“An intertextual/ dialogical reading of place through photography and fiction” The article is an exploration of place and its representations based on the intertextual reading of a series of photographs (1880-82) of Tarbert, Loch Fyne by Andrew Begbie Ovenstone (1851-1935) and the dialogical reading of a novel, Gillespie (1914), by John MacDougall Hay (1881-1919) which is set in Tarbert. The proposed article is inspired by a sense that a semiotic approach to the subject will reveal far more than has been discovered within the tradition of hermeneutics and patrimony and that much will be gained by a study of the contrast between written and visual signifiers. The article raises questions about the (unexamined) coded readings of place especially in relation to the photograph, and the lack of an adequately theorized tradition for the novel. The literary text is well known - if not well understood - but the images are from a rare, unpublished, private collection of photographs from Scotland, India and the furthest reaches of Empire (Ovenstone was the Atlantic Freight Manager of Anchor Line Ltd, the Glasgow shipping company). The paper emphasizes the need for the use of codes to decipher the texts. When we “read” the photographs we need to be aware of the intertextual relationship between the photograph and the landscape painting tradition as well as the common practice of the created tableau – there is then overlaid upon the image the sense of a set of conventions, a system which operates much like a language. We are able to discover through the notion of the “long quotation from appearances” the potential for more complex “synchronic” readings. Likewise, in the case of Gillespie, the novel operates within a genre which determines a “reading”. When we are aware of a code, we become aware of the way that Hay manoeuvres adroitly to thwart the reader’s best efforts to settle upon a preferred reading – especially one shaped by an authoritative narrator - which thereby allows for the genuine experience of “heteroglossia” to emerge. The notion of truth in Gillespie is interrogated in the light of Heidegger’s essay “The Origins of a Work of Art” in order that the relationship between representation and reality be clarified.

中文翻译：

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对地方及其表征的探索：对 AB Ovenstone 和约翰·麦克杜格尔·海伊 (John MacDougall Hay) 的小说吉莱斯皮 (Gillespie) 照片的互文/对话阅读。

“通过摄影和小说对地方进行互文/对话式阅读” 这篇文章是对地方及其表现的探索，基于对塔伯特·费恩湖 (1851-1851- 1935 年）以及对话式阅读约翰·麦克杜格尔·海 (John MacDougall Hay，1881-1919 年) 的小说吉莱斯皮 (Gillespie) (1914 年)，该小说以塔伯特为背景。拟议的文章受到这样一种感觉的启发，即对该主题的符号学方法将揭示的内容远远多于在诠释学和遗产传统中发现的内容，并且通过研究书面能指和视觉能指之间的对比可以获得很多东西。这篇文章提出了关于（未经审查的）编码阅读的问题，尤其是与照片相关的地方，以及小说缺乏充分理论化的传统。文学文本是众所周知的——如果不是很好理解——但图像来自苏格兰、印度和帝国最远地区的罕见的、未发表的私人照片收藏（Ovenstone 是 Anchor Line Ltd 的大西洋货运经理，格拉斯哥航运公司）。该论文强调需要使用代码来破译文本。当我们“阅读”照片时，我们需要意识到照片与山水画传统之间的互文关系以及创作画面的普遍做法——然后在图像上叠加了一套约定俗成的感觉，一个运行起来很像语言的系统。我们能够通过“表象的长引述”的概念发现更复杂的“共时”阅读的潜力。同样，在吉莱斯皮的情况下，小说在决定“阅读”的体裁中运作。当我们意识到一个代码时，我们就会意识到海伊巧妙地阻止读者尽最大努力来选择首选阅读的方式——尤其是由权威叙述者塑造的阅读——从而允许真正体验“异语”出现。海德格尔的文章《艺术作品的起源》(The Origins of a Art of Art) 对吉莱斯皮中的真理概念进行了质询，以澄清再现与现实之间的关系。我们开始意识到海伊巧妙地阻止读者尽最大努力来选择首选阅读的方式——尤其是由权威叙述者塑造的阅读——从而使“异语”的真实体验得以出现。海德格尔的文章《艺术作品的起源》(The Origins of a Art of Art) 对吉莱斯皮中的真理概念进行了质询，以澄清再现与现实之间的关系。我们开始意识到海伊巧妙地阻止读者尽最大努力来选择首选阅读的方式——尤其是由权威叙述者塑造的阅读——从而使“异语”的真实体验得以出现。海德格尔的文章《艺术作品的起源》(The Origins of a Art of Art) 对吉莱斯皮中的真理概念进行了质询，以澄清再现与现实之间的关系。