Dissertations / Theses on the topic 'Portrait'
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Shininger, Soni. "Portraiture : the self as art." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864932.
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The purpose of this project was to find out what it is about the self that deserves to be depicted in a work of art; what other artists have done in selfportraiture that may help me in my efforts; and what my own contribution to the history of self-portraiture could be. Self-portraiture is significant in its ability to serve as a personal platform to define the artist's life and relationships with society as well as other individuals. Many times selfportraiture becomes a visual self-search to recognize our own characteristics and traits that make us complete individuals. I investigated the history of self-portraiture as well as the life and work of six artists. I concentrated on the symbolism and psychological undercurrents present in many selfportraits. With my research in mind, four images were created based on preliminary sketches of myself and another close friend. The final images are watercolor, oilbar and sgraffito on paper. Two images are grid pieces and the other two are single companion pieces. The finished pieces were framed andexhibited at the Ball State University Museum of Art. The final images fulfilled all the goals at which I had aimed. They are visually exciting, successfully composed and well constructed. During their execution I was able to elevate the quality of my work, bringing it to a greater maturity level. This group of portraits also worked as a tool to put my life and relationships into a new perspective.Department of Art
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Makun, Adetoun Jones. "International passports : portrait of the Nigerian diaspora." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002226.
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International Passports: Portraits of the Nigerian Diaspora considers notions of 'alienation‘ and 'nation-hood‘ through the lens of portraiture. This dissertation addresses issues of identity and representation in a contemporary cultural context as they pertain to the concerns presented through my current visual practice. The paintings that I have produced from 'real‘ life are primarily depictions of Nigerian individuals, friends and acquaintances (professionals and students) residing in Grahamstown, South Africa as temporary or permanent migrants. I reference the mug shot pose of identity documents and passport photographs and render them in such a way that ideas of their persona are subject to the viewer‘s gaze and deliberations, thus provoking the spectator to consider questions of 'otherness‘ and 'stereotypes‘. This provocation is subtle and complex, and in many ways I am offering the viewer a 're-looking‘, an opportunity to examine one‘s moral position and subsequent implication within the act of stereotyping an 'other‘ individual. The initial idea within this body of work was to paint images of Nigerian nationals exclusively, yet the restrictive nature of such categorization pushed me to complicate certain nationalist ideologies through the inclusion of non-Nigerian individuals. I look specifically at notions of the 'other‘ and 'strangeness‘ in a contemporary South African context and how this connects to the concept of portraiture and not simply portraiture theory but also the social theory in relation to how people are 'imaged‘. Throughout this thesis I consider several theoretical concerns in portraiture practice and discourse whilst simultaneously unpacking the psychological and social contexts that influence my practice.
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Munsie, Richard. "Intimation of life : photographic portraiture in art." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/719.
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Photographic artists have a continuing desire to express intimately aspects of their social world through the genre of portraiture. However, in attempting to make known the lives of those around them, portraitists encounter a range of complexities inherent in the representation of the human subject in a two-dimensional visual field. Portraits were initially an indicator of social class until the introduction of photography, when more and more people became involved in their production and ownership. It was at its inception that the photographic portrait assumed conventions consistent with those of the painted portrait in Western art and its social use. These conventions have persisted and, along with the accumulation of conventions specific to the medium, have come to define photographic portraiture as a genre. It is either from within the limitations of the genre, or through the challenging of its authority, that artists seek to portray issues relevant to contemporary life. This endeavour is affected by certain concerns associated with a person's photographic representation. These include issues pertaining to notions of likeness, identity, subjectivity, and realism. A photographic image of someone has traditionally been perceived to convey a realistic impression of that person's identity, however, concepts of identity and realism have come under increasing scrutiny, contesting the authority of the photographic representation. The portrait's verisimilitude is also undermined by limitations in photographic processes and technology, and the manipulation and control exercised by the photographer who can frame, filter, crop, and enlarge the image at will. In considering the inadequacies of the medium, the fragmentation of identity and subjectivity, and threats concerning the demise of the genre, a further concern to contemporary portraiture is the status of the psychological interaction between photographer and subject. For many participants this exchange is an important aspect of the portrait transaction in which rituals of pose and performance are enacted, and feeling states or emotional truths are sought out. Kozloff (1994, p. 4) considers stilt portraits to be scanty objects in which the intricacies of human experience are inadequately represented, yet they remain as a site for the documentation of experiences that are to become memories. The increasing influence of digital media in photography presents an opportunity for the re-evaluation of these concerns, and new creative and expressive possibilities.
4
Letts, Michael. "Self-portrait." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300475353.
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Jugend, Nurit K. "Self-portrait /." May be available electronically:, 2004. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Shield, John, and John Shield. "Selfie-Portrait." CSUSB ScholarWorks, 2018. https://scholarworks.lib.csusb.edu/etd/743.
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The selfie has become the currency of today; boldly stating: I was here, this is how I felt, and, most importantly, I exist.
This has become our self-reflection. Exploring the self-portrait, as have countless artists of the past, Johnny Shield uses the various selfies as reference for his sculptural works - both empty vessels and sculptural busts. Made from glass these fragile objects are all doomed to break. You, the viewer, are witnessing a truly damned object: the central portrait uneasily rests on a pedestal that is actively electrolytically corroding. While on display, this pedestal will lean more and more precariously, ultimately spilling the glass portrait onto the ground. By participating in the legacy of self-portraiture but producing a self-destructive object, Johnny is simultaneously endorsing and condemning the sacredness of the art object, the selfie, as well as the practice of glorifying the artist.
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Rea, Giorgio. "Imagines pictae. Il ritratto nella pittura romana." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL070.
