Dissertations / Theses on the topic 'Figurini'
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Carrer, Beatrice <1992>. "I figurini per i costumi nelle opere di Gioachino Rossini. Le collezioni milanesi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10508.
Full textAragon, Leslie D. "Figuring Out Figurines: An Ontological Approach to Hohokam Anthropomorphic Figurines from the Phoenix Basin." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/293745.
Full textConceição, Daniela Águas Campos da. "O figurino na ficção cinematográfica. Adrian e Colleen Atwood. Design de figurinos." Master's thesis, Faculdade de Arquitectura de Lisboa, 2010. http://hdl.handle.net/10400.5/2990.
Full textO cinema e a moda sempre estiveram relacionados, são vários os criadores de moda que prestaram contributo para figurinos no cinema, assim como, os figurinistas que inspiraram tendências no mundo da moda. No entanto um designer de moda não é um figurinista, embora ambos lidem com vestuário operando de formas comparáveis, a finalidade é sempre para alcançar intenções e objectivos distintos e específicos. Interessa portanto apurar o papel do figurino nas suas condicionantes cinematográficas, para além daquelas que decorrem do design de moda e que condicionam o seu projecto. Os figurinos desempenham uma função muito importante na ficção cinematográfica, em conjunto com outros elementos que a compõem. Revela-se necessário entender como todos os elementos visuais e também psicológicos operam, para criar uma ligação entre o cinema e o figurino, de modo a analisar esse valor e contexto. Nos estudos de casos são analisados em particular o trabalho de dois importantes designers de figurinos para o cinema, Adrian e Colleen Atwood, numa análise pormenorizada de alguns dos filmes em que colaboraram. Ambos pertencem a períodos diferentes da história e possuem em comum, para além da profissão, terem sido os responsáveis por diversos filmes do género de fantasia. Adrian para The Wizard of Oz (1939) e Colleen Atwood na interpretação do imaginário, tão peculiar, do cineasta Tim Burton, nos figurinos de alguns filmes que projectou, todos do género fantástico. A escolha destes dois designers não foi arbitrária, pretendeu-se que fossem analisados figurinos pertencentes a relatos históricos diferentes no cinema, neste caso, o cinema clássico e o cinema contemporâneo, para que se possam analisar as componentes que o avanço histórico apresentou. Com esta investigação pretende-se, portanto, mostrar como o design de figurinos funciona no cinema, quais as suas ferramentas e metodologias e como se relaciona com as outras condicionantes e técnicas do universo cinematográfico. Procura-se o seu contributo para o resultado final na narrativa ficcional na construção de personagens, ambientes e emoções.
Cinema and fashion were always related so that several fashion designers provided contributions in the movies, as well as the costume designers who inspired trends in the fashion world. However, a fashion design is not the same as a costume designer, though both deals with clothing operating in comparable ways, the purpose is always to achieve distinct and specific aims and purpose. It is essential to determine the role of a costume in its film constraints other then those arising out of fashion design which condition their project. Costumes play a very important role in the cinematic fiction along with other elements that compose it. It is necessary to understand how all the visual elements and also psychological operate to create a connection between cinema and costume in order to analyze the value and context. In the case studies are analyzed in particular the work of two important designers of costumes for the film, Adrian and Colleen Atwood, in a detailed analysis of some of the films in which they collaborated. Both belong to different periods of history and have in common, beyond the profession, having been responsible for several films of the fantasy genre. Adrian for The Wizard of Oz (1939), directed by Victor Fleming, Colleen Atwood in the interpretation of the imagery, so peculiar, of the film director Tim Burton, in the costumes of some films she designed, all belonging to the fantasy genre. The choice of these two designers was not arbitrary, it was intended that would be analyzed costumes belonging to different historical accounts in the cinema, in this case, the classic and contemporary cinema, so we can examine the components that made the historic breakthrough. With this investigation is aimed, therefore, show how the design works in film costumes, what are their tools and methodologies and how they relate to other restrictions and techniques of film universe. It seeks to know its contribution to the final result in fictional narrative in the construction of characters, settings and emotions.
Soares, Kárita Garcia. "Figurino fora de cena: um estudo sobre a constituição de acervos de figurinos teatrais." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/7493.
