Tesis sobre el tema "Image du mort"
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Essid, Kaouthar. "Imageries de la mort et art contemporain". Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010739.
Death is a fact that persues us inspite of our efforts to dissimulate it. The question seems accordingly to be : can this obsession be turned into an object of art which tends to reconsider the status of the human body in our epoch ? There is an essential opposition between the human body that is doomed to vanish and the contemporary vision of a beautiful and unaltered body. Threoughout this "memento mori", I tried to explore death as a plastic expression which raises the question of its legitimacy as a pictorial language. My confrontation with death allowed me to achieve several works that meditate upon existence, temporality, and the nature of the relationship between the human being and his body, and death in its various connotations
Roshem, Sarah Eva. "Prothesis : le corps, la mort et la céroplasticienne". Paris 1, 2003. http://www.theses.fr/2003PA010609.
Khalilnezhad, Ghavidel Neda. "La mort et son image : de la France à l'Iran. Une étude comparative de la conception de la mort dans les proverbes et sentences latins, français et persans". Thesis, Limoges, 2019. http://www.theses.fr/2019LIMO0127.
Death remains an essential mystery of human life and will stay so forever since it is an unreality that human cannot experience at all. Its idea, in other words, is something outside the notion of existence, if we believe in Sartre. Where as, a philosopher like Heidegger, has even gone beyond by putting in advance his famous thesis of being-for-death. However, death spreads its kingdom everywhere, from earth to heaven, and remains the reality of yesterday and today. These comprise the subject of this thesis. We have indeed tried to see the picture that death would find in the sentences or proverbs, according to whether it is expressed in Persian or French; hence the importance is equally attached to the cultural differences of the East and the West. Death changes the face; we will see it: following that it will be treated under the pen of a religious or an atheist. This is for the purpose of questioning the concept or vision of the world, of death in this case, which differ from one place to another and who will now, perhaps, be interested in the future research. This thesis is an analysis, if not a story, of death through a comparative study of proverbs and sentences in Latin, Persian and French languages
Kim, Mi-Jin. "Pour une image de l’homme, de la vie et de la mort, à partir d’une expérience spirituelle orientale". Paris 1, 1996. http://www.theses.fr/1995PA010627.
Metempsychosis, taoist and buddhist philosophy, calligraphy and landscape painting of far-est are the sources of my spiritual experience. On the other hand, beuys, arte povera, italian trans-avantgarde, and land art, which i have discovered in occident, have inspired my-representation modes the development consists of five chapters corresponding to the different steps of human life and of the work itself. In this thesis of plastic arts, each chapter includes two great parts in order to show better the coherence between theory and pratics in my work. The first chapter "dreame of conception" shows how dream announces the work to come. By this conception, dream and imagination, idea, spirit are the initial step of creation analogous to the desire of a child. The second chapter "for a soul and for the matter of a journey" makes clear the symbolic of the circular form recurrent in my work, and the cohabitation between oriental and occidental matter, made possible by the movement of the from ande combined utilization of different techniques of oriental as well as occidental origin. In the third chapter "transmission of space in tim", i show the relation existing in my paintings between space and time symbols. In the fourth chapter "crossed cultures in painting", i develop the reflexion on my belonging to both different cultures, oriental et occidental. In the fifth chapter, "humour(s), i approach the problem of the role of the artist today. I have indicated the future of my paintings in this last chapter. Humour guides me and brings me pleasure. I wish to mix every human emotion, every material, with humour, and thus create new myths and new dreams
Coulombe, Maxime. "Faire du corps une image". Doctoral thesis, Université Laval, 2006. http://hdl.handle.net/20.500.11794/18280.
Rinaldi, Riccardo. "Maurice Blanchot et la question de l'image". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL029.
Most philosophical approaches to Maurice Blanchot's work have hitherto reserved a marginal place for the question of image. Since L'Espace littéraire (1955), however, image assumes a theoretical status that enables us to apprehend it as the matrix of his writing that, initially divided between fiction and criticism, finally achieves its most natural thriving in fragmentation.Far from embracing a sterile nihilism, Blanchot derives from Heidegger’s reflection on art the idea of an appearance as disappearance, of a form invalidating the distinction between matter and form; a presence which is not given: the presence of an absence. He draws from it a radically anti-humanist vision, much more coherent than the conception of the event defining the history of the epochs of the Being: coming before the thing, image condemns the consciousness of the metaphysical subject as the exclusive stage of all representation. The face of death becomes the paradigm of the blind gaze that things lay upon us. Hence, literature proves to be preliminary to a different vision, one that touches on what precedes man’s existence as a whole, his finitude being scattered in an endless approach of the end.Leaving aside the political texts of Blanchot, I have considered the œuvre as a priority in the author’s fate, which is overcome and determined by writing. Less structured than Heidegger's, Blanchot’s work proves finally more suited to be read through the perspective suggested in the Letter on Humanism: we cannot conceive an ethics, as a thought of humanism, if we have not previously redefine what the humanitas of man is
Pietri, Nicole. "La photographie comme sépulture". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080049.
