenat leastone exchange able to trn@apthos macntns h pointed out that social power rencommentator deredthestruggle uneven, noting: In most a threat ofshortening therations, cases, however, or increasing thelabour, has beeneffectual in inducing 18 therogues toleave their features ina normal state. lrefse Pothaed lwstofn capta out whereil ifas Sachse theevr8he5igt.e had made And, pointed dryplate 'all such scenes fade away', enabling the photoWaskingonto Mulercthe murderrofM Briggss chaugt iandi to seizethemoment, ithad beena long time grapher in coming. Those who contributed to The NomewtaYork byoaidtetv wou thad sonily evwer News seen-hi Photographic were, however,determinedto perseverefor the their own.One writer insisted generalgood and for thatitwas because photography wasn'tart,because it lackedimagination, thatit had such a keyroleto It was because play in the disciplinary apparatus.'9

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are here exchange aroundphotographic developing And if the called to a halt by politicalformation. album could containa worldofdevianceand resistance, that mode of display could also be read in which throughthe ideology of physiognomy is this thebest Perhaps is to its image. crime reduced IL~ ~~ ~ ~ ~ ~~~~~~ - as method Galton'scomposite wayto understand crimilogicof 19th-century commodity thespecific 'o all lookedthesamethenwhy For,ifcriminals nality. twenty.2' notuse one imagefor , tA valued what H. Baden Pritchard Alternatively, se e ii ^ this not so much was 'criminal photography' about the x ia e as a kindofdifferregularity, kindofphysiognomic theFrenchmodelwhich He favoured ence in unity. de la he describedin 'A Visit to the Prefecture in There the 'rogues'werephotographed Police'.22 'unshaven' their'naturalstate'; 'hairyindividuals', the daz and 'unsoaped', individualsthat the PrefectdeAs opposed to withone word- 'Nihilists'. scribed the Britishsystem,in which all criminalswere depictedwith shaven heads and shaven faces,in prison greyand with theirheads an inch and a ofthe identity in length, itwas theindividual quarter @ *| flAM~ 9;;. k_; . e ~ enabledthem Pritchard, Frenchpictures which,for for regulation. to act as a system 't from Australia or from the criminals {j After much lobbyingon the part of The Photoannounced finally theHome Secretary News, graphic glss?>ush;r 4thi imaeo pae or* idniyn the from for all' mandatory itwouldbe henceforth in 1870that rendee saf I!; nths wa th whl wol woud bt]tGe their in England and Wales to photograph Gaols propriety by thet fo h ueo prpet and of~ inmatesand to submitthose images to a central But if police.23 archiveheld by the Metropolitan to deploythe thattemptsby theBelinplice that The Photographic these debates demonstrate of llthe; ries.20Aftertheattemptedassassination of'criminal about theadvantages Newswas certain constitudifferent representing others, photography' werenot.A leaderin TheDaily enciesand interests, oftheHome doubtedtheefficacy for example, News, decision.Turningthe physiognomists' Secretary's back upon them,it asked if criminals arguments minals. t wnasithetnte-s oin Aential arlbmis cameras weapn i them aintcmeAn fIgh werecharacterised a specific type;ifthey constituted photothenwould notall their features, by definite useless. the and practically prove look same graphs o Te imagtherulemightregulateitslikenes. proprigntors photography thatitcould see for The one advantage Or, was thatit was morehumanethanbranding.24 would arguethat in TheDaily Telegraph25 an article Europeans thephotographing police thatgte themBerlin them Berliomlthei tidentifyn othpaer thatgteontpaer tioentofyn Euopegans was an infringement ofcriminals suchd aoldbum sodee thatfte texchange poweris world Inothis woul texchange if had toconstrain in fact, warders ofliberty and that, ifa conviction was notsecured a sitter trial, awaiting doubt,0 cotur tbe fudeated at G7ainathe Britfih theywerein dangerofbeingchargedwithassault. wereprticularlyikee thaBepoytain this schemptyte 'the The Photographic News responded criticising cnaedintcld noa thbe hebwas oforcedetotonlcrmed out,e Biaind shoulda poainsts Briteaind wrigte shulmeciroct reciproat fswaor,i for thewrigte againtsot, and marshalled maudlin school of humanitarians' countinen empirical prticularly haditial badcreputaionteatonath to Dickens'crimievidence and references on theotnt hada pArticlrl bad rtemputedassiation nal types. o of prolitiepristoners. thughtfor 'we tke no hkenand totakethesedebatesat It wouldbe easy,however, idea a sounde the Depie Liberary. dplow te mdemps of surveine diiepn ta the Barnd othe Beloos plcehthactes One tior athor, hrouring Eurom,ano theyinkingei the lobbyof facevalueand misrecognise professional movethe for News like a journal The Photographic disciplinary greater towards state mentoftheBritish was all, 'criminalphotography' After surveillance. big business with the London Stereoscopicand requests receiving Companyregularly Photographic wanted criminal for2,000 printsof a particularly the act was fromScotland Yard. Two~years after
