Dissertations / Theses on the topic 'Pictorial works'

Within 20th. Century art, the concept of the ‘normative’ image, as an attribute of things, has been challenged. As a consequence, paintings must now picture the ‘real’ world in other ways, incorporating knowledge and meaning beyond the analogon. Such descriptive representations were revealed as paradigmatic, rather than incontrovertible fact. Dependent on pre-conceived notions of stereotypicality, these descriptive images relied on surface illumination. My thesis explores images of things in the world as culturally inspired and information based. I examine paintings and sculptures of other cultures, such as black African, and other historical periods such as the Medieval, which reveal metonymously the basis for variations in representations of the ‘real’ world. The new enhanced representations which Modern artists created in their work were denigrated as deviant from the absolute ‘normative’ or regarded as distortions for purely mannerist and stylistic reasons. Postmodern research has reassessed them as multiple or extended imagings in whose facture new knowledge and human responses can be incorporated. These new forms of representation can be regarded as theoretical constructs rather than stylised depictions of appearance. In this way referents are transferred through the mind onto objects and vistas in the real world to align with our developed view of the physical world and better our understanding of humanity’s symbiotic relationship with nature.

This is a thesis with two distinct but connected halves. Text and image are applied to the subject of wastelands; the former works to raise the status of wastelands while the latter gathers visual fragments of wastelands to harness a picture of contemporary modernity. The two combine to create a practical and poetic, a social and flaneurial picture of wastelands. I identify wastelands as the material manifestation of industrial modernity. Although wasteland is an overarching term used to describe general decline in many social, cultural and natural spheres. I adopt it specifically to describe spaces of abandoned industry that have emerged since the post-war years in the West. Wastelands are invitations to engage with the destructive side of modernity. Berman (1982) describes modernity as simultaneously progressive and destructive. Yet I suggest that this destructive face is too often disregarded. I see it as a matter of necessity to reengage more thoughtfully with the processes and manifestations of destruction. Wastelands encourage us to do both. Institutional and market forces generally promote limited responses to wastelands. Hawkins (2006) identifies a similar situation in the realm of waste in general. She suggests that the affects of waste should be considered alongside traditional institutional dogma to expand our relationship with waste. This position is adopted in my examination of wastelands. By avoiding dismissive responses wastelands can emerge as potential spaces of improvisation. The text places wasteland in context with other modern traditions of landscape, it also seeks to localise the wasteland in particular social contexts. The images provide a more generalised reading of wasteland; they are the souvenirs of flanuerial adventures in wastelands. Wastelands are authentic spaces of modernity.

Includes bibliographical references (p. 62-64).
In Camera Lucida Roland Barthes (1980: 64-66), describes the process of looking through his mother's photographs after her death. He weighs up how much of her he recognises in the images he comes across. He evaluates the versions of her that are portrayed and deduces that "none seem to be really 'right':" neither as photographic performances nor as existing recurrences of "the beloved face" that he carries in his psyche. He talks about trying to find her, and achieves only part satisfaction in pinpointing fragments in each image that seem to depict parts of the mother he knows. He concludes that by being partially true, the total representation in each image is false. He suggests that the physical details and direct documentations of his mother's physical self, do not contain the sense of her, as he knows her.

Thesis submitted in fulfilment of the requirements for the degree Master of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology 2014
This study seeks to contribute to the field of documentary photography by looking at a resistance photographer who documented events during the liberation struggle against Apartheid in the 1980s in Cape Town, South Africa. The research explores the richness, depth and complexity of the reflective knowledge of the phenomenon and develops a sense of understanding of the meanings of the circumstances and social context of the researcher. It considers the thoughts, observations as well as reflections regarding the meanings and interpretations of experience as a photographer in the 1980s. The perspective of the research is to understand through the photographer’s memory the phenomenon of interest in the exhibition Martyrs, Saints & Sell-Outs and in so doing argue for a consideration of the lives of those who not only lived during Apartheid but continue to do so after its demise. In addition to thinking about questions of photographic representation, the study also addresses ideas of space, and unarticulated injuries and trauma. The photograph is well suited as a medium through which one may think about these difficult questions, for in its very inception, the medium is one of simultaneous absence and presence. The study concludes with recommendations for future investigation in the documentary photography narrative in Cape Town, South Africa.

This thesis examines images of women shopping in the art of Kenneth Hayes Miller and Reginald Marsh during the 1920s and 1930s. New York City's Fourteenth Street served Kenneth Hayes Miller and Reginald Marsh, respectively, as a location generating the inspiration to study and visually represent its contemporaneity. Of particular interest to this thesis are relationships between developments in shopping and the images of women shopping in and around Fourteenth Street that populate the paintings of Miller and Marsh. Although, as Ellen Todd Wiley has shown, the emerging notion of the New Woman helped to shape female identity at this time, what remains unstudied are dimensions that geographically specific, historical developments in shopping contributed to the construction of female identity which, this thesis argues, Marsh and Miller related to, by locating in, the department store and bargain store.

The Nature of Ice' comprises a dual narrative with two Antarctic stories set one century apart. The contemporary strand concerns three central characters: Freyr Jorgensen, a photographer working for a summer at Davis Station who is inspired by Frank Hurley's early Antarctic photography; Davis Station chippie Chad McGonigal, assigned as Freyr's field assistant; and Freyr's husband Marcus, who is at home in Perth researching the 1911-14 Australasian Antarctic Expedition (AAE) in preparation for Freyr's Antarctic photographic exhibition.

Art is the outward, visual manifestation of the undying soul of a people. The genius displayed in the day to day articles produced in traditional tribal society is equally present in the art produced by the Contemporary African Artist. The Contemporary African Artist finds himself in an interesting position, in that he is, at one time, a part of two different worlds, two different cultures, has taken place, the and his art provides evidence of the acculturation that coming together of indigenous, traditional African culture and 'European' or 'Western' culture. It follows that the contemporary African artist's work would display characteristics and elements derived from both of these worlds, since art is not created in a vacuum, but is, invariably, the outward, visible expression and symbol of an artist's environment, culture, emotional and intellectual responses and his beliefs. The study of Contemporary African Art reveals that despite the many divergences from the traditional or classic forms, a great many traditional influences and characteristics still persist in the same. An analysis of Contemporary African Art will also show that a significant body of works bear a marked influence of Christian teachings and biblical themes, as well as the influence of exposure to various forms of Swedish Medieval, Byzantine, Romanesque and Carolingian art.

From Introduction: The 'forensic aesthetic' presents the viewer with traces and debris - the residue that haunts sites of transgression, violence and death. In his book Scene of the Crime, art critic and curator Ralph Rugoff (1997:62) defines the forensic aesthetic as follows: "Inextricably linked to an unseen history, this type of art embodies a fractured relationship to time. Like a piece of evidence, its present appearance is haunted by an indeterminate past, which we confront in the alienated form of fossilized and fragmented remnants." Through its play on seemingly insignificant detail&, clues and traces, the forensic aesthetic suggests that meaning is dispersed, fragmentary and uncertain. According to Rugoff (1997:17), the forensic aesthetic "aims to engage the viewer in a process of mental reconstruction". It compels the viewer to adopt a 'forensic gaze' : to sift through broken narratives and fragments of information, reading the artwork as one might read a sample of evidence. Rugoff (1997:62) argues that: "[S]uch art insists that 'content is something that can't be seen' ... it requires that the viewer arrive at an interpretation by examining traces and marks and reading them as clues. In addition, it is marked by a strong sense of aftermath. ... Taken as a whole, this art puts us in a position akin to that of [the] forensic anthropologist or scientist, forcing us to speculatively piece together histories that remain largely invisible to the eye." One might argue that some of the earliest known examples of the forensic aesthetic in art presented themselves in the Renaissance period in the form of the pseudo-forensic anatomical drawings of Leonardo da Vinci. In his Studies of the Hand (fig. 1), for example, Da Vinci methodically represents the underlying structures of the human hand in a series of drawings that are scattered intermittently across the page. The remainder of the page is covered with hand-written notations. In this work, the artist approaches the human body with a scientific, almost forensic, gaze. Here the body is presented in fragments, rather than as a whole. According to Rugoff (1997:86&88), the forensic aesthetic addresses the body "not as a coherent whole but as a site of prior actions ... as a dispersed territory of clues and traces". When read in terms of the mode of the forensic aesthetic, Da Vinci's Studies of the Hand may be said to look at the human body as forensic object. In this way, this work may be said to speak of the manner in which the forensic gaze operates in the context of the artwork. Throughout the following essay, I discuss the various ways in which the forensic aesthetic manifests itself in art. I have necessarily been selective in the artworks that I have chosen for discussion, as this topic is very broad indeed. In Chapter One, I explore the tradition of the forensic aesthetic in art by way of a select number of artworks. This chapter focuses on investigating the way in which these works, whether consciously or unconsciously, speak of associations between violence and representation through the mode of the forensic aesthetic. The contents of Chapter Two concentrate on the work of South African artist Kathryn Smith. Smith's work may be said to possess a forensic quality, in that it references forensic practices and techniques. Her work has not been the topic of a lengthy monograph, but it has been considered in various exhibition catalogues, reviews and articles. For example, an essay by Colin Richards entitled 'Dead Certainties' (2004) investigates the forensic quality of Smith's imagery in terms of its play on notions of the trace. Similarly, an article by Maureen de Jager, entitled 'Evidence and Artifice' (2004), examines the manner in which Smith's work transgresses the boundaries between 'forensics and fantasy'. In her book, Through the Looking Glass (2004), Brenda Schmahmann addresses Smith's Still Life series (figs. 9, 10, 11) in relation to the issue of self-representation, exploring the relationship between the 'self' and the body as 'other'. Lastly, a review by James Sey, which was published in Art/South Africa (2004), considers Smith's work in terms of its aesthetic appeal, which serves as a framing device for the uncomfortable subject matter that informs the bulk of her imagery. My reading of Kathryn Smith's work departs from and expands on the available literature in that it focuses on the manner in which her images comment self-critically on the act of representation. I have chosen to focus on Smith's work in particular, as it uses the mode of the forensic aesthetic to speak of the field of artistic practice - a motif that runs throughout my own body of work as well. Moreover, Smith's work, like my own work, may be said to engage with the forensic aesthetic in a South African context. In Chapter Two, I compare a number of Smith's works to the artworks discussed in Chapter One, and examine the manner in which they speak of the links between art and crime. Chapter Three concentrates on outlining the ways in which my own work reads off the conventions of forensic investigation. In this chapter I discuss the manner in which my work, by way of a forensic approach, draws parallels between the medium of photography and the mechanisms of trauma. I focus on works that have been included in my Master's exhibition, Vigil (2005). The following essay is a study in representations of violence in art. In the course of this essay, I contextualize the forensic aesthetic as a mode of representation, as well as address the manner in which the forensic aesthetic seems to allow for, even facilitate, self-conscious reflection on the practices of representation itself.