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Cette dissertation nous présente une investigation autour de la constitution de fonds de costumes de théâtre chez Goiânia, à partir de l'analyse de la manière comme des groupes et d'autres producteurs scéniques s'organisent et se positionnent actuellement face à la thématique. La recherche veut la compréhension des possibles motivations et implications qui ont de la relation avec la formulation d'espaces dédiés au stockage de costumes de théâtre portés aux spectacles scéniques, spécialement dans le contexte de la capitale de l'État de Goiás. On voit que de tels espaces peuvent acquérir des caractéristiques diverses d'accord aux nécessités, désirs, et conditions structuraux et financiers de ceux qui se prédisposent à les organiser. Dans ce sens, à partir de la recherche bibliographique et de terrain - la deuxième comprise dans la réalisation de sept entretiens semi-directifs avec des différents professionnels et représentants du théâtre à Goiânia -, on trace des compréhensions conceptuelles et historiques du costume de théâtre et du théâtre chez Goiânia, ce qui indique une réalité dans laquelle le costume de théâtre est, de plus en plus, réfléchi avant, durant et après la scène.
Esta dissertação apresenta uma investigação acerca da constituição de acervos de figurinos teatrais na cidade de Goiânia. Para tanto analisa o modo em que grupos e outros realizadores cênicos vêm atualmente se organizando e posicionando acerca da temática. Busca-se a compreensão das possíveis motivações e implicações que se vinculam à formulação de espaços dedicados à armazenagem de figurinos utilizados em espetáculos cênicos, especialmente no contexto vivenciado na capital goiana. Nota-se que tais espaços podem adquirir características diversas de acordo com as necessidades, os desejos e as condições estruturais e financeiras daqueles que se predispõem a organizá-los. Com base em pesquisa bibliográfica e de campo, sendo a segunda expressa na realização de sete entrevistas semiestruturadas com diferentes profissionais e representantes do teatro da capital goiana, traçam-se compreensões conceituais e históricas do figurino e do fazer teatral em Goiânia, assinalando uma realidade na qual o figurino é, cada vez mais, refletido antes, durante e após a cena.
Dias, Denise Helena Rutkowski. "A arte da concepção do figurino : um estudo de caso dos diferentes figurinos utilizados nas adaptações do livro orgulho & preconceito." Master's thesis, Universidade da Beira Interior, 2012. http://hdl.handle.net/10400.6/1707.
Full textRodrigues, Fernanda Junqueira. "Do figurino cenico ao figurino de moda : a modernização do figurino nas telenovelas brasileiras." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284038.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A transformação do modo de produção na composição dos figurinos das telenovelas brasileiras guardou estreitas relações com o processo de modernização capitalista no Brasil dos anos 70 e também com a transformação das narrativas melodramáticas. A introdução de elementos da moda contemporânea, a partir do ano de 1973 - com a entrada da figurinista Marília Carneiro na TV Globo -, reflete uma modernização do gênero melodramático, com a aproximação às temáticas cotidianas assim como também a profissionalização e racionalização do fazer artístico. Esse trabalho propõe a investigação sobre esse processo de transição no modo de produção e caracterizações das personagens ficcionais - cuja composição passou das oficinas de costuras às lojas de rua - a reflexão sobre o poder das telenovelas brasileiras em lançarem novas modas e suas possíveis relações com as matrizes da cultura popular.
Abstract: The transformation of the mode of production in the costumes composition in Brazilian telenovelas has maintained close relationship with the process of capitalist modernization during the 70th years in Brazil. This is also true for the transformation of the melodramatic narratives. From 1973 elements of contemporary fashion were introduced - when costume designer Marília Carneiro joined TV GLOBO - which reflects modernization of the melodramatic genre. This genre approaches to the everyday thematic, with the professionalization and rationalization of artistic creation process. This paper proposes an investigation about this transition process in the mode of production and characterization of fictional characters - whose composition moved from the costume fashion workshops to street shops - and a reflection about the power of Brazilian telenovelas in launching new trends and their possible relationship with matrices of popular culture.
Mestrado
Mestre em Multimeios
Morin, Molly C. "Figuring the digital." Connect to this title online, 2007. http://etd.lib.clemson.edu/documents/1202500343/.
Full textHanly, Peter Charles. "Figuring the Between." Thesis, Boston College, 2013. http://hdl.handle.net/2345/3770.