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Ce projet vise à reconstruire le développement du portrait peint à Rome et l’utilisation de ce type de support figuré à Rome, à partir de la République jusqu’à la fin du IIIe siècle après J.C. Le portrait peint dans l’art romain suit les changements culturels et les limites de l’Empire, en se mêlant avec des traditions artistiques de différentes aires culturelles. L’étude de ce sujet, qui présente de profondes difficultés, est souvent considéré à tort comme un sous-argument de la thématique du portrait statuaire à Rome. Or le portrait peint mérite une étude comme sujet indépendant car, dans l’Antiquité, la peinture a été « l’arte guida ». La peinture ancienne est aujourd’hui peu connue car la plupart des œuvres ont été perdues, ce qui rend le portrait peint difficile à reconstruire. Le manque de sources archéologiques relatives à la genèse de cette forme d'art est comblé par certaines sources littéraires grecques et romaines. Pour la période impériale, les témoignages archéologiques sont plus abondants, comme dans le cas des portraits du Fayoum, qui, cependant, sont limités à la province de l'Egypte, ou des fresques trouvées dans un certain nombre de sites archéologiques importants en Méditerranée (les plus précieux ont été trouvés à Herculanum, Pompéi et Stabies, mais aussi en Syrie)This project aims to reconstruct the development of painting portraits in Rome and the use of these types of image employed for Romans, from the Republic until the end of the third century AD. The portrait painted in Roman art follows the cultural changes and the limits of the Empire, mingling with artistic traditions from different cultural areas. The study of this subject, which presents profound difficulties, is often wrongly considered as a sub-argument of the theme of the statuary portrait in Rome. The painted portrait deserves a study as an independent subject because in Antiquity the painting was "l’arte guida". The old painting is now little known because most of the works have been lost and it makes the painted portrait difficult to reconstruct. The lack of archaeological sources relating to the genesis of this art form is filled by some Greek and Roman literary sources. For the imperial period archaeological evidence is more abundant, as in the case of Fayum portraits, which, however, are limited to the province of Egypt, or frescoes found in several important archaeological sites in the Mediterranean (the more valuable were found at Herculaneum, Pompeii and Stabies, but also in Syria)
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Arnold, J. David. "Naked portraits : figures in oil." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864927.
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The purpose of this project is to create a group of paintings/portraits of two close friends, using the medium of oil bars on gessoed paper. This medium will be explained in the text of the paper. The paintings were an attempt to describe aspects of personality that I see in my friends, their own personal struggles and victories. I observed these changes first hand. I told the story of these changes, as they evolved, in the paintings.The six paintings explore the naturalistic style which is new for me. It will open other avenues of visual expression. It was necessary for me to spend time in research and study of other contemporary artists who have worked with the figure and portraits. The study of other artists is an artistic discipline that helped me clarify, in my own mind, the purpose and problem-solving that took place in the course of my study.Department of Art
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Foley, Sean Patrick. "A self portrait." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314739094.
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Painter-de, Jonge Mardoe. "A self portrait." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1328122393.
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Schroers, Angelika. "Clowninnen! Portrait einer Berufsgruppe /." Saarbrücken : VDM-Verl, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017395388&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Leiserson, Emily M. "Self-portrait and autobiography." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397642.
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This creative project is a series of self portraits, records of self and the stamp of culture that is placed on the physical body. In the series of prints and handmade books described in these pages, self-portrait provides a vehicle for examining creativity and humanity, self-image as a reflection on women, and autobiography as a means of cultural storytelling.Department of Art
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Congoste, Myriam. "L'innommé : portrait d'un voleur." Bordeaux 2, 2007. http://www.theses.fr/2007BOR21511.
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Écrite sur un mode narratif, cette thèse adopte une approche microscopique en se concentrant sur un personnage, Youchka, un voleur de voitures, principalement. Se réclamant d'une anthropologie réflexive, elle relate les trois temps d'une enquête au cours desquels l'ethnographe renonce à sa première conception du voleur (asocial, inadapté, violent et cupide), pour entrer dans l'univers du vol et se montrer apte à recevoir sa version des faits. Au fil de ces interactions où le voleur se dévoile et où l'anthropologue se met à l'écoute, se dégage le sens de l'acte de vol : le voleur ne volerait pas pour être riche mais pour être libre "d'être". Énonçant dans un premier temps les obstacles à dépasser pour entrer en relation avec un voleur, la narration éclaire ensuite sa double contrainte, son rapport au monde déterminé par une assignation à la discrétion à perpétuité et l'obéissance aux règles d'un monde en marge. Ce regard anthropologique lève le voile sur un être épris de liberté qui trouve dans les pratiques illégales la possibilité de se venger de ce qu'il estime être de l'injustice sociale et l'espoir d'acquérir un mode d'existence en adéquation avec l'idée qu'il se fait du bonheur. Nul ne saurait mieux qu'un voleur parler de l'acte de vol qu'il commet. Telle pourrait être la conclusion de cette thèse qui, en donnant la parole à un personnage victime de préjugés, bien plus imaginé que connu, offre un éclairage sur l'altéritéFocusing on the character of Youchka, a car thief, this thesis written in the narrative mode has adopted a microscopic approach. Drawing from reflexive anthropology, it records the three stages of an investigation in which course the ethnographer abandoned her original conception of the thief (as an anti-social, misfit, violent and cupid being) in order to enter the thief world and be able to collect his own interpretations. All along this process of interactions, where the thief reveals himself and the anthropologist becomes receptive, eventually emerges the significance of robbing: the thief doesn't rob in order to get rich but rather as a way of being free to exist. After detailing the obstacles that needed to be overcome so as to establish a relationship with a thief, the narrative highlights the double constraint: relations with society determined by perpetual secrecy and invisibility; and subjection to the rules of a marginal world. The anthropological approach reveals a character in love with freedom who indulges in illegal practices out of revenge for what he holds as social injustice, with the hope of gaining a made of existence in adequacy with his own idea of happiness. No one else but a thief can talk better about theft. This could be the conclusion of the thesis which, by letting such a character speak, a victim of prejudice more fantasized than known, sheds a light on otherness
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Griffith, Gareth Hungerford. "Portrait of a Concert." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/49268.
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Through the use of bio-metric data and audio recordings this research explores the body as it engages the concert environment. With the help of wearable technology and digital audio recording devices, data from four concerts was documented. Additionally personal reflections were recorded at the conclusion of each concert. These documents serve as qualitative data and a point of comparison between the quantitative recordings. These records were then used in the construction of an interactive data visualization that allows further exploration of the data collected by means of a visual interface.Master of Fine Arts
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Boender, Alexandra. "Portrait mummies in context." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-450751.
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The present thesis aims to expand and acquire new knowledge on the emergence of portrait mummies during the Roman period in Egypt and their socio-religious status. The emergence and decorative program of these mummies are commonly understood as an artistic expression of Hellenistic Greek and Roman settlers in Egypt. This attestation is often based upon uncontextualized isolated portraits. The study of uncontextualized isolated portraits has also caused an unsatisfactory approach to dating criteria. In response, the present thesis aims to study contextualized portrait mummies – with the image of the deceased still forming part of the mummy and ideally with an attested find spot – in light of a multicultural society consisting of Egyptian, Hellenistic and Roman cultural and religious traditions. A total of 85 portrait mummies have been collected to provide context for the expressed cultural traditions. Seven group burials have been reconstructed based upon excavation reports for further contextualization. The results of the collected portrait mummies and reconstructed group burials are subsequently studied against a background of Egyptian, Hellenistic and Roman cultural and religious traditions to highlight dominant cultural features. The results of the present thesis illustrate portrait mummies were an expression of a culturally complex society. The treatment of the body and decorative program suggests cultural and religious notions were rooted within Egyptian traditions that were appropriated, re-defined and adapted by a society comprised of Egyptians, Hellenes and Romans. Portrait mummies consequently express multiple cultural layers. Previously established dating criteria were found to remain to be the most valid and reliable. Contextualized portrait mummies, however, have put forward a new dating criterion that ought to be taken into consideration: octagonal framing.