This dissertation investigates the contradictions and similarities regarding the depictions of Afrikaner ancestry in two works by Charles Davidson Bell: The landing of Van Riebeeck, 1652 (1850) and Cattle boers' outspan (s.a.). The works were discussed and compared from a conventional perspective in order to establish the artworks' formal qualities, subject matter and thematic content This reading was extended by employing postcolonial theoretical principles in order to contextualise these two artworks within their Victorian ideological frameworks, social realities and authoring strategies. The extended comparative reading revealed a number of similarities and contradictions regarding the artist's depiction of Afrikaner ancestry in these two works. Postcolonial theory further facilitated a more comprehensive and dense reading of the chosen artworks, as well as of the artist's oeuvre.
Thesis (M.A. (History of Arts))--North-West University, Potchefstroom Campus, 2010.

"May 2003".
Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2004.
Bibliography: p. 301-332.
Introduction -- The significance of Miyazawa Kenji's ideals in (post) modern Japanese children's literature -- Re-presenting Miyazawa Kenji's tales: cultural coding and discourse analysis -- Tale of "Wildcat and the acorns" (Donguri to Yamaneko): self and subjectivity in the characters and haecceitas in the organic world -- Beyond dualism in "Snow crossing" (Yukiwatan) -- Kenji's "Dekunobõ ideal in "Gõshu the cellist" (Serohiki no Gõshu) and "Kenjũ's park" (Kenjũ kõenrin) -- Beyond the realm of Asura in "The twin stars" (Futago no hoshi) and "Wild pear (Yamanashi) -- The material and immaterial in "The restaurant of many orders (Chũmon no õi ryõriten) -- Conclusion.
This thesis investigates ideologies in contemporary picture books of Miyazawa Kenji's tales from the perspective of the acculturation of children in (post)modern Japan. Miyazawa Kenji (1896-1933) was writing in the early 20'" century, yet he is currently the most prolifically published literary figure in picture book form and these pictorialisations are widely promulgated to children and throughout cultural and educational institutions in Japan. Given Kenji's prominence as a devoutly Buddhist author with a unique position within Japanese literature, the thesis operates on the premise that the picture books are working, inter aha, to decode or encode the inherent Buddhist ideologies of self, identity and subjectivity and that the picture book re-versions are attempting to be 'authentic' to these. (Unlike many other works adapted for picture books, Kenji's original words are left intact.) Such selflother interactions are important to the construction of identity because childhood itself is an ideological construction premised on assumptions about what it means to be a child and what it means to 'be'; in other words, "such fictions are premised on culturally specific ideologies of identity" (McCallum, 1999: 263). Picture books, with their two forms of narrative discourse, pictures and words, are more ideologically powerful than words alone because the pictures also carry attitudes and therefore doubly inscribe both the explicit and implicit ideologies inherent in the words. -- By utilising Miyazawa Kenji's non-humanist Buddhist ideologies as a basis, this investigation compares how different artists are (re-)inscribing these ideals in the most frequently pidorialised versions of his children's tales. It is primarily an investigation into how the artistic responses re-situate or respond to ideologies of self and subjectivity inherent in a select corpus of focused pre-existing texts. Ultimately, the thesis shows how different pictures can shape story and how the implied reader is interpellated into certain subject positions and viewpoints from which to read the texts. This involves an intertextual approach which explores how art and culture interact to imply significance.
Mode of access: World Wide Web.
iv, 332, [31] p. ill. (some col.)

This thesis examines similarities in photographs made by the contemporary photographer Keith Carter and photographers active with the Farm Security Administration during the 1930s. Stylistically and in function, works by Carter and these photographers comment on social and cultural values of a region. This thesis demonstrates that many of Carter's black and white photographs continue, contribute to, and expand traditions in American documentary photography established in the 1930s. These traditions include the representation of a specific geographic place that evokes the spirit of a time and place, and the ability to communicate to a viewer certain social conditions and values related to such a place.

Photographs of the victims of Argentine state terrorism from 1972 to 1983, and most prominently those of the detained-disappeared victims of the Proceso de Reorganización Nacional dictatorship (1976-1983), have had a significant role in elucidating the demands of human rights activists since the aftermath of the Trelew Massacre in 1972. In this thesis I examine the role of photographs of victims of state terrorism in the construction of unofficial, or counter, narratives critical of those produced by two dictatorships and by elected democratic administrations in the demand for truth and justice, and in the construction of social memory. I discuss how the photographs have operated during distinct historical periods and the threads that have emerged in response to the longer timeframe of state terrorism (1972-1983), in terms of what sociologist Daniel Feierstein (2011) calls explanatory frameworks. Feierstein’s term looks at how state terrorism has been approached in distinct political periods. Those explanations include war and genocide In order to answer the questions; how do bodies of photographs articulate and at times drive political and social debates regarding state repression in Argentina, and how are they used to frame an understanding of state violence during changing political conditions?, the study embeds the use of photographs by artists and activists within an extensive historical narrative constructed from the data retrieved from a number of key publications from the 1970s and 1980s and archival documents and photographs held by human rights organisations in Argentina. The study addresses significant gaps in existing scholarship. Much existing literature focuses on the Mothers of the Plaza de Mayo’s use of photographs of the detained-disappeared victims of the Proceso de Reorganización Nacional during that dictatorship. These analyses are dominated by the application of Barthesian photographic theory that rests on photography’s capacity to simultaneously represent absence and presence (Barthes, 1981; Longoni, 2010; Tandeciarz, 2006; Taylor, 2002). That period is one significant part of a longitudinal campaign conducted in Argentina from 1972. This thesis furthers the discussion, particularly in the examination of the continued use of photographs by one of the two factions of the organisation; the Mothers of the Plaza de Mayo: Founding Line, following the organisation’s 1986 split, and by an examination of the role of a small number of photographs of victims taken in a Clandestine Detention Centre (CDC). From the Proceso the use of photographs has been informed by the imposition of limits with respect to information on the fate of victims and by the demand for information on the victims. The small number of state produced photographs or repressive photographs (Sekula, 1986) emerged into the public realm in 1984 and formed part of the records produced for all victims held in Clandestine Detention Centres. Allan Sekula’s honorific and repressive photographic poles underpins my analysis of the importance of photographs during distinct political periods and their uses in art works, the legal arena, and in demonstrations. I examine how those repressive and honorific (Sekula, 1986) and disciplinary photographs (Tandeciarz, 2006) which originated in the family realm or non repressive state agencies have underpinned the pursuit of truth and justice. Only through an extensive examination do core aspects of the uses of photographs of victims of state terrorism emerge with clarity.