Full textThis dissertation is an attempt to describe parallels and convergences between the work of Martin Heidegger and that of the poet and philosopher of the Jena Romantic period Friedrich von Hardenberg, known also as Novalis. The fact that little attention has been given to the consideration of their relationship is undoubtedly owing to the fact that there is no sustained address to the work of the Jena Romantics in Heidegger's writing. However, the question of their relation merits reflection because of the insistence with which, albeit in a marginal way, Heidegger returns again and again in his work to fragments of Novalis. These fragments often seem to operate in Heidegger's lectures as something like stepping-stones, or guide-posts that mark a particular turn in the direction of the argument. Following one such quotation, Heidegger remarks that he "does not want to provoke and argument over the authority of this witness." However, it is indeed as "witness," and also in a certain sense as "authority" that Novalis is more often than not introduced. The question, then, is: what kind of authority? And to what is this authority called upon to bear witness? This question is rendered more substantial by the fact that these curious and marginal appearances of the Jena Romantic poet and philosopher take place in Heidegger's work over a period of forty years, from 1916 to 1959. More intriguing still, though, is that - when viewed together - these appearances attest to a strong ambivalence on Heidegger's part. On the one hand, a fragment of Novalis might be presented as an extraordinary "flash of insight" that presages unforeseen directions in philosophical thinking. On the other hand, these insights are also sometimes subject to summary judgment, dismissed by virtue of a broad and rather sweeping association with Hegel. Thus, it might be said that a kind of mystery hovers around this presence, a sense of both attraction and resistance. Following one such moment, indeed, and after having quoted Novalis' Monologue in its entirety, Heidegger writes: "Much remains dark and confusing in this monologue of λόγος, especially as he thinks in another direction and speaks in another language than the one attempted in these lectures." Still more than marking points of convergence, then, this project is dedicated to an attempt to shed light on this "dark and confusing" difference. To that end, the first part of the essay will engage Novalis' own extraordinary philosophical project; a project that involves an endeavor not merely to ponder the relations between philosophy and poetry, but to effect a complete elision of their distinction, and to offer to them thereby the thought of an entirely new meeting-ground. The essay will trace out the philosophical origins of this endeavor, and try to show how the thinking engendered in those origins flourishes to produce a unique conception of the relations between the natural world and the language we use to describe it. The second part of the essay will, by contrast, engage Heidegger, in an attempt to mark a terrain in which aspects of his work can be seen to come into close proximity with the thought of the Jena Romantics, often in quite unexpected and unpredictable ways. These considerations will operate along two axes. On the one hand, an address is made to question of pain in Heidegger's work, in order to show the continuity, but also to describe the philosophical orientation and historical genesis of this thematic. Secondly, the very distinctive manner of writing and thinking that belongs to Heidegger's work of the late 1930's is addressed in light of this thematic. It will be shown that it is in these texts, and most especially in the Beiträge zur Philosophie (Vom Ereignis), that Heidegger's processes of writing offer the most striking parallels to modes of thinking that unfold in the orbit of Jena Romanticism. Finally, though, what is hazarded in this essay is not by any means a "Romantic" reading of Heidegger, and still less a "Heideggerean" reading of Novalis, but rather an endeavor to show how, and to what extent, the thinking of both Heidegger and Novalis converge in taking their orientation, in very different ways, from the historical appropriation of a decisive moment in Greek thought, namely one particular thought that belongs to the fragments of Heraclitus
Thesis (PhD) — Boston College, 2013
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Philosophy
Connors, Clare. "Figuring force from Nietzsche to Derrida." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527290.
Full textAlKhudairy, Enas A. "Destructive preservation : figuring the urban ground." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/103424.
Full textThis electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 146-147).