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it was scaled down, now only selected to the monological introduced contributed argued,specifically The would be photographed. ofprisoner powerrelationships categories model oflanguage,developing method The regulatory reasonforthisabout turn? in which the dominatedpeoples' languageswere thecapiand and for too expensive measured against a norm of theirobservers provedto be simply In thisprofoundwanting. talistmode of productionsuch thingsultimately were,not surprisingly, carrieddetails of the and activeaspectsoflanguage matter.The Daily Telegraph cess the constitutive tothe reporton the progressof the act in in relation positions inferior government use wereassigned In thissense, over parole. was elevated 1873.26Duringthe periodNovember1871 untilits written: langue coming into forceon 31 December 1872, 43,634 theoreticalmodels which exclude resistanceor had been sentto London at a ofcriminals portraits actual speech must be seen as part of the forces cost of 18d. per head the estimated (conservative) which seek to silence dialogue. Post-structuralist totalcostwas calculatedto be ?2,948.18s.3d. Over or, criminal accounts of colonial photography, which a metaleptical the same periodthe numberof convictions as such, demonstrate photography, was citedas a mere or imperialism from drawn could be linkedto photography usingmethods structure, this conwas clearthat reprethese 373cases. TheDailyTelegraph totheorise apparatus from therepressive and ofpublicmoney a wantonsquandering sentations. stituted monololikeFoucaulteffectively nitrate. Whilea thinker ofsilver is useful ofmonologism White as concept be seen, can IftheBakhtinian deconstruction giseslanguage, of power in the in heteroglossia the social relations to rewrite in examining has argued,as an attempt we if field demonstrates, narrative.29 master of the termsof the impossibilty studio, thisoverdetermined be comcan never then need to be told,thatmonologism This is a real irony,forif White is correct, Bakhtin the of work in that the deconstruction is a practicepredicatedupon displete.And it is this which to thosemethods to be superior which it itself the marksof heteroglossia schoolproves covering The discushad exiled fromits model, consigningit to the would eradicatethese contradictions. random and untheorisabledomain of everyday powerin theworkofthesetheorsionofmonologic as a can only be presented istsalwaysleavesus withan alternative-dialogue. speech. Heteroglossia apor post-structuralist revelation on thebasis ofa philosophical theoretical Formalist,structuralist in thefirst be there modelwhicharguesitshouldn't proaches to culturework well on the monologic Bakhtin from what because it is sealed off place. precisely could be distinction circle The monologue/dialogue Language forthe Bakhtin calls heteroglossia. of ofwhata typology between aroundthequestion riddledwithcontradictions considered is heteroglot; and official languages, thebodyconfronted by thecamerawould looklike. unofficial national languages, thesubject-body between kindsofprofes- Andre Rouille'sdistinction uses,different old and newlinguistic element-body and thetrade, category and theobject-body (histhird oftheworkplace sional jargons,forms useful here.30 and so thefamilial, prove might ismuchmoreproblematic) language, thespacesofdomestic those constitute The distinction thatRouillemakesis between ofsocialregister thespecifics on. In short, are which and those themselves oflanguageand at thesame timeshoot bodieswhich display thematerial of different types It is thiswhichpreThisisan issueofmatching revealed. withcontradictions. it through and subintointersubjec- powerrelationships between photographer from vents degenerating dialogism aboveall tothebourgeois us to preconstituted ject.Subject-body pertains tivityand thus returning relatesto thosewho on theother whilethe object-body hand,is notthe portrait Heteroglossia, subjects. of kinds that before thecamera,certain of deconstruction appearpowerless same as the instabilities peoplesand classes,and so on. all languageas undecidabletextbut,rather, women,dominated render and thenude theportrait between that interests Rouilleargues material ofthedifferent thecontradictions aboutbymonetary an inversion occurs there brought it. within thatuse and struggle the for whilethe one paysforitsportrait in thissense,that exchange, schoolunderstood, The Bakhtin is paid for it.3" other theformalist approachto languagewas alwayscomto be in thissense,proves The bourgeois portrait, plicit with the monologues of the ruling class. thestudio'smonothatdemonstrates theexception Because,as AllonWhitehas argued: in logic rule. Here the object,or more specifically the camera's of the the gaze, this subject instance, themestablish are They 'High'languages imperialistic. In the 19thactsas co-author. individual bourgeois, of and prestige by a variety as both'standard' selves theprescrip- century collaborate thesepowerful subjects portrait, grammars, 'objective' including methods, of language thesis structural (& even tionof norms, the codes of to determine withthe photographer as thesesystematically their own appearance, producing a self-image insofar deconstruction theories) ofpeople.27 invested ofthemajority speech-use theactual exclude I want, and contentment. withconfidence oftheprisoner withmydiscussion here,to contrast sub-set ofthiscelebratory problematic one particular in In additionto this,RaymondWilliamsinsisted, child. theimageofthebourgeois portrait, of'text' thatthe emergence andLiterature, Marxism In 1869 Edwin Cockingcould be foundsinging overspeech is a productof the colonialencounter to hischildsitters: twoditties Williams Imperialism, languages.28 withunwritten
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girl, Therewas a little Who had a little doll, And thedoll sat downon a chair, blue eyes, She had such fine Justthecolouroftheskies, else but stare. That she did nothing boy, Therewas a little Who had a big drum, And he bangedthisdrumwithhis hand, Till all theother boys, Said 'Here's a jolly noise, band'.32 It mustbe a military heavy Hardly greatlyricverse;theyare, however, withthetropesoftheobsessionaldebateon how to in the 19thcentury. bourgeoischildren photograph to the images of staring From the rigidgendering a defieyes and the loud noises theydemonstrate attenwiththesubjects concern photographic nitely tion. For in this relationship it was the job to fixan ideologicalmoment. photographer's the bourwas paid forturning The photographer of into the sweetideal ofthechild reality geoissickly to be which had its image. This was an image put it,children createdforif,as one photographer to it was necessary then picturesque look naturally He continued: them bolt upright. do morethanpose