Thesis (MPhil)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: This thesis explores an analysis of autobiographical illustration, as it relates directly to autobiographical devices employed in Bitterkomix and my own visual journals. The result is a practitioner-specific approach that frames my own work within a discourse of comics and consequently within the larger discourse of visual narrative. These devices are analysed in the works of artists in Bitterkomix who employ autobiography, not only as a means of effecting more intimate interactions between the reader and the narrative, but also as a form of legitimising narrative. A principal deduction that I have made is that autobiographical writing operates through the filter of memory and language translation. A divergence occurs within Bitterkomix, as well as within my own work, between the artist as himself and the artist as his autobiographical self - the two are never identical. I choose to define autobiographical illustration as an interpretative and experimental visual writing process used to affirm and negate perceived concepts of self through the filters of memory, language translation and imagination. Imagination acts as an extension of current memory from which perceived past, present and future identity constructs emanate and extend. These constructs are by no means indicative of historical fact but often appear to be so given autobiography's association as a referential text. The visual journal as an autobiographical object, like Bitterkomix, seeks to legitimise itself in 'naturalising narrative' by feigning to make it the outcome of a documentative process. It is exactly the tension between autobiography's perceived characteristic as a genre that involves 'real' experiences and its actual function as a narrative construction of identity that merits its use as a strategic device. I argue how my visual journals constitute autobiographical narrative objects and archives of autobiographical illustrative form and content. This tension is amplified in my visual journals in their association as deeply personal objects and as a result of what is perceived to be the artist's natural process. Most importantly, these narrative objects are placed within the public's gaze and are made to be read as autobiographical texts, ultimately as documents of this process.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek outobiografiese illustrasie wat direk verband hou met outobiografiese praktyke wat in Bitterkomix en in my eie visuele joernale gebruik word. Die resultaat is 'n praktisyn-spesifieke aanslag wat my eie werk binne die diskoers van stripkuns plaas, en sodoende binne die groter diskoers van visuele narratief. Hierdie praktyke word geanaliseer in die werk van Bitterkomix-kunstenaars wat outobiografie gebruik, nie net as 'n manier om meer intieme interaksies tussen die leser en die narratief te bewerkstellig nie, maar ook om die narratief legitiem te maak. Ek maak die afleiding dat outobiografiese skryfwerk deur die filters van geheue en taal werksaam is. In beide Bitterkomix en my eie werk is 'n skeiding tussen die kunstenaar self en die kunstenaar se outobiografiese self sigbaar – die twee is nooit identies nie. Ek verkies om outobiografiese illustrasie te definieer as 'n interpretatiewe en eksperimentele visuele skryfproses wat gebruik word om waargenome begrippe van die self deur die filters van geheue, vertaling en verbeelding te bevestig en te negeer. Die verbeelding dien as 'n voortsetting van huidige geheue waaruit waargenome identiteitskonstrukte van die verlede, hede en toekoms voortvloei. Hierdie konstrukte is geensins aanduidend van historiese feite nie, maar kom dikwels so voor gegewe outobiografie se assosiasie as verwysende teks. My argument is dat my visuele joernale beide outobiografiese narratiewe objekte én argiewe van outobiografiese illustratiewe vorm en inhoud is. Visuele joernale as outobiografiese objekte, soos in die geval van Bitterkomix, probeer sigself legitiem maak deur middel van 'naturaliserende narratief', deur voor te gee dat dit die resultaat van 'n dokumenterende proses is. Dit is juis die spanning tussen outobiografie se aard as 'n genre wat gegrond is op 'ware' ervaringe, en outobiografie se funksie as 'n narratiewe konstruksie, wat die gebruik daarvan as 'n strategiese middel die moeite werd maak. Hierdie spanning word in my visuele joernale verhoog deur hulle diep persoonlike aard, en as gevolg van wat gesien word as die kunstenaar se natuurlike proses. Belangriker nog is dat hierdie narratiewe objekte binne die publiek se sigveld geplaas word om as outobiografiese tekste gelees te word, en ook uiteindelik as dokumente van die proses.

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The activities that include the informational treatment are broadly studied and applied by Information Science, concerning printed documents, conventionally found in libraries and information centers. However, in relation to imagetic material, specifically the artistic-pictorial works (paintings) situated in different places, there is little literature about the theme, in spite of communicative and documentary importance these materials can offer. Considering image as a source of information and as an element that can be analyzed and represented, the conceptual framework of the area concerning this theme is presented, intending to identify methodologies of informational treatment, specific of this kind of document. In this perspective, with the purpose of evidencing the state of art in Paulista scene, four representative art institutions of the state of S?o Paulo are observed. Analysis and proposals are elaborated in order to adjust the methodologies found in literatures of the area to the national context, taking into account the economic and the social limits. Two essays with two representative works of the studied museums are made to demonstrate the possibility of appliance of the proposals. Finally, the considerations about the theme reveal the situation of documentary backwardness of Brazil in relation to the developed countries, making the position of museums and painting collection galleries clear in relation to the public: the contemplation. On the other hand, this search demonstrates real possibility of changing this framework, through the application of suggested proposals, expressing worries about the generation of knowledge to the user. This research utilized the inductive method, starting of data observer specifically in each museum with the intent of a general reality.
As atividades que compreendem o tratamento informacional s?o amplamente estudadas e aplicadas pela Ci?ncia da Informa??o no que diz respeito aos documentos impressos, convencionalmente encontrados em bibliotecas e centros de informa??o. Por?m, em rela??o aos materiais imag?ticos, especificamente as obras art?stico-pict?ricas (pinturas) situadas em ambientes diferenciados encontram-se escassas literaturas, apesar da import?ncia comunicativa e document?ria que estes materiais podem oferecer. Partindo da concep??o da imagem como fonte de informa??o e elemento pass?vel de ser analisado e representado, apresenta-se o quadro conceitual da ?rea no que concerne a esta tem?tica, intentando identificar metodologias de tratamento informacional espec?ficas desta tipologia de documento. Nesta perspectiva, com o prop?sito de evidenciar o estado da arte em cen?rio paulista, recorre-se ? observa??o de quatro institui??es de arte representativas do estado de S?o Paulo. An?lises e propostas s?o elaboradas a fim de adequar as metodologias encontradas na literatura da ?rea ao contexto nacional, considerando os limites econ?micos e sociais. Para demonstrar a possibilidade de aplica??o destas propostas, s?o realizados dois ensaios com duas obras representativas dos museus estudados. Por fim, as considera??es revelam a situa??o de atraso document?rio do Brasil em rela??o aos pa?ses desenvolvidos, tornando clara a posi??o dos museus e pinacotecas em rela??o ao p?blico: a contempla??o. Em contrapartida, esta pesquisa demonstra clara possibilidade de modifica??o deste quadro, atrav?s da aplica??o das propostas sugeridas, manifestando preocupa??es quanto ? gera??o de conhecimentos para o usu?rio. Utilizou-se para esta pesquisa o m?todo indutivo, partindo-se de dados observados especificamente em cada museu com o intuito de se chegar a uma realidade gen?rica.

This research examines irony in photography from creative and theoretical perspectives. This body of work uses an interdisciplinary theoretical framework, drawing from literary and photographic irony, in conjunction with a practice-led research methodology. The creative project, Clint’s Last Road Trip (2014), traces the 1000 kilometre journey that my brother’s body made from his death until his cremation. It depicts the behind-the-scenes of the Western Australian regional death industry with an ironic autobiographical narrative voice inspired by that of Meursault in Albert Camus’ The Outsider (1942). The photobook that results uses the drama, the text and techniques in representation and sequencing to create an ironic tone in an otherwise sentimental and nostalgic creative work. As such, the theoretical component of this research explores Camus’ use of irony in his writings. It shows the various modes Camus works within for structuring and conveying irony, specifically through dramatic plot structure, character dialogue and writing techniques. A major outcome of this research has been the contribution to the study of irony in photography. I argue that different literary modes (dramatic irony, ironic dialogue and ironies of technique) can also be understood photographically. The exegesis and creative component concentrate mainly on documentary style photography to illustrate this position. Photographic dramatic irony occurs through revelation in multiimage sequences or through recognition in the circumstantial convergence of incongruous elements in the single image. I have also found that representational irony operates by subverting the reader’s expectations of how a particular subject should be depicted, considering all manner of photographic techniques, including lighting, colour, vantage point and lens choice. Similarly, I have observed that sequential ironies occur when a series of photographs exhibit a formal photographic language which is established and subsequently subverted. Developing Rose’s (2011) and Muecke’s (1969 & 1970) definitions of irony, the exegesis concludes that both literary and photographic irony are concerned with two messages that are constructed by contrasting outcomes (dramatic irony), statements (ironic dialogue) or formal aspects (representational or sequential techniques). Much of the irony that exists in photography takes form after the shutter has been clicked, in the layout process (including the choice to use text), or as the photographer is deciding on a camera kit. As such, it is possible to incorporate irony into any phase of photographic production.