Since the beginning of mankind, man has been taking care of his dead ones, while the relationship between death and photography began in the middle of the 19th century with the invention of photography. Death supposes a dead body that one takes care of by giving it a burial. As we conceive it, burial is an intentional deposition which shows, by this act, the attention that one draws to the dead one that keeps its humanity in Death. Preservation of humanity is precisely what should be protected through burial. By proposing to question the relationship between Death and the image of the dead one, starting from photography and in the light of burial, the purpose of this research work would not be so much to know or to affirm that photography is or is not a burial, but how photography can question the very notion of burial. In return, we ask ourselves, starting from burial, how burial would be likely to induce a questioning towards the photography. Photography as a burial, supposes to bring photography closer to burial, and to consider how photography could respond to what one could expect from a burial. On a different scale, we question whether it would be possible to see what would be related to the burial in analogue photography from the work of Christian Boltanski which appears as the guiding thread of this thesis. Among all the artist-photographers who feed and guide this reflection, Boltanski, without being a photographer, has an artistic path that led him to turn to photography and create burials, funerary monuments. He offers a particular insight to approach both photography and burial. By crossing disciplines, points of view, what is seen and what is not seen, what is said and what is whispered, this thesis should be read as a weaving between implicit and explicit
Maillard, Benoît. "Clinique de la maladie létale : de l'effraction corporelle à la réponse du sujet". Phd thesis, Université Rennes 2, 2010. http://tel.archives-ouvertes.fr/tel-00599280.
Cappelaere, Charles-Henri. "Estimation du risque de mort subite par arrêt cardiaque à l'aide de méthodes d'apprentissage artificiel". Phd thesis, Université Pierre et Marie Curie - Paris VI, 2014. http://pastel.archives-ouvertes.fr/pastel-00939082.
Kim, Seonja. ""L'image fantôme" chez Hervé Guibert". Paris 12, 2004. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990003948580204611&vid=upec.
We studied the concept of the "ghost image" in literary and photographic works of Hervé Guibert, a French journalist, writer and photographer (1955-1991). Our objective was to show that the ghost image, which is, according to the writer, a mental et literary representation, appears also in his photographies. We descrihed the ghost image as a backup of memory, making visible a photography however flot realized. The ghost image is situated in consequence hctween two systems of parallel representations, the literay and the photographic. It is what led us to the exploration of Guibert's photographie works where we observed the auhor's narcissistic split personality linking it to the image of the ghost. For the best comprehension of these works, where Guibert seems to succeed in representing the invisible, we interpreted them here under the category of the metaphysical sublime. In pursuit of a hereafter, Guibert seems to be transformed into a ghost image
Gonçalves, Rui Gabriel Guilherme. "Ícone: Imagem e Fantasma". Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2011. http://hdl.handle.net/10362/7182.
Este estudo tem como objectivo demonstrar através de uma série de exemplos, a relação entre a criação da imagem e os ritos de memória e substituição nas culturas abordadas: Micenas, sociedades Neolíticas do crescente fértil, Roma Republicana e Imperial e Egipto-Romano e estabelecer um paralelo entre o poder da imagem e as codificações subsequentes que permitem o surgimento do ícone religioso
Rabié, Adham. "Les images de la mort dans l'oeuvre d'Andrée Chedid". Toulouse 2, 1989. http://www.theses.fr/1989TOU20043.
The theme of death in andree chedid's book is presented since his first book: "le sommeil delivre". We find it in many other books: "le sixieme jour", "le survivant", "jonathan". Generally, the which of an extension of terrestrial life preceeds metaphysical preocupations. It seems that the problem of spiritual survival is never taken into serious considaration by his characters except when they are very close to death it self particularly in "les marches de sable" and "jonathan". The various images of death are omnipresent in andree chedid's work. But the authout sometimes gives us the impression that death will threatten all happiness and all achievement which life of characters is concerned and to which they are, however, all desperately linked. In shart death appears as a way of magnifying life. It is presented as the unique treasure
Sumiyoshi, Ken. "Maurice Blanchot et son écriture". Thesis, Université Clermont Auvergne (2017-2020), 2019. http://www.theses.fr/2019CLFAL014.
It is the inspiration that encourages us essentially to speech. But, is the man, before the act of writing / talking and at the time of the act or after the act, identical? If the subject of the act could answer positively, we dispute it. At which moment does a fissure of identity happen to the man? We show that it arrives at him at the time of the inspiration. At the dawn of philosophy, Plato assumes the identity between what inspiration asks the man to put into words and the words he confers on it. Platonic Dualism of the sensitive world and supersensible is known, but this structure that considers the idea as a final goal is, as Nietzsche correctly detects, itself motivated by the idea. The idea, as inspiration, triggers and guides the Platonic movement towards it. Located at the beginning as well as at the end, it is identical, and Hegel and Heidegger are in the same line. It is against and in this identity which constitutes a circle, that we introduce a difference or an alterity, and this in particular by the idea of immediate. Inspiration, when it comes to us, doesn’t stay; immediately appeared, it disappears immediately and at the same time. It does not remain to guide us towards it but it only passes, which means that it does not show us its presence but its absence. If the man believes to give his words to what inspiration whispers to him without language, he actually gives them to the trace of inspiration or to the absence of inspiration. By the words, he does not embody the inspiration but forms an image of the inspiration, and one of the biggest problems is that Plato, Hegel and Heidegger take the image as inspiration; they take the absence of something like its presence, without differences or otherness. This homogenization of one and the other which are actually different from each other, as well as the identity to which it ends, are due to the magical power of the image it is not easy to realize.But, by the idea of difference and otherness, couldn’t we say that something else begins that inspiration, namely something new? This is the case of Levinas's thought. And yet, the Jew, whose thought is to extend the specificity of the inspiration at a moment to all the moments, prepares a Blanchot’s radicalization of the absence. It is through the language that this radicalization is realized. Language is not a series of words with consistent meaning, but it is above all a series of phonemes and letters. Moreover, this series is not continuity: when each phoneme, by its immediacy, disappears at the same time as it appears, it is totally indifferent to what precedes it and what follows it. It breaks any relation to others at the spatial-temporal level, which means that the series of phonemes is a continuity of the discontinuous. Thus, what man gets through language is not an entity language with significance, but an entity of missing inspirations at every moment, namely an entity of images that have no relations with each other. Our research will then lead us to answer the question of whether the man, before the act of writing / talking and at the time of the act or after the act, is identical. We answer negatively, not that the language confers a new identity to a man, but that it escapes at every moment, that is to say that it has never been any identity, except an identity based on a falsely continuous image
Câmara, Ariele. "A fotointerpretação como recurso de prospeção arqueológica. Chaves para a identificação e interpretação de monumentos megalíticos no Alentejo: aplicação nos concelhos de Mora e Arraiolos". Master's thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/22054.