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Fig. - or lesscarein posing In taking ofchildren, groups I should care- would often be saylessapparent perhaps willfall intoungraceful vegetable and mineral - used to occupy the sitter. we know, an advantage. Adults, was to suggestthat ifthe child One popular strategy able to do so, and a but children are rarely attitudes, the camera watched s/he would see a bird with carefully in natural playing positions groupof youngsters and oreven studying emerge fromthe lens, others went still further orat someoftheir childish games, toys, to a cold and studied a picture book,is farpreferable fittedthe U.S. manufactured mechanical singing men and miniature inwhich thechildren represent pose, birds to theircameras. Perhaps the most extravagant result women... All I wantto see is a naturalistic of these proposals argued: - thoughtless, laughing children happy happy looking ....33 children Place the infant on a table,and a stoutpillowbehindit,

4. Punch' Almanackfor185Z

But ifthesephotographers clients agreedwiththeir that therewas nothingmore charmingthan the innocence of childhood many of them supplewere mentedthisbeliefwithanotherthatchildren hopeto thegreatest might menacethephotographer was howtomakethe facein thestudio. The problem in front of from the little monster requiredfantasy the camera. Charles E. Pearce posed the problem well enoughwhen he wrotethatifchildren possess thisspecialbeautythey are able and willing to make themselves ugly.34 exceedingly Newscarriednumerousgraphic ThePhotographic ofphotoof the trialsand tribulations descriptions facedwiththisdilemma; theirstrategies, graphers theirfailure and theirdesperation. Photographers errors and tips comments on each others exchanged ofprocesuccesses.A literature on theirindividual of developedwhichconsisted dure and suggestion for theactualmethods evernewer and morefanciful childof Victorian A taxonomy isationof fantasy. theobjects- animal, hood could be assembledfrom
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well supported; side,so that place also a pillowon either the child has something to lean againstand restupon. Now dip each hand of the littlemodel in a pot of the left hand in a bag of molasses, and afterwards feathers. The child's attention is now riveted upon the and taking plumed hand, holds it up in astonishment, the left from hand; courage,beginsto pickeach feather adheresto the right but each one naturally hand, and from one hand to thusthe play commencesrepeatedly the otherforan hour or two, slowlyand deliberately, an artistic to make expoyou ample opportunity giving of repot ofndaimeeting produferwPunch's fanflastos the not sure. It is a wonder thatthishas patented; wasn rhea wich papere aobeen Socienty,ion Photorahicd' fethers a childa tallowcandle ahead ofgiving plan is altogether photographwrmhen theusekofachlorfoahrm sougagestbeing of itwithan exhibition Punch and to eat, or frightening nt ing echildrn, experimehad, membersesovn to withrll 35 Judy. argudthlbeatelif Aothr memberowl othermetanhod. wthe Indeed, it was only necessary to be a little more way, a sfgiince achll babiesllookeadl moni atgthersolekp

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i PM

Fig. 5. Punch, vol.71,July15, 1876. thesame a standard picture could be supplied;after all, thousandsof picturesof the Royal baby had been sold thathad never been takenofhim.36 As alwayswitha literature ofthiskindthere were contradictions and counter claims.It was suggested that those who advocated photographing babies upside down, starvingchildren or taking them asleepwerenotfit to adviseothers.37 And,as with all such aspects of the photographic fieldin the 19th the problemwas not slow to be capitalised century upon; theresprangup specialchemicalformula for children, rapidplatesfor children, backgrounds for childrenand baby lenses - as one photographer noted,at anything but babyprices. Humorousas muchofthisliterature nowappears thepointis serious.For ifthetechnical problems of 19th-century photography shouldnotbe underestimatedsomething moreis in evidence here.The lines of authority were clearlydemarcatedbetweenthe photographer and the object-body of the prisoner; the positionofthe bourgeoischildwas, however, a different question, linked to itsbourgeois indexically parent,subject-body in its own right, the photographer was hereplaying outfantasies thatwerenot his or her own. It was thisanswering strictly word, themoment that thephotographer's was monologue halted,thatprovedto be thesourceoftheproblem. For ultimately photographers were unsureof their
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uncertain as to whether statusin thisrelationship, had theauthority telltothechildtokeep simply they still.This was compoundedbecause the childwas undoubtedly accompaniedby an adult,usuallyits mother, whose presencein the studio only made interfere, make matters worse.She wouldinvariably and offer advice, insiston unhelpfulsuggestions impossible poses and whatcould thephotographer do but humblycomply.It would take a photothesituation likeH. P. Robinsonto resolve grapher his studio.The all but thenursefrom by excluding reasonfor thishe arguedwas that:'it is easierto tell In this thenurseshe is an idiotthanthemother'.38 way it was possibleforRobinsonto use thenurse's to controlthe child delegated parentalauthority while being sure of his own. But then not every photographer was H. P. Robinson, probablythe an acclaimed ofhis generation, mostdistinguished at the Royal Academy painterwho had exhibited before he was 21. WithRobinsonyou paid forart ofchildren folded backto portraits and hissuccessful he had confirm thatstatus. But ifevenRobinsonfelt the to be respectful towards the bourgeoismother, positionwas much less certain. averageoperator's be thought ofas dialogic might This kindofportrait is economic.A relationship is set and itscondition on which the up, the basis of which is payment, fantasphotographer suspendsthepowerofhis/her
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A.