What does it mean to invert the urban fabric? When figure becomes ground, and ground becomes figure, how does a neighborhood adapt to moving from extreme privacy to communal living? Despite the complete destruction of the existing fabric, the proposition immediately disallows a Utopian, Tabula-Rasla response. Although ghosted, the idiosyncratic identity becomes even more identifiable, and somewhat nostalgic; rather than the footprints being inhabitable buildings, they become holes in the built environment that one can walk out into (ground floor courtyard) or look down into (upper floor windows/terraces). As one of the largest and most populated cities in the Middle East, the city of Riyadh is a clear example of a metropolitan city that is continuously growing in a low-density sprawl. This thesis aims to explore how we can re-imagine the city in the already-built environment as a way of densifying the fabric. Despite its metropolitan nature, importance and large population, life in the city of Riyadh is more suburban than urban, with the majority of people living in stand-alone houses. The culture of habitat has, however, begun adapting in this generation; from completely segregated stand-alone houses, to duplex houses, to gated communities, and finally moving a little bit into high-rise living. The project aims to push the slow transition into a faster trajectory towards a super-block mega-structure. Different people would come together under one larger roof, where different programs come together and pull apart. A unified plinth acts as a mediator between different kinds of traffic, different kinds of users, and different kinds of spaces, blurring the lines between public spaces, religious spaces, housing, and working environments. The whole aboveground environment becomes a pedestrian space, while a lower level of the plinth pulls vehicular traffic below ground, and creates an expansive parking and road zone
by Enas A AlKhudairy.
M. Arch.
Veseli, Sabina. "Les figurines et les vases en bronze de la période archaïque jusqu'à la période romaine retrouvés en Albanie." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20028.
Full textThe principal objective of this thesis is the study of bronze objects, more specially figurines and vases, found in Albania, dating from the archaic period to the end of the roman period. These category of objects have never been subject of a specific study, and the majority of the objects have never been published. This thesis has proposed for the first time a complete study, in the form of a corpus of objects which comprises all the figurines and vases of bronze, found in Albania; which is based in the technology, typology, chronology and geographic distribution of each type of object. The objects are placed in their cultural context through the establishment of a corpus of sites where the objects were found. The synthesis which has analyzed the information of the two corpuses has also enriched our information for the populations by whom were utilized, their habitudes and believes, the merchandise with the other centers of the antique world, and the development of the bronze artisanat, all these issues based in an historic perspective which emphasizes attention in the evolution
Duarte, Carolina Borlido. "Design de figurinos." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2019. http://hdl.handle.net/10400.5/18351.
Full textA investigação desenvolvida em Design de Moda é centrada na área do Design de Figurinos, e mais especificamente nos figurinos para espetáculo musical do estilo Broadway. O design de figurinos é parte integrante das artes performativas (e.g., teatro, televisão e cinema), sendo o seu contributo indispensável para a criação de personagens. Para a concretização da investigação desenvolvida, foi realizado um estágio curricular na Produções La Féria, uma das mais relevantes produtoras do mundo do teatro musical em Portugal. Com a realização deste estágio foi possível alcançar vários objetivos, como a aquisição de diversas competências no desenvolvimento de figurinos, na interação e trabalho em grupo, no domínio de técnicas utilizadas no design de figurinos para espetáculo musical. De forma a recolher todas as informações imprescindíveis para o desenvolvimento da investigação, foi usada uma metodologia mista, primeiramente com base na revisão de literatura que se debruça sobre o assunto, nomeadamente livros, artigos, teses, filmes e produções de Filipe La Féria; durante o estágio a investigadora teve a oportunidade de não só fazer uma observação direta à criação de figurinos como também fazer parte da produção dos mesmos. Com o estágio foram conquistados os objetivos traçados, levando esta investigação para lá do âmbito académico, munindo a investigadora com as ferramentas e experiência necessárias para o futuro profissional no mundo do trabalho.
ABSTRACT: The research developed in Fashion Design is focused on the area of Costume Design, and more specifically on the Broadway style costumes. Costume Design is an integral part of performative arts (e.g., theater, television, and film), making it na indispensable contribution to creating characters. To carry out the research, a curriculum internship was held at Produções La Féria, one of the most relevant producers of musical theater in Portugal. With the accomplishment of this internship, it was possible to achieve some objectives, such as the acquisiton of several skills in the development of costumes, the interaction and group work, in the field of techniques used in the design of costumes for musical performance. In order to gather all the necessary information for the research development, a mixed methodology was used, firstly based on the literature review that deals with the subject, namely books, articles, theses, films, and productions of Filipe La Féria; during the internship the researcher had the opportunity not only to make a direct observation to the creation of costumes but also to be part of their production. With the internship the objectives were achieved, taking this research beyond the academic scope, providing the researcher with the necessary tools and experience for the future professional in the world of work.
