Dissertations / Theses on the topic 'Photographes – Sociologie'
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Aufort, Adrien. "Homo photographicus : sociogenèse du métier de photographe en France." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL023.
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Cette thèse se propose d'étudier le métier de photographe par le prisme de la sociologie et de l'histoire.Un portrait actuel (2018-2023) des professionnels est dressé par l'analyse de 30 entretiens et de 258 réponses à un questionnaire diffusé en ligne. L'éducation, la sociabilité, la technique, les préférences esthétiques ainsi que les habitudes culturelles sont précisément décrites. À la manière d'une expérience de réplicabilité, certains résultats de cette double enquête renforcent les conclusions de travaux antérieurs, notamment dans les déterminants socio-démographiques de l'entrée dans la profession. D'autres sont plus originaux, tels que la mise en lumière de l'influence de l'ancienneté sur les revenus, ou encore celle de l'implantation géographique sur l'obtention d'un prix. La réussite professionnelle est également traitée. Le succès est compris comme l'adéquation entre un « dispositif élargi », articulation entre l'Homme et la machine, et les représentations sociales. Ces dernières sont le fruit d'un travail des photographes, tant sur les images photographiques qu'ils produisent que sur l'image de soi qu'ils cultivent. Une correspondance historique (1910-1952) a également pu être établie grâce à l'analyse de 778 numéros de la revue Le Photographe. Des balbutiements corporatifs jusqu'aux acquis juridiques, politiques et institutionnels, la profession est tributaire d'une riche histoire. Entendu comme entreprise individuelle et collective, le métier de photographe semble continuellement en crise. Il exige des professionnels non seulement une négociation permanente avec les ruptures technologiques mais aussi avec les autres usagers de la photographieThis doctorate thesis aims to study the profession of photographer through the lens of sociology and history.A current portrait (2018-2023) of the professionals is drawn up by analyzing 30 interviews and 258 responses to an online questionnaire. Education, sociability, technique, aesthetic preferences and cultural habits are described in detail. In the manner of a replicability experiment, some of the results of this double survey reinforce the conclusions of previous work, particularly with regard to the socio-demographic determinants of entry into the profession. Others are more original, such as the influence of seniority on income, or the influence of geographical location on winning a prize. Professional success is also addressed and understood as the match between an ‘extended setup', a link between man and machine, and social representations. The latter are the fruit of the photographers' work, both on the photographic images they produce and on the self-image they cultivate. A historical correspondence (1910-1952) was also established by analyzing 778 issues of the magazine Le Photographe. From its beginnings as a corporate body to its legal, political and institutional achievements, the profession has a rich history. Understood as an individual and collective enterprise, the profession of photographer is seemingly in a constant state of crisis. It requires not only a constant negotiation with technological changes as they arise, but also with other users of the photographic medium
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Ulanovsky, Lucia. "Entre l'appareil et les rotatives : photoreporters, usages des photos et organes de presse (1969-1984)." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0628.
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Entre l’appareil et les rotatives. . . Est une étude qui se propose situer au photoreporter et à la photographie de presse dans un espace où se révèlent des tensions entre les tâches des photoreporters, les opérations éditoriales appliquées aux images publiées et les automatismes et les croyances qui dominaient au sein de la culture de presse d’une époque. La recherche poursuit cette trame dans le cadre de l’histoire sociale et politique de la période 1969-1984 en Argentine ; soit un moment où le métier du photoreporter et la photographie de presse étaient déjà largement présents dans les organes de presse. C’est une période d’une grande diversification par rapport aux usages de l’image dans la presse, de fermetures et interventions des médias, de censure, de conditions imposées et auto-imposées dans les politiques de l’image de presse, de routines et défis professionnels quant aux photoreporters. On met l’accent sur les rapports de production, les laboratoires, les circuits de l’image, les témoignages des photoreporters. On s’interroge sur le rapport texte et image, les manipulations graphiques et éditoriales. On s’intéresse aux contradictions, aux zones grises, aux parties peu visibles de ces phénomènes. Et dans cette démarche qui observe, reconstruit et analyse les politiques éditoriales de l’image et les services photographiques, chapitre par chapitre on remet en question une discussion sur la place du photoreporter au sein des organes de presse et au sein de la société argentine, et sur les effets déployés en quête de véracité photographique dans les dispositifs médiatiques.
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Dal, Pezzo Rolando. "Photography, sociology & anthropology." FIU Digital Commons, 1999. http://digitalcommons.fiu.edu/etd/2708.
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An analysis of the social research done to date using photographs shows that photography, although used both in anthropology and sociology for data collection, as visual evidence and illustration, in photoelicitation or in time-studies, has not been fully exploited as an aid to see further and deeper in the social arena. Most social researchers still perceive photography as being simultaneously too complicated as a research aid and too creative and therefore unscientific to use as a research method.
This project is exploratory and argumentative and not directed towards the formulation of a model. I propose that the camera is the proper tool to obtain more precise, detailed, and complete date, to uncover and clarify meaning, to investigate and clarify the research question, and to help in the presentation of the results of social investigation. Therefore the camera should become more accepted as a tool for the modern social researcher notwithstanding its creative component and even because of it. Indeed, as any individual in a culture oversaturated with images, although trained to observe precisely and record objectively, the social scientist has learned to see only a few v things while editing and blocking out the rest. The camera, because of its ability to record the world with richness of detail, is the proper tool to obtain a more precise and more complete visual documentation, which is essential for an accurate reconstruction of meaning.
Lastly, I propose that the sociologist-anthropologist who accepts the challenge of integrating photography in his work should become also a skilled photographer, cultivating with practice the ability to intuitively perceive potential opportunities that may escape direct observation and developing a visual and emotional acuity that bridges the gap between intuition and the physical limitations of human perception. This new skill seems to be the result of an inner propensity to visual investigation combined with photographic practice and systematic studying of the history of photography and represents a jump of sophistication in the use of photography in more creative ways in social research, both conceptually and technically.
In looking at the body of work produced in visual social research as well as in photographic social analysis, it seems that the most successful and compelling outcomes have been produced by authors who explored the unique opportunities of in depth analysis offered by the synergy of images and text to conduct a social, autoethnographic or psychological discourse. This appears to me a most promising area of development for the immediate future of visual social research.
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Eldridge, Alison. "Photography and sociology : an exercise in serendipity." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/7392/.
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This thesis examines the relationship between photography and sociology as offering complementary ways of understanding ourselves and the world we live in. Drawing from the work of Pierre Bourdieu and Raymond Williams, I examine the idea of a ‘field’ of photography within the field of cultural production more generally. The practises of documentary photography, photojournalism and fine art photography are explored with specific reference to images of war. In this arena, the politics, aesthetics and ethics of representing the body in pain are addressed.
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Campion, Britta Maree Art College of Fine Arts UNSW. "Photography as a method of visual sociology: An investigation of the potential of still photography as a method of visual sociology." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/42059.
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Ever since the camera was invented people have been using it as a tool to reflect and record the world around them. Photographic images have great potential to investigate different social practices and phenomena in the world. Photography, in its own right, is an extremely large area of study. Despite its relatively short history, photography has undergone a broad and complex evolution since it was invented in 1840. This paper does not aim to cover the comprehensive history of the development of photography in its many facets, it aims however to concentrate on a specific area of what has come to be termed visual sociology and the potential of the still photographic image as a primary tool within the field. Visual sociology is a marginal, experimental area of sociology, it is a field which has not been given due consideration by many sociologists due to its unscientific nature and one which remains unfamiliar to many social documentary photographers. This paper traces the history of visual sociology and explores its roots and links with social documentary photography. It explores the established methods of visual data collection that are utilised within the field of visual sociology. It also explores a further sub-discipline, urban sociology and the role of the image in investigation of urban phenomena. The resulting practical component of this research is an extensive urban photographic investigation shot over the period of one month in the city of Tokyo. The resulting series of images exist as a type of photographic visual map of city creatures ubiquitous in the urban environment. The series aims to constitute as a visual, cultural survey about an aspect of social life within the Japanese urban context.
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Conord, Sylvaine. "Fonctions et usages de la photographie en anthropologie des cafés bellevillois (Paris XXe) à l'île de Djerba (Tunisie) : échanges entre des juives d'origine tunisienne et une anthropologue-photographe." Paris 10, 2001. http://www.theses.fr/2001PA100169.
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L'objet de ce travail consiste à étudier les multiples fonctions de la photographie dans des échanges interculturels et à reconnaître le support photographique comme un instrument de recherche à part entière dans l'observation de réalités sociales et culturelles. La photographie, considérée à la fois comme pratique, usage, et objet, occupe dans cette recherche une place déterminante dans les rapports que le chercheur-photographe entretient avec son terrain de recherche (ici l'étude de femmes juives d'origine tunisienne fréquentant les cafés de Belleville). Investie du rôle central de photographe, l'auteur a pu suivre ces femmes juives originaires de Tunisie dans leurs divers déplacements (fêtes, pèlerinages, loisirs) de Paris à Djerba. L'ensemble des matériaux visuels et oraux recueillis offre une variété d'angles de vues à propos de la vie sociale d'une population, qui, appartenant à un milieu social défavorisé et pour la plupart originaire du quartier Hafsia de Tunis, reste profondément attachée à ses origines culturelles et religieuses. La photographie est apparue, au fil des recherches comme un outil d'investigation et de communication aux multiples facettes : moyen de valorisation personnelle, outil de recherche sur l'auto-mise-en-scène et les représentations sociales, support de discours, objet d'échange matériel et symbolique, don et contre-don, support de la mémoire et du souvenir. Objet construit, l'image photographique constitue un mode de représentation spécifique ; elle est le résultat d'une interaction complexe entre photographe et sujet photographié. Ultérieurement intervient le "lecteur" de l'image et son propre mode de perception. Ce travail tente de développer une approche de ces croisements de regards : les thématiques 'développées autour de la fonction médiatrice de l'image fixe s sont au centre de la réflexionThe purpose of this research is to study the various functions of photography in intercultural exchanges between a french anthropologist and Jewish women of Tunisia, regular customers of Belleville cafés in Paris XXe. Photography, considered at the same time a practice, a custom, a material and symbolic exchange artcle, a mean of personal enhancement, occupies here a central and determining place in the relations that the anthropologist maintains with her field. A photography is, in itself, a specific representation : it is a result of the interaction between the photograph and the photographed subject. The "reader" of the picture has also his own subjective system of perception. On account of her photographic practices, the photographer practices, the photographer finds herself invested, by the Jewish women of Tunisia, with diverse and varied roles which allow her to understand better certain aspects of the social relation characteristic of this population : self mise en scène, the "evil eye", the rivalries, "good deals", women sociability, the religious ceremonies, pilgrimages of Lag baO mer in Israël and in Tunisia, etc. These different regards help to understand the mediatory function of photography in a field in anthropology
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Galla, Taylor. "DANGERS OF THE NEWS(FEED): AN EXPLORATION INTO FAKE NEWS, PHOTOGRAPHIC TRUTH AND THE POWER OF DIGITAL COMMUNICATION ON FACEBOOK." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1208.
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In an age of ever-expanding digital communication platforms and the presence of news online becoming paramount, the amount of information being shared and the truth of that information is becoming more and more difficult to track. The power of these social platforms is one that all should recognize and reflect upon in terms of their use of them, and reliance on them for the information they need. This thesis seeks to explore this power and the ways in which to remedy the falsities spread on the platforms faster than ever before, through photographic journalism.
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Garza-Meza, Laura Elizabeth. "Photography as a spiritual technique." Thesis, Pepperdine University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3558387.
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The purpose of this study is to compare the spiritual benefits of practicing photography to the spiritual benefits of practicing prayer, meditation and yoga. Benefits noted were divided into the 4 dimensions of being human: physical, emotional, intellectual, and spiritual. The study considers Mexican leaders' perceptions of photography as a spiritual practice. A total of 105 Mexican leaders answered surveys. Of the 105 leaders, 14 were professors, 30 were entrepreneurs, 46 were business executives and 15 were students and homemakers (listed as "other") varying in ages from 21 to over 61.
The design of this study is descriptive, while the study was quantitative in nature. In preparation for the study, the researcher gathered qualitative information regarding the benefits observed as leaders practice photography. These descriptive answers were then used to create the quantitative surveys for the study.
The data demonstrated that photography can be considered a spiritual technique. First, the spiritual benefits shown from practicing photography mirror, to a large degree, the spiritual benefits reported for practicing prayer, meditation, and yoga. The literature also supports the reported similarities; however, participants do not consciously recognize these benefits. Second, the 4 dimensions of being human (physical, intellectual, emotional, and spiritual) are divided into 5 factors: (a) physical well-being and better decision-making, (b) optimism in life, (c) interrelation with the environment and intellectual development, (d) relaxing, and (e) spiritual growth.
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Hayes, S. "Building community : a sociology of theatre audiences." Thesis, University of Salford, 2006. http://usir.salford.ac.uk/2034/.
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This thesis is an ethnographic study of theatre audiences and the ways in which they experience community. It is positioned within current debates on the mediatization and globalization of society, and the ongoing discussion as to whether social change has an adverse effect on community experience. Methodologically it emphasizes the investigation of audience contexts and collaborative practices among actors and theatregoers and between researcher and respondents. Audiences’ own terminology is considered vital to understanding what community means to them. The thesis examines community experience across the whole trajectory of the theatregoing event, from theatregoers’ backgrounds, through interactions at theatre performances, to discussion outside the auditorium and in their everyday lives. It argues that while theatre audiences conform to the perception that they tend to be middle aged and predominantly female, there are modifications to Bourdieu’s findings that cultural consumption is closely related to social class gradations. In particular, mainstream theatregoers extend across the spectrum of the middle class and their tastes in theatre are eclectic. Similarly, the research finds that there are other ways than through habitus that theatregoers acquire cultural tastes and practices. A close consideration of interactions at theatre performances, and the physical contexts in which they take place, identifies features of interaction and auditoria that encourage or discourage community, and relates them to interaction in everyday life. An investigation of why theatregoers prefer live to mediatized performance, and an examination of changes in audience perception and how much they are shared with others, contribute to an assessment of the transformative power of theatre and of how far face-to-face community is perennial in society.