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tic space. The factthat the bourgeoisindividual, evena child,tookpartin a dialoguewiththephotothemonoall themorestrongly onlyreveals grapher are other objects when place logue that takes or conducement intothestudiobyfinancial brought by socialpower. couplet providesus If the dialogue/monologue toolwithwhichto examinethedisparwitha useful field itis also thecase ofthephotographic ate nature thatwithinthe work of the Bakhtinschool these At variouspoints conceptsare not unproblematic. is dialogical. In everything Bakhtinsuggeststhat by he insists that'life Poetics, ofDostoyevsky's Problems if all If is the this is case, nature dialogic'.39 itsvery definition then monologism is by discourse dialogic, us witha has provided cannotexist.Ken Hirschkop that this question to this arguing problem solution to what the texts cannotbe settledwithreference contraare internally mean because thetexts really thisissue. The Bakhtinschool on precisely dictory butthese opensup keynewareas and newconcepts need to be worked throughratherthan simply writes: assumed.Hirschkop

- dialogical ofthedialogic in someprofound sense ofthedialogirather thansomeinexplicable perversion that must itself cal. Butthis also means be monologism toward another disrecognised as a strategy ofresponse which or'margialbeit a strategy aimsto'ignore' course, nalize'theopposite We arethusledto a very discourse. means different vision ofwhat Bakhtin one by'dialogue', not theliberal ofviews but which includes only exchange alsoquestions ofcultural andpower.40 oppression

In this conception the monologue/dialogue problem emerges as thespecific political opposition ofa monological dominant discourse which alwaysseeks to present itself as natural and neutral and a dialogism that insistson contradiction. The model in Bakhtin thatwe might use for thisis his discussion, in Discourse and the Novel, of centripetal and centrifugal forces.41 The ruling class, according to Bakhtin, alwaysseeksto homologise discoursebut socialcontradiction meansthisprocess can never be completed; discourse is alwayssimultaneously flung in the oppositedirection by heteroglossia. In this manner Hirschkop develops a conception of builtaroundthesignas siteof dialogue/monologue class struggle analysis. Dialogueand monologue are, as a theoreti'dialogism' using Ifwearegoing tocontinue two not thus, but ontologies representational posipractice, oflinguistic quality cal term denoting a general tionslockedtogether bya powerstruggle. speciso that is needed, then somerevision oftheword asforms forms areunderstood cultural The realbenefit monological fically ofthisanalysis for historians and
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theoreticians of photography is thatit allows us to consider thestudio, but also itsoutside, monologue but also dialogue. This is essentialbecause the photographic field encompassesthe celebratory as well as the repressive, thebourgeois portrait in addition to the image in the fileindex. Any account whichattends to onlyone oftheseinstances willof necessity producea closure within knowledge; inthe case ofanti-realism all representation collapsing into thefunctioning ofpoweror desire. In conclusion I wantto lookat arguments around a specific photographer, AugustSander.It is notmy intention to cast Sander in the role Bakhtinhad Dostoyevsky play; ifwe needed a photographer for thatslot I could think ofbetter candidates.Sander has been selected,rather, because his is a practice whichhas been pulled intotheorbitofwhatI have been callingthe monological by therecent critique of physiognomic practices.I have in mind here, the comments on Sander in twoessays principally, by Allan Sekula, The Traffic in Photographs and The andthe Body Archive.42 to Sekula,Sandercombineda 'faith According in theuniversality ofthenaturalsciencesand belief in thetransparency ofrepresentation'. He shared, itis argued, the common physiognomic beliefof the period that the body and especiallythe face and

head, bore the outwardsignsof inner character. That Sander was committedto some kind of physiognomic programme is evident from his radio as a UniversalLanguage,44 talk on photography where he consistently stressedits photographic merits. As a theoretical approach,physiognomy, is in thesepictures as fixed present format, full-length confronted withthecamera images,and as subjects and depicted in their 'life situation'.This standardisingof the image allowed Sander to build a taxonomicsystemand, as Robert Krammerhas argued: Sanderalso drewupona European fascination, dating backto theFifteenth and Sixteenth Centuries, with the ofvarious depiction classes ofsociety arranged in hierarchies byappointed function andtrade. One traditional format wastheStadebiuch, orbookoftrades (Figs, 7, 8,
9).45