N/A
Collard, Marie-Louise. "Minoan anthropomorphic figurines." Thesis, University of Bristol, 1987. http://hdl.handle.net/1983/3af5555d-83ca-4dc7-9816-cd43eb77195c.
Full textCozzolino, Paula de Maio Iglecio. "O figurino no Cinema Marginal: Rogério Sganzerla." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-08042016-110200/.
Full textThis research verifies and documents costumes created for the Brazilian cinema into the work O Bandido da Luz Vermelha by Rogério Sganzerla, which has as its backdrop the Marginal Cinema. It focuses on the work developed for costumes in this period, aiming at contributing to the national memory and at the improvement of the research material of professionals connected to the area. The study was developed considering a deep investigation of social, political and cultural aspects of the country in the 60`s and 70`s, reflected in a movie that shows up as a reaction to the cultural situation the country was going through in the period between 1964 and 1968, with the politicization of artistic manifestations against the closures imposed by the military dictatorship. Based on the analysis of the film and interviews with some professionals close to the author, as the director of photography Carlos Ebert, who also worked as a photographer in the movie O Bandido da Luz Vermelha; the director and actress Helena Ignez, Cinema Marginal icon and Rogérios Sganzerla wife; and the director and producer Júlio Calasso Junior, it develops a new understanding of the creative process used in films produced by the film-maker Rogério Sganzerla, in this relevant period of the national cinema history. It questions how the costumes may contribute to the characters building in a cinematographic work, its significance for both the director and the actor, and how the chosen elements and right materials shape the image aesthetically and contributes to the artist´s gestures. It verifies the merit of an art direction, with references to Pop, in its most relevant meaning, which is to be ´popular`, with comic book language style, in which some characters who are true caricatures of the Brazilian people are featured, and assesses how well the visual elements become the support for the speech
Khouri, Lamia Salem el. "The Nabataean terracotta figurines." [S.l. : s.n.], 2001. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB9559021.
Full textMatt, Eva. "Figuren der Übersetzung." Diss., Ludwig-Maximilians-Universität München, 2013. http://nbn-resolving.de/urn:nbn:de:bvb:19-172156.
Full textBalke, Friedrich. "Figuren der Souveränität." Paderborn Fink, 2009. http://d-nb.info/984068430/04.
Full textRao, D. V. "Figuring Naipaul : The subject of the postcolonial world." Thesis, University of Kent, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383419.
Full textCortinhas, Rosângela. "Figurino : um objeto sensível na produção do personagem." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/27280.
Full textUnderstanding theatre costume as a sensory object that is capable of producing subjectivity, this study examines its power of contagion, giving the actor access to a new level of existence, as well as characterizing the role. In this sense, this reflection examines the notions of mask, image, appearance and disguise, based mainly on the works of Constantin Stanislavski, Claude Lévi-Strauss, Eduardo Viveiros de Castro and Emanuelle Coccia.
Zaayman, Carine. "Seeing what is not there: figuring the anarchive." Doctoral thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/31019.
Full textWingard, Jennifer Leanne. "Figuring others : toward a transnational feminist rhetorical analytic." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2008. http://wwwlib.umi.com/cr/syr/main.
Full textHarrington, Paula Claire. "American dog : figuring the canine in American literature /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.
Full textAustin, R. J. C. "Figuring out peer group hierarchies in secondary school." Thesis, University of Sheffield, 2014. http://etheses.whiterose.ac.uk/6799/.
Full textCrawford, Joanne Simone. "Figuring death : the phantom of presence in art." Thesis, University of Leeds, 2001. http://etheses.whiterose.ac.uk/2614/.
Full textBundy, LaTasha. "Still Figuring This Out: a symphony for orchestra." ScholarWorks@UNO, 2017. https://scholarworks.uno.edu/td/2400.
Full textMackwood, Gae. "Figuring inventions, education in the wake of the postmodern." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0008/NQ59625.pdf.
Full textButcher, Daniel. "'Figuring and becoming' : developing identities among beginning nursing students." Thesis, Oxford Brookes University, 2017. https://radar.brookes.ac.uk/radar/items/571df309-5032-47e6-9df4-e2869db4b19a/1/.
Full textPrice, N. D. I. "Figuring the mosaic image prohibition in early modern Italy." Thesis, University College London (University of London), 2017. http://discovery.ucl.ac.uk/1570355/.