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Blanchard, Benoît. "Photographie contemporaine, institutionnalisation et marché de l'art (1995-2005)." Paris 8, 2012. http://www.theses.fr/2012PA083821.
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Photographie, contemporanéité, institutions et marché de l’art sont les éléments de départ du questionnement qui sous-tendent le travail de cette thèse. Comment et pourquoi le monde de l’art actuel continue-t-il à buter sur le médium photographique ? Tel en est le problème directeur. Nous partirons des contradictions inhérentes à ce problème pour aborder les frontières du monde de l’art contemporain institutionnalisé, leurs conditions d’existence et les rapports qu’elles mettent en place dans la société, et tout particulièrement ceux qui les lient au grand public et à la société de consommation. Quelle place pour la photographie dans ce système et dans quelle mesure le qualificatif de contemporain peut lui être attribué, telles seront les questions qui constitueront le fil conducteur de cette recherche. Celles-ci nous mèneront de la genèse du phénomène institutionnel à l’insertion du médium photographique dans le marché de l’art contemporain pour parvenir à une remise en question de la photographie au regard de sa contemporanéitéPhotography, contemporary, institutions and the art market are the starting elements of the questioning of this thesis. How and why the contemporary art world continues to stumble on the photographic medium? Such is the main problem of this work. We will start from the contradictions inherent in this problem to question the borders of the institutionalized contemporary art world, their condition of existence and the relationships they establish in society, especially those with the public and the consumer society. What place for photography in this system and the extent to which contemporary qualifier may be attributed to photography will be the theme of this research. These lead us from the genesis of the institutional integration phenomenon of the photographic medium in contemporary art market to achieve a re-questioning of the photograph according to it contemporaneity
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Marcoz, Céline. "La déconstruction des apparences : les représentations du corps dans la photographie contemporaine." Grenoble, 2010. http://www.theses.fr/2010GRENH002.
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Les représentations du corps dans la photographie contemporaine sont, ici, le prétexte à interroger la place du corps et de l’individu dans une contemporanéité et un contexte social et économique souvent incertains et mouvants. Le travail des artistes, s’il ne nous donne pas de réponses arrêtées et définitives, crée un espace propice à la réflexion en nous confrontant à nos propres incohérences, confusions et craintes. Leurs œuvres nous offrent ainsi une perception inédite et originale où l’imaginaire occupe une place prépondérante.
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Pontes, Nicole Louise Macedo Teles de. "Habitus, maldade e permanência: o problema do mal e os limites do conhecimento sociológico." Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/7316.
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The objective of this dissertation is to delineate the trajectory of a sociology of evil through a critique of the concept as it appears in philosophical works, the social psychology of Stanley Milgram and Phillip Zimbardo, and the sociological approaches of Zygmunt Bauman and Jeffrey Alexander. Thus, evil will be considered as a socially constructed object, which contains a generative capacity of symbolically classifying social reality and human actions through formative relations of subjects and communities. This rereading of evil as a sociological object is fundamentally based on the dispositional action theory of Pierre Bourdieu, especially in regards to its concepts of habitus and social libido. As such, evil as an empirical problem will be considered through an analysis of the photographs taken by American soldiers in 2003 at the Abu Ghraib military prison in Iraq.
O presente trabalho busca mapear o caminho de construção de uma sociologia do mal através de uma crítica às construções prévias desse objeto na filosofia, na psicologia social de Stanley Milgram e Phillip Zimbardo e nas abordagens sociológicas de Zygmunt Bauman e Jeffrey Alexander. Dessa forma, serão discutidas as questões relacionadas ao mal como objeto socialmente construído e que contém a capacidade generativa de classificar simbolicamente a realidade social e as ações humanas a partir das relações de formação dos sujeitos e das coletividades. Essa releitura do mal como objeto sociológico será substancialmente informada pela teoria disposicional da ação de Pierre Bourdieu, através dos seus conceitos de habitus e libido social. Para tanto, o trabalho de construção do mal como problema empírico será feito através da análise das fotografias produzidas por soldados americanos na prisão militar de Abu Ghraib no Iraque no ano de 2003.
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Lee, Yu Ying. "The Hun Sha Zhao : wedding photography and consumer culture in contemporary Taiwan." Thesis, Lancaster University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289051.
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León-Quijano, Camilo. "Fabriquer la communauté imagée : une ethnographie visuelle à Sarcelles." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0103.
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Cette thèse étudie la vie sociale des images à Sarcelles, ville située dans la banlieue nord de Paris. Elle porte sur les matériaux et les interactions photographiques qui définissent socialement cet espace. En partant d’une ethnographie visuelle menée entre 2015 et 2018, elle explore les pratiques imagées, ces activités qui encadrent la fabrication, le partage et l’accomplissement social des images. Le projet général de cette recherche est l’étude de ce que j’ai nommé une communauté imagée. Cette notion permet d’analyser l’écologie des pratiques visuelles à partir d’une démarche à la fois pragmatique et phénoménologique. Si la plupart des ethnographies emploient la photographie comme un moyen pour décrire ou illustrer des phénomènes sociaux, cette thèse propose un revirement méthodologique et épistémologique : c’est en photographiant qu’il est possible d’étudier les pratiques visuelles dans l’environnement social où elles se produisent. Dans cet esprit, il est question ici de proposer une ethnographie des images et par les images, c’est-à-dire une photo-ethnographie critique, réflexive et participative pour interroger la dimension sensible des expériences sociales. Au croisement de la sociologie, de l’anthropologie, des études urbaines et des études visuelles, cette recherche contribue au développement de l’ethnographie visuelle. Sur la base d’une phénoménologie des expériences visuelles, elle explore les multiples configurations des affects urbains en suivant une démarche non indicielle. Elle accorde ainsi une attention particulière aux processus de fabrication, d’échange, de publicisation et d’accomplissement des images sur le terrain. Cette thèse s’articule autour de cinq chapitres. Le premier étudie l’économie des images au niveau municipal. Il fait un état de l’art des productions photographiques sur Sarcelles et examine les stratégies institutionnelles et artistiques déployées dans la définition des récits portant sur cet espace. Le deuxième analyse l’écologie des échanges visuels au niveau local à partir des formes de résistance imagée des citoyen-ne-s sur les médias et les réseaux sociaux. Le troisième explore le rapport entre expérience spatiale et photographie sur la base d’une activité immersive, sensorielle et non indicielle. Le quatrième chapitre sonde la façon dont l’espace urbain est vu et vécu par les habitant-e-s à partir de méthodes participatives. Ces pratiques collaboratives permettent d’interroger les représentations de l’expérience en ville en problématisant la place de l’enquêteur et de l’enquêté-e sous un prisme intersectionnel. Enfin, le cinquième chapitre décrit les différents degrés de publicisation des récits photo-ethnographiques en explicitant l’accomplissement de ces derniers à l’intérieur et à l’extérieur de la ville, notamment dans le milieu photojournalistique. Il s’agit donc ici d’enquêter sur les modalités de réception ainsi que sur la définition publique et médiatique de la communauté imagée. En somme, cette thèse contribue au développement de l’anthropologie et de la sociologie visuelle en proposant une approche à la fois phénoménologique, pragmatique et critique fondée sur l’engagement photographique de l’ethnographe sur le terrainThe present dissertation explores the social life of pictures at Sarcelles, a city to the north of Paris. This research focuses on the materials and photographic interactions that socially define this place. Based on a visual ethnography conducted between 2015 and 2018, this research explores the “imaged practices” (pratiques imagées), those activities that define and frame the creation, publicization, and performance of visual materials. The main objective of this dissertation is to study what I have called an imaged community (communauté imagée). This concept is a means to study the visual ecology of imaged practices both from a pragmatic and phenomenological point of view. While most researches in the field use photography as a means to describe or illustrate social phenomena, the present one advocates for a critical, reflexive, and participatory photographic ethnography based on sensorial and participatory activities. Combining fruitfully sociology, anthropology, urban studies, and visual studies, this investigation contributes to the methodological and theoretical development of visual ethnography. Relying on non-indexical photographic practices, the present dissertation details the multiple definition of visual experiences in urban settings. It delves into the dynamics of creation, exchange, publicization, and accomplishment of visual materials in the field. This manuscript is structured into five chapters. The first one presents the visual economy of photographic materials on an urban scale. It reveals the existing photographic materials on Sarcelles and examines the institutional and artistic strategies locally deployed since years which have functioned at defining the imaged community. The second one analyzes the ecology of visual interactions on a local scale based on a series of civic resistances which took place in the digital spaces. The third one explores the relationship between spatial experience and photography based on immersive, sensory, and non-representational visual practices. The fourth chapter explores how urban space is seen and experienced by the inhabitants of Sarcelles through visual participatory methods. This last chapter raises theoretical and methodological awareness on power relationships in the field and reflexively reconsiders the photographic activity putting at the front line the relations between race, class, and gender. Finally, the fifth chapter describes the different degrees of publicization of the photo-ethnographic accounts by analyzing how these last ones accomplish by thoroughly explaining how these productions are made and published. In particular, I explore the social construction of Sarcelles in photojournalism based on the visual and media definition of the imaged community in this professional environment. In sum, this dissertation contributes to the development of visual anthropology and visual sociology. Based on the photographic engagement in the field, it advocates for a phenomenological, pragmatic, and critical approach of visual ethnography
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Grossi, Valentina. "L'image négociée. Une sociologie des professions du photojournalisme à l'ère numérique." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH136.
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Beaucoup d’observateurs s’accordent à dire que les professions du photojournalisme sont entrées ces dernières décennies dans une crise profonde, due à la concurrence accrue avec les banques d’images et avec les amateurs. On constate cependant que de nombreuses structures continuent à prendre en charge la fabrication des images d’actualité de manière spécialisée, tout en défendant l’importance de mettre en œuvre, face à ces objets, une attitude qualifiée de « professionnelle ». Comment certains acteurs peuvent-ils revendiquer avec succès la « licence » de produire ces artefacts et la possibilité de définir de manière autonome leur propre « mandat », à l’heure où le monopole sur ce type de production semble avoir perdu son évidence ?La réponse à cette question est cherchée à travers une double enquête, historique puis ethnographique. La seconde a été menée dans trois rédactions françaises : le service photo d’une agence de presse mondiale, la rédaction print d’un quotidien national et la rédaction web d’un news magazine. L’enquête a conduit à mettre en lumière que la forte division du travail dans les entreprises de presse n’est pas antinomique avec l’exercice, de la part des acteurs, d’une autonomie professionnelle, entendue comme la capacité à mettre en œuvre des arbitrages complexes tout en menant une réflexion sur les finalités mêmes de leur activité. La virtuosité des professionnels du photojournalisme consiste à faire tenir ensemble des contraintes hétérogènes, irréductibles à la seule logique du profit. Ces dernières se renforcent et se réactualisent à partir des interactions entre les acteurs qui composent les différents segments professionnels et lors des contacts de ces mêmes acteurs avec des groupes extérieurs aux entreprises de presse (ie. les sources et le public).L’autonomie est donc le résultat d’une organisation du travail sui generis qui permet aux professionnels de développer une morale spécifique articulée à celle de groupements voisins ainsi que l’« intelligence » de leur activité. Mais des tendances à la « déprofessionnalisation » sont également repérables : l’autonomie des acteurs peut être mise à mal à l’intérieur de dispositifs de production qui tendent à individualiser le travail et, en même temps, à réduire la multidimensionnalité de l’évaluation.Cette thèse entend ainsi contribuer aux réflexions actuelles sur l’impact des technologies numériques et des nouvelles formes d’organisation du travail sur l’autonomie professionnelleMany observers argue that the professions revolving around photojournalism are facing a deep crisis in recent decades due to increased competition with image banks and amateurs. However, several organizations continue to handle the production of photojournalistic images in a specialized manner, championing the importance of maintaining what they refer to as a “professional” attitude towards these objects. How can some actors successfully claim the “license” to produce these artifacts and the possibility of autonomously defining their own “mandate”, while their monopoly over this activity is no longer taken for granted? A two-pronged inquiry, both historical and ethnographic, will provide an answer to this question. The ethnographic part of this research was carried out on three French editorial boards: the photo service of an international news agency, the editorial staff of the print edition of a national newspaper, and the web editorial team of a news magazine. This investigation showed that the strong division of labor in media companies is not at odds with the exercise of professional autonomy, understood as the ability, for actors, to implement complex assessments while reflecting on the very aims of their activity. The virtuosity of photojournalism professionals consists in bringing together heterogeneous constraints, which are not reducible to the simple logic of profit. These constraints are reinforced and updated through interactions between actors who compose the different professional segments and through the contacts they maintain with external groups (i.e. the sources and the public). Autonomy is therefore the result of a sui generis work organization that allows professionals to develop a specific morality in connection with that of neighboring groups as well as the “intelligence” of their activity. However, tendencies towards “deprofessionalization” are also noticeable: the actors’ autonomy is undermined when production systems tend to individualize work and, at the same time, to abolish complex judgment. This thesis thus aims to contribute to current discussions on the impact of digital technologies and new forms of work organization on professional autonomy
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Neutre, Lila. "Sculpter le soi : le corps social comme dispositif de résistance, l'apparence comme poétique de survie." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0418.