The Book of Trades can be seen as the model for Sander'sAnlitz der Zeit(Face ofOur Time) whichis made up of a selectionof portraits producedand organisedaccordingto its classificatory logic. As withthese earliertextsSander's book beginswith of the peasantry, photographs perceivedof as the most elementalclass, and ends withfools;in this

4~~~~~~~~~~~4

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der Fig. 7. AugustSander:Anlitz Generations Zeit,1929: Three Families. ofPeasant
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Fig. 8. August Sander: AnlitzderZeit,1929: The Lord ofthe Manor.

Fig. 9. AugustSander: Anlitz derZeit, 1929: roung Peasants.

This immenseproject which quence ofthis, case the unemployed. Sekulaargues, lurking just belowthe surface is Social Darwinismwithits 'methods'for was to also include45 .other each containvolumes, ing 12 images,was nevercompleted.In 1934 the calibrating inferiority. Sekulawrites: the printer's blocksand seized all Nazis destroyed unsold copies. Here is our contradiction. Sander One istempted toemphasize a contrast between Sander's clearlyenvisagedAnlitzderZeitas a radical work 'good'physiognomic science andthe'bad' physiognomy it was received as such not and, moreimportantly, ofGunther [a Nazi race'theorist'] and hisilk,without the positivist challenging underpinnings of bothproonly by the Nazis but by such criticsas Alfred jects.45 D6blin and WalterBenjamin. Sekula's comments on Sanderare determined by his concern notto overstate thepoweroftheinstruIn embracing thearchival modeas a fundamental the mentalimage and, in so doing,to homogenize of his modernism, component it is argued,Sander To thisend he maintains a view photographic field. builtinto his practiceaspectsof the same general of photography In disjunctive. as fundamentally positivist outlook that was incorporated into the locating Sanderwithin thisterrain Sekulais at pains Fascistproject ofdomination. These comments are to stress thatthereare two kindsof physiognomic extremely suggestive but it oughtto be noted that The former, the archival paradigm was, and is, a minority practice: egalitarian and authoritarian. he argues,is based upon a commonunderstanding instance withinthe photographic field.Sander,on ofthelanguageofthebodyfor all peoples,whilethe theotherhand,earnedhis living on thecelebratory latter,the dominant tendencyin practice,is a as a portraitist. It seemsreasonwingofphotography of domination Sander is situand control. strategy able, therefore, to argue that it was this practice ated on the liberal humanistwing of this probwhichwas of primary forhim. This is importance and critical lematic, holdinga beliefin a universal in his essayA Small theposition takenby Benjamiin pedagogy. Sander,for instance, alwaysorganized his History ofPhotography. While Sekula sees Sanderas typoiogy aroundsocialrather than'racial'categories theproducer ofinstrumental images,Benjaminhad and thus maintainedhis distancefrombiological an altogether different opinionofhiswork.For him determinism. Sander's pictures offered an inexhaustible stockof Likeall positivists, however, Sandersaw difference materialwithwhichto studyGerman society. As as an inessential and superficial matter. As a conseSekula himselfpoints out, we tend to thinkof
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how forgetting ofmontage, Benjaminas thetheorist froman empirical his modernism he constructed This is,I believe, whatis at modelofdetailedstudy. stakein his highregardforSanderwhom he comparedto Goethe'sremark: itself which so involves empiricism Thereis a delicate true theory.47 that itbecomes with theobject ofAnlitz It is in thissensethatD6blin's description anatomy, approvingly der Zeitas akintocomparative cited by Benjamin, can be seen as significant. the detail,from Benjaminsaw a need to learnfrom as he was in the sign as interested look of things, It is precisely 'the look of things'that symptom. appear debatesaroundphysiognomy contemporary It seemsto me that to be in dangerofmonologising. whatBenjaminmeantwhen we need to reconsider der manualfor Zeitas a training he described Anlitz And forthis the Bakhtin knowingyour enemy.48 schoolmayagain proveto be invaluable. this we might dialogue One wayinwhich envisage is through ofthings a considerawith theappearance ofreported tionofVolosinov's discussion speechin As we haveseen,anyseriousunderstandLanguage. ing of language,forthe Bakhtinschool,turnson and yet,as Volosinov concrete speechperformance argued, modern linguisticthoughtis concerned with morphology and phoneticsrather primarily This is a trendcontinued today thanwithsyntax.49 whichalwaysappears linguistics by post-Saussurian at themicrowhenoperating at itsmostcomfortable thanthe macroone of levelofthe phonemerather devotes a third In thissenseVolosinov theutterance. of his book to a studyof the problemof reported as: speechwhichhe defines
disindirect ... the syntactic patterns (directdiscourse, of the final section of his Marxismand thePhilosophy

ofthose themodifications discourse), course, quasi-direct which ofthose and thevariants modifications, patterns ofother for thereporting in language we find persons else'sword, quotation explicit and ofthose and for theincorporating utterances, The roleofsomeone utterances half reverently emphasized, concealed, concealed, half intoa bound,monologic as the utterances of others, conscious, unconscious, correct, deliberately distorted, context.50 etc unintentionally distorted, deliberately reinterpreted, and: speech,utterance Reported speechis speechwithin about within and at thesametime also speech utterance,
utterance about utterance.5' speech,
52