Full textTiggs, Jennifer C. "Figuring (un)figures : reading Beckett's 'Ping' through moving-image." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/8818.
Full textMontaño, Jesus A. "Writing a nation : figuring community in late medieval England/." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu148819010986812.
Full textAnderson, Catherine Eva. "Embodiments of empire: Figuring race in late Victorian painting." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3328111.
Full textBaggaley, Jonathan. "Figuring the photographic portrait studio as a psychic apparatus." Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/7db6e7c0-8ffe-42d9-86e4-39c14ca3a077.
Full textToepfer, Yvonne. "Afterlives of the Sandman: Re-Figuring the Fantastic-Sublime." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18386.
Full textColdicutt, Richard Phillip. "The beach as an erogenous zone: figuring through painting." Thesis, Curtin University, 2014. http://hdl.handle.net/20.500.11937/1898.
Full textDurham, Emma. "Metal Figurines in Roman Britain." Thesis, University of Reading, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533780.
Full textMac, Kay Fulle Arturo Martín. "Figurinas del valle del Rimac." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/114537.
Full textKhan, Muhammad Ashraf. "Les figurines en terre cuite de Sardheri et leurs relations avec les autres figurines du Gandhara." Paris 1, 1989. http://www.theses.fr/1989PA010598.
Full textCastelli, Marco. "Advances in optical surface figuring by reactive atom plasma (RAP)." Thesis, Cranfield University, 2012. http://dspace.lib.cranfield.ac.uk/handle/1826/10420.
Full textEvans, Joel Christopher. "Concepts of the global in contemporary culture : figuring the totality." Thesis, Lancaster University, 2017. http://eprints.lancs.ac.uk/85508/.
Full textWilson, Stuart. "Figuring time by space : representing sensory motion in cortical maps." Thesis, University of Sheffield, 2011. http://etheses.whiterose.ac.uk/2171/.
Full textMidgelow, Vida. "Reworking the ballet : re-figuring the body and 'Swan Lake'." Thesis, University of Surrey, 2003. http://epubs.surrey.ac.uk/849747/.
Full textLoisel, Robert. "Figurines, suivi d'une, Etude de personnages." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30184.
Full textThe second part of this thesis is an analysis of two Stefan Zweig short stories. In my analysis, I try to determine at which moment a character passes from being simply a character on paper to a "living" character. Thereby, I hope to disprove Florence Goyet's theory that a short story character is merely subjugated to a structure. I use the theory of reception, as Vincent Jouve used it to study novels.
Kostíková, Martina. "Návrh testovací figuríny pro nárazové zkoušky." Master's thesis, Vysoké učení technické v Brně. Ústav soudního inženýrství, 2017. http://www.nusl.cz/ntk/nusl-318116.
Full textDanta, Christopher. "The trial of time : figuring Abraham in Kierkegaard, Kafka and Blanchot." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5472.
Full textAquino, Agda Patr?cia Pontes de. "Casal nacional: significa??es do corpo e do figurino no telejornalismo." Universidade Federal do Rio Grande do Norte, 2011. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16399.