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Dans nos sociétés occidentales contemporaines, esthétiques et spectaculaires, le corps est un objet de fétichisme social de même qu'un écran sur lequel il est possible de projeter une identité maniable et changeante. Considéré comme le support de l’individualité, il est l'objet de toutes les métamorphoses. De simple parti pris vestimentaire, le style peut parfois se faire l’expression d’un véritable mode de vie, d’une existence qui s'établit à l'encontre des normes imposées par une société. L’apparence devenant la manifestation ostentatoire (parfois caricaturale) d’une prise de position politique, philosophique ou sexuelle.Quels liens unissent la pratique du cabaret New-Burlesque, du Cosplay, de la Sape ou du Voguing ?En apparence dissemblables, voire peut-être antagonistes ; regroupant des membres d'âges, de sexes, d'origines différentes et s'ignorant la plupart du temps l'une l'autre ; ces communautés sous-culturelles partagent néanmoins des symboles, une idéologie, une organisation structurelle et sociale comparables. Dans une forme maîtrisée de l’artifice et du théâtre, tous utilisent leur apparence comme dispositif de résistance et interrogent la validité et les limites des impératifs sociétaux. C'est du moins ce que cette thèse tente de mettre en lumière, par la photographie et sur le terrain de la sociologieIn our contemporary societies, the body has become not only an object of social fetishism but also a screen where we can take on any kind of identity. Apperance can be transformed in a playground and used as a tool to resist society's standards. From a simple choice of clothing, a look can in fact express a global lifestyle. Even if seemingly light, style can show the choice of a certain way of life and be an exit from social constraints. It can reveal existential choices, whether political, philosophical or sexual.This researches are involving different groups of people and communities. What could possibly link Congolese Sapers, Voguers, Cosplayers, Roller derby and New-Burlesque performers? A priori different, most likely antagonistic and gathering a large range of people from various ages, social classes or origins, these subcultures still share a lot of similarities. From a comparable ideology to the use of similar symbols and compatible social organizations, they all seek to re-enchant our world in a critique of cast societies and question the limits of their social imperatives.In both photography and sociology, this PhD aims at forming a kaleidoscope of various facets of self-presentation in our contemporary society, with all its hopes and disappointments
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Tancelin, Philippe. "Violence et théâtralité." Paris 1, 1987. http://www.theses.fr/1987PA010552.
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La confusion entre violence et effet de la violence ainsi qu'entre théâtralité de la violence et théâtre d'horreur est le plus souvent manifestement entretenue par nos sociétés su-médiatiques. Une fois cette confusion mise en évidence et confirmée depuis le flot de relations d'évènements qui prétendent à une représentation de la violence, à quel regard "autre", "entre" regard de soi-même et soi-autre ne sommes-nous pas conduits et qui nous plonge fragilement dans l'étonnement ? Si loin d'être visible, la violence est ce qui rend visible ce qui fait voir et en cela est indissociable de la théâtralité en tant que celle-ci distrait, différencie et unifie dans un même mouvement corps et langage, de l'art n'est-elle pas alors la fortune mais aussi la menace résistance contre toute mise en ordonne des sens ?
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Eadie, William Payne. "The sociology of an artistic movement : art nouveau in Glasgow, 1890-1914." Thesis, University of Glasgow, 1989. http://theses.gla.ac.uk/2086/.
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This thesis attempts to present a controlled sociological examination of Art Nouveau in Glasgow from the eighteen-nineties into the first decade of the twentieth century. The phenomenon of Glasgow Art Nouveau (its ideological groundings, its socio-cultural base, and the nature of its artistic production), provides a case-study of avant-gardism. The main intention is to illustrate, with historical exemplification, to what extent Art Nouveau can be interpreted as a radical social critique underpinned by specific theoretical and ideolgoical concerns. I begin by examining (a) the analytic means whereby statisfactory criteria are developed for the purpose of defining Art Nouveau as an artistic style; the specific manifestations of this style in a variety of European countries, and its transformation from organic/symbolic to abstract/geometric form-language; and (b) Art Nouveau as a distinctive cultural movement which was attempting to transform the public sphere in accordance with artistic principles. The second chapter has a dual purpose: firstly, it examines the status of Art Nouveau as an avant-garde movement, and, secondly, it attempts to construct the basis for a specifically sociological theory of Art Nouveau by bringing together the arguments of certain social theorists who have made significant reference to the phenomenon. Subsequently, it is demonstrated that, within the sphere of influence of the Glasgow School of Art, continental avant-gardiste trends at the end of the nineteenth century provided the frame of reference for the understanding of new artistic movements in Glasgow. This leads to an analysis of Mackintosh's extant writings in order that a reconstruction of the essentials of Scottish Art Nouveau's distinctive ideology can be presented. It is argued that Glasgow Art Nouveau had a coherent viewpoint in many respects deriving from the formulations of the Edinburgh sociologist and theorist Patrick Seddes. As well as demonstrating the closeness of Mackintosh's theorising to that of certain Viennese Art Nouveau exponents (Wagner, Hoffmann) with whom he had contact, it is shown to what extent Scottish Art Nouveau was attempting to transcend the traditional distinction between the utilitarian and the artistic, and address the issue of a social environment transformed in accordance with modern social needs. The remainder of the thesis substantively examines crucially related aspects of the Glasgow cultural context. Firstly, it focusses upon the Art School as institutional context within which Art Nouveau emerges, and demonstrates the relevance of the implementation of an experimental approach to art teaching there. Secondly, it examines the issue of the actual and potential production of goods manifesting the new form-language. Thirdly, the nature of the reception given to the new form-language is investigated: this invovles an analysis of relevant reportage in Glasgow. The reasons for the failure of the movement to gain ground in Glasgow are shown to be connected with a number of complex factors ranging from moral outrage at its `decadence' to the absence of the kind of technical expertise capable of consolidating its innovations for a mass society.
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Fairey, Tiffany. "Whose pictures are these? : re-framing the promise of participatory photography." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/22355/.
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Participatory photography initiatives promise to 'empower', 'give voice' and 'enable social change' for marginalised communities through photography. This thesis questions this promise, demonstrating participatory photography to be a contested practice defined as much by inherent tension, ethical complexity and its limitations as by its potential. Caught up in governmental practices and instrumental discourses, 'NGO-ised' participatory photography has lost its purpose and politics. Using multiple case-studies and presenting empirical research on TAFOS, a pioneering Peruvian participatory photography project, this thesis explores under examined areas of participatory photography practice, including its governmentality, spectatorship and long term impact on participants. It establishes the effectiveness of photography as a tool for fomenting an enduring critical consciousness (Freire 1970, 1973) while questioning the romantic narrative of participatory photography's inherently empowering qualities and capacity to enable change. Pluralism is used as a theoretical and conceptual framework for re-framing the promise of participatory photography. It is argued that a pluralized notion of participatory photography highlights the paradoxical, uncertain and negotiated character of the practice. It re-conceptualises the method as a mode of mediation that enables a plurality of seeing, that supports emerging and unrecognized claims and that cultivates a critical engagement with difference; qualities that are vital to democratic pluralism. The notion of a 'Photography of Becoming' re-imagines the critical and political character of participatory photography and the complex and vulnerable politics of voice in which it is immersed.
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Dornier-Agbodjan, Sarah. "Histoire de liens, histoire de biens : la photographie de famille : mémoire et transmission." Besançon, 2003. http://www.theses.fr/2003BESA1001.
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Liée au vécu du groupe familial, la photographie de famille est un "lieu de mémoire" par excellence. Tranche d'espace-temps fixée pour toujours, elle provoque sans cesse le langage pour lui donner tout son sens. Histoire de vie plurielle, mettant en évidence divers rôles sociaux, divers réseaux sociaux, la photographie de famille traduit une ré-appropriation de la vie sociale et apparaît comme un atout méthodologique privilégié pour le recueil de récits de vie. Au sein de la famille, le lien qui unit le connaisseur à ses photographies, trahit le lien qui l'unit à ce qui est photographié, c'est-à-dire au monde dans lequel il vit. Considérée comme un substitut du réel, la photographie de famille est dotée d'une valeur essentiellement symbolique, et se présente comme un objet d'appropriation plus que de transmission. Entre passé et présent , entre individuel et collectif, entre vivants et morts, la photographie de famille constitue ainsi, un patrimoine aussi bien familial que social.
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Cardullo, Paolo. "Walking on the rim : towards a geography of resentment." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/7996/.
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My research seeks to understand the complexity of East Greenwich residents' affective reactions at the moment when this landscape was undergoing a dramatic and rapid change. I walked its riverside to the Dome while this was turned from a mostly dismissed and derelict industrial land to a residential area ready to host parts of the Olympic Games. My starting point is that a process of gentrification with symbolic and material displacement of working-class people and their social practices has been occurring. Throughout my fieldwork, I constantly seek to understand the emotional reactions to this pervasive urban change from local residents, workers, and occasional passers-by who I met during the last five years. I have done this with the aid of my always obsolete digital camera and my walking boots, and applying photo elicitation technique whenever it was possible. The unique combination of photographs, walks, and interviews helped me to unpack, from the lower ground perspective of local working-class residents, their affective reactions to this peculiar change. Such an emplaced and class-based struggle opens to what I call the 'geography of resentment'. My hypothesis is that this resentment is a form of reaction against the symbolic violence that gentrification brings. The vehicle through which resentment is expressed is a form of remembering very close to nostalgia, which I decouple from both 'imperial melancholia' and 'hierarchical belonging'. Rather, I contend that this is a form of affective class struggle fought at the level of the symbolic. A debate remains open about the extent to which such controversial form of affection maintains distance from political instrumentalisation and mainstream discourses of communitarian cohesion, while at the same time reflecting the paradoxes of urban change.
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Busson, Hurmaci Adeline. "Retour en images sur la vie en RDA : une étude de cas à partir de photo-interviews biographiques pour une nouvelle apporche de la question identitaire." Thesis, Le Mans, 2015. http://www.theses.fr/2015LEMA3009.
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25 années ont passé depuis la chute du mur de Berlin. Cependant, le chemin vers l’« union intérieure », comme l’a prônée Helmut Kohl en 1997, est encore long. Mystification et standardisation marquent le discours normatif et médiatique. Le temps semble être venu de chercher de nouveaux paradigmes ; c’est ce que tente d’apporter ce travail. Par le biais d’un procédé méthodique qualitatif novateur à partir de photo-interviews biographiques analysées avec la méthode documentaire, il propose une nouvelle perspective sur les questions d’identité et de socialisation. L’étude porte sur la façon dont les anciens citoyens de RDA, dans la confrontation avec leurs photos du passé, gèrent « habituellement » (en référence au concept d’habitus) leurs identités personnelle et sociale, ainsi que les attentes normatives. Le but est de reconstruire les structures de savoirs qui guident l’interaction et, allant plus loin, la construction de l’identité du Moi. Il s’agit d’observer si des signes de travail identitaire sont visibles, et si oui, quels sont les facteurs déterminants. À partir de l’analyse des photographies privées et de leur réception, je démontre que les individus disposent de ressources habituelles qui déterminent la construction identitaire. Ces ressources dépendent fortement d’expériences de reconnaissance qui, en partie, ont été expérimentées dans l’environnement primaire (famille et groupe de pairs). Un rôle décisif joue par ailleurs l’expérience d’une « désintégration sociale ». Je montre également que d’éventuelles césures, dans le contexte de la Réunification, étaient primairement dues à des changements à un niveau social et individuel, et non pas systémique25 years have passed since the fall of the Berlin wall. However, the way to an « inner union » –praised by Helmut Kohl in 1997 –is still long. Mystification and standardisation shape the normative and medial discourse. The time seems to have come to search for new paradigmata, which this thesis wants to achieve. With the help of an innovative qualitative methodological approach, this study suggests a new perspective on questions of identity and socialisation. It is based on the analysis of biography-oriented photo-interviews with the documentary method. The examination of how former GDR citizens deal with their photographs of the past, aims at exploring how they « habitually » (referring to the concept of habitus) deal with personal and social identity as well as with normative expectations. The goal of the study is to examine underlying structures of knowledge that guide the interaction and thus the construction of Self-Identity. This project was to observe if signs of identity work can be found and, if yes, which factors are decisive. The study of the private photographs and their reception finally demonstrates that individuals are « equipped » with habitual resources that determine their way of constructing identity. These resources strongly depend on experiences with recognition, which have partially been made by these individuals in the primary environment, such as in the family or amongst peers. Furthermore, the experience of « social disintegration » has a prominent part to play. It can be seen that disruptions, in the context of the Reunification, primarily depend on changes on an individual and social level, and not on a systemic one
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Schmitt, Laurie. "Dissonnances d'une presse quotidienne en mutation : enjeux de l'intégration des photographies d'amateurs au sein des pratiques journalistiques." Grenoble, 2010. http://www.theses.fr/2010GRENL014.
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L'intégration des photographies d'amateurs dans la presse quotidienne française prend sens au cœur de mutations socio-professionnelles, socio-culturelles, socio-économiques, lesquelles exercent de multiples "pressions", à la fois contraignantes et productives sur les entreprises de presse. Dans ce contexte, les acteurs professionnels de l'information sont amenés à redéfinir leurs pratiques journalistiques. Cette redéfinition ne se réalise pas sans heurts, les "dissonances" qui, au sein de la presse, s'expriment à leur propos, en sont le reflet. Le travail de recherche que nous proposons s'appuie sur l'analyse des interprétations et des "polémiques" que les photographies d'amateurs ont suscitées dans la profession journalistique. Cette étude porte une attention particulière aux utilisations qui sont faites de ces productions, dans les pages des quotidiens, lors d'évènements "marqueurs" mais aussi lors de mobilisations plus "ordinaires". La recherche propose ainsi de saisir les enjeux qui sous-tendent l'intégration de ces photographies, les logiques et les stratégies qui les portent, en somme, les configurations qui font que ces témoignages font sens dans l’information. Les dissonances repérées interrogent sur la signification de cette intégration dans la manière de penser l'information de presse. Il s'agit ainsi d'envisager cette intégration comme participant à un mouvement de "testimonialisation" de l’information qui consiste notamment à mobiliser, valoriser et légitimer de manière plus conséquente des expressions singulières "récupérées", "collectées", "rapportées" puis intégrées dans des dispositifs éditoriaux qui les "font parler" et les mettent en discours
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Maffi, Aline de Jesus. "Entre visibilidades e (in)visibilidades : os usos da fotografia no ensino de Sociologia e História /." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154423.