The pictorial language of the Swedish children is characterized by the idea that a “good” drawing should be in the right perspective and as photographically realistic as possible. This is a study about the pictorial language of the children in the Gambia and Senegal. Is the pictorial language different with the children living in a culture that has a stronger tradition of spoken word and visual communication than the children living in the western civilisation?

With the help of different theories concerning children’s creating of art, this study is trying to sort out the differences. It is also explaining about different theories when it comes to development stages in the children’s drawings and how the culture, tradition and conventions influence both the pictorial grammar and the ideal image.

The study is based on drawings collected in schools in The Gambia and Senegal and the drawings are analysed with the help of theories in Karin Aronssons “Barns världar – barns bilder”.

The study is also based on observations and interviews with children and teachers in a school in the Gambia.

"Submitted by Simon Charles Nepean Pockley ... as a partial requirement for Degree of Doctor of Philosophy by Project 18th July, 1998". "WARNING culturally sensitive material". Available [on line] http://www.cinemedia.net/FOD/FOD0043.html Archived at ANL http://purl.nla.gov.au/nla/pandora/FOD http Text, graphics, sound and animation The Flight of ducks is a multi-purpose on-line work built around a collection of archival material from a camel expedition into the central Australian frontier in 1933. This journey was revisited in 1976 and retraced in 1996."- leaf 1.

In an attempt to improve the information parents provide on screening measures for autism spectrum disorders (ASD), Delgado, Venezia, and Mundy (2004) incorporated pictures next to each item depicting the behaviours parents were asked to rate on a new tool called the Pictorial Infant Communication Scale (PICS). The psychometric properties of the PICS appear promising, yet a question only version of the PICS without pictures has not yet been examined against the PICS with pictures. Understanding the role pictures play to clarify constructs for parents on screening tools may result in a more time and resource efficient screening process. A series of analyses were conducted to examine differences between the two versions of the PICS questionnaire, the PICS version with pictures (PPICS) and the PICS version without pictures (NPICS). The participants included 66 typically developing infants and one parent per child. The PPICS was administered to one group and the NPICS to the other. When the children were 12 months of age, parents completed the PICS and the MacArthur Communication Development Inventories - Short Form (MCDI), a questionnaire that measures language development and the children were assessed with the Early Social Communication Scale (ESCS) to obtain a clinical measurement of the child's joint attention skills. When the children were 18 months of age the PICS, MCDI and ESCS were administered again, along with the Expressive and Receptive Language Scales of the Mullen Scales of Early Learning, a standardized measure of language development. When the children were 24 months of age the MCDI and Mullen were re-administered. Cross-sectional and longitudinal correlations between scores on the PICS, MCDI, ESCS and Mullen were assessed for both groups. The overall findings revealed the PPICS, as compared to the NPICS, at 12 months of age was more highly correlated to the ESCS. Both the PPICS and the NPICS did not correlate to language development. However, there
Dans le but d'améliorer les renseignements que les parents fournissent lorsqu'ils sont soumis aux outils de mesure des examens de dépistage des troubles du spectre autistique (TSA), Delgado, Venezia, et Mundy (2004) ont intégré des images à côté de chaque point décrivant les comportements que les parents doivent évaluer, et créé un nouvel outil appelé le Pictorial Infant Communication Scale (PICS) (échelle illustrée : communication de l'enfant). Les propriétés psychométriques de PICS semblent prometteuses. Pourtant une version avec seulement des questions de PICS, sans images, n'a pas encore été comparée au PICS sans images. Un procédé de dépistage plus efficace en termes de temps et de ressource permettra peut-être de comprendre le rôle que jouent les images dans la clarification des constructions destinées aux parents, soumis aux outils de dépistage. Une série d'analyses a été conduite pour examiner les différences entre les deux versions du questionnaire PICS, la version de PICS avec images (PPICS) et la version de PICS sans image (NPICS). Ont participé : 66 enfants au développement typique et un parent pour chaque enfant. Un groupe a été soumis au PPICS et un autre groupe au NPICS. Au 12 mois de l'enfant, les parents ont complété le PICS et les Inventaires Macarthur du Développement de la Communication- Forum court (IMDC), un questionnaire qui mesure le développement du langage et les enfants ont été évalués avec l'Echelle de Communication Sociale Précoce (ECSP), afin d'obtenir une mesure clinique des capacités d'attention conjointe de l'enfant. Au 18 mois de l'enfant, on a de nouveau administré les PICS, IMDC et ECSP, ainsi que les Echelles d'évaluation du langage expressif et réceptif des Echelles Mullen d'apprentissage précoce, un outil de mesure standardisé du développement du langage. Au 24 mois de l'enfant on a de nouveau administré le IMDC et le Mullen. Les corrélations longitudinales et trans-sec

In two studies, the author attempts to develop a general symbol theoretical approach to knowledge representation. The first study, Modeling change - the frame problem, critically examines the - so far unsuccessful - attempts to solve the notorious frame problem. By discussing and analyzing a number of related problems - the prediction problem, the revision problem, the qualification problem, and the book-keeping problem - the frame problem is distinguished as the problem of finding a representational form permitting a changing, complex world to be efficiently and adequately represented. This form, it is argued, is dictated by the metaphysics of the problem world, the fundamental form of the symbol system we humans use in rightly characterizing the world. In the second study, Pictures and words, the symbol theoretical approach is made more explicit. The subject Is the distinction between pictorial (non-linguistic, non-propositional, analogical, "direct") representation and verbal (linguistic, propositional) representation, and the further implications of this distinction. The study focuses on pictorial representation, which has received little attention compared to verbal representation. Observations, ideas, and theories in AI, cognitive psychology, and philosophy are critically examined. The general conclusion is that there is as yet no cogent and mature theory of pictorial representation that gives good support to computer applications. The philosophical symbol theory of Nelson Goodman is found to be the most thoroughly developed and most congenial with the aims and methods of AI. Goodman's theory of pictorial representation, however, in effect excludes computers from the use of pictures. In the final chapter, an attempt is made to develop Goodman's analysis of pictures further turning it into a theory useful to AI. The theory outlined builds on Goodman's concept of exemplification. The key idea is that a picture is a model of a description that has the depicted object as its standard model. One consequence Is that pictorial and verbal forms of representation are seen less as competing alternatives than as complementary forms of representation mutually supporting and depending on each other.
digitalisering@umu

"Paul Strand and Cesare Zavattini's 'Un paese' (1955): the art, synergy and politics of a photobook" is a study of the genesis, production and reception of the photobook 'Un paese', created in a collaboration between the American photographer Paul Strand and the Italian neorealist screenwriter Cesare Zavattini. Set in Luzzara, a small town in northern Italy, Strand portrayed the community in a series of images of the landscape, the townsfolk and still lives. The thesis reconstructs the reasoning behind Strand's decision to abandon documentary filmmaking for the creation of photobooks. Strand and the critic Elizabeth McCausland are shown to have specifically conceptualised the photobook as a hybrid form capable of communicating a multifaceted political message through a narrative synthesis of text and image, utilising strategies drawn from documentary film, the photomural and mass media publications. It is shown how Strand and his collaborators combined image and text placed within a deliberately spare graphic design and layout, to emphasise the solidity and importance of the subject matter, and to privilege the communicatory capacity of the photograph. In addition, this thesis reorients the study of Strand from concentration on his early individual fine prints to the collaboratively created political artworks of his later career. It is argued that Strand's production of photobooks is directly related to his status as a Marxist American expatriate who left the United States to avoid blacklisting at the end of the 1940s. By carefully choosing the sites where he worked, utilising realist photographic strategies developed earlier in his career, and collaborating with sympathetic writers, Strand's photobooks present the idealised image of communitarian, primarily agrarian life. 'Un paese' is shown in this thesis to typify Strand's working method; to visually and materially embody his creative and political beliefs; and to exemplify the intermedial collaboration required by the photobook.

Cette thèse de nature interdisciplinaire a pour objet d’identifier, de décrire et d’analyser la diversité des interactions entre la littérature et les arts plastiques à travers l’œuvre et la figure de l’auteur belge francophone Maurice Maeterlinck (1862-1949).

Le propos présente une structure symétrique. Celle-ci va de l’impact de l’image sur l’écriture à l’impact des textes sur la création plastique. La référence littéraire à l’image constitue la première phase de l’enquête. Celle-ci aboutit à la référence plastique à la littérature en passant préalablement par les collaborations effectives entre l’auteur et les artistes sur le plan de la théâtralité et sur celui de l’édition illustrée.