Otaka, Hiromi. "The mora, foot and geminate consonants in Japanese /". [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19450.pdf.
Degorge, Virginie. "Ac cadaver : Etude psychanalytique d'une figure du contemporain à partir du phénomène de plastination anatomique de Gunther von Hagens". Paris 7, 2013. http://www.theses.fr/2013PA070104.
Plastination is a method of conservation invented by anatomist G. Von Hagens. Developped industrial way, it gives rise to controversial exhibitions of anonymous corpses preserved in life-like positions. How to fathom the success of those exhibitions whereas it is commonplace to consider death as a tabou ? How the plastinates fit in the history of representation of bodies anc exposure of corpses while they testify of the world they were created in ? Echoing the ideas of an era and mirroring its bodies, plastinates underline contemporary tensions, when they generate theories of anthropological and subjective rupture. They support the ego-illusions of completeness, at the cost of a tantalizing redial, and lets us see the effects of obsessionnalisation favored by science. Approaching this phenomenon as a symptom, this work questions the point of view of the inventor, visitors, candidates for plastination and its detractors, but also sensitive and significan features of these bodies
Gamal, Eldin Ahmed. "Processus ponctuels et algorithmes de coupure minimal de graphe appliqués à l'extraction d'objets 2D et 3D". Phd thesis, Université de Nice Sophia-Antipolis, 2011. http://tel.archives-ouvertes.fr/tel-00737988.
En première partie : nous proposons une nouvelle méthode probabiliste pour gérer les occultations et les effets de perspective. Le modèle proposé est fondé sur la simulation d'une scène 3D utilisant OpenGL sur une carte graphique (GPU). C'est une méthode orientée objet, intégrée dans le cadre d'un processus ponctuel marqué. Nous l'appliquons pour l'estimation de la taille d'une colonie de manchots, là où nous modélisons une colonie de manchots comme un nombre inconnu d'objets 3D. L'idée principale de l'approche proposée consiste à échantillonner certaines configurations candidat composé d'objets 3D s'appuyant sur le plan réel. Une densité de Gibbs est définie sur l'espace des configurations, qui prend en compte des informations a priori et sur les données. Pour une configuration proposée, la scène est projetée sur le plan image, et les configurations sont modifiées jusqu'à convergence. Pour évaluer une configuration proposée, nous mesurons la similarité entre l'image projetée de la configuration proposée et l'image réelle, définissant ainsi le terme d'attache aux données et l'a priori pénalisant les recouvrements entre objets. Nous avons introduit des modifications dans l'algorithme d'optimisation pour prendre en compte les nouvelles dépendances qui existent dans notre modèle 3D.
En deuxième partie : nous proposons une nouvelle méthode d'optimisation appelée "Naissances et Coupe multiples" ("Multiple Births and Cut" (MBC) en Anglais). Cette méthode combine à la fois la nouvelle méthode d'optimisation "Naissance et Mort multiples" (MBD) et les "Graph-Cut". Les méthodes MBC et MBD sont utilisées pour l'optimisation d'un processus ponctuel marqué. Nous avons comparé les algorithmes MBC et MBD montrant que les principaux avantages de notre algorithme nouvellement proposé sont la réduction du nombre de paramètres, la vitesse de convergence et de la qualité des résultats obtenus. Nous avons validé notre algorithme sur le problème de dénombrement des flamants roses dans une colonie.
Laurin, Jacinthe. "Le theme et les images de la mort dans Madame Bovary". Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23223.
Franzon, Érica Cristina de Souza. "A imagem midiatizada da morte de Aylan Kurdi : experiências estéticas e poéticas /". Bauru, 2020. http://hdl.handle.net/11449/192626.
Resumo: Esta tese tem por objetivo discutir a contribuição da experiência estética aos estudos da comunicação midiatizada a partir do fenômeno de interpretação da imagem de Aylan Kurdi, pequeno refugiado sírio morto numa praia da Turquia. Toma-se com ponto de partida a imagem na perspectiva da cultura e tratada como um objeto estético que se oferece à percepção estética, que se dá na experiência sensível. A experiência estética é compreendida no seu aspecto relacional, enquanto percepção ativa do espectador diante do objetivo estético midiatizado. Por sua vez, a comunicação é tomada em uma dimensão estética com a participação dos espectadores nas dinâmicas de produção e partilha de sentidos e de afetos. Com as possibilidades de reelaborações e compartilhamentos, as experiências estéticas se desdobram em experiências poéticas, conectadas com possibilidades dialógicas e dialéticas entre os sujeitos, em relações de reconhecimento e de alteridade. A tese fundamenta-se na pesquisa bibliográfica e na análise da imagem e suas releituras, com a elaboração de seis categorias temáticas e três eixos analíticos: temporalidades, territorialidades e mediações. O estudo identificou que alguns temas foram mais recorrentes nas criações dos espectadores de acordo com os elementos formais utilizados, associando a cena com circunstâncias religiosas, políticas e relativas à cotidianidade da criança. As releituras também tiveram aspectos que expandiram a interpretação da cena para manifestações de rua, pe... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This is the objective of discussing the contribution of aesthetic experience to studies of mediatized communication, based on the phenomenon of image interpretation of Aylan Kurdi, a small Syrian refugee who died on a beach in Turkey. It is taken as a starting point in the image in perspective of culture and treated as an aesthetic object that offers aesthetic perception, that offers a sensitive experience. The aesthetic experience is understood in its relational aspect, while the spectator's active perception is facing the mediatized aesthetic objective. In turn, communication is taken on an aesthetic scale with the participation of viewers in the dynamics of production and sharing of meanings and affections. With possibilities for re-elaborations and sharing, as aesthetic experiences unfold in poetic experiences, connected with dialogical and dialectical possibilities between the subjects, in relationships of recognition and change. This is a bibliographic and image analysis study and its reinterpretations,with an elaboration of six thematic categories and three analytical axes: temporalities, territorialities and mediations. The study identified that some themes were more recurrent in the spectators' creations according to the formed elements used, associating a scene with religious, political circumstancesandthe child's usual use. The reinterpretations also had aspects that expanded the interpretation of the scene to street demonstrations, performances, graffiti and monum... (Complete abstract click electronic access below)
Doutor
Hartley, Daniel. "Image, money, music : more than business, less than autonomous self". Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/11317/.