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Baldissera, Julien. "MIRAGE: A SELF PORTRAIT." Thesis, Sydney College of the Arts, 2019. http://hdl.handle.net/2123/20170.
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Buffa, Gabriele. "A Night´s Portrait." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-371122.
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Blanvillain, Caroline. "Portrait photographique et schizophrénie." Paris 8, 2012. http://www.theses.fr/2012PA083662.
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Nous nous posons des interrogations sur les écarts et les liens entre la folie et la photographie, en empruntant une voie centrale : celle du portrait photographique et de la schizophrénie. Le nombre croissant de portraits photographiques représentant des visages raturés ou escamotés nous a alerté. L’image du visage ou du corps est l’objet de toutes les altérations. De plus, les technologies actuelles ont permis de donner à voir, non seulement des visages retouchés ou modifiés, mais des visages falsifiés. Or, la représentation du visage humain est le reflet d'un questionnement quant à la place de l'homme dans nos sociétés, aussi nous avons pensé qu'il était important de s'interroger. Nous tentons de mettre au jour les problématiques en jeu entre le portrait photographique et la schizophrénie. Le corpus défini est vaste, il parcourt le temps des origines de la photographie à aujourd'hui, afin de montrer les concordances entre portrait photographique et schizophrénie, au-delà du symptôme qui nous a point dans les portraits contemporains. L’emploi du terme schizophrénie précipite dans la maladie mentale et fait appel à une nosographie psychiatrique bien définie. La clinique schizophrénique porte des interrogations, qui se superposent étonnamment aux questions qui peuvent naître devant un portrait photographique, trop parfaitement pour ne pas les explorer. Aussi avons-nous choisi d'emprunter cette voie afin d'articuler la recherche en trois moments. Elle se déploie en trois moments : le face-à-face, le trouble du rapport au réel et le trouble du rapport à l'identité. Finalement, nous proposons le terme de schizophrénie comme notion théorique afin de travailler la photographieWe send questions on the distances and the links between the madness and the photography, by borrowing a central way : photographic portrait and schizophrenia. The increasing number of photographic portraits representing crossed off or skipped faces notified us. The image of the face or the body is the object of all the changes. Furthermore, the current technologies allowed to give to see, not only retouched or modified faces, but falsified faces. Yet, the representation of the human face is the reflection of a questioning as for the place of the man in our societies, also we thought that it was important to wonder. We try to bring to the light problems in play between the photographic portrait and the schizophrenia. The defined corpus is vast, it goes through the time of the origins of the photography in today, to show the concordances between photographic portrait and schizophrenia, beyond the symptom which has us in the contemporary portraits. The use of the term schizophrenia precipitates into the mental illness and appeals to a well defined psychiatric nosography. The schizophrenic private hospital carries questioning, which overlap strangely in the questions which can be born in front of a photographic portrait, too perfectly not to investigate them. So we chose to borrow this way to articulate the research at three moments. It spreads (deploys) in three parts: the encounter, the confusion of the report in the reality and the confusion of the report in the identity. Finally, we propose the term of schizophrenia as theoretical notion to work the photography
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Andrès, Sarah. "L'hermès à portrait dans l'Occident romain : fonctions, contextes et significations." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL124.
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Cette thèse a pour vocation de dresser un catalogue exhaustif des hermès à portrait provenant des provinces occidentales de l’empire romain afin d’appréhender toute la richesse sémantique de ce support figuré original. Disposés depuis l’époque archaïque aux carrefours et aux portes des villes grecques, les piliers hermaïques deviennent, sous l’impulsion des Romains, le support de véritables portraits et non plus uniquement celui d’effigies divines. Deux catégories iconographiques émergent, les portraits rétrospectifs restituant les traits de personnages historiques fameux tels Homère ou Ménandre, et ceux de particuliers, parfois dédiés à leur Genius et élevés dans l’atrium de leur demeure. Au-delà de la nécessaire analyse stylistique et iconographique du corpus, cette étude a pour ambition de donner une lecture historico-culturelle du phénomène et de rendre compte de la mise en œuvre concrète de ces hermès, depuis l’atelier jusqu’aux lieux où ils sont exposés. Leur remise en contexte doit permettre de dresser un tableau des acteurs de cette pratique de dédicace, des personnages représentés, des motifs présidant au choix de ces images abrégées et de la place qu’elles occupent dans l’espace privé des villas romaines, dans le cadre du culte domestique comme dans celui de l’otiumThis study aspires to acheive a catalog of portrait herms in the Roman West in order to apprehend the semantic meaning of this original figurative support. Erected since achairc times by the crossroads and doors of greek cities, herms become, under roman influence, pedestals for portraits and not only representations of divinity. Those portraits can be divided into two iconographical categories : retrospective ones reproducing features of historical figures such as Homer and Menander, and those of private citizens, sometimes dedicated to their Genius and raised in the atrium of their house. More than a simple stylistical and iconographical analysis of this corpus, this study tries to give an historical and cultural reading of thoses sculptures, from the workshop to their exhibition contexts. This approach must allow the depiction of all the actors involved in thoses dedications, the clarification of thematic choices as of the reasons for choosing these abbreviated images, the definition of their place in the private space of the Roman villas in the context of domestic cults or that of the otium
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Grinchtein, Olga. "Portraits of Sculptors in Modernism." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-443240.
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The portrait of sculptor emerged in the sixteenth century, where the sitter’s occupation was indicated by his holding a statue. This thesis has focus on portraits of sculptors at the turn of 1900, which have indications of profession. 60 artworks created between 1872 and 1927 are analyzed. The goal of the thesis is to identify new facets that modernism introduced to the portraits of sculptors. The thesis covers the evolution of artistic convention in the depiction of sculptor. The comparison of portraits at the turn of 1900 with portraits of sculptors from previous epochs is included. The thesis is also a contribution to the bibliography of portraits of sculptors.
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Kowsar, Shabahang. "L'Art de Paraître dans le Portrait Photographique sous le Second Empire." Thesis, Versailles-St Quentin en Yvelines, 2015. http://www.theses.fr/2015VERS006S.