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A fotografia é uma presença cotidiana na sociedade contemporânea, dentro e fora da escola. Nessa premissa, a escola se constitui como uma instituição visual que remete a sistemas de visibilidades e invisibilidades, permeados pela expressão fotográfica. Considerando essa perspectiva, esse trabalho teve por tema a presença da fotografia no ensino de Sociologia e História na escola, com o objetivo geral de discutir a fotografia como ferramenta de descondicionamento dos critérios de verdade e objetividade no ensino dessas disciplinas nessa instituição. Assim, como caminho para materialização desse objetivo, constituiu-se como necessária a compreensão de como os usos da fotografia na sociedade moderna reforçaram os enunciados de verdade, por meio dos quais essa modalidade imagética se constituiu como sistema representativo da modernidade. Nesse contexto, ao buscar compreender esse quadro de relações, essa pesquisa teve por objetivo específico contribuir para o aprimoramento dos usos da fotografia como ferramenta educacional nas relações ensino e aprendizagem. Trata-se de uma pesquisa qualitativa, participante, realizada com estudantes e professores do Ensino Médio, visando à elaboração de um plano de ação, ao utilizar a fotografia como ferramenta para a relativização dos critérios de verdade, frente à problemática verificada no campo da associação da imagem fotográfica às noções de objetividade e verdade, justificada a partir do prisma documental. A partir dessa abordagem, chegou-se a conclusão de que o processo de institucionalização da escola pública, no final do século XIX, e a constituição da fotografia, como sistema representativo da sociedade moderna, resultam do mesmo processo valorativo. Isto é, a propagação da modernidade ocidental. Diante disso, na práxis dessa pesquisa partiu-se da temática das relações étnico-raciais, entendendo como as epistemologias modernas, associadas à propagação de valores eurocêntricos, foram inseridas na fotografia e no contexto escolar, agindo sobre a temática das relações étnico-raciais e propagando exclusões e estereótipos. Assim, desenvolveu-se um plano de ação, dirigido aos estudantes do Ensino Médio, acerca da construção da imagem das populações indígenas através da fotografia, subsidiado na perspectiva de Tacca (2009), a fim de contribuir ao processo de descondicionamento do olhar no contexto escolar.
Photography is a daily presence in contemporary society, in and out of school. In this premise, the school is constituted as a visual institution that refers to systems of visibilities and invisibilities, permeated by photographic expression. Considering this perspective, this work had as its theme the presence of photography in the Sociology and History teaching in school. With the general objective of discussing photography as a tool for deconditioning the criteria of the truth and objectivity in teaching these subjects in this institution. Thus, as a way to materialize this objective, it became necessary to understand how the uses of photography in modern society reinforced the truth statements, through which this imagery modality was constituted as a representative system of modernity. In this context, the main objective of this research was to contribute to the improvement of using photography as an educational tool in teaching and learning relationships. It is a qualitative, participant research carried out with students and teachers of the High School, aiming the elaboration of an action plan, using photography as a tool to relativise criteria of truth, in face of the problematic verified in the field of the association photographic image to notions of objectivity and truth, justified from the documentary prism. From this approach, the conclusion was reached that the process of institutionalization of the public school in the late 19th century and the constitution of photography, as a representative system of modern society, result the same value process. That is, the spread of Western modernity. Faced with this, the praxis of this research, the theme of ethnic-racial relations was understood, understanding how modern epistemologies, associated with the propagation of Eurocentric values, were inserted in photography and in the school context, acting on the subject of ethnic-racial relations and propagating exclusions and stereotypes. Thus, a plan of action was developed for high school students about the construction of the image of indigenous populations through photography, subsidized by Tacca (2009) perspective, in order to contribute to the process of deconditioning the look in the context school.
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Jomni, Nadia. "La photographie de la révolution tunisienne sur Facebook : entre rupture et continuité." Electronic Thesis or Diss., Université de Lorraine, 2022. https://docnum.univ-lorraine.fr/ulprive/DDOC_T_2022_0310_JOMNI.pdf.
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Les réseaux sociaux, principaux outils de diffusion de l'information pendant la révolution tunisienne de 2011, se sont transformés par la suite en espaces médiatiques d'exposition et de reportage photographiques du quotidien : des villages isolés aux images de la misère et des inégalités sociales, en passant par les scènes de la vie ordinaire… A travers le prisme des médias numériques, une nouvelle représentation de la Tunisie a vu le jour.Ainsi une nouvelle information participative et alternative tunisienne est née, fruit d'une intérité provoquée par les réseaux sociaux, donnant naissance, à son tour, à une mutation des codes stylistiques, techniques, de la pratique photographique mais surtout des mutations discursives et fonctionnelles.Ainsi une nouvelle forme d'information, participative et alternative, est née, fruit d'une intérité provoquée par les réseaux sociaux. Les dispositifs socionumériques, dans ce contexte de crise, ont donné lieu à une mutation des codes stylistiques de la pratique photographique, en même temps qu'ils ont renouvelé les raisons d'être et les sujets majeurs de la photographie en Tunisie.Cette recherche éclaire cette transformation à travers une approche ethnographique et netnographique fondée sur l'examen d'un riche corpus de photographies, de leur circulation, ainsi que sur l'étude et l'analyse des interactions entre les membres du réseau social Facebook, dont nous faisons partieIt is quite conspicuous that during the Tunisian Revolution, which initiated in 2011, the main information dissemination tools all along that era were definitely social media. Indeed, the latter, thereafter, had been considered as a platform where media coverage and photographic reports were mainstream.Actually, they were literally emulating the social inequalities through the exhibition of the prevailing circumstances during that time; by depicting the isolated and wretched towns, as well as, by echoing the daily life scenes of the citizens.Yet, a brand-new portrayal of the country emerged, perceived through the lenses of the Digital Media.Thus, an alternate and participatory way to channel messages took place in Tunisia, resulting from the interaction prompted by social media, giving sequentially rise to an alteration in the stylistic and technical codes, in the practice of photography but above all in igniting an inverted evolution regarding a much more practical and discursive means of communication.Thus, an alternate and participatory way to channel messages took place in Tunisia, resulting from the interaction prompted by social media. Hence, not only did the social and digital devices in this environment of crisis lead to the alteration of the stylistic codes in the photographic practice, but also refresh its core business along with remodeling the major areas of concern in the field of photography carried out in Tunisia.Accordingly, this thesis sheds light on this conversion using an ethnographic and netnographic approach based on reviewing numerous photos, how they were spread along with including the study and analysis of the synergy and intercommunication of all the Facebook network members, which we belong to
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Joo, Hyoung-Il. "Les problèmes rencontrés dans la perception de l'image et de la réalité sociale." Paris 5, 1998. http://www.theses.fr/1999PA05H006.
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Le présent travail a pour but de réfléchir sur le rapport que l'on entretient avec le monde réel à travers les images. Il s'agit donc d'éclaircir la position épistémologique d'un sujet social face à la structure ontologique de diverses images. Le terme + image ; désigne une représentation à la fois mentale et matérielle. L'image-tableau (image matérielle) est en quelque sorte une matérialisation de l'image-souvenir (image mentale). Ce qui nous intéresse ici, c'est quel genre de rapport l'image-tableau, appelée désormais image, dont l'existence est contrainte par l'aspect technique de sa matérialité, entretient avec l'image-souvenir dont la nature est à la fois individuelle et sociale. On interroge successivement les structures ontologiques de diverses images : image-souvenir, image-miroir et image-tableau dont font partie images conventionnelles, images optiques et images numériques. La question de la technique, immanente a la nature de l'image, est également abordée en rapport avec les notions telles qu'habitude et mémoire. Ayant défini l'image comme objet-media entre le sujet regardant et l'objet regarde, on examine le statut de l'image en tant que signe dans la communication sociale. Dans cette réflexion sémiotique menée avec les concepts peirciens tels qu'icone, indice, symbole ou interprétant, on arrive à définir l'image comme signe de réception. L'accent est ainsi mis sur le problème de la réception de l'image plutôt que sur celui de l'émission. La réflexion sur le problème fondamental de la communication sociale entre l'émetteur et le récepteur nous mène a la découverte de la notion d'horizon d'attente qui est également en rapport très étroit avec la notion de mémoire sociale. On découvre finalement que la nature même de l'image réside dans les interactions permanentes entre matériel et mental, entre objectif et subjectif, entre réel et irréel, entre actuel et virtuel, entre technique et horizon d'attente, entre habitude et mémoire, etc. Comme le monde qui est en Etame changement, l'image change dans les interactions permanentesThe general purpose of this thesis is to explore one's relationship with the real world captured through images. It's a matter of clarifying the complicated relationship between the epistemological position of a social subject and the ontological structures of diverse images. The term + image ; refers to a representation which is both mental and material. The picture-image (material image) is, in a sense, a materialization of the memory-image (mental image). What interests us here is what kind of relationship the picture-image, henceforth called image, whose existence is limited by the technical constraint of its materiality, has with the memory-image whose nature is both individual and social. Successively i examine the ontological structures of diverse images, such as memory-image, mirror-image and picture-image to which belong the conventional images, the optical images and the computer graphic images. The question of the technology which is immanent in the nature of the image is also researched in dealing with the concepts like habit and memory. Having defined the image as a medium-object between the subject and the regarded object, i examine the status of the image as a sign in social communication. With the semiotic reflection applying peirce's concepts like icon, index, symbol or interpretant, image can be defined as a sign of reception. The emphasis is thus placed on the matter of the reception of image rather than on that of the transmission of image. The reflection on a fundamental problem of social communication between a transmitter and a receiver permits us to discover the notion of horizon of expectations which has a close relationship with the notion of social memory. I discover, finally, that the very nature of the image is in the continuous interactions between the material and the mental, between the objective and the subjective, between the real and the unreal, between the actual and the virtual, between the technology and the expectation horizon, and between habit and memory. Like the world which is in eternal change, the image changes through continuous interactions
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Laing, Morna. "The 'woman-child' in fashion photography, 1990-2015 : childlike femininities, performativity, and reception studies." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9818/.
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The childlike character of ideal femininities has long been critiqued in feminist literature, from Mary Wollstonecraft (1792) to Susan Faludi (1992). Yet, despite the partial gains of feminism the ‘woman-child’ continues to be a prominent subject-position in fashion photography of the West. This thesis builds upon earlier feminist critiques of the infantilisation of women by considering the meaning of childlike femininities in the period spanning 1990 to 2015. In particular, it questions whether representations of childlike femininities can shed their dehumanising, ‘second sex’ connotations and be resignified to a more progressive end in the contemporary context. The possible appeal of ‘girly’ subject-positions to women, following several waves of feminism, is explored through reception studies carried out with female participants in focus groups, as well as theory on the ‘female gaze’. Images were principally drawn from three British fashion magazines: Vogue (UK), i-D, and Lula. Drawing on the work of Michel Foucault and Judith Butler, this thesis demonstrates the ways in which discourses on childhood, girlhood and womanhood overlap and intersect to produce the figure of the ‘woman-child’ in the fashion media and beyond. This subject-position is shown not to be singular but rather as appearing in a number of guises. The many permutations of childlike femininity are subsumed into four overarching categories: the Romantic woman-child; the femme-enfant-fatale; Lolita style; and the Parodic woman-child. This thesis thereby contributes to existing debates in fashion studies by considering in greater detail the different discourses on childhood and femininity that come into play when women are positioned as childlike. A multi-faceted visual methodology is employed, combining visual analysis of imagery with experimental reception studies. Reception studies were conducted in focus groups with female participants and provide insight into the way these women made sense of the ‘woman-child’. In addition, they provide an indication as to whether the participants liked or disliked childlike femininities in the fashion media, thus pointing to the possible investments women might have in childlike subject-positions. Finally, including an element of social research served to challenge and/or reinforce the researcher’s own readings of the imagery, pointing to new avenues of research and expanding the discursive field of enquiry. This aspect of the thesis makes a methodological contribution to literature on the reception of still media imagery in fashion studies, magazine studies and feminist media studies.
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Everett, Lauren Elizabeth Morrow. "Our Town: Articulating Place Meanings and Attachments in St. Johns Using Resident-Employed Photography." PDXScholar, 2018. https://pdxscholar.library.pdx.edu/open_access_etds/4541.
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The St. Johns neighborhood of North Portland is known for its strong regional identity, working class character, and diversity. Portland as a whole has experienced a major socioeconomic shift in the last ten years, and these changes are hitting St. Johns particularly hard. My research seeks to identify the place meanings that underpin sense of place, place attachment, and processes of attachment formation, among residents of the neighborhood. My research questions are: What are the objects of attachment? Why (the place meanings that underpin attachment)? And how (through what processes are attachments formed)? In what ways are the "why" and "how" intertwined? What are the commonalities across different variables, and how do those gesture at a holistic St. Johns essence, or sense of place?
My primary method was Resident-Employed Photography, supported by participant observation and archival research. This 'photo voice' method entailed giving single-use cameras to 43 place-attached St. Johns residents and asking them to photograph and write about twelve things that explain their connection. The results offer a rich, multifaceted understanding of place meanings and processes of attachment in St. Johns, and insight into what individual facets are most intrinsic to sense of place.