Clarou, Alphonse. "Catastrophe et répétition : une intelligence du théâtre". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100053.
Catastrophe and Repetition make one think about theater. They give an intelligence of it. « Anintelligence of theater » : one or several ideas of this last we can arrive at, using forms,notions or principles which don’t essentially originate in this art itself. Thus, starting fromJean Genet’s propositions in The Tightrope-Walker, notably viewed in the light of GeorgesBataille’s The Dead Man ; from bullfighting and especially a sentence pronounced by thematador José Tomás, who claims he’s leaving his « body at the hotel » before making hisentrance unto the arena floor (akin to the « acteur en vrai » who committed suicide in ValèreNovarina’s Le Théâtre des paroles) ; as well as from several poetic, urban, or theoreticalrepresentations of the city as a scene operated upon by « Death » (the one from which we donot yet die : this preceding world, this « desperate and radiant region where the artistoperates », as Genet put it) ; starting from these texts and images, Catastrophe and Repetitionform a pensive couple, and sometimes their work has something to tell about those sceneswhere love and death have their entries. Something to tell about their specificities, about whatgrounds and structures them, what keeps them standing or makes them come undone.Something to tell about what makes a scene
Forsberg, Daniel, Mats Andersson y Hans Knutsson. "Parallel Scales for More Accurate Displacement Estimation in Phase-Based Image Registration". Linköpings universitet, Medicinsk informatik, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-59332.
Poisson-Gueffier, Jean-François. "La Cathédrale Rouge. Images de la mort dans le Haut livre du Graal". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA105/document.
The main scholars always depicted the High Book of the Grail as a novel which borders on barbarism. The bursting of the frames of arthurian writing is significant in its most iconic episodes as well, which reveal a huge gap between "High Scripture" and a glorification of the materiality of beings. The novel seems based on a double postulation up and down, towards materiality and spirituality. The study of events and senefiances of death applies to grasp the writing of in-between, while emphasizing the study of two major elements: the inherent visual dimension to the representation of death and methods of its own writing which sketches the outlines of a "funeral writing." Visual paradigm relays the evocative power of the dead narrated while that fateful dominant narrative seems to be one of the most efficient guarantee of the unit of a work whose structure is relevent to illusion or arcana. The hermeneutic thought process of this study considers at first the vocabulary of death, before addressing the circumstances of the "instant mortel", the two spiritual and temporal sides of death, the always powerful unity of the living and the dead. After some stylistic considerations, as well as rhetorical, historical and anthropological ones, the last chapters move to the field of poetics, in a world where death appears fundamentally ubiquitous
Chen, Xiaolin. "Le vieillissement dans l'oeuvre de Marguerite Duras". Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30034.
Aging, an inevitable process that no creature on the earth could escape, is synonymous with living and an ongoing process throughout our existence. Despite the abundant studies on Marguerite Duras, the researches on the theme of aging seem rare. Being one theme related to the passage of time, aging is however omnipresent in the artistic universe of Duras as well as in the life of the writer, who towards the last years of her life transformed herself into a key figure in her works. In this thesis I suggest that there are three main aspects in dissecting the presence of aging in the world of Duras: the aging of the characters in her work; the aging of the author; and the aging of her writing. Based mainly on psychic, psychoanalytic and sociological approaches, my analysis of the aging of the characters focuses on the various symptoms of senility that affect the human beings as well as the writing, which is also inscribed in a process towards evanescence and disappearance. This evolution of writing, which increasingly thins out, becomes consistent with the aging of the characters and that of their author, as the author’s public image constantly changes to respond to the effects incurred by time in the author’s life and her writing. All these three aspects show that aging in the world of Marguerite Duras is an evolution towards disappearance. It is through this movement, even this “fall” gravitating towards the decline, that her writing on aging realise her dynamism. Contrary to the stereotypes, Duras does not praise aging as an advantage to reach the wisdom or the salvation, nor considers it as a punishment: the attitude of Duras concerning aging is characterized by resignation and passivity, but in a positive sense, marked by the deep reconciliation and the acceptance of the vanity of existence, and above all the wear and tear of time. Duras converts the decadence presented in the process of aging into a true motive of her writing and her own life
Jeppson, Mayer. "Characterization and comparative analysis of adolescents admitted to therapeutic wilderness programs and more traditional treatment settings /". Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2529.pdf.
Begum, Hosne Ara. "Hybridization of mulberry silkworm (Bombyx Mori L.) for higher silk productivity and disease resistance /". [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19789.pdf.
Miyasaki, Maren H. 1983. "The covenant : how the tension and interpretation within Puritan covenant doctrine pushes toward more equality in English marriage /". Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3281.pdf.
Kay, Robert T. "A comparison of some of the most current methods of image compression". Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from the National Technical Information Service, 1993. http://handle.dtic.mil/100.2/ADA271841.