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L’essor de la photographie au milieu du 19ème siècle est contemporain de changements importants survenus au sein de la société française. A Paris sous le Second Empire, la forte hausse du pouvoir d’achat, due en grande partie aux travaux haussmanniens, influence l’image publique des citadins. La ville et ses grands boulevards offrent aux plus privilégiés la possibilité de se promener, de s’exhiber, de paraître selon certaines normes pour se mettre en lumière. Représentations qui seront ensuite fixées par les artistes : écrivains, peintres, sculpteurs, caricaturistes et photographes, ils concourent tous à immortaliser ce nouveau mode de vie et ses acteurs.Le portrait, ce moyen de représentation par excellence auparavant réservé à l’aristocratie, deviendra finalement accessible aux autres milieux sociaux. En comparaison avec les autres techniques, le portrait photographique gagnera davantage de succès et ce, grâce à de multiples critères : la baisse progressive de son coût, sa vitesse d’exécution, sa véracité reconnue par le public, sa capacité d’être reproduit à l’identique en grand nombre depuis l’invention du procédé collodion humide, sans oublier la naissance du portrait-carte de visite qui accélère sa démocratisation.Notre recherche repose sur un dépouillement minutieux d’archives photographiques. Elle aura comme objectif d’analyser le rôle joué par la photographie dans la procédure de représentation sous le Second Empire en répondant à un certain nombre de questionsWhen portraiture was made accessible to French citizens in the nineteenth century, someconservative critics did not consider all individuals to be “portrayable”. This did notprevent people of means from hiring portrait painters to create their own “visiblememory”. In the process, they redefined the nature of the artist’s model. These newsitters, who were employers rather than employees, were not obedient: they insisted uponimposing their individual style and references. Photographic artists, on the other hand,persisted in directing their sitters—as artists did their paid academic models—and had toseek compromises that, without relinquishing their favoured styles, would satisfy theirdemanding clients. Some photographers published manuals and treatises explaining howto produce a good portrait without being unduly disturbed by the model’s whims andfancies. Furthermore, self-proclaimed experts in modern “etiquette” taught people how totalk, how to walk and how to appear in society. A careful examination of the conditionsbehind the production of photographic portraits, especially those representing fashionablecitizens taken during the era of the carte-de-visite, reveals the importance of the rolesplayed respectively by the model, the portrait photographer and the social codes ofconduct of the day
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Barilo, von Reisberg Eugene. "Tradition and innovation : official representations of Queen Victoria and Prince Albert by Franz Xaver Winterhalter /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7154.
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Scalapino, Lisa Marie. "Anne Sexton, a psychological portrait." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0022/NQ46915.pdf.
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Spenny, Anne M. "Portrait of a young woman /." Online version of thesis, 1989. http://hdl.handle.net/1850/11529.
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Haun, Gregory Cosmo. "The timely self-portrait machine." Thesis, Massachusetts Institute of Technology, 1992. http://hdl.handle.net/1721.1/66744.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1992.Includes bibliographical references (leaves 50-57).
This thesis explores the philosophy which underlies the Timely Self-Portrait Machine. The cultural history of the machine, the phenomenon of Television, and the personal history of this project are discussed. Technical information and a functional explanation of The Timely Self-Portrait Machine are provided. A central theme is echoed throughout; essentially, a request is made that the machine be treated by artists and designers as an agent of expression in itself, regardless of superfluous decoration.
by Gregory Cosmo Haun.
M.S.V.S.
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Lahaie, Audrey. "Portrait-paysage : rencontre, évènement, affects." Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/29478.
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La série Portrait-paysage : rencontre, évènement, affects s’intéresse à la représentation de mon regard sur les liens tissés avec les personnes photographiées et explore la synthèse de deux images ayant leur langage et univers propre ; un dialogue entre un portrait et un paysage choisi. Par le portrait-paysage, je veux témoigner des expériences partagées avec les personnes ayant participé à ma recherche-création. C’est à l’occasion d’une série de rencontres dans lesquelles l’autre me donne accès à son intimité que se développe une complicité. Le portrait est créé dans le chez-soi des personnes, ouvrant à des mises en scène spontanées et intimes. Le point de vue large de mes photographies octroie une grande place à la gestuelle de la personne qui laisse transparaitre un rapport entre le photographe et la personne représentée qui marquera nécessairement l’image. Le paysage quant à lui témoigne plus directement de ma perception et de mon regard, il est une interprétation et une transposition des affects vécus avec les personnes représentées. J’aime penser qu’il se crée des ponts sensibles, des rapprochements entre les différents caractères d’un lieu et les sentiments humains. La composition portrait-paysage fusionne deux regards issus d’une même relation et laisse place à l’imagination en invitant le regardeur à créer des correspondances entre les deux photographies. La série Portrait-paysage : rencontre, évènement, affects favorise une lecture active et mène à des perspectives interprétatives ouvertes.
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Laforest, Michelle. "Un portrait sociétal et culturel /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1993. http://theses.uqac.ca.
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Castillo, Heather Christine. "Jane Eyre's Gricean conversational portrait." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1641.
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Haerens, Timothy. "Defining Moments / A Life Portrait." CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/914.
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Defining Moments / A Life Portrait
In his MFA Thesis Exhibition, Defining Moments / A Life Portrait, Timothy Haerens explores and celebrates our connectedness to one another as members of the human race. “We are here to awaken from the illusion of our separateness.” Haerens chose this quote from the Vietnamese Buddhist monk and peace activist, Thich Nhat Hanh, as the inspiration for his show because it affirms his belief that we are linked to one another by virtue of our humanness.
Through his abstract paintings on canvas and plexiglass, as well as through his prints and collagraphs, Haerens reflects on many facets of life – the sweet and sour moments we experience as part of the human condition. His art elicits an internal dialogue in an attempt to better understand himself and the world around him.
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Palumbo, Fiorella <1994>. "Francesca Woodman: Unfinished self- portrait." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19556.
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In questo elaborato viene letto e interpretato il lavoro della fotografa americana Francesca Woodman. La sua vita, strettamente legata all’amore per la fotografia, è segnata da una morte prematura e volontaria che non diventa qui l’unica chiave di lettura della sua opera.
Al contrario sono i confronti con le opere d’arte che studiò e che amò sin dalla giovane età a diventare un valido supporto per l’interpretazione delle sue fotografie, tanto evocative quanto enigmatiche.
Le sue stesse parole, estratte da alcune lettere personali, facilitano la comprensione circa la sua devozione per l’arte tutta.
Parte del corpus delle sue opere fotografiche, pittoriche, cianografiche e di videoriproduzione vengono in questa sede analizzate operando numerosi confronti tra queste e i lavori di altri artisti. Ciò che ne scaturisce è un elaborato monografico su un’artista affascinante ed emotiva che vive ancora oggi grazie ai suoi autoritratti celati e, per questo, incompleti.