The intention of this research is to inform planning efforts, contribute to community dialogues about the future of St. Johns, empower residents to become civically engaged, and articulate a sense of place that can be leveraged by the community in spatial struggles.
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Sales, Bruno Sampaio. "Silent Screams: Trajectory and Meanings of Family Album in a Housing Complex." Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=10418.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiorFotografias carregam consigo e em torno de si, pessoas, lugares onde estiveram, momentos que as atravessaram. A imagem excede Ãlbuns e ganha vida na memÃria e imaginaÃÃo dos observadores e todos que fizeram parte do contexto em que ela foi produzida. Faz-se entÃo necessÃrio que a utilizaÃÃo dessas imagens em pesquisas sociais opere num circuito mais amplo formado por esses indivÃduos, seu ambiente e sua rede de relaÃÃes. Partindo desse pressuposto, o presente trabalho tem por objetivo construir um compÃndio de palavras e imagens que busca mapear e analisar a gama das dimensÃes, significados e papÃis sociais da fotografia em uma famÃlia de classe popular, a partir de estudo de caso no Conjunto Habitacional SÃo Vicente de Paulo, localizada na cidade de Fortaleza. Ã perceptÃvel uma multiplicidade de papÃis e afetos que essas imagens mobilizam dentro de tais grupos. Quais entÃo seriam esses sentidos do arquivamento de imagens para uma famÃlia? Na intenÃÃo de conhecer o outro, observando e tentando compreender seus registros visuais de ritos, cotidiano e diferenÃas - aprofundando-se em vidas - Ã necessÃrio tambÃm olhar em volta. Sentir e perceber instantes que nÃo se revelam nem se escrevem em papÃis, pois transbordam deles e alcanÃam um campo mais complexo. Ã importante entÃo perceber que buscando compreender fotografias, podemos alcanÃar tambÃm visÃes de mundo e imagens da alma. SÃo essas as mais fortes e potentes que encontrei junto de algumas pessoas e que pretendo aqui analisar e compartilhar.
Fotografias carregam consigo e em torno de si, pessoas, lugares onde estiveram, momentos que as atravessaram. A imagem excede Ãlbuns e ganha vida na memÃria e imaginaÃÃo dos observadores e todos que fizeram parte do contexto em que ela foi produzida. Faz-se entÃo necessÃrio que a utilizaÃÃo dessas imagens em pesquisas sociais opere num circuito mais amplo formado por esses indivÃduos, seu ambiente e sua rede de relaÃÃes. Partindo desse pressuposto, o presente trabalho tem por objetivo construir um compÃndio de palavras e imagens que busca mapear e analisar a gama das dimensÃes, significados e papÃis sociais da fotografia em uma famÃlia de classe popular, a partir de estudo de caso no Conjunto Habitacional SÃo Vicente de Paulo, localizada na cidade de Fortaleza. Ã perceptÃvel uma multiplicidade de papÃis e afetos que essas imagens mobilizam dentro de tais grupos. Quais entÃo seriam esses sentidos do arquivamento de imagens para uma famÃlia? Na intenÃÃo de conhecer o outro, observando e tentando compreender seus registros visuais de ritos, cotidiano e diferenÃas - aprofundando-se em vidas - Ã necessÃrio tambÃm olhar em volta. Sentir e perceber instantes que nÃo se revelam nem se escrevem em papÃis, pois transbordam deles e alcanÃam um campo mais complexo. Ã importante entÃo perceber que buscando compreender fotografias, podemos alcanÃar tambÃm visÃes de mundo e imagens da alma. SÃo essas as mais fortes e potentes que encontrei junto de algumas pessoas e que pretendo aqui analisar e compartilhar.
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Gomes, Rossano Cossul. "Elaboração de material educativo e criação de banco de dados com registro fotográfico para pacientes do Núcleo de Prevenção e Tratamento de Feridas do Hospital Dr. Francisco Ribeiro Arantes." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/9514.
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Previous issue date: 2015-09-25Leprosy is one of the most ancient diseases of mankind and, throughout the history, because of its deform character, it generated fear and discrimination. Due to it, in addition to the lack of knowledge of other measures to contain the spread of the disease, the leprosy patients have been isolated for centuries and, in this context, in 1932 was created the Doctor Francisco Ribeiro Arantes Hospital, under the name Pirapitingui, as an asylumcolony, one of the greatest leper colonies at the time. The Center of Prevention and Treatment of Wounds started in 2003 in order to meet and keep up with the hospital and local demand from patients who have had leprosy and possess or possessed some kind of dermatological/trophic injury. From the decade of 80 and so, there has been greater interest in health education theme with production of educational materials geared for leprosy. Such materials take on an important role of mediation on the relationship between health professionals and the target population. There is a need to establish personalized and attentive communication to socio-cultural diversities from the recipients, being essential to take into consideration the epidemiological and socio-cultural data in addition to the several individuals of this communicative relationship. Therefore, it becomes essential, a preliminary characterization of the target population so that, later, starts the process of elaborating educational materials aiming the education of patients in order to provide skills and attitudes that will result in an environment necessary to achieve the desired success of the treatment, besides to improve the quality of life. The photographic record in database is an important tool for monitoring the evolution of the wound, whose goal is to document the state before and after the procedures or the usage of dressing curatives as source of information on the assistance provided to the patient with chronic wound besides being the object of teaching and research. OBJECTIVES: Create a database with photographic records of patients ongoing injuries so that these injuries can be evaluated with the elapse of time and according to its treatment and, at the same time, develop educational material for patients attended at NPTF in order that the same transmit information about leprosy, self care and the prevention of new injuries and demonstrate the importance and need of regular medical follow-up as well as stimulate the dialogic process between professionals and patients. RESULTS: It was created a database with photographic Record of the patients which was organized through folders and subfolders in a simple way with easy access and understanding. It was prepared educational materials customized to the studied groups named Self-care in Leprosy Manual contemplating themes about the disease, self-care and cares with the injuries. CONCLUSION: Health education was and has been ineffective in this group of patients related to prevention of disabilities and self-cares. Through the educational material prepared it is expected, after its effective establishment, the same produce beneficial results in treatment ad follow-up of these patients, and such results can be evolutionarily tracked through this photographic database created
A hanseníase é uma das doenças mais antigas da humanidade e, ao longo da história, por seu caráter deformante, gerou temor e discriminação. Em virtude disso, além do desconhecimento de outras medidas para conter o avanço da doença, os portadores de hanseníase foram isolados por séculos e, neste contexto, o hospital Dr. Francisco Ribeiro Arantes foi criado em 1932, sob a denominação de Pirapitingui, como asilo-colônia, um dos maiores leprosários da época. O Núcleo de Prevenção e Tratamento de Feridas teve início em 2003 com o objetivo de atender e acompanhar a demanda hospitalar e local de pacientes que tiveram hanseníase e possuem ou possuíram algum tipo de lesão dermatológica/trófica. A partir da década de 80 houve maior interesse no tema educação em saúde com produção de materiais educativos voltados para hanseníase. Tais materiais assumem um papel importante de mediação na relação entre os profissionais da saúde e a população alvo. Existe a necessidade de se estabelecer comunicação personalizada e atenta ás diversidades sócio-culturais dos destinatários, sendo imprescindível levar em conta os dados epidemiológicos e sócio-culturais além dos diversos atores desta relação comunicativa. Torna-se, portanto, fundamental uma caracterização preliminar da população-alvo para que, posteriormente, se dê o processo de elaboração de material educativo que visa à educação dos pacientes a fim de proporcionar habilidades e atitudes que resultarão num ambiente necessário para se conseguir o desejado sucesso do tratamento, além de melhorar a qualidade de vida. O registro fotográfico em banco de dados é uma ferramenta importante para o acompanhamento da evolução da ferida, cujo objetivo é documentar o estado antes e depois de procedimentos ou da utilização de curativos servindo como fonte de dados sobre a assistência prestada ao portador de ferida crônica além de ser objeto de ensino e pesquisas. OBJETIVOS: Criar um banco de dados com registros fotográficos das lesões dos pacientes de caráter evolutivo para que tais lesões possam ser avaliadas com o transcorrer do tempo e de acordo com seu tratamento e, concomitantemente, elaborar material educativo para os pacientes atendidos no NPTF com a finalidade de que o mesmo transmita informações sobre a hanseníase, autocuidados e de prevenção de novas lesões e demonstre a importância e necessidade do acompanhamento médico regular além de estimular o processo dialógico entre profissionais e pacientes. RESULTADOS: Criou-se um banco de dados com registro fotográfico dos pacientes o qual foi organizado através de pastas e subpastas de maneira simples com facilidade de acesso e compreensão. Foi elaborado material educativo personalizado ao grupo estudados denominado Manual de Autocuidados em Haseníase contemplando temas acerca da doença, autocuidados e cuidados com lesões. CONCLUSÃO: A educação em saúde foi e tem sido ineficaz neste grupo de pacientes quanto á prevenção das incapacidades e aos autocuidados. Por intermédio do material educativo elaborado espera-se, após sua efetiva implantação, que o mesmo produza resultados benéficos no tratamento e acompanhamento destes pacientes, e tais resultados podem ser acompanhados evolutivamente através do banco de dados fotográfico criado
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Gaede, Rolf Joachim. "Validity in image-based research : a Delphi study." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/16049.
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Thesis (DPhil)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: The area of study is the notion of validity in image-based research, i.e. research approaches where visual images such as photographs or video recordings form an integral part of one or more of the methods used. In the literature investigation chapters of the study, (1) the notion of validity is reviewed with special reference to contributions by Cook and Campbell, Guba and Lincoln, Kvale, Lather and Morse; (2) the inherent properties of visual images are discussed from a semiotic perspective, and (3) following a discussion of reflexivity in image-based research, the various domains of image-based research practice are demarcated according to the unit of analysis, the data format, the researcher role (outsider, insider, participant) and the production of the visual material (ex ante or ex post with weak or strong researcher control). The literature investigation chapters were taken as the point of departure for the development of a conceptual framework for assessing validity in image-based research, the mechanics of which are illustrated with reference to selected aspects of image-based research projects by Lomax and Casey, Clark and Zimmer, Rich and Chalfen, DuFon and Chaplin. The conceptual framework was refined on the strength of a Delphi study. The Delphi procedure involved canvassing and pooling the opinions of experts in the field of image-based research about issues of validity with a view to ensure that the assumptions made during the development of the conceptual framework fit sufficiently with image-based research practice. Flowing from the literature investigation chapters as well as the Delphi procedure, the central thesis of the study is that the notion of validity is in the first instance contextdependent and that this is compounded in the case of image-based research by the relative instability of iconic codes and the strong drift towards 'unlimited' semiosis inherent in the visual communication process.
AFRIKAANSE OPSOMMING: Die studieveld behels ‘n ondersoek na die gedagte van geldigheid soos van toepassing op beeldgebaseerde navorsing, d.w.s. navorsingsbenaderings waar visuele beelde soos foto’s of video-opnames ‘n integrale deel uitmaak maak een of meer van die metodes wat gebruik word. In die hoofstukke wat die literatuurstudie uitmaak, word (1) die gedagte van geldigheid onder die loep geneem met spesifieke verwysing na die bydraes van Cook en Campbell, Guba en Lincoln, Kvale, Lather en Morse, (2) word die inherente eienskappe van visuele beelde vanaf 'n semiotiese oogpunt bespreek, en (3) word die verskeie velde van beeldgebaseerde navorsingspraktyk afgebaken volgens die eenheid van ontleding, die dataformaat, die rol van die navorser (buitestaander, binnestaander, deelnemer) en die produksie van die visuele materiaal (ex ante of ex post met sterk of swak navorserkontrole). Die hoofstukke wat gemoeid is met die literatuurstudie is as vertrekpunt geneem vir die daarstelling van ‘n konsepsuele raamwerk vir geldigheid aangaande beeldgebaseerde navorsing, en die werking hiervan is geïllustreer met verwysing na geselekteerde aspekte van beeldgebaseerde navorsing deur Lomax en Casey, Clark en Zimmer, Rich en Chalfen, DuFon end Chaplin. Hierdie konsepsuele raamwerk is verder verfyn op grond van ‘n Delphi-prosedure. Die Delphi-prosedure het behels dat die opinies van deskundiges in die veld van beeldgebaseerde navorsing aangaande kwessies van geldigheid ingewin en saamgevoeg is met die oog om te verseker dat die aannames wat gemaak is ten tyde van die ontwikkeling van die konsepsuele raamwerk genoegsaam gepas is vir die praktyk van beeldgebaseerde navorsing. Die tesis van die studie, gebaseer op die uitkomste van die literatuurstudie en die Delphi-prosedure, is dat die gedagte van geldigheid konteks-afhanklik is, wat in die geval van beeldgebaseerde navorsing vererger word deur die feit dat ikoniese kodes relatiefonstabiel is en dat die proses van visuele kommunikasie 'n sterk tendens na 'eindelose' semiosis toon.
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Skinns, Christopher David. "Evaluating the impact of town centre closed circuit television surveillance systems." Thesis, University of Hull, 1998. http://hydra.hull.ac.uk/resources/hull:3890.
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Liebenberg, Linda. "The use of visual research methods in the South African research context." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50532.