Full textCoordena??o de Aperfei?oamento de Pessoal de N?vel Superior
The main objective of this study is to investigate the meanings of body and costume as essential components of television journalists aesthetic discourse, as exemplified by the presenters of Jornal Nacional, from Rede Globo. The study is inspired on the paths proposed by semiotics, and combines this approach with other techniques of scientific investigation to identify the meanings of this non-verbal communication form. For that, this work uses the concept of communication proposed by the Palo Alto School s authors, more specifically the concept of Watzlawick et al. (2005), which understands communication like relation and inherent of human beings. The precepts of complex thought and the hologramatic principle of Morin (1990), which value the union and the need to connect the knowledge of elements or parts to that of the systems these parts constitute, is also present in the thinking that guides the work. Throughout the chapters, we elucidate our understanding of body and television as media, and fashion and television journalism as languages. This work approaches a televisual history of Jornal Nacional in order to better understand the aesthetic proposed by television news over time, its presenters and costumes. The elements that are part of the televisual language s expression and content are addressed so that we can better understand the importance of body and presenters costume in this context. Finally, we conduct an analysis of the meanings of television journalism presenters body and costume through their stereotypes, their integration into the fashion cycle and also into the televisual analysis of the most important costume elements of Jornal Nacional s presenter couple: colors, models and accessories. We thus seek to strengthen the understanding of the wardrobe inseparable from the body as communication and detail some of their production understanding processes. The women historical role in brazilian television journalism, as well as masculinization of TV journalism environment are important elements to contextualize televisual language thinking in contemporary society. The investigation covers the origins, concepts, proposals, stereotypes, prejudices, reproductions, naturalizations and reinterpretation of the body and the costume of the presenters through time and the relationship between body, fashion and communication
O objetivo principal deste trabalho ? investigar as significa??es do corpo e do figurino como componentes essenciais do discurso est?tico dos jornalistas de televis?o, exemplificados atrav?s dos apresentadores do Jornal Nacional, da Rede Globo. Inspira-se nos caminhos propostos pela semi?tica, aliados a outras t?cnicas de investiga??o cient?fica, para identificar as rela??es de significado presentes nessa forma n?o-verbal de comunica??o. Para tanto, o trabalho recorre ao conceito de comunica??o proposto pelos autores da Escola de Palo Alto, mais especificamente a conceitua??o de Watzlawick et al. (2005), que a entende como rela??o inerente ao ser humano. Os preceitos do pensamento complexo e do princ?pio hologram?tico de Morin (1990), que prezam pela uni?o e pela necessidade de ligar o conhecimento dos elementos ou partes ao dos conjuntos ou sistemas que elas constituem, tamb?m se faz presente no pensamento que norteia o trabalho. No decorrer dos cap?tulos, explicitamos nosso entendimento do corpo e da televis?o como m?dias e da moda e do telejornal como linguagens. O trabalho aborda tamb?m uma hist?ria televisual do Jornal Nacional, com o objetivo de compreender melhor as propostas est?ticas do telejornal ao longo do tempo, de seus apresentadores e figurinos. Os elementos que fazem parte dos planos de express?o e do conte?do da linguagem televisual s?o abordados para que se possa compreender melhor o papel do corpo e do figurino dos apresentadores nesse contexto. Por fim, fazemos an?lises das significa??es do corpo e do figurino dos apresentadores de telejornal atrav?s dos seus estere?tipos, da sua inser??o no ciclo da moda e ainda na an?lise televisual dos principais elementos que comp?em o figurino do casal de apresentadores do Jornal Nacional: cores, modelagens e acess?rios. Dessa forma buscamos fortalecer a compreens?o do figurino indissoci?vel do corpo como comunica??o e detalhar alguns dos seus processos de produ??o de sentido. O papel hist?rico da mulher no telejornalismo brasileiro, bem como a masculiniza??o do ambiente telejornal?stico s?o elementos importantes para contextualizar o pensamento sobre a linguagem televisual na sociedade contempor?nea. A investiga??o abrange origens, conceitos, propostas, estere?tipos, preconceitos, reprodu??es, naturaliza??es e ressignifica??es do corpo e do figurino dos apresentadores atrav?s do tempo e a rela??o entre corpo, moda e comunica??o
Souza, Aline Corrêa de. "Como manda o figurino : práticas terapêuticas entre idosos de Porto Alegre." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/5627.
Full textEl-Desouky, Ayman Ahmed. "The self-begetting modern : figuring the human in Whitman and Joyce /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004257.
Full textSilva, Amabilis de Jesus da. "Figurino - penetrante: um estudo sobre a desestabilização das hierarquias em cena." reponame:Repositório Institucional da UFBA, 2010. http://www.repositorio.ufba.br/ri/handle/ri/9650.