Reportedspeech is, forVolosinov,speech which enters discourse and becomes a constructional it while,at thesame time,retaining element within somelevelofautonomy and coherence as thespeech ofanother. Thus,theproblem ofreported speechis a questionoftheactiveinter-relationships within discoursewhichoperateas partoftheoverallproductionoflanguage. Volosinovmarksout two basic modes in which thereporting ofspeechoperates. The first is tomaintaintheintegrity oftheother's utterance, demarcatand protecting itfrom ingitsboundaries clearly the reporter's intonation; thesecondmode involves the ofreported assimilation and dissipation speechwith theauthor's retort. In thisinstance of theboundaries reported speechare broken and fluid. Thereis then, a dynamicof integrity in reported and resistance inpartat least, speechorganised, arounda hierarchy ofpower;thegreater eminence toan utterance given itwillbe demarcated. themoreclearly The implications of this discussionof reported withthewill to referspeech,takenin conjunction ence ofdialogism are very for So great photography. much post-structuralist work has monologised photography and silencedits multiple'voices',an important part of which has consistedof arguing that all documentaryphotography contains an will to powerthatwould silenceall other implicit A consideration ofreported positions. speechwould, how'author' allowus to think alternatively, through and 'character', as itwere,'speak' at thesame time. in Discoursecould thenbe graspedas Janus-faced orientatedutterancesare which two differently This of maintained withinthe same construction. difficult at photographs coursewould makelooking We wouldalwayshaveto approachthe and 'messy'. of power'soppoimage allowingforthe possibility of oftheforms site.Ifwe consider Bakhtin's typology reported speechthenwe can see just how complex be. thepossibleforms ofthephotograph might

The discussionof reported speech is undoubtedly themostdense and specialist sectionofVolosinov's textand I certainly do not intendto discuss the ofsuch detailedlinguistic questionsas implications indirect discourse and quasi-direct direct discourse, though sucha consideradiscourse for photography InsteadI wantto tionmight proveto be productive. of ofthereporting lookat thewayin whicha notion the another'sutterancemay allow us to rethink vexed problem of realism and documentary.
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some ofthesecategories Undoubtedly proposethe or thephotographer as a preconstituted writer subif we reinterpret ject in controlof representation; ofheteroglossia, themas forms however, theyseem in constructing Bakhtin these immensely suggestive. listswas certainly more analyticthan systematic, oftheseforms and, as such,thedensity maywellbe difficult to unpack. But to keep themopen would seemmuchmoreuseful thantaking themonologue ofpowerat facevalueand eradicating theanswering wordofthosewhoare imaged.Volosinov's notion of reported speech would seem to provideus witha way ofconsidering theobjectsofthe camera'sgaze as subjects. And as subjects who author themselves,
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even if not in the who make theirown histories choose. may whichthey conditions speechin relation One smallexampleofreported disto Sander'sworkcan be foundinJohnBerger's cussion of an image fromAnlitzderZeit in which threeyoung peasantsare depictedon the road in stateshis intenBerger goingto a dance.53 evening, upon theirsuits. In 1914, he tion to concentrate at mostthe argues,theseyoungmenwereprobably second generationwho wore such suits in the The pointat stakehere forBergeris countryside. deformthe bodies that bear that these garments of peasantbodies,produced them.The physicality labour,is, he argues,fundaoftheir by therhythms alien to thesuit. mentally of The suitdevelopedin Europe in the lastthird of the bouralmostas a uniform the 19thcentury writes: geoismale. Berger to idealisepurely costume ruling-class It was the first andconoftheadministrator The power power. sedentary the suit was made forthe table. Essentially ference (Asdistinct, abstractly. andcalculating of talking gestures the from costumes, upper-class to previous compared duelling.)54 dancing, hunting, ofriding, gestures hereshouldbe apparent;clothes The contradiction to be worn movement, thatweredesignedto restrict at and uncreasedon bodies thatare 'fully unruffled tothesuit, Forthepeasantto submit homein effort'. the process, is a partofthehegemonic insists, Berger social formation point at which dress,experience, coincide. and function While photographicdebates centred around ofall producereadings Foucaultand physiognomy images of the body as images of power,Berger's may provideus witha way of thinking argument We need to ofthesemiotic. about thebodyin terms of that and of the 'voices' part image to the listen to read able signs traces, necessitates being dialogue in the the image. clues from body and speechand ofdialogue,as The notionofreported see Sander's practicein to allow us such, may process.I thinkit is as a dialogic anotherlight Sander while may well have possibleto argue that groundas theNazis, operatedon thesame political withthelookoftheGerman and concemedhimself different people, he did so in a fundamentally Thus, the question of appearance could register. Sander'speasants, becomethesiteofclass struggle. rootedforexample,have none ofthe uncorrupted ness thatthe Nazi ideal required.In such a monoand for Sanderto imagecontradiction logicclimate, To insist subversive. could be profoundly difference natureoftheGermanpeople, on theheterogeneous to offermultiple voices and multiple looks, to include among his work socialists,communists, and so on,could onlybe conJews,theunemployed mightbe stated as an project Sander's structive. signs different to keep apartthosetwovery attempt of the German people Volkand Leute.To reduce
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Sander to the physiognomic is, as such, complicit thesocial.Forthe with thosewhowouldmonologise otherthingthatVolosinov'sdiscussionof reported ofseparating out speechteachesus is the necessity voices. from other theauthorial