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Thesis (DPhil)--Stellenbosch University, 2005.ENGLISH ABSTRACT: South African society presents a complex and diverse environment to social scientists. Within immense economic stratification; a multitude of cultures and classes; languages and their dialects; and varied racial groups, researchers attempt to produce information that contributes constructively to policy, programs and a host of services. Beneath the surface also lay complex power issues informed by both political and cultural histories. Many contexts in which researchers find themselves continue to be marginalised and oppressed due to factors such as illiteracy and low-levels of education, age, gender and poverty. These groups often include women and children, in particular adolescents. Qualitative visual methods may provide researchers with a tool by which to address many of the concerns raised in the literature surrounding research carried out under such conditions. Visual methods may remove inherent power imbalances, as well as traditional barriers, such as culture and language, that stem from more 'conservative' research methods. Images may allow participants to vocalise the taken-for-granted in their lives in an empowering manner. The recognition and use of visual images in research with marginalised and oppressed groups is being increasingly recognised by the larger research community. A preliminary overview of the available literature highlights existing disagreement surrounding the theoretical underpinnings of visual methods. This is particularly seen in the various and confusing levels of abstraction presented in the literature. The primary aim of this study is therefore, to gain clarity and understanding as regards the methodological and epistemological underpinnings of visual research methods within the social sciences. As such, a comprehensive literature review has been conducted. A second aim of the study is to set out a typology of methods that would be relevant for use in marginalised communities. The third aim of the study is empirical in nature and aims to highlight the role and/or possibilities of visual research methods within the South African social sciences research context. This is achieved by means of a case study which explores how motherhood is experienced by five teenagers in a sub-economic community outside of Cape Town. It does this by providing participants cameras with which to visually express their understanding and experiences of motherhood. Processed photographs in this case study have been analysed by means of informal discussion, directed by the images, with the participants themselves. These discussions were recorded and transcribed. The results of the interviews were then analysed using grounded theory (Glaser & Strauss, 1967). The results emerging from this have been compared with relevant literature. In this way, results are also triangulated, adding to their reliability (Lucchinni, 1996). Consequently, results of this case study provide a comparative component by which to assess the applicability of visual methods in the South African research context. Both the literature review as well as experiences of the case study also form the basis of suggestions for further exploration.
AFRIKAANSE OPSOMMING: Die Suid-Afrikaanse gemeenskap bied 'n komplekse en diverse omgewing aan sosiale wetenskaplikes. Binne hewige ekonomiese stratifikasie; 'n verskeidenheid kulture en klasse; tale en dialekte en diverse rassegroepe, poog navorsers om inligting te verskaf om 'n konstruktiewe bydrae te maak aan riglyne, programme en 'n legio dienste. Onder die oppervlakte lê daar ook komplekse magstryde afkomstig van beide 'n kuitereie en politieke geskiedenis. Vele omstandighede waarin navorsers hulself vind word steeds oorheers deur marginalisasie en onderdrukking as gevolg van faktore soos ongeletterdheid, lae vlakke van opvoeding, ouderdom, geslag en armoede. Hierdie groepe bestaan dikwels uit, onder andere, vroue en kinders. Kwalitatiewe visuele tegnieke mag navorsers van die nodige metodes voorsien waarmee verskeie probleme wat in die literatuur uitgelig word aangaande hierdie navorsing, aangespreek kan word. Visuele tegnieke mag inherente magsongelykhede, sowel as tradisionele struikelblokke, soos kultuur en taal wat afkomstig is uit meer 'konserwatiewe' navorsingstegnieke, verwyder. Uitbeeldings mag deelnemers toelaat om die vanselfsprekende in hullewens in 'n opbouende wyse te vokaliseer. Die identifisering en gebruik van visuele uitbeeldings in navorsing met gemarganaliseerde en onderdrukte groepe word tot 'n toenemende mate erken deur die uitgebreide navorsingsgemeenskap. 'n Voorlopige oorsig van die beskikbare literatuur beklemtoon bestaande onenigheid met betrekking tot die teoretiese fondamente van visuele tegnieke. Dit is veral duidelik sigbaar in die uitgebreide en verwarde vlakke van abstraktheid wat in die literatuur voorgestel word. Die primêre doelwit van hierdie studie is dus om groter helderheid en insig met betrekking tot die metodologiese en epistemologiese grondbeginsels van visuele metodes, soos dit in die sosiale wetenskappe voorkom, te verkry. Met hierdie doel voor oë is 'n uitgebreide literatuurondersoek onderneem. 'n Tweede doel van die studie is om 'n tipologie van metodes uiteen te sit wat relevant kan wees in gemarginaliseerde gemeenskappe. 'n Derde doel van die studie is empiries van aard en beoog om die rol en/of moontlikhede van visuele tegnieke binne die Suid-Afrikaanse sosiale wetenskaplike navorsings konteks te beklemtoon. Dit word bereik deur middel van 'n studie wat ondersoek hoe moederskap ondervind word deur vyf tieners in 'n sub-ekonomiese gemeenskap in die buitewyke van Kaapstad. Dit word uitgevoer deur deelnemers te voorsien van kameras waarmee hul begrip en ondervindings van moederskap visueel uitbeeld. 'n Verdere analise van hierdie studie is deur middel van informele besprekings uitgevoer met die deelnemers, begelei deur die uitbeeldings. Sodanige besprekings is opgeneem en getranskribeer. Die resultate verkry vanuit die onderhoude is daarna geanaliseer deur middel van begronde teorie (Glaser & Strauss, 1967). Die resultate wat hieruit afkomstig was, is vergelyk met relevante literatuur. Op hierdie wyse is resultate bevestig, wat ook verder tot hul betroubaarheid gespreek het (Lucchinni, 1996). Die gevolg is dat die resultate van hierdie studie 'n vergelykende komponent verskaf waarmee die toepaslikheid van visuele tegnieke in die Suid-Afrikaanse navorsingskonteks gemeet kan word. Beide die literatuurstudie, asook die ondervindings vanuit die gevallestudie vorm die basis vir aanbevelings vir verdere ondersoek.
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Barnes, Duncan Martin. "Selling the modern day tribe: The commodification of rave culture." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2107.
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This thesis examines youth and rave culture from the late 1980s to the present. It considers the history as well as the global and local impact of rave. I provide a visual ethnographic study from 1999-2014, based on my work as a commercial photographer of the Perth, Western Australian scene. While critically reflecting on existing subcultural research this thesis adds another dimension – the effect that global corporations have had in reshaping subcultural practices, specifically the commodification of rave culture in the form of the contemporary electronic dance festival.
The research incorporates both qualitative and quantitative data to interrogate media coverage on rave culture as well as interviews and first hand experience within the rave scene. I analyse mainstream print and electronic media reporting of rave as a deviant youth subcultural practice linked to the use of the drug ecstasy. I consider the effect this had on rave and it’s rebranding to become known in contemporary times as EDM (electronic dance music). As a result I examine how rave has shifted from a youth subcultural activity to being not only mainstream and commercial, but also owned and controlled by global corporations. My discussion of the conventions of festival/music scenes will demonstrate how rave, which once operated outside ‘acceptable’ boundaries, has become a part of the conventional norm.
A unique aspect of this thesis is the inclusion and analysis of my photographs taken over a 15 year period that document the changes that occurred as rave transitioned from a subversive underground scene to corporate run multimillion dollar events. The photographs are also compiled into an accompanying monograph. The monograph allows for an immersive visual experience of non-staged event images and predetermined studio and location photographs. The book offers what words alone cannot fully engage with – a representation of what was and remains a highly visual scene, based on fashion, performance and settings.
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Savolle, Adrien. "Xiangce, les albums photos prémaritaux chinois : ce que les imaginaires visuels hybrides des fiancés nous disent sur les transformations du mariage en Chine urbaine contemporaine." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/34864.
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Reidinger, Bobbi. "Weight as Status: An Expansion of Status Characteristics Theory." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1586629807299555.
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Cl?udio, Ana Luiza de Abreu. "?xodos e as migra??es contempor?neas: UM estudo sobre o discurso fotogr?fico de Sebasti?o Salgado." Universidade Federal Rural do Rio de Janeiro, 2008. https://tede.ufrrj.br/jspui/handle/tede/650.
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Previous issue date: 2008-08-28Growing bananas is nowadays the third largest agricultural product of Rio de Janeiro State, with an estimates value of 69,8 million Reais. Besides it is the second largest cultivate area and the third largest harvested volume. Along with de production numbers it important to say that the banana culture involves over 2.800 producers in whole state, worked in small properties mainly from 2 to 5 ha, according to IBGE (2007) data. From the latest 70 this activity started to decline as great competition was held into it from bananas coming from other regions in Brazil, where more modern production techniques were adopted, resulting in best visual quality products with lower production coasts. The approach of this study relates to the aspect involved in identifying, classifying and characterizing the local production systems, in particular the banana production cluster, according to the cluster theories. By all means, this study aims to analyze how happens the formation of the banana production cluster in Rio de Janeiro state, through the evaluation of static and dynamic aspects, studying no only the comparative advantages, but also the competitive advantages. To come along this objective it was necessary to identify the main characteristics of this cluster, clearly define its borders and to discuss how these characteristics ma)' influence in the adoption of local development strategies, allowing the cluster to enter in a new virtuous production cycle. As a development, this study may be used to guide public policies as well as to guide private investments decisions. The results of this study state that the banana production in Rio de Janeiro State holds a big economic and commercial potential that is yet underdeveloped by local producers and businessmen. As a final conclusion this study shows that the implementation focus of de Banana APL in Rio de Janeiro state must be directed to the organization innovation matters, through the implementation of a new and more efficient governance structure. The more appropriate region to do so is constituted by the counties at Costa Verde region, particularly the counties of Itagua?, Mangaratiba, Andra dos Reis and Paraty.
O presente trabalho buscou analisar o discurso fotogr?fico de Sebasti?o Salgado sobre as migra??es contempor?neas, as quais caracterizam-se por migra??es ocorridas por raz?es econ?micas, culturais e at? mesmo ambientais, no per?odo da chamada globaliza??o econ?mica. As fotografias estudadas fazem parte da obra ?xodos , trabalho que re?ne uma tr?ade: documentarismo, viagens e migra??es. As paisagens registradas s?o de espa?os geogr?ficos e sociais diferenciados, enfocando a tem?tica do ?xodo rural, a disputa por territ?rio, a urbaniza??o acelerada e os conflitos ?tnicos de pa?ses da ?frica, do Oriente M?dio, da Europa, da ?sia e da Am?rica Latina. Para esta pesquisa optamos por focar o estudo das fotografias sobre os pa?ses da Am?rica Latina e da ?frica. O recorte temporal compreende o final dos anos 90 at? a atualidade, momento das viagens para a realiza??o das fotografias at? a publica??o da obra ?xodos , bem como sua repercuss?o na atualidade. Tal pesquisa torna-se relevante por considerarmos Salgado um fot?grafo internacionalmente conhecido, cuja produ??o traduz-se em fontes documentais de grande relev?ncia para as Ci?ncias Sociais. Leva-se em considera??o que Salgado ? um viajante contempor?neo em situa??o de deslocamento, assim como seus modelos fotogr?ficos . Ele percorre, com seu olhar de viajante/fot?grafo/migrante, diferentes regi?es do mundo com organiza??es socioculturais distintas. O m?todo utilizado para este trabalho, compreendeu a leitura visual das fotografias de ?xodos , por meio de categorias e conceitos de an?lise. Enfatizamos que a leitura visual foi suportada pela linguagem escrita, presente nos relatos de viagem que acompanham as fotografias de Salgado, em entrevistas concedidas por ele a ve?culos de comunica??o (sites, jornal impresso e televis?o) e em toda a bibliografia referenciada. O estudo do discurso fotogr?fico formou-se a partir de um olhar observador sobre todo o livro, partindo de uma an?lise mais ampliada do ambiente para uma mais focalizada, esmiu?ando assim, especificidades presentes nas fotografias.
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Jennings, Joshua Kerby. "On Making a Difference: How Photography and Narrative Produce the Short-Term Missions Experience." UKnowledge, 2017. http://uknowledge.uky.edu/cld_etds/32.
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Short-term missions participants encounter difference in purportedly captivating ways. Current research, however, indicates the practice does not lead to long-lasting, positive change. Brian M. Howell (2012) argues the short-term missions experience is confined to the limitations of the short-term missions narrative. People who engage in short-term missions build assumptions, seek experiences, understand difference, and convey meaning, as a result of this narrative. The process of telling and retelling travel stories is integral to the short-term missions experience. Drawing upon literature on tourism, narrative, development, and photography, this study intends to evaluate the inefficacy of short-term missions through the stories which produce and are produced by photography. Through storytelling and photography from 21 short-term missions participants who have served in Ouanaminthe, Haiti, this project deconstructs the short-term missions narrative to understand, what is the relationship between the use of photography and the short-term missions experience? The results indicate a unique relationship between people, photography, and experiences within the framework of short-term missions.
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VenÃncio, Rubens. "EspaÃos da ExperiÃncia como EspaÃos da MemÃria: Narrativas e Imagens entre os Canoeiros do Rio AcaraÃ." Universidade Federal do CearÃ, 2009. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=4921.
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CoordenaÃÃo de AperfeiÃoamento de NÃvel SuperiorEspaÃos da experiÃncia como espaÃos da memÃria: narrativas e imagens entre os canoeiros do rio Acaraà à fruto de uma investigaÃÃo social que versa sobre as experiÃncias de memÃria de um grupo que mantÃm vivo um ofÃcio secular em meio Ãs adversidades da modernizaÃÃo sÃcio-econÃmica. Por meio das trajetÃrias de vida dos canoeiros procuro compreender a construÃÃo de narrativas amparadas na memÃria e sua relaÃÃo com a cidade de Sobral/CE, principalmente no que diz respeito ao saber da canoagem no rio Acaraà e as transformaÃÃes urbanÃsticas ocorridas no trecho do rio que passa pela cidade.
Areas of experience as spaces of memory: narratives and images among the boatmen of the river Acaraà is the result of a social research that focuses on the experiences of memory from a group that keeps alive a secular profession in the adversities of the socio-economic modernization. Through the life trajectories of the boatmen, I seek to understand the construction of narratives backed in memory and its relationship with the city of Sobral/CE, mainly with regard to the knowledge of canoeing on the river Acaraà and the urban transformations that have occurred in the stretch of river that runs through the city.
