Like many authors of the long nineteenth-century period, Henry James was both fascinated and troubled by photography’s capacity to extend social relations across distance and time. As this article will show, in The Awkward Age (1899) and ‘Crapy Cornelia’ (1909) he represents photography as enabling new forms of virtual flirtation. The Awkward Age projects its protagonist, an adolescent girl named Nanda, into a network of photographic exchange. This leads to serious problems when her mother seeks to win Nanda a suitor. The text not only depicts photographs as modes of flirtation; it also shares with photography a concern for deixical signification. The book presents the identity of its individual characters through a blank writing style that is both flirtatious and photographic in its pleasurable deferral of meaning. By the time he wrote ‘Crapy Cornelia’, James had adjusted to the new instantaneous and portable photography. As a result, this later story portrays obsolete carte-de-visite photography in nostalgic terms: as a form that enabled affective (and effective) networks of connection, even between the living and the dead.

中文翻译：

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与摄影调情：亨利·詹姆斯与摄影交流

与 19 世纪漫长时期的许多作家一样，亨利·詹姆斯对摄影跨越距离和时间扩展社会关系的能力既着迷又感到困扰。正如本文将展示的那样，在 The Awkward Age (1899) 和 'Crapy Cornelia' (1909) 中，他将摄影描述为启用新形式的虚拟调情。尴尬的时代将其主角，一个名叫南达的少女，投射到一个摄影交流网络中。当她的母亲试图为南达赢得追求者时，这会导致严重的问题。文本不仅将照片描绘成调情方式；它还与摄影一样关注指示性意义。这本书通过一种空白的写作风格展示了其各个人物的身份，这种风格在其愉快的意义延迟中既轻浮又摄影。当他写下“Crapy Cornelia”时，詹姆斯已经适应了新的即时便携摄影。结果，这个后来的故事以怀旧的方式描绘了过时的点菜式摄影：作为一种形式，即使在生者和死者之间也能建立情感（和有效）网络连接。