È questo, dunque, il senso di “Unfinished self-portrait”: una ricerca basata su una giovane donna che si servì dell’arte per rispecchiarsi in essa e per comprendere maggiormente il suo Io. Il percorso deduttivo basato sull’arte in quanto strumento di comprensione - dalla fotografa finalizzato all’analisi personale e introspettiva - viene usato qui per definire la genesi dei suoi lavori. Si può quindi affermare che questo elaborato segue i medesimi criteri adoperati da Woodman sia per la realizzazione di bozzetti preparatori che per la messa in atto delle sue opere, se così si possono definire, “compiute”.
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Bernard, Jacques-Emmanuel. "Le portrait chez Tite-Live." Paris 4, 1996. http://www.theses.fr/1995PA040193.
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La thèse aborde les problèmes littéraires et épistémologiques soulevés par le portrait dans l'œuvre de Tite-Live. La première partie étudie l'ensemble des procédés stylistiques et rhétoriques qui permettent d'élaborer formellement le portrait historique : narration, représentation dramatique, discours. La technique utilisée par Tite-Live aboutit à un type de portrait d'une grande cohérence, où se reflète le dessein didactique et persuasif de son œuvre. La seconde partie élabore une typologie des 2000 personnages de l'Ab Urbe condita étudiés en fonction de trois catégories majeures : référence familiale, référence à la fonction sociale, référence ethnique. L'idéologie morale et politique qui sous-tend la caractérisation de tous les personnages, tant barbares que romains, s'explique par le désir de créer un seul portrait, celui du peuple de Rome, populus princeps, unifié autour des valeurs nationales qui furent celles de la république. La troisième et dernière partie de la thèse montre comment l'auteur a réussi a dépasser sa propre vision idéale des romains et les lieux communs des portraits pour rendre compte de la singularité historique des personnages, et de l'évolution de Rome. L'on voit en particulier que la description des protagonistes oscille entre une conception collective de l'héroïsme, conforme au mos maicrum, et une conception hellénistique, davantage centrée sur l'individuel. L'esthétique du portrait, à la fois tragique et sublime, fondée sur un équilibre fragile entre la vérité et la vraisemblance, et entre l'histoire et la poésie, permet de réduire l'opposition entre le lieu commun et le singulier : en mettant en relief l'influence de l'homme dans le devenir historique, la beauté des portraits devient l'expression d'un humanisme qui s'est voulu universelThis thesis deals with the literary and epistemological problems raised by the historical portrait in the work of Livy. The first section studies all the stylistic and rhetorical figures and methods that constitute an historical portrait: narration, dramatic portrayal, speeches. The technique of Livy produces a consistent kind of portrait, in which the didactic and persuasive aim of his work is reflected. The second section proposes a typological classification of the 2000 people in his Ab Urbe condita, according to three main categories: family, social role, ethnic group. The moral and political ideology that lies behind the characterization of all these people, whether barbarian or roman, is readily understandable. Livy's wishes to create a unique portrait, that of the romans, populus princeps, united around national values which are those of the republic. The final section of this thesis demonstrates how Livy has succeeded in going beyond the common traits of the portraits and that of his own idealistic vision of the romans, and has given us a description of the historical uniqueness of these people and of the true evolution of Rome. In particular, it can be seem that the description of the protagonists vacillates between a collective notion of heroism, according to the mos maicrum, and a Hellenistic concept, which centers more on the individual. The esthetic value of these portraits, which at the same time are both tragic and sublime, is founded on a delicate balance between truth and verisimilitude, and between history and poetry. This makes it possible to reduce the antagonism between the common traits and that is
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Pelser, Monique Myren. "Roles : "I am as intently observed as the people photograph"." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1007647.
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With this dissertation I propose an investigation of how the photographic portrait attempts to construct and confirm identity through the representation of types. Drawing from theoretical texts by Roland Barthes and Robert Sobieszek and engaging with my own process of self-portraiture, as a means of troubling the usual power relations involved between the photographer and the sitter, I will demonstrate the dialectical nature of these roles involved in photographic portraiture. Looking at Pieter Hugo's portraits of judges in Botswana permits me to deal with issues of masquerade and how fashions and uniforms mask an individual allowing him/her to perform roles and stereotypes in society. Referring to another set of Hugo's images from his ongoing series Looking Aside, I will explore the paradoxical nature of the portrait through the dialectic of the 'self 'and 'other' subject and object split through an exploration of notions of skin and prosthetic skin and the relationship to the liminal space 'opened' between subject and object, or viewer and image.
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Lambert, Martine-Marie. "Miroirs de la culture et images de soi : du portrait au "portrait imaginaire" chez Walter Pater." Paris 4, 1999. http://www.theses.fr/1999PA040211.
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Qu'est-ce qu'un « portrait imaginaire « ? Je mets l'expression entre guillemets parce qu'elle ne désigne pas seulement le recueil des Imaginary portraits de 1887. Elle permet de définir un ensemble d'œuvres de fiction, que Pater a écrites entre 1878 et 1894. S'inspirant du « portrait imaginaire » en peinture, Pater redonne au portrait une place noble dans la hiérarchie des genres. Le portrait peut prendre d'autres formes, en particulier celle de la maison, qui est une extension de la personne. Elle est l'image de son tempérament et de la phase de culture qu'il incarne. Pour montrer l'évolution du zeitgeist, Pater s'inspire des vestiges du passé. Les images funéraires reprennent vie, sous sa plume, dans un nouveau portrait, celui d'un personnage dont le génie permet de comprendre l'essence de la culture. Dans sa fiction comme dans ses essais critiques, Pater s'inspire d'œuvres d'art, peintures, sculptures ou monuments. Il marie le texte et l'image. Quand il part de sources historiques, le discours sur l'art et sur l'histoire demeure, mais Pater recréé aussi le passé dans un tableau vivant et colore. En outre, les « portraits imaginaires » ont tendance à la fragmentation. Le texte se constitue en journal, pour accueillir une confession voilée où peut se lire le développement infini de l'esprit. Cependant, Pater cherche aussi à composer un portrait, c'est-à-dire à rassembler les différentes phases du parcours spirituel en une image unique. Le « portrait imaginaire » a une double dimension psychologique et culturelle, que l'on retrouve dans les œuvres des « héritiers » de Pater, Vernon Lee, Maurice Hewlett, John Synge, Arthur Symons et Ernest Dowson.
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Katz, Charles H. "Portrait of an adult literacy learner." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq23003.pdf.
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Phillips, Michael. "The family album : an extended portrait /." Online version of thesis, 1987. http://hdl.handle.net/1850/8851.