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GIACHELLO, SILVIA. "Identità' e memoria visuale: comunità', eventi, documentazione." Doctoral thesis, Politecnico di Torino, 2012. http://hdl.handle.net/11583/2540089.
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Il progetto indaga la potenzialita' delle immagini, con particolare riferimento alla fotografia, di descrivere, documentare e interpretare gli eventi culturali, e il loro linguaggio particolare e funzionale; le conseguenze della proliferante diffusione della cultura visuale (grassroots, social networks, etc.) nell'interpretazione della realtà e nella costruzione della memoria; il valore attribuito dal pubblico e da esperti qualificati al concetto di “evento culturale” attraverso la rilevazione, il monitoraggio e la documentazione di consumi culturali, e la funzione identitaria di tale concetto. La ricerca è stata strutturata sviluppando tecniche della sociologia visuale in prospettiva interculturale, attraverso una metodologia combinata ad hoc: foto-stimolo a partire da immagini da me prodotte per la documentazione di un caso studio - il Ganesh Festival di Pune, Maharashtra, India -, e analisi di Visual Memos (prodotti visuali di autodocumentazione).
Due sono in sintesi gli scopi della ricerca: individuazione di frame nella definizione dell'evento culturale e determinazione della sua capacita' di condizionare l’identità’ personale e collettiva, e analisi della funzione identitaria e mnemonica dei prodotti visuali che mediano e/o documentano l'evento, e il loro ruolo nel determinare la permanenza nel tempo dell’evento stesso.
La ricerca sul campo è stata effettuata a Pune, città del Maharashtra (India), seconda a Mumbai per dimensioni e importanza economico-culturale nello stato. Tale opportunità è stata utilizzata per operare un confronto fra differenti prospettive culturali in merito ad entrambi gli obiettivi della ricerca, come presupposto cognitivo alla progettazione di campagne di comunicazione e valorizzazione di eventi culturali in una prospettiva interculturale (glocal culture).
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Marillonnet, Justine. "Images de mode et images de femmes : des représentations de la presse magazine féminine aux représentations d’un public féminin : étude d’un message médiatique : stéréotypage de genre et mascarade." Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20070/document.
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Cette recherche vise à décrire et à analyser les représentations de genre présentes dans les séries mode des magazines féminins. Prenant pour repères théoriques la sociologie du corps et la sociologie de la mode, ces travaux mobilisent des méthodologies empruntées au champ disciplinaire des sciences de l'information et de la communication pour l'étude des dispositifs médiatiques et des sciences du langage pour la structuration de ce type d'énoncés. Analysant un corpus d'images de mode produites par trois titres de presse magazine féminine français (ELLE, Cosmopolitan et Femme Actuelle), cette étude tend à interroger les procédés d'activation et de défigement des stéréotypes de l'identité féminine. Mobilisant les théories interactionnistes et les Gender Studies pour mieux saisir les enjeux d'un dispositif médiatique ayant pour cible un public féminin, cette recherche met au jour la coexistence d'une pluralité de représentations du genre féminin dans les images de mode, non plus seulement figées dans les stéréotypes de genre mais aussi subversives dans leur contournement des attentes normatives concernant l'expression de la féminité. Cette interaction entre le corps féminin, le vêtement et les univers proposés témoigne d'une réappropriation stratégique par l'imaginaire de la mode de la question du genre. A travers certains jeux de mascarade, c'est bien parfois une forme d'anticipation sociale concernant les représentations du genre féminin que les discours médiatiques véhiculentThis research aims to describe and analyze gender representations present in fashion series of women's magazines. Taking for theoretic bases the sociology of body and the sociology of fashion, this work uses, for the analysis, methodologies borrowed from the disciplinary field of sciences of information and communication for the study of media devices. Analyzing a corpus of fashion pictures produced by three French feminine magazines (ELLE, Cosmopolitan and Femme Actuelle), this study aims to examine the processes of activation and unfreeze for the stereotypes of female identity. Mobilizing interaction ritual theories and Gender Studies to better understand the challenges of a media device that targets a female audience, this research reveals the coexistence of a plurality of representations of feminine images in fashion, not only entrenched in stereotypes of gender but also subversive in their circumvention of normative expectations concerning the expression of femininity. This interaction between the female body, clothing and purposed worlds demonstrates a strategic reappropriation of gender question by the fashion imaginary. Through some plays of masquerade, it is indeed a form of social anticipation concerning women gender representations that media discourses convey
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Krainitzki, Eva. "Exploring the hypervisibility paradox : older lesbians in contemporary mainstream cinema (1995-2009)." Thesis, University of Gloucestershire, 2011. http://eprints.glos.ac.uk/918/.
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This thesis explores the intersection of age, gender and sexuality in representations of older lesbian characters in contemporary narrative film. Taking the 1990s as a benchmark of lesbian visibility, I explore the turn of the century representability by focusing on British and American film (1995 to 2009). I identify a hypervisibility paradox during this period of cinematic production where the presence of a multitude of young lesbian and bisexual characters can be seen to be in complete contrast with the invisibility of the older lesbian. Mainstream postfeminist culture censors the ageing female body, except in its ‘successfully aged’, youthful, heterosexualised form. Older lesbian characters are excluded from this frame of visibility and, instead, are represented through paradigms associated with the concept of ‘ageing as decline.’ There is little in existing age studies or lesbian film studies to articulate an understanding of the intersection of age, gender and sexuality in cinematic representation. I adopt an interdisciplinary cultural studies approach to make my contribution in what is an under-researched area and present a multifaceted approach to a complex cultural image. I investigate the continuity of the concept of the lesbian as ghostly (Castle, 1993) through narratives of illness, death and mourning. I argue that the narrative of ‘ageing as decline’ stands in for the process of ‘killing off’ lesbian characters (identified in 1960s and 1970s cinema). The intersection of the identity old with lesbian thus results in a double ghosting and ‘disappearance’ of the older lesbian character. Regarding Notes on a Scandal (Eyre, 2006), I pursue two particular readings. One emphasises the return of the lesbian as monstrous based on the construction of ageing and lesbian desire as abject (Kristeva, 1982). A second reading moves beyond the monstrous lesbian as a ‘negative’ stereotype and identifies the protagonist as a queer character who subverts heteronormativity. Finally, I turn to oppositional reading practices in order to optimise the possibilities of identifications across mainstream film texts. Based on Judi Dench’s various transgressive film roles, her role as M in the Bond franchise in particular, I explore this actress’ subversive potential to represent the older lesbian. I conclude that despite mainstream cinema’s hypervisibility paradox, characters who transgress age, gender and sexuality norms can provide opportunities for lesbian identification.
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Rolim, Iara Cecília Pimentel. "Primeiras imagens: Pierre Verger entre burgueses e infrequentáveis." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-04022010-145711/.
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Esta tese de doutorado está centrada na trajetória de vida de Pierre Verger e procura analisar sua inserção no mundo da fotografia. Focalizando o início da carreira, o trabalho dá ênfase a um período pouco conhecido da vida do fotógrafo e, para tanto, a pesquisa privilegiou, a compreensão das ligações de Pierre Verger com o núcleo familiar, dos laços desenvolvidos no grupo de amigos artistas e das demandas do mercado de trabalho. A família proporcionou-lhe o primeiro mergulho no mundo das imagens através dos negócios do pai, mas Verger guardava restrições em relação às obrigações sociais que a posição familiar na sociedade burguesa lhe exigia. Com a adesão ao grupo dos amigos infreqüentáveis, cujos integrantes viviam de maneira muito diferente da qual estava acostumado, Verger estabeleceu uma rede de contatos, formou grupos de trabalho e viagens, dos quais resultaram, a sua iniciação como fotógrafo. O mercado foi cenário tanto de concorrências e disputas quanto também impôs e sofreu a imposição do gosto predominante do período e, desta forma, as imagens que circulavam publicamente provinham dos projetos individuais dos fotógrafos e das encomendas, sendo destinadas às demandas da imprensa, da publicidade, da moda, dos editores de livros e das exposições. Entre o desejo de se livrar dos moldes da família burguesa, a adesão ao grupo de amigos livres e as exigências do mercado, Verger encontrou um caminho para firmar-se como profissional através da produção fotografia de caráter documental e humanista, 14 anos antes de sua chegada ao Brasil.This doctoral (PhD) thesis is focused on Pierre Vergers life trajectory and searchs to analyse his integration in the photography world. Standing out the beginning of his career this work puts emphasis on a time not much knowing of the photographer life and for this the reasearch has privileged the understanding of Pierre Vergers relations with the core family, with the relations among the group of artists who were his friends and with the market demands. The family provides him the first entrance in the images world throughout his father business. Verger had some restrictions referring to the social obligations that the family status demanded from him in the bourgeoisie society. Verger had settled several contacts when he joined to the not recommended friends who lived in a different way which Verger was accostumed. He settled work groups and travels which had as result his initiation as a photographer. Photography market was in great increase in the between-wars period and had imposed so much competitions and disputes as also the wishing for some subjects which became photographal and, in this way, the images when didnt come from individual projetcs were, more often, produced according to some orders from customers: press, publicity, fashion and book publishers. Among the wish of releasing from the bourgeoisie family, his participation to the not recommended groups of friends and the market demands, Verger had found a path to stand out as profissional throughout the documental and humanist photography production, 14 years before his arrival to Brazil.
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Dasnias, Philippe. "Successions végétales : synthèse bibliographique et dynamisme à l'ubac montagnard de la Moyenne Tarentaise (Savoie)." Grenoble 1, 1987. http://www.theses.fr/1987GRE10047.
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Etude du dynamisme vegetal resultant de l'abandon des prairies de fauche. Une analyse de photographies aeriennes de 1956 a 1982 conduit a une approche diachronique: evaluation et cartographie, extrapolation par matrices de transition et determinisme de la vitesse de recolonisation ligneuse. Une approche synchronique est realisee sur la base de 113 releves floristiques et 200 releves phanerophytiques; grace a des analyses multidimensionnelles, on definit floristiquement, ecologiquement et phytosociologiquement, 8 successions, reparties en voies "typiques" et voies "par contagion depuis les lisieres
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Melo, Chanaísa. "Fragmentos da memória de uma fábrica na Coleção Fotográfica Laneira Brasileira Sociedade Anônima." Universidade Federal de Pelotas, 2013. http://repositorio.ufpel.edu.br/handle/ri/1036.
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Previous issue date: 2013-04-13Laneira Brasileira Sociedade Anônima, located at the district of Fragata in the city of Pelotas, Rio Grande do Sul, Brazil, was an important factory for the Pelotas' community. For more than 50 years it helped the social and economical development of the city through activities focused in wool production and commercialization. In 2003 the factory terminated its activities due to bankruptcy. In the year of 2010 Universidade Federal de Pelotas, Federal University of Pelotas, bought the Laneira's building to install some branches of the University and to create a memorial of the extinct factory. Inside of the building a variety of artifacts, like photographs, were found which can lead to new interpretations of the factory's path. This study will discuss photography as historical documents to the industrial heritage, in the Laneira Brasileira S. A.'s case, evidencing systematic methodologies which can bring information about the manufacturing of this company. It is believed that the organization of the Laneira's photographic collection is fundamental to understanding its history while the factory was in full operation. This organization contributes to the creation of the memorial related to this patrimonial heritage of Pelotas
A Laneira Brasileira Sociedade Anônima, localizada no Bairro Fragata, em Pelotas/RS, foi uma importante indústria para a comunidade pelotense, ajudando no desenvolvimento econômico e social da cidade, por meio das atividades voltadas para produção e comercialização de lã, durante mais de cinquenta anos. Devido à falência, a Laneira encerrou seu processo de beneficiamento da lã em 2003. No ano de 2010, foi adquirida pela Universidade Federal de Pelotas para a instalação de novas unidades da instituição, bem como a constituição de um memorial sobre a extinta indústria. De seu espaço foram resgatados inúmeros artefatos materiais, os quais levam a imaginar e a reinterpretar a trajetória desse local, como as fotografias. O presente trabalho objetiva discutir as possibilidades da fotografia como suporte para o patrimônio industrial, no caso do Memorial da Laneira Brasileira S. A., evidenciando metodologias de sistematização que possibilitem trazer informações a respeito do trabalho fabril dessa indústria. Acredita-se que as ações efetivadas para a organização do acervo fotográfico da Laneira sejam fundamentais para a compreensão de sua história no período de seu funcionamento, contribuindo para a criação do memorial referente a esse patrimônio industrial pelotense
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Bisson, Brieuc. "Au-delà de l’urbanité : une approche géopsychologique du sentiment d’urbanité." Thesis, Rennes 2, 2019. http://www.theses.fr/2019REN20046.
