ABSTRACT This article argues that Teju Cole’s recent book Blind Spot (2017) promotes the value of inwardness through its juxtaposition of photography and prose passages. Using Stephen Toulmin’s theory of inwardness as an intentional state of contemplation, reflection, memory, and imagination, it studies how Cole’s largely figureless photography and allusive prose assert an aesthetic of reticence intended to be shared as an alternative to the contemporary image realm of pervasive facial recognition. Contesting the careless, distracted consumption of figures and faces that pervades digital media, Cole uses the juxtaposition of prose and photography to offer a vision of what it might look like to look within, thereby advancing the practice of self-reflection as a form of intersubjective support. Blind Spot shares inwardness as an ethos of discretion, which also produces forms of empathy and curiosity, offering a visual account for how the enrichment of inward experience can actually serve to stimulate interpersonal bonds of solidarity. Using photography theory, and specifically reading the work of Michael Fried, Roland Barthes, Susan Sontag, and others, this article is one of the first academic accounts of Cole’s singularity as a post-millennial writer and photographer, whose interdisciplinary work is deeply engaged in contemporary political and aesthetic concerns.

中文翻译：

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在Teju Cole的盲点分享内心

摘要本文认为，特茹·科尔（Teju Cole）的最新著作《盲点》（Blind Spot，2017）通过并置摄影和散文段落来提升内在价值。使用斯蒂芬·图尔敏的内在性理论作为沉思，反思，记忆和想象力的有意状态，它研究了科尔的大量无形象的摄影和寓言散文如何断言沉默寡言的美学，旨在作为对普适面部的当代图像领域的替代。承认。为了应对漫不经心，分散注意力的数字媒体消费，Cole利用散文和摄影的并置，提供了对其内在外观的看法，从而推进了自我反思的实践，将其作为主体间的一种形式支持。Blind Spot分享内心作为自由裁量的精神，它也产生同理心和好奇心的形式，从视觉上说明内向经验的丰富如何真正起到刺激人际团结的作用。运用摄影理论，并特别阅读迈克尔·弗里德（Michael Fried），罗兰·巴特（Roland Barthes），苏珊·桑塔格（Susan Sontag）等人的作品，这篇文章是科尔作为千禧后作家和摄影师的奇异之处的第一批学术著作之一，他的跨学科工作与当代政治和美学关注。