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Sunday, Lynn. "Ted Bundy : portrait of a madman." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/249.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Health and Public Affairs
Legal Studies
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Caffrey, Paul. "Irish portrait miniatures c. 1700-1830." Thesis, Southampton Solent University, 1995. http://ssudl.solent.ac.uk/2420/.
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This thesis is the first comprehensive study of miniature portrait painting in Ireland during the period c. 17-- to 1830. The thesis includes a critical bibliography, a survey of the primary sources and a discussion of the visual sources and collections that are the focus of the study. The techniques used in miniature painting provide a starting point for this analysis of portraits painted on enamel and ivory. This examination of miniature portraiture emphasises the distinction between the two different types of miniature, the ornamental portrait as jewellery and objects of personal adornment and the cabinet miniature. The display of miniature portraits as decorative pictures, viewed within the context of interior architecture and design provides a focus for the chapter on cabinet miniatures. The Irish portrait miniatures in the collection of the National Gallery of Ireland are catalogues in full for the first time. This collection provides the material for the stylistic and technical analysis in teh thesis. Comparative work is drawn from public and private collections in Ireland, England and America. The thesis documents the work of over 180 miniaturists active in Ireland in the eighteenth and early nineteenth centuries. The thesis presents new material on the miniaturists and their work which shows the contribution of the miniaturist to the development of portraiture, water colour painting and the decorative arts in Ireland.
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Wattanapat, Nugunn. "Sir Hubert Parry : an intellectual portrait." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/12010/.
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Hubert Parry (1848-1918) is known by music listeners today as a composer rather than as a music scholar, yet his contemporaries recognised him as a highly prolific and influential educator and an accomplished writer on musical subjects. This thesis is the first in-depth investigation of its kind into this lesser-known side of Parry’s career, using his literary works as a vantage point from which to evaluate his highly complex persona. Through a close examination of available primary and secondary materials, the thesis aims to develop a biographically and historically consistent view of his writings, while also addressing serious discrepancies in current estimates of his philosophical opinions. Parry’s formative influences, his interests in science, his moral and socially conscious view of art, his views on religion, and his response to Nietzschean philosophy constitute the focus of this study. An attempt is also made towards the end to reconcile these findings with his music, through a contextual examination of the six ‘ethical cantatas’. This research opens new perspectives for Parry scholarship and lays the groundwork for a better understanding of the composer’s unique role in the development of music and musical scholarship in nineteenth- and twentieth-century Britain.
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Lignereux, Yann. "Lyon, un portrait politique : 1594-1654." Paris 4, 2001. http://www.theses.fr/2001PA040096.
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Après l'échec du mouvement ligueur urbain, l'histoire des villes françaises a été tenue pour celle de leur assujettisement à l'autorité restaurée des premiers rois bourbons. Le cas de Lyon, de la sortie de l'épisode ligueur jusqu'au milieu du XVIIe siècle, permet d'éprouver les limites de cette interprétation. A la faveur d'une compréhension du politique qui dépasse sa seule définition administrative,une lecture moins univoque de la construction de l'Etat moderne est possible. Elle met en relief la résistance du modèle de la "bonne ville", à travers un certain nombre d'avatars, destinés à sauvegarder une identité politique propre aux élites urbaines. La présente thèse distingue au moins trois états de cette évolution réactive aux mutations de l'Etat royal lui-même. Empruntant certaines de ses caractéristiques au baroque, la culture politique lyonnaise,en métamorphose, se donne à lire non seulement dans les délibérations et autres textes consulaires mais également dans des images, et plus généralement dans des pratiques culturelles, que l'iconographie, l'histoire de l'art, l'anthropologie peuvent nous aider à décrypter. Le consulat, les rois, leurs représentants (au premier rang desquels la famille de Neufville), les officiers de justice et de finance, le clergé et le peuple, tels sont les acteurs principaux du jeu politique lyonnais durant le premier XVIIe siècle, mais la Ville occupe indéniablement le devant de la scèneAfter the failure of the urban French League, one generally thinks that the history of towns only was a subjection to the restaured autority of the Bourbonian Kings. Lyon's case, from the end of XVIth century to about the middle of XVIIth century, allows to try this interpretation. By understanding the political, not only as an administration, the building of modern State can be read more significantly. .
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Aldarf, Sawssan. "Le portrait dans l'oeuvre de Lamartine." Grenoble 3, 1990. http://www.theses.fr/1990GRE39020.
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Cette etude porte sur la description des personnages chez lamartine. Le portrait semble avoir la richesse d'une vie tout entiere, il y a le portrait de l'oeuvre poetique, qui exalte la nature et l'infini. On y trouve egalement celui de l'oeuvre romanesque, qui enveloppe une certaine philosophie. Quant au portrait de l'oeuvre historique, il se situe entre la realite et le reve tout en devoilant le talent et la sensabilite du poete. L'analyse tente de definir les dimensions du portrait qui ne cesse de mettre en valeur la transparence et la profondeur d'une imagination qui reste, pour tous, l'univers et la source de l'oeuvre lamartinienne. L'accent est mis surtout sur les influences que le portrait subit car il devient l'echo d'un ensemble de faits qui ont marque son auteurThe study concerns the description of the caracters in lamartine's works. His caracterisation seems to give the richness of an entire life. In the poetic works, the caracterisation glorifies nature and the infinite. In the romanesque works, the caracterisation express a particular philosophy. As for caracterisation in historical works, it is situated in between reality and dreams, at the same time revealing the talent and sensibility of the poet. The analysis defines the dimensions of caracterisation which plumb the depths of that imagination which is, at the heart, the source and universe of lamartine's works. The accent is on that which influences the caracterisation when it echos a set of facts important to the author
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Turpijn, Saskia. "The Portrait Prints of Mehmed II." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/356.
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This thesis examines four European portrait prints of Ottoman sultan Mehmed II, dated 1470 to 1493. At the center of this study is a formal and iconographical analysis that indicated all are rooted in traditional artistic conventions of both Western princely portraiture and stereotypical imagery of evil doers. Part of a feverish textual and visual discourse that was the result of great fear for the Ottoman aggression, they all adhere to a conventionalized type for the Eastern despot. The portraits employ to varying degrees a general pictorial language of evil, based on medieval folk imagery, that employed sartorial and physical signifiers used for a wide range of social groups that were not accepted by Christian society. The result is four images that share certain characteristics, most notably an iconic hat, but differ considerably in others to bring across diverging messages about the sultan's ambiguous public identity.
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Ehrlich, Lara Nedds. "A portrait of an aspiring genius." Thesis, Boston University, 2003. https://hdl.handle.net/2144/27641.