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Face au processus de métropolisation et de densification des espaces urbains quel sens donner à l’urbanité du point de vue des individus? Dans le cadre d’une thèse portant précisément sur cette dimension individuelle des rapports à la ville, nous nous concentrons sur ce que nous définissons comme le sentiment d’urbanité, défini comme un état affectif et cognitif d’un individu caractérisant son rapport aux espaces urbains et/ou à la ville. Cet état est variable et relatif selon des composantes variables selon les individus : les pratiques urbaines individuelles, les parcours résidentiels passés, le capital spatial et les représentations individuelles de la ville. Afin de chercher à comprendre comment ce sentiment d’urbanité se construit chez les individus, nous avons opté pour une méthodologie en deux temps. Un premier temps consacré à des parcours photos commentés, puis un second temps consacré à un questionnaire en ligne. Ce travail permet de mettre en avant trois principaux niveaux de construction du sentiment d’urbanité chez les individus. Un premier niveau collectif très largement partagé par les individus, un second niveau plutôt social et fonction du groupe social (appartenance sociale, appartenance générationnelle) et un troisième niveau individuel fonction des expériences individuelles de la ville. L’objectif de cette thèse est aussi, par une approche compréhensive, de chercher à confronter des catégories établies (ville, urbain) à la parole habitante pour parvenir à bâtir des définitions et des catégories théoriques enrichies de réalités individuelles vécues ou perçues. Ce qui revient aussi à répondre à la question qu’est-ce qu’être urbain dans un monde urbain diffus ?Regarding the process of metropolisation and densification of urban areas, what sense should urbanity have from individuals’ point of view ? This PhD dissertation proposes a framework based on the individual dimension of relationships with the city. We focus on what we define as the « sense of urbanity », namely the emotional and cognitive state of an individual characterizing his relationship to urban spaces and/or the city. This state is variable and relative according to individuals components : individual urban practices, past residential journeys, space capital and individual representations of the city. In order to understand how this sense of urbanity is built at the individual scale, we opted for a two-step methodology based on commented photo trails and on an online questionnaire. This work highlights three levels in the way that individuals build their sense of urbanity : a collective level widely shared by individuals, a social level related to the social group (social belonging, generational belonging) and a level based on the individual experiences of the city. Through a comprehensive approach, this PhD dissertation proposes to compare established categories (city, urban) to the living word in order to build definitions and theoretical categories enriched with lived or perceived individual realities. This also comes down to answering the question what is urban in a fragmented urban world?
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Hatt, Emeline. "Requalifier les stations touristiques contemporaines : une approche des espaces publics – Application à Gourette et Seignosse-Océan –." Phd thesis, Université de Pau et des Pays de l'Adour, 2011. http://tel.archives-ouvertes.fr/tel-00683463.
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Face au constat du vieillissement des stations touristiques fordiennes créées ex nihilo, en France, dans les années 1960-1970, ce travail de doctorat en aménagement et urbanisme pose la question de leur requalification. Dans ce champ disciplinaire et professionnel, l'analyse de l'image urbaine des destinations touristiques n'a guère été traitée. L'échelle d'appréhension microterritoriale est privilégiée ici, afin de décrypter les modalités conjointes de leurs structurations et de leurs représentations. On a observé dans quelle mesure l'aménagement et la gestion des espaces publics participent à l'image et à la notoriété des destinations, tout en proposant un outil d'aide à la réflexion et à l'élaboration des projets de requalification. Dans ces stations " archipels ", coupées de l'habitat traditionnel existant, la faible proportion d'habitants permanents a conduit à donner la parole à des interlocuteurs qui en sont les destinataires essentiels : les " touristes ", généralement tenus à l'écart de l'exercice de concertation et de conception urbaine. À la croisée des recherches en urbanisme et en tourisme, l'intérêt s'est porté sur les représentations que ces habitants temporaires se font des espaces publics dans lesquels ils vivent et qu'ils font vivre en retour. Plus précisément, l'objectif de cette recherche consiste à révéler, par une enquête photographique, les marqueurs microterritoriaux identifiés par les touristes, sur lesquels les projets de requalification pourraient, le cas échéant, prendre appui. Axées sur la "libre" catégorisation de plus de cent trente images, ces enquêtes ont été menées à titre expérimental dans une station littorale (Seignosse-Océan) et une station de montagne (Gourette). Ces destinations sont abordées par une approche transversale pensant la réciproque entre leur conception (modalités de structuration urbaine) et leur réception (les représentations des touristes), afin de mieux saisir les enjeux de leur restructuration. Quels sont les lieux urbains emblématiques ? Comment envisager leur valorisation et leur mise en scène ? Quelle place accorder aux piétons dans ces stations qui ont laissé la part belle aux circulations motorisées ? Autant de questions qui ont émergé dans ce travail de recherche centré sur la caractérisation du vieillissement et l'identification des enjeux de requalification de ces destinations aujourd'hui cinquantenaires.
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Woodruff, Lily. "Désordre dans l'« établissement » : art, exposition et participation en France, 1958-1981." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0137.
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Cette thèse porte sur la participation comme stratégie artistique de contestation institutionnelle fondée sur un engagement populaire et démocratique et une opposition à l'efficacité technocratique qui caractérise le début de la Ve République. Interrogeant les méthodes sociologiques sur lesquelles s'appuie la technocratie, la participation consiste en une appropriation et une transformation de ces techniques afin de remettre en cause l'évidence apparente de la communication et l'autorité que celle-ci soutient. Ainsi, la décentralisation de l'exposition des œuvres dans des espaces publics vise à critiquer les institutions mais elle permet aussi de relativiser les positions d'artite et de spectateur en situant leurs rapports à l'intérieur de la communauté à laquelle ils appartiennent. Les chapitres examinent les projets du Groupe de Recherche d'Art Visuel, de Daniel Buren, André Cadere, Didier Bay, et le Collectif d'Art SociologiqueThis dissertation investigates strategies by wich artists adopted participation as a form of institutional contestation through democratic popular engagement. Participation opposed the technocratic efficiency that characterized the early years of the Fifth Republic and the sociological methods that fueled it by appropriating and transforming their techniques so as to undermine apparently straight-forward communication and the authority that it bolsters. Their spatially decentralized displays critiqued art institutions at the same time that they relativized the position of artist and viewer by situating their individual comprehensions within the larger community to wich they were shown to belong. The chapters examine the projects of the Groupe de Recherche d'Art Visuel, of Daniel Buren, André Cadere, Didier Bay, and the Collectif d'Art Sociologique
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Urrea, Inmaculada. "La Construcción de la marca personal de Coco Chanel a través de sus fotografías: su aportación a la creación de la mujer moderna." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/385858.
Full textAbstract:
El objetivo principal de la presente tesis es investigar sobre cómo Coco Chanel, la mujer más importante de la creación de moda femenina y una de las mujeres más importantes del siglo XX, construyó su marca personal a través de sus retratos. Para ello se investiga en dos direcciones, una, la marca en todas sus dimensiones, desde la comercial a la antropomorfa, pasando por su relación con la emoción y el recuerdo, y los modelos de construcción de marca personal. Otra, la semiótica aplicada al campo visual para desentrañar todos los significados asociados al corpus fotográfico de Chanel analizado. Además, para enmarcar el tema central se analiza la aportación del personaje a la construcción de la mujer moderna, así como el relato construido sobre su persona, mediante los biógrafos que la conocieron, y sus aportaciones a la moda.The main objective of this thesis is to investigate how Coco Chanel, the most important designer in the creation of women's fashion and one of the most important women of the twentieth century, built her personal brand through her portraits. For this matter, it has been researched in two different paths. First the brand in all dimensions, from the commercial to the anthropomorphic, through its relationship with emotion and memory, and models of personal brand building. Second semiotics applied to visual field, for unravel the meanings associated with the Chanel corpus analyzed through pictures. Furthermore, the study focuses on the legacy of her character to the construction of modern women and the stories built it on herself, as told by biographers who knew her, and Chanel’s contributions to fashion.
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Bolle-Anotta, Françoise. "Le portrait du défunt dans les cimetières lorrains de 1804 à nos jours." Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0317.
Full textAbstract:
Dès la loi impériale du 23 Prairial an XII (12 juin1804) qui impose l’obligation d’inhumation pour tous au cimetière, la sculpture se met au service du portrait du défunt, dans cet espace si particulier qui tient à la fois du cadre privé et du cadre public. Héritier d’une tradition jusqu’alors réservée aux nobles et au roi, le portrait funéraire s’affiche dans une iconographie qui oscille entre symbolique et réalisme des traits physiques; le militaire est honoré comme héros tandis que le curé est vénéré par les paroissiens. S’inscrivant dans la mode de la statuomanie galopante des années 1880, les cimetières lorrains rejoignent la volonté publique d’honorer ses Grands Hommes, à une époque où la « Petite Patrie », la Lorraine, rencontre la « Grande Patrie », la France, où des artistes connus et parfois moins connus mettent leur savoir-faire et leur notoriété au service de portraits de notables. Le portrait funéraire connaît alors son âge d’or. Alors que le cimetière moderne se construit peu à peu grâce à son organisation parcellaire, les familles éprouvent très rapidement le besoin impérieux de matérialiser, sur ces concessions familiales, le souvenir des traits de leur défunt et le portrait sculpté leur en offre la possibilité et le voilà qui quitte l’intimité des salons pour être installé soit sur la stèle de la tombe familiale. C’est ainsi que l’époux éploré se souvient du visage de sa chère épouse, que des parents effondrés peuvent se consoler d’avoir perdu un petit ange en lui substituant un autre visage, plutôt idéalisé, ou mieux la figure d’un autre ange, plus solide car en marbre et plus protecteur. Peu à peu, le cimetière se pare d’un peuple de statues que viennent compléter quelques motifs professionnels, rares toutefois. La personnalisation de la tombe reste toutefois très discrète, la douleur contenue. La sculpture funéraire, et le portrait en particulier, se mettent au service de l’expression de sentiments filiaux ou conjugaux, réservés jusqu’alors à l’intimité, mais traduisent un élitisme que la législation du 23 prairial an XII ne souhaitait pas. Pendant la période 1880-1930, les commanditaires des portraits funéraires bénéficient d’une offre élargie de produits notamment grâce à l’essor de la photographie et au procédé de vitrification. Sans concurrencer le portrait sculpté porté principalement par le médaillon de bronze et la ronde-bosse, le vitrail photographique permet de promouvoir le souvenir du défunt dans un écrin luxueux, où, pour la première fois, la présence de la couleur fait animer ces visages et les rend presque vivants. Mais, c’est un luxe que peu de familles peuvent s’offrir. Alors, le médaillon photographique sur plaque émaillée, plus modeste, permet à une clientèle moins fortunée d’accéder au portrait funéraire au cimetière. Après 1930, alors que chapelle et vitrail disparaissent des allées du cimetière, le médaillon peut définitivement prendre place sur les sépultures. Très vite, c’est un succès assuré qui ne se dément pas, aujourd’hui encore. La période de 1940 à nos jours est de loin la plus riche en portraits funéraires et ce grâce à des techniques bien maîtrisées, celle de la photographie sur médaillon de porcelaine et celle de la gravure mécanique ou artistique, grâce également à de nouveaux supports que sont les plaques funéraires, les urnes, les vases. Et il n’est pas rare qu’une famille ait recours à des techniques différentes pour chacun de ses défunts. La façon de présenter le défunt a également évolué ; le modèle de studio photographique cède la place à un modèle présenté « au naturel », c’est-à-dire issu de l’album photographique familial et de nouveaux symboles montrent le défunt sous des aspects plus personnels. Désormais, le portrait funéraire du défunt au cimetière n’est plus seulement un visage mais c’est aussi un sportif, un chasseur, un motard, un professionnel, un amoureux des bêtes, un amateur de pétanqueFrom the imperial law of 23 Prairial year XII (June 12, 1804) which imposes the burial obligation for all in the cemetery, the sculpture puts itself at the service of the portrait of the deceased, in this very special space which is at the same time of the private frame and the public setting. Heir to a tradition hitherto booked with noble and to the king, the funerary portrait is displayed in an iconography which oscillates between symbolic system and realism of the physical features; the soldier is honored as hero while the priest is venerated by the parishioners. Falling under the fashion of the “statuomanie galopante” years 1880, the Lorraine cemeteries join the public will to honour its Great men, at one time when the “Small Fatherland”, Lorraine, meets the “Great Fatherland”, France, where known artists and sometimes less known put their know-how and their notoriety at the service of portraits the notable ones. The funerary portrait knows its golden age then. Whereas the modern cemetery is built little by little thanks to its compartmental organization, the families test the imperative need very quickly to materialize, on these family concessions, the memory of the features of their late and the carved portrait give of it them the opportunity and here it is which leaves the intimacy of the living rooms to be installed either on the family stele of the tomb. Thus the tearful husband remembers the face his dear wife, that ploughed up parents can comfort themselves to have lost a little angel in him substituent another face, rather idealized, or best the figure of another angel, more solid because out of marble and more protective. Little by little, the cemetery is avoided of people of statues which some professional reasons come to supplement, rare however. The personalization of the tomb remains however very discrete, the pain contained. The funerary sculpture, and the portrait in particular, are put at the service of the expression of subsidiary or marital feelings, hitherto booked with the intimacy, but translate an elitism which the legislation 23 Prairial An XII did not wish. For the period 1880-1930, the silent partners of the funerary portraits profit from a widened offer of products in particular thanks to rise of the photography and with the process of vitrification. Without competing with the carved portrait carried mainly by the bronze medallion and the sculpture in the round, the photographic stained glass makes it possible to promote the memory of late in a luxurious house, where, for the first time, the presence of the color makes animate these faces and makes them almost alive. But, it is a luxury which few families can offer. Then, the photographic medallion on enamelled plate, more modest, makes it possible to less fortunate customers to reach the funerary portrait with the cemetery. After 1930, whereas vault and stained glass disappear from the alleys of the cemetery, the medallion can definitively take seat on the burials. Very quickly, these is a assured success which is not contradicted, still today. The period of 1940 to our days is by far richest in funerary portraits and this thanks to techniques controlled well, that of photography on porcelain medallion and that of mechanical or artistic engraving, grace also to new supports which are the funerary plates, the ballot boxes, vases. And it is not rare that a family resorts to different techniques for each one of her late. The way of presenting the late one also evolved; the photographic model of studio gives way to a model presented “to the naturalness”, i.e. resulting from the family photographic album and new symbols show the late one under more personal aspects. From now on, the funerary portrait of late with the cemetery is not only any more one face but it is also a sportsman, a hunter, a motorcyclist, a professional, in love with the animals, an amateur of game of bowls