Un dépouillement des archives conservées tant en Belgique qu’à l’étranger a permis d’inscrire la lecture des œuvres dans le cadre d’une trame factuelle précise et fondée en termes d’exactitude historique.

Première partie. De l’image au texte. Le musée imaginaire de Maurice Maeterlinck

C’est en se référant à Bruegel l’Ancien que Maeterlinck publie le Massacre des Innocents en 1885. Ce conte de jeunesse, stratégiquement signé « Mooris » Maeterlinck, se revendique clairement d’une origine flamande à connotation bruegelienne. Régulièrement réédité du vivant de l’auteur, il a contribué à fixer les traits de Maeterlinck en fils des peintres flamands. Pour les critiques d’époque, l’œuvre de Maeterlinck trouverait son originalité dans la peinture flamande dont elle est la fille. Campant Maeterlinck en auteur « germanique » par son origine flamande, certains spécialistes s’appuient encore sur ce postulat à caractère tainien. D’autres commentateurs ont pris le parti de ne pas prolonger ce point de vue, mais plutôt d’en interroger les causes profondes. C’est à Paul Aron que revient le mérite d’avoir fait apparaître, dans un article fondateur, le caractère stratégique de cette référence à la peinture flamande dans les lettres belges .Il convenait d’élargir au-delà du seul conte de 1886 l’enquête sur la réception maeterlinckienne de la peinture flamande. On s’aperçoit alors que le Massacre des Innocents est loin d’être le seul Bruegel l’Ancien que Maeterlinck comptait exploiter à des fins littéraires. On s’aperçoit également que le peintre de la Parabole des aveugles est loin d’être le seul peintre flamand auquel Maeterlinck se réfère. C’est pourquoi nous avons entrepris de définir précisément, et de façon exhaustive, les limites du champ maeterlinckien en matière de peinture ancienne. Pour ce faire, nous avons inventorié l’ensemble des occurrences plastiques clairement identifiables dans les archives (lettres et carnets), dans les textes publiés ainsi que dans les interviews. Ce travail de compilation a révélé en effet que la réception maeterlinckienne de la peinture dépasse largement le cadre de l’art flamand des XVe et XVIe siècles. Renaissance italienne, Préraphaélisme, Réalisme et Symbolisme sont les principaux mouvements picturaux qui composent les salles du musée imaginaire de Maeterlinck.

Deuxième partie. Texte et image I. Les décors de l’indicible. Maeterlinck et la scénographie

Cette expérience de l’image, Maeterlinck va la mettre à profit lorsque ses drames seront appelés à connaître l’épreuve de la scène. Car dès lors qu’elle est transposée du livre à l’espace de jeu, l’œuvre dramatique cesse d’être exclusivement littéraire. Elle est alors faite de lumière, de corps en mouvement, de matière… Il est pour le moins paradoxal que l’apparition de ce répertoire coïncide avec une méfiance vis à vis du spectacle de théâtre. Très vite Maeterlinck cherche à définir les modalités de la mise en scène. Au fil de quelques articles, il élabore une pensée théâtrale qui participe pleinement au débat ouvert sur la question dans les revues littéraires par des auteurs comme Stéphane Mallarmé, Albert Mockel, ou Pierre Quillard, pour ne citer que quelques noms. Le décor est un point central de ce débat qui consacre l’émergence de la fonction moderne accordée à l’aspect visuel d’un spectacle de théâtre. Ce n’est pas pour rien si la conception des décors est désormais confiée non plus à des décorateurs de métier, mais à des peintres. L’expression de « tableau vivant » dont use Maeterlinck pour qualifier la métamorphose du texte par la scène indique bien le lien qui se tisse, selon lui, entre image scénique et peinture. Certaines œuvres, notamment préraphaélites, servent d’ailleurs de source pour la conception de scènes, de décors et de costumes. Maeterlinck ne s’est pas privé de donner son opinion personnelle sur le travail de préparation de mises en scène, notamment dans les spectacles de Paul Fort, de Lugné-Poe et de Constantin Stanislavski.

Troisième partie. Texte et image II. Des cimaises en papier. Maeterlinck et l’édition illustrée

Il est significatif que le renouvellement de la théâtralité soit exactement contemporain d’une recherche sur le livre comme objet et sur la page comme support. On pourrait dire que la scénographie est à la scène ce que l’illustration est à la page. La critique maeterlinckienne ignore tout, ou à peu près, de la position prise par Maeterlinck à l’égard du support de la littérature. Il faut bien admettre que le poète des Serres chaudes n’a pas développé sur le livre illustré une pensée qui soit comparable à ce qu’il a fait pour le théâtre. De ce fait, le dépouillement des archives s’est avéré indispensable. Il a permis de mettre à jour la place prise par Maeterlinck dans l’élaboration de l’aspect plastique de l’édition de ses textes.

Sensible à ce qui, dans le langage, échappe à l’emprise de la parole au point de mettre en œuvre une dramaturgie fondée sur le silence, Maeterlinck s’est très tôt intéressé aux formes de communication non verbale en jeu au sein d’une production littéraire. Cet intérêt répond à une volonté d’émanciper l’écriture du logocentrisme de la culture française dont Maeterlinck a livré une critique radicale dans un carnet de note que l’historiographie a retenu sous le nom de Cahier bleu. L’homme de lettres s’est ainsi interrogé dès le milieu des années 1880 sur les effets de sens qui peuvent survenir de la part visuelle inhérente à l’édition d’un texte. L’émergence du symbolisme correspond ainsi à une redéfinition du support même de la littérature. Par l’encre qui lui donne corps et par la typographie qui trace les limites, le mot apparaît à Maeterlinck comme une forme dont la page-image magnifie la valeur plastique. Fort se s’être essayé, dans le secret des archives, à l’écriture d’une poésie visuelle enrichie par un réseau de lignes dont le tracé répondrait au contenu du texte, Maeterlinck va développer une esthétique de la couverture qu’il va appliquer dans le cadre de l’édition originale de ses premiers volumes. Dans ce contexte d’exaltation des données plastiques du livre, l’image va constituer un paramètre majeur. Résultant d’une collaboration étroite avec des illustrateurs qui sont d’abord peintre (Charles Doudelet, Auguste Donnay) ou sculpteur (George Minne), les éditions originales illustrées publiées par Maeterlinck apparaissent aujourd’hui comme des événements marquants dans l’histoire du livre en Belgique. Dépouillée des attributions descriptives qui avaient assimilé l’image au commentaire visuel redondant du texte, l’illustration est ici conçue à rebours des mots auxquels elle renvoie. Le tournant du siècle constitue une jonction dans le rapport de Maeterlinck à l’édition illustrée. Participant pleinement au phénomène d’internationalisation des lettres belges autour de 1900, Maeterlinck privilégie l’édition courante et réserve à la librairie de luxe et aux sociétés de bibliophiles le soin de rééditer dans des matériaux somptueux les versions illustrées de ses textes. Le Théâtre publié par Deman en 1902 avec des frontispices d’Auguste Donnay constitue la première expression de ce goût marqué pour les formes les plus raffinées du livre.

Quatrième partie. Du texte à l’image. La réception de l’œuvre de Maeterlinck dans les milieux artistiques

De telles interactions n’ont pu avoir lieu sans l’existence de facteurs externes de type socio-économique. Elles se déroulent en effet dans des lieux (les salons, par exemple) et des institutions (comme les maisons d’édition) mis sur pied par une société performante économiquement et qui, grâce à la dynamique culturelle d’une phalange d’intellectuels esthètes, peut désormais se donner les moyens nécessaires à l’affirmation de la Belgique comme scène active dans le courant d’émulation esthétique et intellectuelle qui traverse l’Europe de la fin du XIXe siècle. La critique s’est attachée au poète de Serres chaudes comme un homme sinon isolé dans une tour d’ivoire, à tout le moins retiré dans une campagne lointaine. Généralement présenté comme l’arpenteur des sommets de la mystique flamande, des mystères préraphaélites, des romantiques allemands et de Shakespeare, Maeterlinck aurait vécu en dehors des contingences de son temps. L’auteur a lui-même contribué à construire ce mythe de l’écrivain solitaire et du penseur reclus. Le dépouillement de ses archives montre à l’évidence qu’il faut nuancer cette lecture dépourvue de finesse. Cette réévaluation de la place de l’homme de lettres dans la société pose la question de la réception de l’œuvre, dans le cas qui nous occupe, par les milieux artistiques. La dernière partie de la thèse inverse donc la question posée dans la première. Si l’incidence de l’iconographie ancienne sur la production littéraire a fait l’objet de commentaires stimulants, inversement, l’analyse de l’impact de la littérature sur la création plastique demeure réduite à quelques cas célèbres comme les peintres Nabis ou Fernand Khnopff. Pour développer cette problématique, il s’est avéré indispensable d’aborder la visibilité de l’œuvre en fonction des réseaux fréquentés par l’homme de lettres. La quatrième et dernière partie tente de répondre à la question de savoir dans quelle mesure le réseau relationnel de Maeterlinck et les voies de diffusion empruntées par son œuvre ont induit ou pas la création plastique. De ce point de vue, la réception de Maeterlinck en Allemagne et en Autriche constitue un cas d’école. Etrangère à toute implication directe de l’auteur, la réception artistique de l’œuvre de Maeterlinck forme un corpus d’œuvres que nous avons étudié en le superposant à l’architecture interne de la bibliographie.