Smaal, Yorick. "More than mates? : masculinity, homosexuality, and the formation of an embryonic subculture in Queensland, 1890-1914 /". St. Lucia, Qld, 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17998.pdf.
Hodges, Julie. "Yours, mine or ours: whose perceptions are most important in measuring family functioning and predicting psychopathology?" [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19249.pdf.
Afkir, Fatima. "L'image de l’Égypte dans l’oeuvre de Tawfīq al-Ḥakīm". Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30059/document.
If we contemplate the playwright's rich production, we realise to what extent Egypt plays a prominent part in his work and life. It is the crowning achievement of his literary work which highlights all the aspects of this country, social, historical, cultural and political However, in this study, we will try to limit our subject of The image of Egypt in T.al-Hakim's work to two particular eras, the revolutions of 1919 and 1952. His writings clearly relate those major events. The way he thinks, writes, criticizes and analyses before and after the 1919 revolution is no longer the same after the 1952 revolution. He started being a dreamy idealistic writer, and turned into another one, more realistic and committed in his literary work. Our global problematics will hinge on the following issues: what representation of Egypt does Tawfiq al-Hakim's work give? Can we regard his return to ancient myths as a continuity between modern Egypt and ancient Egypt? In a first part, we deal with the two revolutions which have had repercussions on his writings and political vision. The second part will tackle the society of his novel, in which he describes a country seen through a native Egyptian, and the strong ties which link the Egyptian people to their nation. The third part will focus on women and on the fallah, which greatly inspired the writer. The fourth part will be dedicated to the Pharaonic Egypt. We will see how far he has been influenced by ancient Egypt to descibe the modern one. We have relied on a few works of different writers so as to find an authentic link between what he writes and thinks reality and imagination in his works. We will analyse the way he sees, observes and criticizes his own country
Manning, Jill C. "A qualitative study of the supports women find most beneficial when dealing with a spouse's sexually addictive or compulsive behaviors /". Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1171.pdf.
Soekatri, Moesijanti Yudiarti Endang. "Iron and zinc supplmentation in infancy - who benefits the most : a randomised controlled trial in Indramayu, Indonesia /". St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16439.pdf.
Corbucci, Fabiola. "A estética da pulsão de morte na conscientização ambiental: paradoxos e sintomas do imaginário ecológico". Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4281.
Conselho Nacional de Desenvolvimento Científico e Tecnológico
The relative (in)efficiency of environmental awareness programs carried out by various communication media is considered here as a social symptom in which great success and failure paradoxically coexist. This research investigates one type of image related to this thematic communication with the purpose of discussing the imaginary on which it draws. We note that there is a type of image that fits into the aesthetics of the death drive: at the indexical level it portrays degraded environments and apocalyptic phenomena; at the iconic level it recurs to a plasticity that mimics the qualities of death. Why is this type of image presented even when the subject it addresses intends to promote the continuity of life? This question led us to analyze of the iconicity (Peircean semiotics) of the catastrophic images transmitted by the media as revealing a thanatophilic imaginary and promoting an interpretant that invites the observer to contemplation, inertia, and the Nirvana. With this purpose, the relative inoperativeness of populations concerning environmental movements emphatic demand for a radical transformation in their ways of life is questioned. This relative inoperativeness, announced not only in environmental reports, but also in the media, is surprising in view of the widespread dissemination of the ecological issue in urban societies at least since the 1960s. We interpret this paradoxical gap in the environmental movement as a social symptom and relate it to the thanatophilic imaginary manifested in the images of the environmental campaign and generalized through the media. We draw on the social, political, and cultural context of modern capitalism with the purpose of better understanding how the representation of nature is implicated in the daily practices of urban societies. We reflect on the vicissitudes of a glocalizing process of civilization for the effectiveness of the human relation to nature. With this in mind, we carry out a theoretical and interpretive discussion of the visual communication accomplished by the environmental campaign, especially in its psychic and imaginary dimensions. We investigated the discourse of this widespread environmental campaign based on an analysis of its images in order to make evident latent points or aspects and, thus, interpret inoperativeness concerning the environmental threat. The theories of Peirce and Freud have been fundamental for our analysis, as well as reflections by other authors, such as Keith Thomas, José Augusto Pádua, Eugênio Trivinho, Vladimir Safatle, and Slavoj i ek. Concepts such as sign (especially icon and index, but also symbol), imaginary, fetishism, the unconscious, and death drive are also central to our analysis
Considerando a relativa (in)eficiência da disseminada conscientização ambiental desenvolvida pelos meios de comunicação mais diversos como um sintoma social, em que um grande sucesso e um grande fracasso coexistem paradoxalmente, esta pesquisa investiga um tipo de imagem veiculado a essa comunicação temática com o propósito de discutir o imaginário que o alimenta. Verificamos que há um certo tipo de imagem que se enquadra no que denominamos estética da pulsão de morte: retrata, no nível indicial, ambientes degradados e fenômenos apocalípticos; no nível icônico, recorre a uma plasticidade que mimetiza as qualidades da morte. Por que esse tipo de imagem é apresentado mesmo quando o assunto tratado pretende clamar pela continuidade da vida? Essa questão instigou-nos a analisar a iconicidade (semiótica peirceana) das imagens catastróficas veiculadas pelos media como reveladora de um imaginário tanatofílico e promotora de um interpretante que convida à contemplação, à inércia, ao Nirvana. Para isso, indagamos sobre uma relativa inoperância das populações frente à grande demanda dos movimentos ambientais por uma transformação radical do modo de vida. Essa relativa inoperância, anunciada não apenas nos relatórios ambientais como nos media, surpreende diante da disseminação da questão ecológica un peut partout nas sociedades urbanas pelo menos desde a década de 1960. É esse lapso paradoxal do movimento ambiental que é tomado como sintoma social e relacionado ao imaginário tanatofílico manifestado nas imagens da campanha ambiental generalizada dos media. Resgatamos, para isso, o contexto social, político e cultural do capitalismo moderno a fim de compreendermos melhor como a representação da natureza está implicada nas práticas cotidianas das sociedades urbanas. Refletimos, ainda, sobre as vicissitudes de um processo civilizatório glocalizante para a efetivação da relação dos homens com a natureza. Com esse suporte, propomos realizar uma discussão teórico-interpretativa sobre a comunicação imagética da campanha ambiental, sobretudo em suas dimensões psíquica e imaginária. Investigamos o discurso dessa disseminada campanha de conscientização ambiental a partir de uma análise de suas imagens para evidenciar pontos ou aspectos latentes e, com isso, construir uma interpretação sobre a inoperância frente à ameaça ambiental. Para isso, são fundamentais as teorias de Peirce e Freud, além das reflexões de outros autores, como Keith Thomas, José Augusto Pádua, Eugênio Trivinho, Vladimir Safatle e Slavoj i ek. São centrais, ainda, conceitos como o de signo (ícone e índice, sobretudo, mas também o de símbolo), imaginário, fetichismo, inconsciente e pulsão de morte
D'Abronzo, Thais Helena. ""Foi tarde", a construção da cena pelas vias da imagem : dialogos com o "Teatro da Morte" de Tadeusz Kantor e "A Morta" de Oswald de Andrade". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284708.