Notes
* I would like to thankStanleyMitchell, and Jeffrey AdrianRifkin draft ofthisessayand FredOrton on an earlier comments their Steelefor for his support. andPhotoWorks Essays theGrain. Against 1. Allan Sekula, Photography 1973-1983 (Novia Scotia,1984),p. xiii. Story',Women The Silence:The Daughter's 2. Jo Spence,'Disrupting 1989. no. 29,June/July Journal, Artists SlideLibrary and Essayson Photographs ofRepresentation. 3. JohnTagg, TheBurden The 1988)Chapter3, 'A Means ofSurveillance: (Basingstoke, Histories as Evidencein Law', p. 95. Photograph (London, A Study inMoralTheory Virtue. After 4. AlisdairMaclntyre, 1985),Chapter1. fora group of texts 5. I use 'The Bakhtinschool' as a shorthand authorship. butwhichare subjectto disputed writers signedbydifferent and now Bakhtin Medvedev, ofthisgroup- Volosinov, Whilethework Williams likeEagleton, in Britain bycritics Kanaev - has beenreceived ofhistoritotheresearch programme and Whiteas a majorcontribution of these and interpreters in the Statesthe translators cal materialism, theliberaland evenChristian to locatethemwithin are concerned texts to minimizethe role of involves attempting This strategy traditions. MedvedevwiththeirknownMarxistcomVolosinovand particularly intoa body a Marxist terminology that they imported arguing mitments, is indeed oftheauthorship itdid notbelong.The question where ofwork and for and against; arguments equallystrong a very complexissuewith livingin at thisrate it may well turnout thatBakhtinwas everyone like This said, however, Moscow in the periodshortof Stalinhimself. that a work Medvedev'sname from to remove Todorov,I do notintend costhimhis life. oftheBakhtin touse thework is that ofthisdispute The ultimate irony In this is to enterintoa dialogicstruggle. school,or thesign'Bakhtin', way the argumentover these works among Christian,liberal and Marxism ofVolosinov's thesis thecentral onlyconfirms Marxist scholars, thatthesignis thesiteofclass struggle. andthe ofLanguage, Philosophy 6. Raymond Williams,'The Uses of Cultural Theory', New Left 1986. no. 158,July/August, Review, and thePhilosophy of Language(Cam7. V. N. Volosinov,Marxism Mass.) 1986,p. 102. bridge, 8. Ibid.,pp. 103-104. Discourse and Democracy',New Left 'Bakhtin, 9. Ken Hirschkop, no. 160,Nov/Dec 1986,p. 99 Review, in ThePortrayal ofWomen Images ofWomen. 10. Sarah Graham-Brown, inthe Middle East 1860- 950(London, 1988),p. 21. Photography and What To Do In It (London,1891). 11. H. P. Robinson,TheStudio forwhichmostof the key of thisargument, 12. My understanding Bakhtin. TzvetanTodorov,Mikhail is takenfrom texts are untranslated, 1984). (Manchester, Principle TheDialogical 'sPoetics, editedand translated Problems ofDostoyevsky 13. M. Bakhtin, by Caryl Emerson (Manchester,1984), appendix 11, 'Towards a Book',pp. 292-293. Reworking oftheDostoyevsky 7, 1881. News, January 14. 'At Home', At Millbank,ThePhotographic 15. Ibid.,p. 3. News, The Photographic Penitentiary, 16. 'At Home', At Pentonville was the Pentonville visit, 21, 1881. At the timeof Pritchard's January thefirst partof spending withall male prisoners gaol in Britain largest archive of and as a consequenceit heldthelargest their sentence there, criminals. British The in Criminal Jurisprudence', 17. JuliusF. Sachse, 'Photography NVews, July25th1890,p. 572. Photographic Nov. 1, 1873,p. 11. All therearRound, 18. 'Criminal Photography', in British Review, reprinted Quarterly 19. 'Photographing Criminals', The Photographic 2, 1866,p. 524. News, November