Projeté au devant de la scène par l’article fameux d’Octave Mirbeau, Maeterlinck rechigne les apparitions publiques. Si l’auteur est pleinement inscrit dans les lieux de sociabilité de la vie littéraire, il reste que l’homme fuit les interviews et délègue à l’image le soin d’assurer la visibilité de sa personne :les portraits de Maeterlinck se multiplient dans les revues au point de former un corpus significatif que la critique maeterlinckienne n’a jusqu’ici pas ou peu abordé. Conscient de l’impact stratégique de l’image qu’un écrivain donne de lui, Maeterlinck souscrit au rituel de la pose. S’il est difficile d’apporter des précisions sur la part prise par l’écrivain dans la composition des portraits, il n’en demeure pas moins que l’homme se met en scène à rebours d’une prise de vue instantanée. Face à l’objectif, il prépare méthodiquement la transformation de sa personne en image. A la césure du siècle, plusieurs pictorialistes américains (Holland Day, Coburn et Steichen) ont conçu des portraits de Maeterlinck. C’est par ce biais que l’auteur belge a été amené à rédiger un texte sur la photographie.

Destiné au numéro inaugural de la fameuse revue Camera Work animée par Alfred Stieglitz, ces pages soulignent le caractère esthétique dont les pictorialistes ont teinté la photographie. Pour Maeterlinck, la photographie relève du domaine de la création artistique puisqu’il n’est désormais plus tant question de fixer les apparences du réel que d’en livrer une image dominée par la pensée et le savoir-faire. Gagné par la foi recouvrée dans les forces de la nature typique de l’optimisme qui touche la littérature au début du XXe siècle, Maeterlinck souligne que l’acte photographique est lié à l’intervention des « forces naturelles qui remplissent la terre et le ciel ». Et l’homme de lettres de préciser :« Voilà bien des années que le soleil nous avait révélé qu’il pouvait reproduire les traits des êtres et des choses beaucoup plus vite que nos crayons et nos fusains. Mais il paraissait n’opérer que pour son propre compte et sa propre satisfaction. L’homme devait se borner à constater et à fixer le travail de la lumière impersonnelle et indifférente ». L’épiphanie des ombres que cultive la photographie pictorialiste passe par un dialogue avec la lumière dont Maeterlinck fait une composante centrale de son théâtre au point de l’incarner, dans L’Oiseau bleu qu’il publie en 1909, sous la forme d’un personnage clé opposé significativement à la figure de la Nuit.

Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished

Ce travail de thèse porte sur la question de l’existence de représentations, sous forme picturale (dessins, peintures…), exécutées par certains sujets pendant leur internement dans les camps de concentration nazis, dans un contexte de traumatisme extrême, considéré comme de l’ordre de l’irreprésentable. A partir d’une étude de cas de trois sujets dessinateurs/trices, et de leur production picturale, abordée selon la méthode de la psychanalyse appliquée au sens d’André Green, une réflexion peut s’amorcer autour de l’hypothèse d’une autoconservation, différenciée, physique et psychique. Afin de la mener à bien sont résumées les représentations historiques après-coup, puis cernées la problématique du traumatisme extrême dans les camps de concentration et la création d’un point de vue psychanalytique avec des auteurs tels que Freud, Férenczi, Winnicott, Roussillon, Green, Bertrand, Zaltzman, Cerf de Duzeele, Waintrater et Cupa. Les résultats amènent à constater l’existence chez ces sujets d’une aire intermédiaire qui leur a permis de conserver une activité représentationnelle particulière. Celle-ci constitue un travail de représentation de la surréalité déréalisante du camp, principalement utilisé dans une autoconservation psychique. Inscrit dans un fil de culture, de filiation et d’historicisation, il participe d’un travail de liaison intrapsychique et intersubjectif ainsi que d’une lutte contre la désintrication pulsionnelle. Des fantasmes omnipotents d’éternité sous-jacents aux dessins vont de pair avec, dans l’activité, une coexcitation libidinale qui ouvre sur la question d’une éventuelle sublimation
This thesis begins with noticing that pictorial representations (e.g. drawings or paintings etc.) in nazi concentration camps have been made by some subjets while imprisonment, in a massive traumatism, usually thinked as a non-representable situation. From a three drawers and drawings study, imcompletely by Andre Green’s applied psychoanalysis method, reflexion can occur with the hypothesis of a dissociated physical and psychic self-preservation in that context. To achieve this goal, historical nazi camps differed representations, massive traumatism and creation, are detailed in a psychoanalytic viewpoint with Freud, Ferenczi, Winnicott, Roussillon, Green, Bertrand, Zaltzman, Cerf de Duzeele, Waintrater and Cupa as main authors. Results show the existence of an intermediate space that enabled these subjets to keep a specific representational activity. It’s mainly a representation work of the camp overreality in a psychic self-preservation way. This work is an internal and external connection work, in a culture and filiation link, that struggles against drive defusion. Eternity and omnipotent fantasy, libidinal coexcitation underly drawings and pictorial activity. They interrogate about a possible sublimation

碩士
吳鳳科技大學
應用數位媒體研究所
104
Dong-Po Su（in Sung Dynasty）once praised Wei Wang's（in Tang Dynasty） works of poetry and painting：“ there is painting in poetry just as there is poetry in painting.＂He also said：“ Both poems and paintings are originally the same. They are natural, neat and clean.＂Such a concept, is also in our cultural inheritance. Words & images coexist in Chinese Literati Painting. Describing the external environment and internal thoughts, feelings through words are also normal in writing. Today, in many of the artist's creations, combining Visual art and writing is also a common phenomenon, writers still good at words to describe the scenes and subjective emotion and cognition. From ancient times to the present, there are various creative forms. Even with traditional forms of painting pencils, or as times change and technology advances, using digital equipment to create, creating illusion by the image, still attracting all eyes focused. Spirits of literature and visual can interact each other. No matter what form of artistic creations, large proportion of inspirations come from real life. Because what to express are common human emotions, various types of artistic creation can break through time and space constraints, affecting different groups of viewers at all times. so that the people can resonate. “ Pictures & words coexisting”allows creators to express thoughts and feelings more clear, also let viewers to extract more information from the work, resulting in more recognition. Creative concept and motivation of this study, come from Chinese traditional poetry and paintings, bookmarks, poetry cards, combining Visual art and literature, through today's technology tools （digital camera, computer） and the combined beauty of words. The personal creation exhibition “ Pictorial Thoughts and Poetic Emotions” was held during May 8th to 24th, 2016 , in Wu-Feng University. I expect through application digital media technology, combined Literati Painting and the modern book card of life application form, together with words creation, can interpret the concept of “ there is painting in poetry just as there is poetry in painting”, and bring viewer more deep feelings.