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho realiza uma reflexão sobre o processo de criação do espetáculo teatral intitulado Foi Tarde. Investiga alguns modos pelos quais a construção da imagem comparece em procedimentos de criação da cena teatral. Na construção do espetáculo, buscaram-se possíveis relações entre o Teatro da Morte (1975-1990) de Tadeusz Kantor e o texto dramatúrgico A Morta (1937) de Oswald de Andrade, principalmente quanto à "presença da morte" como condução poética. Um terceiro material a somar-se nesta relação viria a ser "o aspecto de exposição à morte em um ambiente hospitalar". À estruturação da cena pelas vias da imagem e à colisão dos materiais do processo criativo chamou-se, neste estudo, de artifícios da morte. No desenvolvimento, ocorre a descrição do processo criativo, e são apresentados o memorial e a escritura do espetáculo. O trabalho com as poéticas de Tadeusz Kantor e Oswald de Andrade solicitou uma abordagem sobre a relação entre o texto dramático e a escritura cênica, a partir do embate iniciado no final do séc. XIX e início do séc. XX. Para tanto, fez-se necessário o resgate de informações sobre o movimento simbolista e sobre as vanguardas históricas, como precursores de novos comportamentos artísticos e de paradigmas de construção teatral e dramática para o século XX e para a atualidade. Por fim, entende-se, que Tadeusz Kantor e Oswald de Andrade revelam, em seus trabalhos, influências e divergências com o simbolismo e com as vanguardas históricas, em nome de uma poética caracterizada pela presença da morte e pela autonomia da cena teatral pelas vias da imagem. Esta reflexão embasa, portanto, a poética de construção do espetáculo Foi Tarde, apresentado publicamente em montagem consonante aos princípios estéticos pretendidos
Abstract: This project accomplishes a reflection about the process of creation of the Foi Tarde (Gone Late) play. It investigates some ways trough which is present in procedures of the theatrical scene creation. In the construction of the spectacle, possible relation between the Teatro da Morte (Death Theatre) (1975-2000) of Tadeusz Kantor and the dramaturgic text A Morta (The Dead Woman)(1937) from Oswald de Andrade were searched, mainly about the "presence of the death" as a poetic conduction. A third material to be added to this relation happened to be "the aspect of the exposition to death in a hospital environment". The structuring of the scenes through the image pathways, and the collision of the materials of the creative process were called, in this project, death artifices. In the development, happens the description of the creative process, and are presented the memorial and the script of the spectacle. The work with Tadeusz Kantor and Oswald de Andrade poetics demanded an approach about the relation between the dramatic text and the performing arts scripts, from the clash started in the end of the XIX Century and early XX Century. For it, the rescue of the information about the symbolist movement and about the historical vanguard were made necessary, as precursors of new artistic behaviors and of paradigms of theatric and dramatic constructions for the XX Century and for the present time. At last, it is understood, that Tadeusz Kantor and Oswald de Andrade reveal, in their works, influences and divergences with the symbolism and with the historical vanguards, in the name of a poetics characterized by the presence of death and by the autonomy of the theatric scene through the image pathways. This reflection sustains, hence, the poetic of construction of the spectacle Foi Tarde(Gone Late), presented publicly in an assembling corresponding to the intended aesthetics principles
Mestrado
Mestre em Artes
Bernardo, Luciana de Freitas. "Imagens da morte: um estudo do g?nero policial-fant?stico em Poe, Wilde e Christie". Universidade Federal do Rio Grande do Norte, 2008. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16154.
Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico
The mirror has always been related to different symbols, usually connected to self-knowledge and truth. This is due to the fact that this object shows whoever looks oneself in it an image as close to reality as it is possible. On the other hand, the mirror is also associated to mysticism and to the supernatural for it can magically duplicate one who looks into it. This ambiguous characteristic turns the mirror into an element that is fantastic in itself and places it in the central position of our discussion. Therefore, in this study, we analyze the texts In a Glass Darkly, by Agatha Christie, The Oval Portrait, by Edgar Allan Poe, and The Picture of Dorian Gray, by Oscar Wilde, giving special attention to the study of the images and artificial representations of men: the mirror, as an ephemeral representation; and the portrait, as an attempt to eternize an ephemeral image. We also discuss themes such as jealousy, the double, and death in the several forms in which it appears in the texts: suicides, homicides, attempted murders, death in life (mourning, separation, and developmental phases) all of which are, somehow, related to the specular representations. The narrative resource of using a mirror to introduce the supernatural event, along with the theme of death in all the narratives we have studied, and the difficulty to place these texts within the pre-established genres led us to categorize them as being part of a hybrid genre that presents characteristics both of the fantastic and of the detective story which we have named fantastic-detective story
O espelho ? um objeto que sempre esteve carregado de diferentes simbologias, comumente ligadas ao autoconhecimento e ? verdade, devido ao fato de mostrar, a quem se olha nele, uma imagem t?o pr?xima da real quanto poss?vel. Por outro lado, o espelho tamb?m ? associado ao misticismo e ao sobrenatural pela m?gica de conseguir duplicar aquele que olha atrav?s dele. Esse car?ter amb?guo torna o espelho um elemento fant?stico por excel?ncia e de recorr?ncia comum nos textos deste g?nero, al?m de ponto alto de interesse para nossa discuss?o. Analisamos, neste trabalho, os textos In a Glass Darkly de Christie, The Oval Portrait de Poe e The Picture of Dorian Gray de Wilde a partir de uma metodologia comparativa, nos dedicando especialmente ao estudo das imagens, assim como das representa??es que o homem faz de si mesmo presentes nas narrativas: o espelho, enquanto representa??o ef?mera; e, o retrato, enquanto tentativa de eterniza??o de uma imagem ef?mera. Discutiremos ainda temas como o ci?me, o duplo e a morte nas diversas formas nas quais ela se apresenta nos textos aqui estudados: suic?dios, homic?dios, tentativas de assassinato, mortes em vida (luto, separa??o, fases de desenvolvimento), todos relacionados de alguma forma com as representa??es especulares. O recurso narrativo da utiliza??o do espelho como introdutor do evento sobrenatural, junto com a tem?tica da morte, presente em todos os textos do corpus, e a dificuldade de enquadramento das narrativas em um g?nero pr?estabelecido nos levou a categoriz?-los como um g?nero h?brido que apresenta caracter?sticas tanto do fant?stico quanto do policial, ao qual chamamos policial-fant?stico
Esposo, Sarah R. "Social influence in the context of group-directed criticism: are three critics more persuasive than one? /Sarah R. Esposo". [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19246.pdf.
Bertin, de Poulpiquet Nadège. "Rites de deuil, rites funéraires et images post-mortem d'une communauté d'origine congolaise à Paris : de la dévalorisation rituelle de la mort au nouveau culte visuel du mort". Paris, EHESS, 2008. http://www.theses.fr/2008EHES0317.
In Congo Brazzaville, the modifications observed in practises and beliefs relating to death are often explained by several periods of war that bruised the country from 1998 to 2003. A fieldwork within a Congolese community in Paris and its suburbs, direct observations (collection of the body, funerals, Divine Mercy masses, end of the mourning period, birthdays, wedding celebrations), as well as the analysis of images (photos and videos) and view on death, revealed a more complex reality. Although on the one hand, practices and views describe a triple trend towards a simplification, an individualisation of bereavement and a desacralisation of the dead, on the other, the postmortem visual production analysis demonstrates a new ritual focused on remembrance, as well as individual and collective memory. It confirms familial postmortem image as a new means of paying tribute to the dead and to sacralise it again
Dann, Fiona. "Type 2 diabetes and depression : an exploration into the most effective depression screen to be used in a type 2 diabetes population /". [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18463.pdf.
Simonin, Marion. "Images et poétique du corps dans la poésie de Jules Supervielle". Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA144.
This thesis holds its objective to study the poetic and poietic manifestations of the body in the poetry of Jules Supervielle. The text is imprinted with the mark of disappearance and absence, against which it arises to make amends for the defaulted bodies. This anthology, edited through the first half of the 20th century, presents a writing influenced by a history both universal and individual. The poet travels from the acceptance of a constitutive singular implosion, reaching out for an ever-evolving resonance of the cosmic body. By creating evolving images, by rubbing against "the real" at the expense of his own flesh and blood, by inventing a poetic reality with his dreamy fantasy, he has revealed his multiple extensions, as to find his way to be connected with the universe. If the subject owns his firm footing to his relationships with the outside world, he is equally eager to comprehend his own mechanism by winding his observation towards the inside. Our study inquires into the different perceptive depths of the bodies that the poems illustrate, by making use of the permanent metamorphosis, in order to come to terms with the physiological aberrations. Instability and movement are captured by the text which, from a moment to the other, pass from body to absence of body and tries to unify shapes without body into the matter. The analysis reveals that the body renews itself by breaking and borrowing boarders. The dialectic between the living body and the evasive shape of the soul of the dead would be resolved by a poetic ontology of the interspace and period in between. Thanks to the reminded recollection of the divine presence in a nature from which God took off, the mankind takes again the responsability of his continuity and the continuity of the world, by using his power of creation
Mullen, Steven J. "An assessment of the IMEF depot-level corrosion prevention and control program and the viability of making it more efficient and/or outsourcing the requirements through private sector initiatives". Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2002. http://library.nps.navy.mil/uhtbin/hyperion-image/02Dec%5FMullen.pdf.
Lallmahamood, Nizaar. "Facteurs de retard de diagnostic et approche clinique dans la prise en charge des patients atteints des cancers des voies aéro-digestives supérieures". Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC037.
Starting from the meetings with patients suffering from head and neck cancer, this research shows that this disease is much more complicated that we think. Cancers are diseases with a such complexity that do not allow us to think that it is a result of factors that leeds to this disease. We can assume for example that a head and neck cancer is due to a drug addiction or a precariousness, but those two factors are not the unique reason. A lecture of the 4 cases, will highlight the psychical and physical effects of such a disease and the way we take care of those patients
VanVonderen, Kristen E. "Media effects on body image in the context of environmental and internal influences what matters most?" Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5072.