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Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Cleveland, Larissa. "Collector : collection/possession/persona /." Online version of thesis, 2008. http://hdl.handle.net/1850/6186.
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Lynn, Meredith Laura. "One-liners." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1014.
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Corcoran, Lorelei H. Schenck William. "Portrait mummies from Roman Egypt, I-IV centuries A.D. : with a catalog of portrait mummies in Egyptian museums /." Chicago (Ill.) : Oriental institute of the University of Chicago, 1995. http://catalogue.bnf.fr/ark:/12148/cb35785128s.
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Urbain, Ruano Elise. "La mode du négligé et le portrait français : de la "sprezzatura" au "naturel" le "négligé", 1670-1790." Thesis, Lille 3, 2020. http://www.theses.fr/2020LIL3H006.
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Le choix des vêtements représentés dans un portrait est rarement anodin, et ceci est particulièrement vrai à l’époque moderne. Les significations de nombreux attributs et costumes officiels ont été largement étudiées et commentées, mais qu’en est-il des portraits en négligé ? À partir des années 1670, le sens du terme « négligé » prend une nouvelle acception moins péjorative et qualifie des vêtements confortables, opposés à la grande parure. Il s’agit de déterminer les circonstances qui amènent à une revalorisation du point de vue sur le négligé et expliquer son succès dans le portrait. La question est posée dans le cadre des relations entre la France et l’Angleterre faites d’alternance de périodes d’assimilation et de rejet dont les effets sur les pratiques artistiques ne sont plus à démontrer.Au XVIIIe siècle, le terme « négligé » désigne aussi bien des vêtements que des styles artistiques en peinture ou littérature, ou encore une attitude totalement artificielle liée chez les femmes au rituel codifié de la toilette : il concerne les pratiques sociales d’élites caractérisées par un souci constant de la représentation. Par certains aspects, le négligé évoque la « sprezzatura » de Baldassare Castiglione, mais au cours du XVIIIe siècle il est rapproché de, ou opposé à, l’idée de « naturel ». Enfin, la diffusion des modes négligées est à lier au rejet des codes de la parure, contribuant au brouillage de la hiérarchie sociale d’Ancien Régime et permettant une affirmation individuelle au détriment de l’identité de groupe. De nouvelles clefs de lecture sont ainsi données pour des portraits dans lesquels la représentation des vêtements ne paraissait pas significativeThe choice of clothing depicted in a portrait is often meaningful, and this is especially true in the Early Modern Period and the Enlightment. The meanings of many official attributes and costumes have been extensively studied and commented on, but what about portraits « en négligé » ? From the 1670s onwards, the meaning of the French « négligé » took on a new, less pejorative meaning and qualified comfortable clothing, opposed to great adornment. This study aims at determining the circumstances that lead to a revaluation of the point of view on the « négligé » and explaining its wide use in portraits, in the context of relations between France and England, which are alternating periods of assimilation and rejection, the effects of which on artistic practices are no longer to be demonstrated. In the eighteenth century, the term « négligé » refers to clothing as well as artistic styles in painting or literature, or a totally artificial attitude linked, for women, to the codified ritual of the toilet : it concerns the social practices of elites, characterized by a constant concern for representation. In some ways, the « négligé » evokes the « sprezzatura » of Baldassare Castiglione, but during the eighteenth century it is associated to, or opposed to, the idea of « natural ». Finally, the « négligé » fashion is linked to the rejection of the codes of adornment, contributing to the blurring of the Ancien Regime social hierarchy, and allowing an individual affirmation at the expense of group identity. New reading keys are thus given for portraits in which the representation of clothing did not seem significant
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Cavallo, Valérie. "Le dépassement du portrait . Visage [et] rencontre." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080048.
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Cette recherche aborde l’image du visage à l’aune de sa prise en charge par la photographie comme de ses corrélats techniques et esthétiques. On interroge ainsi le portrait, dans le champ de l’art et du sans-Art, en ce qu’il dépasse les codes d’une catégorie générique attachée à la représentation des personnes. On s’intéresse notamment à la situation sur laquelle il repose, dont il semble non seulement traduire et étendre le vis-À-Vis paradigmatique, mais également, l’intensifier.Parallèlement, en s’appuyant sur les mythes qui questionnent l’homme en son apparaître et son imaginaire ainsi que sa nécessité à expérimenter et à créer, on interroge les raisons pour lesquelles, à défaut de cerner occasionnellement l’ipséité d’un visage en échappée, le portrait est en mesure de générer une expérience de l’identité comme connaissance de soi et d’un autre que soi, à la fois pour l’auteur qui imprègne une image, pour un acteur qui y joue son être imageant, et pour un récepteur qui en traverse la figurance. Dans cet entrelacs, entre le visible et ce qui ne l’est pas, semble se tisser la moire d’une rencontre impalpable, rencontre de vies incarnées par des affects, rencontre en laquelle se risque le souffle d’une poétique et où s’entrevoit, de visage à visage, un élan, un geste, un aller vers, engageant l’humain en son être au monde, par le regard et par la main, et en vertu d’un rapport et d’un déplacement. Si alors, au point de contact avec un autre visage se fige une possible fascination hypnotique, le mouvement du sensible, à travers l’espace et le temps, nous amène à considérer, entre apparition et disparition, un en deçà et un au-Delà de la rencontre, c’est-À-Dire, autant le moteur d’une érotique arrimée à la question du désir, qu’une traversée de l’éther de la psyché par une dynamique qui, de personne en personne, d’être en être, se renouvelle à l’infini. La rencontre que nous tentons d’approcher ici relève ainsi d’une expérience du visage, telle qu’elle en creuse parfois l’énigme métaphysique ou en découvre le charme, mais aussi, et surtout, telle que l’imageant, dans le vivre ensemble ou la solitude, elle entame une réflexion qui s’avère être aussi une voie, et peut-Être en ce sens, un voyage de la pensée pour un discernement, pour un envisagement. Au fil d’un temps décousu et recousu qui, de la naissance à la maturité et à la vieillesse, est celui de l’existence humaine et de sa traversée, au fil d’un temps, donc, qui impose le dépassement d’une condition arbitraire et inéluctable qui, de génération en génération, est intensément tissée de valeurs impressives toujours reconduites et toujours revécues, au fil d’un temps voué à l’ultime, mais aussi à un recommencement, chaque chapitre de cette thèse est ainsi une occasion d’exploration de visages en rencontre, de visages en cheminThe subject of the present study focuses on the technical and aesthetic correlates of the facial image in photographic representation. Hence, the analysis undertakes to examine the notion of the portrait as such, both with respect to the scope of its artistic and non-Artistic aspects, and the extent to which it transcends the codes of a generically human form of representation. It envisages, moreover, the concept of the portrait in view of its place in representing and extending the paradigmatic expression of the self. By the same token, in drawing on the kind of myths that question