Print materials for audiences with low levels of literacy usually include illustrations. This is particularly true of health education materials designed to raise awareness of serious diseases like the Human Immuno-deficiency Virus/Acquired Immune Deficiency Syndrome (HIV/AIDS) and Tuberculosis (TB). When people cannot read well, it is often assumed illustrations will communicate information more clearly than written text. Theories of visual communication, however, suggest that visuals are ambiguous and more likely to be misinterpreted than written text, especially by under-educated viewers in environments where visuals and print materials are scarce. Moreover, the traditional guidelines on illustrating educational materials for adults with limited literacy are dated and often anecdotal. Due to South Africa’s high HIV/AIDS and TB infection rates, effective health education is important. The lack of basic literacy skills among millions of adults presents a challenge. It is important to understand the communicative potential and limitations of illustrations in health education materials in order to maximise their success. This qualitative research analyses how visual meaning is structured in illustrations from health education print materials from a semiotic perspective. A mixed method approach known as hybridised semiotics (Penn, 2000) is used, which in this case combines the semiotic analysis of the illustrations with data collected through interviews. Audience interpretations of the illustrations are contrasted with the producer’s intended meanings. 23 individual interviews were conducted with Zulu-speaking adult participants from ABET Level 1 Zulu literacy classes in two rural and two urban literacy centres in KwaZulu-Natal. The research instrument for the interviews included illustrations in different illustrating styles and with different approaches to content. The content of the illustrations included HIV/AIDS; the digestive system, safety for caregivers, and TB. The illustration styles included artistic techniques, levels of stylization, pictorial depth and background detail. The participants frequently misinterpreted the illustrations, or were able to describe the basic appearance of what was depicted without interpreting the complexities of the intended messages. Reported education levels seemed to influence participants’ abilities to interpret pictures, but not as significantly as expected. Findings suggest that rural participants were more likely to misinterpret illustrations containing symbols and unfamiliar objects, and tended to focus on describing surface details. Even though urban participants were more likely to discuss the connotations of illustrations, they often misinterpreted the intended message. Previous background knowledge and experience of the subject matter of the illustrations seemed to be the factor that enabled participants to infer the intended meanings of illustrations. This study demonstrates the use of a semiotic approach to analysing illustrations, which may help to predict and avoid sources of confusion for audiences with low literacy. It also confirms that certain guidelines remain relevant while others do not, and provides specific recommendations on how to enhance the effectiveness of visual communication in this context. Illustrations have many beneficial roles, and remain essential components of reading material for audiences with low levels of literacy. It is therefore important to understand their complexity, and the reasons why they may be misinterpreted, so that their educational potential can be maximised.
Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2014.

M.Tech.
The landscape of South Africa has changed dramatically since early colonisation. Even so, it appears that the conventions employed in portraying landscapes have not; colonial landscape imagery that helped promote European immigration to this country during the Nineteenth Century remains remarkably similar to conventions employed in contemporary landscape representation used to market game reserves. In this dissertation, it is argued that colonial landscape imagery facilitates and supports a view of nature as an „authentic‟ wilderness available for expropriation. It is proposed that wildlife reserves, both in their intent and realisation, present a simulacrum of wilderness, also available for the consumer and promoted by advertising imagery. It is further argued that it remains the imperative commodification of nature which informs the pictorial conventions adopted in both cases. Thus, the myths inherent in both colonial representations of landscape and the utopian vision proffered in game reserve marketing are challenged. This research project employs discourse analysis that is framed in a qualitative, interpretative paradigm. Colonial imagery is examined in terms of post-colonialist critique of imperial landscape representation, while a post-modern approach is used to investigate contemporary imagery. This research project demonstrates that landscape imagery used to promote a „natural‟ wildlife site, is persistently presented according to prescribed canon as a functioning system regardless of its actual condition. Futhermore, the research project leads to an alternative view of nature, presented in my practical work, that is cognisant of the problems experienced in reality.

Indigenous communities, like the Bushmen of the Southern Kalahari, always attract visitors who 'go there' to experience the 'life out there'. Travelling in their 4x4s, these visitors also bring cameras and take pictures of their interactions with subject communities as evidence of 'having been there'. For academics and journalists, these pictures are meant to illustrate their presentations of 'what is actually there'. Both types of photographs are known as ethnographic photography. This study. asks and attempts to answer the question: how do we study ethnographic photography? As much as photographers attempt to portray their subjects realistically, their representations are often contested and criticised as entrenching subjugation, displacement and dehumanisation of indigenous peoples through 'visual metaphors' and other significatory regimes. This discussion reconsiders the concept of imaging others, by offering an analytical semiotic comparison between Paul Weinberg's anchored and published photographic texts of the Bushmen, on the one hand, and Sian Dunn's unpublished, inactive texts of the #tKhomani Bushmen, on the other. The discussion is an attempt to understand documentary photographers, processes of producing of images, the contexts in which they are produced and how the communities that are represented make sense of them. Concerns with the objectivity of representation go beyond the taking and consuming pictures of other cultures. This study is, therefore, grounded in cultural, social and ideological factors that shape the production and consumption ofphotographic representations of and from other cultures.
Thesis (M.A.)-University of Natal, Durban, 2002.

For fifty-seven years the National Film Board of Canada (NFB) has been interpreting Canada to Canadians through documentary films which have simultaneously reflected and shaped the identity of this country and its peoples. This study is concerned with the NFB's documentary film portrayal of Native Canadians. Over the half century that the NFB has been making films about Canada's indigenous peoples their portrayal has undergone much change. Comparisons are made in this study between three of the earliest examples and three of the most recent examples of such films, with regard to attitude, voice, and technique. The effect these choices have upon representation is also discussed. Changes in technical, artistic, and philosophical aspects of the documentary film genre have also had a significant effect upon representation of Native peoples over the past fifty years, and are considered as well. Educationally, the study considers issues of manipulation of knowledge and hidden curricula. Playing an increasingly important role in education today, the media is a powerful tool both for teaching and for the inculcation of social norms. Suggestions are made as to ways in which this medium can best be used in the classroom.

This thesis examines the photographs of terminal grain elevators produced by John Vanderpant, a successful Vancouver commercial photographer who also produced images that were consciously positioned within a high art discourse. Vanderpant turned to the grain elevator as subject matter in response to the remarks of an unidentified English critic who, while praising the images in a 1925 London exhibition of Vanderpant's work, noted they lacked an identifiably Canadian character. In taking up the grain elevator, Vanderpant positioned his work within the national visual culture constructed around the work of the Group of Seven. He also tapped into symbolic meanings which resonated around the elevator's modern functional architecture, an architecture which has been held up by Le Corbusier as a specifically North American expression of the engineer's rigor and purpose. In the midst of the prosperity enjoyed by Vancouver's urban bourgeoisie during the mid-1920s, the terminal elevators operating on Burrard Inlet embodied the promise of abundance held out by an increasingly centralized and modernized resource economy. Vanderpant's earliest elevator photographs employed the stylistics of Pictorialism, a genre of photography that relied on soft focus and hazy atmospheric effect to suggest a painterly surface. In response to the tension between his formal vocabulary and the modernity of his subject matter, Vanderpant rejected Pictorialism as a mode of representation that "travelled by horsecart midst the progress of motor power on wheel and wing." Throughout the 1930s he worked within a modernist idiom that emphasized what were seen to be the intrinsic properties of photographic technology: sharp focus, clearly delineated form, and tilted perspective. His modernist elevator photographs verged on geometric abstraction, in an attempt to penetrate "superficial appearance" and reveal the underlying "strength and sublime simplicity" of the elevator's structure. Combining an interest in mysticism and a Kantian understanding of aesthetic experience, Vanderpant accessed a version of modernism that held onto an optimistic, Utopian vision in the face of the social fragmentation of the Depression. My thesis addresses the position of Vanderpant's elevator photographs, and the shift in his aesthetic vocabulary marked out by these works, in relation to the construction of a national movement in Canadian visual art and an historical context in which the state and capital were employing specific measures to unify and transform a fractured social body. I argue that, within this context, Vanderpant's project was fragile and contradictory. Despite the antimaterialism he articulated as the Depression advanced, the ideological force of Vanderpant's Utopian vision would seem to have been aligned with the forms of modern scientific discipline, such as Taylorism, that promised Utopia through success in production while naturalizing dominative social relations.

Dissertation submitted in partial fulfilment of the requirements for M.Tech.: Graphic Design, Durban University of Technology, 2011.
Social issues are a very real problem in South Africa. Violent protests in poorer communities around South Africa indicate a need to better understand negative social realities impacting on communities. This research examined the sociocultural context of Wentworth in Durban, KwaZulu-Natal, South Africa, as shown on the map on page x. The focus of this study was the social and community realities; and the significance of photography in the context of examining these. The aim was to use photography as a research tool as well as to document the data collected. From the data a 118-page book, as shown on page viii, was conceptualised, which captures this community’s social context. Further, the study questioned the use of design practice to support social change. Because of the distinctly “Coloured” nature of Wentworth, literature was sought for the definition, history, current dynamics and complexities of Coloured identity. The literature review highlighted ethics and the strategies that should be adhered to when considering the social nature of photography. For this inquiry a qualitative analysis was conducted using the Grounded Theory method. A collaborative, or participatory research approach, was used for data collection, by working closely with families and health, church and non-governmental groups in Wentworth. Qualitative data collection methods used to gather primary data were photographic documentation and interviews. This research produced a number of key findings regarding socio-cultural problems plaguing the community. Findings deemed photography a rich tool for researching the social and for accurately recording everyday life. The main conclusions drawn from this research were that in-depth studies be conducted on individual problems, utilising greater manpower and funding. In addition, that further research and documentation be undertaken in the community.

