ABSTRACT This article examines photographic ekphrasis in the first novella of J. M. Coetzee’s Dusklands (1974)—the narrative of Eugene Dawn—exploring how the properties and technical processes of photography and film are inscribed in the novel’s prose as a response to the media dialogues and violent imagery about the war in Vietnam that Coetzee experienced while living in America. The first section of analysis considers how a focus on the negative reportage of this period suggests that Coetzee remained haunted by these narratives upon returning to South Africa. The second part explores how Dawn’s contact with his private collection of photographs triggers a mental breakdown that leads him to assault his son. He comes to resemble the figures from his photographic collection and is ultimately inserted into the photographic realm symbolically during a dramatic standoff with the police, which is staged to resemble the act of taking a photograph.

中文翻译：

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将越南战争带回家：JM Coetzee的《黄昏之地》中的摄影媒体研究

摘要本文探讨了JM Coetzee的《 Dusklands》（1974年）的第一部中篇小说中的摄影狂，这是Eugene Dawn的叙述，探讨了小说散文中如何刻画摄影和电影的特性和技术过程，以回应媒体对话和暴力Coetzee在美国生活期间经历的有关越南战争的图像。分析的第一部分考虑了如何关注这一时期的负面报道，这表明库切兹回到南非后仍然被这些叙述所困扰。第二部分探讨了Dawn与他的私人照片集的接触如何引发精神崩溃，从而导致他殴打儿子。