man’s apparent self-Image and imagination, as these are linked to his inherent drive to experiment and to create, an explanation is advanced as to why, by only occasionally achieving the ipseity of a face « en échappée », the portrait succeeds in generating man’s identity as a way of knowing self and other, namely, how the author suffuses an image with significance, how an actor who plays his part as an imaginative agent, and the ways in which a recipient penetrates the notion of « figurance » .This concept that links the visible and the invisible, harbours the shimmering, impalpable encounter of affect-Embodied lives — an encounter during which a poetics appears to manifest itself and in which the human agent is capable of discerning an outburst, a gesture, a forward movement thereby compelling man’s inner being to visualize the world through his own eyes – and hands made palpable by displacement. Where this occurs, a hypnotic fascination begins to make itself felt at an inter-Facial nexus. Here, we note the gravitation of sensible essence in space and time oscillating between an apparition – at once visualized and invisible – , between an en deçà and an au delà as this essence proceeds from an erotic encounter, issuing as much from desire as from psyche, and which dynamically traverses the ether, ad infinitum, from one being to another. Our approach to this encounter accounts as much for the experience of facial representation as it does, occasionally, for the deepening of its enigmatically metaphysical point of departure, or else discloses its charm and its mode of « image » representation, either in cohabitation or in solitude – the overture to a journey towards discernment, towards a new perception. The experience of this passing of time defines man’s fate from birth through to maturity and on to old age. It reaches beyond the arbitrary and inescapable condition of man from one generation to the next, and is intimately woven into our forever reconstituted, affective values. Every chapter engages in an analysis of this temporal transition, a course ultimately leading to extinction, but also to a Renaissance. This enables the reader to thus explore the different faces he encounters throughout the course of his journey
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Threapleton, James E. "The corroded surface : portrait of the sublime." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9193/.
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Derived from the Latin corrodere, meaning to ‘gnaw to pieces’, corrosion as a transformative physical process is nature at its most sublime, engendering fear and power, producing the obscure and reducing form to the darkness ‘beneath all beauty as promise of its ultimate annihilation’ (Beckley, 2001: p. 72). The thesis considers corrosion as subtraction, erasure and negation in relation to the painting process. Through experimentation with the ruination of both content and painting’s plastic, material properties the thesis reflects upon how the disruption or destruction of image and surface might relate to the un- representable. Within the history of twentieth century art negation has been cited as the defining spirit of the Modernism (TJ Clark: 1986). Jean François Lyotard suggests that it is the sublime that has provoked this destructive, nihilistic tendency and given Modern and postmodern art its ‘impetus and axioms’ (Lyotard: 1979). As the 2010 Tate research project, The Sublime Object attests, the sublime is once again ‘now’. Painting was conspicuous in its absence from the project, perhaps because as Simon Morley states ‘most sublime artworks these days tend to be installations. It is certainly getting harder for painting, the traditional vessel for evoking visual sublimity, to elicit such effects’ (2010, p. 74). This thesis will examine Morley’s position by considering how the composition of the un-presentable may be alluded to through de-composition and corrosion in painting. An expressionist enquiry into the tension between figure and ground the thesis investigates a relationship between mark, surface and the sublime.(1) Notoriously difficult to capture, the sublime is intrinsically contradictory, making an effective, overarching theory on the subject all but impossible to sustain (Forsey: 2007). Highlighting some of the problems surrounding the theory of the sublime James Elkins, in his essay ‘Against the Sublime’ (2009), suggests that the term has been mistaken for a trans-historical category and that it has been used and abused to smuggle religious content into contemporary critical writing. Further more, he describes the post-Kantian postmodern sublime as so intricate and linguistically complex as to render it effectively redundant without substantial qualification. Elkins has called for a moratorium on the term sublime and a redress of language in favor of new, direct terms (2009). This project asks if painting can facilitate this redress and provide these terms. Note (1): An enquiry that applies a necessarily heuristic approach to a project engaged with subjective, felt experience in painting characterized by and articulated through the primacy of gestural abstraction.
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Rouleau, Gabrielle. "Portrait démogénétique de la RMR de Saguenay." Thèse, Université Laval, 2017. http://constellation.uqac.ca/4377/1/Rouleau_uqac_0862N_10381.pdf.
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La population du Québec a déjà fait l’objet de plusieurs études en génétique des populations en raison de la grande qualité de ses bases de données qui couvrent près de quatre siècles. Ces études ont permis de témoigner de l’importance des effets fondateurs qui ont forgé la population depuis l’arrivée des premiers pionniers européens. Certaines régions québécoises, dont celle du Saguenay-Lac-Saint-Jean, sont particulièrement touchées par ces effets fondateurs. L’objectif principal de cette étude est de dresser un nouveau portrait démogénétique de la Région métropolitaine de recensement (RMR) de Saguenay à partir de l’analyse de 247 généalogies ascendantes reconstruites dans le cadre du projet CARTaGENE (www.cartagene.qc.ca). Les reconstructions ont été faites en utilisant la base de données BALSAC (http://balsac.uqac.ca/). Les analyses généalogiques ont été effectuées à l’aide du logiciel GENLIB. Les histoires migratoires des participants à l’étude ont également été dressées grâce au jumelage des données généalogiques avec certaines informations démographiques tirées de l’enquête CARTaGENE. Les différentes branches généalogiques remontent jusqu’aux premiers immigrants venus au Québec (les fondateurs). Les branches les plus longues remontent donc au début du XVIIe siècle, pour une profondeur généalogique moyenne de 10,5 générations. La majorité des fondateurs identifiés sont d’origine française, mais d’autres origines canadiennes et européennes sont également observées. Le niveau d’apparentement des sujets est plutôt faible lorsque mesuré jusqu’à la cinquième génération d’ancêtres, mais il augmente rapidement à partir de la septième génération. L’analyse des histoires migratoires a montré l’existence d’un solide ancrage régional parmi les participants nés au Saguenay. Certains résultats de cette étude ont été comparés aux résultats d’études antérieures portant sur la population du Saguenay-Lac-Saint-Jean et celles d’autres régions du Québec. Les comparaisons ont fait ressortir certaines similitudes mais aussi quelques différences qui s’expliquent par la nature des échantillons utilisés et par l’évolution récente de la population régionale.
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Burke, Janine, and mikewood@deakin edu au. "A Portrait of Albert Tucker, 1914-1960." Deakin University. School of Contemporary Arts, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.161937.
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