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A presente pesquisa se propõe a pensar nas relações do figurino com o corpo, assinalando duas perspectivas para a noção de persona: aquela derivada da idéia de um personagem espírito (fantasma), pré-existente em forma de literatura, e o figurino como sendo seu corpo; e outra em que o personagem-espírito se manifesta no figurino e no corpo-atuante conjuntamente. Sublinha-se esta segunda relação, híbrida, grotesca, que funde humano/inumano, arte/vida, por representar um primeiro passo para as noções futuras de presentificação do corpo. A matéria do figurino como um incômodo para o corpo, e que além de cobri-lo, o penetra, perfura, marcheta ou o invade, é também um topos de criação. Assim, a desestabilização das hierarquias entre os elementos da cena ganha outro sentido. Não se trata somente de garantir ao figurino uma participação como signo, senão de confiar a este elemento a função de colaborar na promoção de estados diferenciados do corpo, considerando-o como integrante do processo inicial da cena. O debate filosófico sobre as questões da alma/corpo servem como aporte, dando sustento às discussões ligadas à subjetividade. Os estudos voltados para a Body Modification e a Body Hacking aparecem como exponenciais quando apontam o corpo invadido como lugar de colisões, do devir, do auto-controle, e o lugar da transgressão, do destino a ser traçado; por isso mesmo, o lugar das novas subjetividades. Os estudos de caso indicam que a utilização do figurino-penetrante estabelece outros procedimentos, interferindo na estruturação e entendimento da cena, e exigindo a desestabilização das hierarquias.
Salvador
Loisel, Robert. "Figurines, suivi de, Une étude de personnages." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64166.pdf.
Full textSantos, Priscila Tatiane dos. "Gêneros e figurinos no cinema de Hitchcock." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/5317.
Full textIn general, this work aims at analyzing the matter of genders in Hitchcock s motion pictures, understanding his reference to the phallic type of femaleness, the different maternal kinds, the ambiguity in generic categories and how sex roles are distributed in his movies. Specifically, it addresses the examination of these generic configurations from costume design s point of view. This work s methodology consists of bibliographic and filmographic research. The main references are theoretical and critical works about Hollywood s narrative classic cinema and works about Hitchcock s cinema. As for the matter of genders, this work bases on Freud s three Contributions to the Psychology of Love. Freud s concept of The Uncanny is the theoretical basis for the articulation between misogyny and the uncanny, i.e., the matter of the woman as sinister. There are particularly interesting keys to the comprehension of this question in The Taboo of Virginity. Images, scenes and sequences the most significant ones, which demonstrate the costume design role in gender configuration from the movies that make up the corpus will be analyzed so as to understand how these female and male types and their ambiguities are constructed by costume design. Especially in this approach to genders, the analysis of Hitchcock s movies is paramount, because, by mixing up sex roles through shuffling generic categories, the director almost reaches homosexuality, which, linked with clothes, will be examined in almost-explicit homosexual characters. This study arises from the hypothesis that Hitchcock s cinema has broken down gender categories, shuffled sexual role distribution and built sexually ambiguous characters at least since 1940. As a secondary hypothesis, it is presented that the nuanced generic configurations can be interpreted through costume design
O objetivo geral desta pesquisa é analisar a questão dos gêneros em filmes de Hitchcock, compreender a maneira como se dão a distribuição dos papéis sexuais, a recorrência ao tipo fálico de construção do feminino e entender os diferentes tipos maternais e a ambiguidade das categorias genéricas. O objetivo específico é examinar essas configurações genéricas a partir do figurino. A metodologia consiste em pesquisa bibliográfica e filmográfica. As principais referências são obras teóricas e críticas sobre o cinema clássico narrativo hollywoodiano e sobre o cinema de Hitchcock. Para o problema dos gêneros, o Mestrado se apoia nas três Contribuições à Psicologia do Amor de Freud. O Estranho, também de Freud, é a base teórica para a articulação entre misoginia e estranho, vale dizer, a questão da mulher como sinistra. Há chaves particularmente interessantes para a compreensão dessa questão em O Tabu da Virgindade. Imagens, cenas e sequências as mais significativas, que melhor demonstram o papel do figurino na configuração dos gêneros dos filmes que compõem o corpus serão analisadas para compreender como esses tipos femininos, masculinos e suas ambiguidades são construídos pelo figurino. Principalmente nessa abordagem dos gêneros, é indispensável a análise de filmes de Hitchcock pois, ao confundir os papéis sexuais por embaralhar as categorias genéricas, o diretor quase chega à homossexualidade, que, ligada às roupas, será analisada em personagens homossexuais quase explícitos. Este estudo parte da principal hipótese de que o cinema de Hitchcock coloca em crise as categorias de gêneros, embaralha a distribuição dos papéis sexuais e constrói personagens sexualmente ambíguos, ao menos, desde 1940. A hipótese secundária é a de que essas configurações genéricas nuançadas podem ser lidas através do figurino