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20. 'International Criminal Photography', The Photographic News, August30, 1878,p. 409. 'VeinsofResemblance. 21. On Galtonsee David Green, Photography and Eugenics',Photography/Politics: Two,eds P. Holland,J. Spenceand S. Watney(London, 1986), and Allan Sekula, 'The Body and the no. 39,Winter Archive', October, 1986. 22. 'At Home', At thePrefecture de Police in Paris, ThePhotographic News, June3, 1881. 23. This debatehad been goingon sinceat leastthe1840swhen J. A. Gardiner,the Governorof BristolGaol, had used photography to identify habitualcriminals who attepted to pass themselves of as first timeoffenders. Gardiner'sworkwas highly praisedby the House of Lords' SelectCommittee on whoserecommendations thePrisonActof 1865was formed. On thequestionofphotography, however, theHome Secretary ignoredthisadvice and leftthe matter up to the individual Governors.See 'Photographing Criminals', The Photographic News, November 2, 1866,pp. 524-525. 24. 'Photographing Criminals',ThePhotographic News,May 6, 1870, p. 206; see also George Croughton, 'Photographing Criminals',The Photographic News, May 13, 1870,p. 226. 25. 'Photographing Criminals',The Photographic News,January27, 1877,pp. 37-38. 26. 'Photographing Criminals',The Photographic News,August 22, 1873and Criminal Photography. All TherearRound, vol.XI, November 1, 1873.The number ofphotographs sentto Londonare given as: Newgate 4,800; Coldbath Fields 2,800; LiverpoolBorough2,800; Westminster CountyPrison300; Leicester228 (including22 duplicates);Lincoln CountyPrisonone at a costof3s. 6d. The percentage ofdetentions due to photography were: BedfordCounty Prison 105; Portsmouth 33; Holloway30; Hereford 23; Dover 6; Hertfordshire 3; Leicester 3. The majority of provincial townsstated'Not known'or 'Not ascertained'. werephotographed 5,000prisoners in Lancashire between 1870and the end of 1872 withsingularly unsuccessful results. There were 4 cases among the 356 prisoners at LancasterGate, while Kirkdalewith657 prisoners, Prestonwith 553, and Manchester with 1,244 all replied unknown. with Liverpool 2,583spent f155including theconstruction of a studiocosting f95 and a salary off60 perannum, was unabletospecify a single case photographic conviction. Similarly Salford with1,263spent f44. Os. i d. to no avail. 27. AllonWhite,'Bakhtin, and Deconstruction', Sociolinguistics The Theory ofReading, FrankGloversmith (ed.) (Brighton, 1984),p. 140. 28. Raymond Williams, Marxismand Literature (Oxford, 1977), p. 22. 29. White,op.cit.,p. 139.

30. AndreRouille,Le Corps etsonimage. du dix-neuvieme Photographies siecle (Paris,1986). 31. Ibid.,p. 46. 32. Edwin Cocking, 'On Photographing Children', The British Journal Photographic Almanac, 1869,p. 94. 33. C. Brangwin Barnes,'Photographing Children',ThePhotographic News,November 29, 1889,p. 797. 34. CharlesE. Pearce,'Children Froma Photographic PointofView, TheBritish Journal Photographic Almanac, 1869,p. 91. 35. 'Talk in theStudio', ThePhotographic News, July 26, 1867,p. 363. 36. 'Punch'sScientific Register', ThePhotographic December2, News, 1864,p. 588. 37. J. Walter, 'Photographing Children', The Photographic News, August4, 1871. 38. Robinson,op.cit.,p. 126. 39. M. Bakhtin, inDostoevsky's Problems Poetics, op.cit.,p.293. 40. Ken Hirschkop,'A Response To the Forum On Bakhtin', Bakhtin. Essays and Dialoguesof His Work, ed. Gary Saul Morson (Chicago,1986).p. 75. 41. M. Bakhtin, 'Discoursesin The Novel', TheDialogic Imagination. Four Essays ByM. M. Bakhtin (Austin, Texas, 1981),pp. 272-273. 42. AllanSekula,'The Traffic in Photographs', Photography the against Grain,op. cit.,pp. 83-88 and 'The Body and The Archive', op. cit., pp. 58-59. 43. AllanSekula,'The Traffic In Photographs', op.cit.,p. 84. 44. AugustSander, 'Photography as a UniversalLanguage', trans. AnneHalley,Massachusetts Review, vol.XIX, no. 4, Winter, 1978. 45. RobertKrammer, 'Historical commentary', August Sander. Photographs ofan Epoch1904-1959 (Philadelphia, 1980),p. 19. 46. Sekula,'The Traffic In Photographs', op.cit.,p. 87. 47. WalterBenjamin,'A Small History of Photography', One Way Street andOther Writings (Verso,1985),p. 252. 48. Ibid.,p. 252. 49. V. N. Volosinov, Marxism and thePhilosophy ofLanguage, op. cit., p. 109. 50. Ibid.,p. 112. 51. Ibid.,p. 115. 52. M. Bakhtin, Iz predystorii romannoglslovo, cited Viach,Vs.Ivanov. TheSignificance M. M. Bakhtin of 'sIdeasonSign, Utterance, andDialogue For Modern Semiotics. SovietStudiesin Literature, Spring/Summer, 1975, pp. 198-199. 53. John Berger,'The Suit and the Photograph',AboutLooking (London,1980). 54. Ibid.,p. 34.

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