This thesis is the outcome of an interdisciplinary process. It was approached and developed within an art practice that is premised on the use and understanding of pictorial embroidery. The investigation into the emergence of Berlin work that is presented here cannot be distinguished from my artwork. The thesis is therefore an exercise in practice- led research and research-based art practice that operates as a genealogy. The method of genealogy allows me to advance knowledge through the investigation of a specific cultural practice that is located in the interplay of various historical forces and that defines needlepoint as an object of discourse. Berlin work emerged in Europe in the early nineteenth century. My research demonstrates that it was a form of product innovation that was associated with enlightenment notions of scientific and cultural progress, and was promoted as an art form modeled on painting. As Berlin work was gradually displaced by modernist conceptions of art, it began its career as a form of “submerged knowledge,” considered a “mistaken” art form devoid of aesthetic interest. By focusing on the English context, I offer an account of needlepainting, enlightenment practices of copying, the development of an industrial aesthetic, and the making of the modern amateur as constituent elements of Berlin work. I do so as a means to understand Berlin work in its moment of emergence and to consider what aspects were eclipsed when embroidery began to be thought of in terms of formalism and medium specificity. The methods used in this project offer a novel interpretation of needlepoint. By considering how it is that disciplinary forces have shaped needlepoint as a submerged practice, I provide an unprecedented view of it as more than meets the eye in the contemporary conjuncture. This written thesis accompanies the creation of a micro- archive of research-related materials, artefacts and artworks. Together, the written thesis and the micro-archive are a means for me to develop an art practice that incorporates a reflexive critique of its own making and of the disciplinary regimes of contemporary art.

碩士
國立臺灣藝術大學
應用媒體藝術研究所
98
It seems essential for a contemporary society to explore the relationship between word and image. The choice of learning methods will deeply influence the children’s ability of concentration, even of reading, even if the types of learning are merely a learning medium for children. The early childhood education has been stressed under the circumstance of lower and lower birth rate; therefore, cram schools have begun to present many classes of creative writing and memory enhancement. These classes make use of way of teaching nothing else but the content of word or image, but the relation between word and image is likely inseparable, and may actually exist in the literature, graphic book, and other types of media respectively. Studies have been made on the infant’s ability of concentration based on the reading theory among the discussions about words and pictorial media. It has been found that pictorial learning fits more properly in the tendency of modern, multimedia society, which is compared to the wording one. The media such as television, computer, DVD, however, have been only considered as the tool of supplementary education. The use of media listed above has not fully enhanced the infants’ ability of thinking, which has been merely stimulated through hearing and seeing. It has been recognized that the schema (background knowledge) of infant has been usually advanced by expression of written communication; therefore, the infants’ ability of reading and thinking has been able to increase and encourage children to use written word and spoken language as the media for interactive communication. The purpose of this study is to explore the relationship between pictorial and words media, and examine the further application on the infants’ ability of concentration. First, the questionnaire on the relation of pictorial and words media has been made and tested toward the parents of infants. Secondly, the study samples the infants aged from two to six and their parents in order to design the interview for testing the validity of questionnaire. Lastly, the study makes a conclusion by analyzing the result form interview, and suggests recommendations for further research.

碩士
國立臺中教育大學
教育資訊與測驗統計研究所
103
As the world increasingly frequent exchanges, art and culture of the countries, but also with the spread of the humanistic quality around the world, a national goal has always been to develop various advanced countries efforts. Although Taiwan is a national scientific and technological progress, but in this regard the spiritual life is a little behind other advanced countries, regardless of cultural events organized by the government or private, although there are people actively participate, but how to appreciate or judge, but like smoke and mirrors general, know Figure painting was good, but do not know what was good. Therefore, in the past few years, increasing attention aesthetic education, more and more scholars in this field published a variety of papers to explore how the aesthetic, the concept of beauty by way of education, indeed convey to each student. However, the pretty experience is very straightforward subjective feeling, everyone has their own standards and feelings. Thus, as things of beauty and ugliness in the comments or good or bad, it is still an objective standard, to persuade each other to avoid conflict or misunderstanding. So, we are hoping to minimize the impact of human factors, in order to achieve the objective aesthetic standard of review. The purpose of this study hope to the scientific method, to find an objective way to judge beauty and ugliness, so that subjective feelings into objective changes. And the use of GSM method and ISM method to be analyzed, make intuitive sense to form a reasonable assessment. The results show that the GSM method and ISM method with two modes of teaching, teachers in the teaching can explain whether teaching purposes.

碩士
大葉大學
造形藝術學系碩士班
93
Since the nineteenth century, people have created and perceived information in a logical and concentrated manner. This thesis focuses on creating a series of artistic symbols to represent the famous paintings of Pablo Picasso in a compressed way. There are two important procedures, based on Johannes Itten’s theory “Analyses of Form”, to symbolize Picasso’s works. The first, is to catalog Picasso’s works and analyze the forms of his paintings by applying the three natures of paintings：impressive, constructive, and expressive. The second, is to imitate the original works thus experiencing the motifs and emphasizing the important characters. To symbolize paintings is an idea of creating an art index not only to assist designers in finding their sources and to help the public in the symbols can also in interacting with arts systematically and rapidly, also to create a modern way to approach arts.

碩士
朝陽科技大學
資訊管理系碩士班
101
This study aimed to explore whether or not the “Pictorial Story Based English” applied in remedial English teaching improve the learning effectiveness of underachievers’ word learning and explore the attitude of remedial teaching students towards English teaching. The research participants include underachievers of fifth grade English classes in four elementary schools in Chunghwa County, a total of 39 students. During the 14-week remedial teaching period, the students attended the word teaching class through the “Pictorial Story Based English” once a week, a total of 10 sessions, and five English words were given each time, a total of 50 words. The students that participated in the remedial teaching answered five “fill in the blanks” questions in the pre-test and took the post-test after the teaching. After the first teaching, a retention test was conducted before the teaching. On the fourteenth week, the general test for English word learning effectiveness consisting of 50 questions and the questionnaire survey for learning attitude were conducted. The results show that: (1) The students showed improvement in the number of correct answers in the pre-test and post-test of English words; (2) At the end of the remedial teaching, the students showed improvement in the general test for English word recognition; (3) The students showed improvement in attitude performance, specifically in “active learning,” “attention” “interests” and “self-confidence.” The above results indicate that the “Pictorial Story Based English” applied in the remedial teaching of English words indeed improve the fifth grade underachievers’ word recognition and spelling proficiency, which in turn had a positive impact on their learning method and learning attitude. Hence, the results in this study shall serve as a reference for English remedial teaching applied in English word teaching.

碩士
淡江大學
法國語文學系碩士班
100
According the Phénoménologie de l’expérience esthétique, Mikel Dufrenne attempts to describe aesthetic experience from a phenomenological point of view. This kind of experience allows us to feel the world as the most thorough and most endearing. And more so, this experience is as that of perception that leads to questions about the nature of art and to connect with the artist. So I choose Li Mei Shu, a contemporary artist of my country Taiwan, as a model to interpret this aesthetic experience. The encounter between theory of Dufrenne and paintings of Li would be a possibility of a real experience that allows us to touch the nature of art. This thesis has four main divisions. The first division concretizes Dufrenne’s theory in the Phénoménologie de l’expérience esthétique, placing it in the context of the introduction of phenomenology in France from Sartre and Merleau-Ponty. Then, I try to identify the approach proposed by Dufrenne on pictorial work and to find methods that will be used to analyze the paintings of Li. In the third chapter, I discuss the art of Li, and this division outlines the life and the thinking of this Taiwanese artist. Finally, as the conclusion of my research, we can see the meeting between Li and Dufrenne. In this case, we ask what could be revealed the relationship between the artwork and the point of view through the theory of Dufrenne and paintings of Li. Specifically, I tried to find a new look at paintings of Li. I use five sections to discuss and to characterize the paintings of Li from Dufrenne’s phenomenological aesthetics. According the interpretation of phenomenological aesthetics, we reconnect the world of Li’s art as a spectator. In other words, thanks to the endeavor and passion of Li on his art, through the model of this aesthetic experience, the spectators could reconstruct the relationship between the artwork and the creator.

Indiana University-Purdue University Indianapolis (IUPUI)
This thesis will look at the various images of the American Far West presented by the Saturday Evening Post during the 1920s under the editorship of George Horace Lorimer, and will examine his editorial strategy that promoted the Far West as a last land of opportunity while also recognizing and weighing in on the challenges of that region.

До збірника увійшли матеріали логопепдичного фестивалю "Логофест - 2021". Матеріали збірника будуть корисними для педагогів, логопедів, дослідників, науковців, викладачів, студентів.
The collection includes materials of the speech therapy festival "Logofest - 2021". The materials of the collection will be useful for teachers, speech therapists, researchers, scientists, teachers, students.