ID: 030422885; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 76-83).
M.A.
Masters
Communication
Sciences
Vieira, Júnior Rivadávia Padilha. "Retratos do poder: a imagem pictórica de Felipe de Habsburgo por Ticiano Vecellio e Antonio Moro (1548-1558)". reponame:Repositório Institucional da UFF, 2013. https://appdesenv.uff.br/riuff/handle/1/228.
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Este estudo dedica um olhar mais aprofundado às continuidades e especificidades produzidas para a constituição da imagem pictórica do príncipe Felipe de Habsburgo (1527-1598), a ser conhecido como Felipe II de Espanha (1556-1598), nos retratos realizados pelos pintores Tiziano Vecellio (ca. 1488-1576) e Antonio Moro (ca. 1519-1576). Destaca-se o marco cronológico para o contexto do estudo entre os anos de 1548 e 1558, período que contempla a educação política do príncipe; as tratadísticas e cerimônias de seu matrimônio com a rainha Maria Tudor da Inglaterra (1516-1558), entre 1554 e 1558; os períodos de sua atuação como regente dos reinos espanhóis nas décadas de 1540 e 1550; o conflito desencadeado dentro da casa de Áustria sobre a sucessão da coroa imperial; além de suas viagens realizadas no período em que foi apresentado como herdeiro de seu pai, o imperador Carlos V (1500-1558). Na intenção de construir a imagem de um legítimo herdeiro do imperador, Ticiano Vecellio e Antonio Moro fizeram uso de uma ampla e variada linguagem simbólica, baseada na tradição secular e religiosa do Ocidente, a partir de ideais e mitos inspirados na Antiguidade, no cristianismo e no medievo. Esta produção cultural está intimamente vinculada às relações de poder que regiam as ligações entre nobres mecenas encomendantes dos retratos analisados e os pintores para a produção de uma imagem idealizada e persuasiva. Desta forma, analisamos as tradições formativas e interpretativas da imagem pictórica do príncipe Felipe de Habsburgo para compreender quais foram os ideais e influências presentes em seus retratos.
Este etudo dedica uma mirada más cercana a las continuidades y las especificidades producidos em la formación de la imagen pictórica del principe Felipe de Habsburgo (1527-1598), que será conocido como Felipe II de España, en los retratos realizados por los pintores Tiziano Vecellio (ca. 1488-1576) y Antonio Moro (ca. 1519-1576). Es de destacar el marcador cronológico para el contexto del estudio entre los años 1548 y 1558, periodo que incluye la educación política del príncipe; las tratadísticas de su matrimonio con la reina Maria Tudor de Inglaterra (1516-1558), entre 1554 y 1558; su actuación como regente de los reinos españoles en las décadas de 1540 y 1550; el conflicto desencadenado en el interior de la casa de Austria en la sucesión de la corona imperial; además de sus viajes por el período en que fue presentado como heredero de su padre, el emperador Carlos V (1500-1558). Con la intención de construir la image de un heredero legítimo al emperador, y Tiziano Vecellio y Antonio Moro hicieron uso de un lenguage simbólico amplia y variada, basada en la tradición religiosa y secular del Occidente, de ideales y mitos inspirados en la Antigüedad, el cristianismo y la Edad Media. Esta producción cultural está estrechamente vinculado a las relaciones de poder que rigieron las relaciones entre los nobles y pintores para producir una image idealizada y persuasivo. Por lo tanto, analizamos las tradiciones educativas e interpretativas de la imagen pictórica del príncipe Felipe de Habsburgo para entender los ideales y las influencias presentes en sus retratos.
Olivera, Mendoza Luis Mauricio. "La composición de la imagen surrealista en Le château de grisou de César Moro". Bachelor's thesis, Pontificia Universidad Católica del Perú, 2011. http://tesis.pucp.edu.pe/repositorio/handle/123456789/714.
Tesis
Leites, Bruno Bueno Pinto. "Quando a imagem faz sintoma : imagem-pulsão e neonaturalismo no cinema brasileiro dos anos 2000". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/157637.
In this Thesis, we study Brazilian films that investigated the country with the intention of revealing its inner diseases. This project from the beginning of the 2000s led to images replete of deformation, repetitions, uncontrolled behaviors, eye diseases and cruelty, among other characteristics we demonstrate in this work. Our hypothesis is that this aesthetics has expanded in the beginning of the 2000s and dispersed over the decade. We can see this aesthetics in films such as Chronically Unfeasible, Through the Window, Latitude Zero, The Trespasser, Mango Yellow, Up Against Them All, What Is It Worth?, Drained and Bog of Beasts. We also assert that these images update a naturalistic project and result in a symptomatology. In order to analyze the images, we employ the concept of impulse-image proposed by Gilles Deleuze in his taxonomy of images. It is a less popular concept in his taxonomy, but it has been suitable to this research because it offers a rigorous method for working with the instinct of (death) in the cinema. In this work, we understand Deleuze’s impulse-images as a development of the concepts of death instinct and body without organs, proposed by the author in the 1960s and the 1970s. Concerning the analysis, the Thesis is composed in three axes: impulse-images, neo-naturalism and symptomatology. In the first, we highlight the connection between the spheres of reality (derived milieu), the one of disease (originary world), and the dynamics of action from disease to reality (privileged moments). It is in this axis that we make some of the key proposals in this work: the naturalizing displacements; the centered spaces; the methods of testifying the unrepresentable instinct (of death); the repetitions that condemn in time; the plasmaticity of the return to the inorganic; the uncontrolled behaviors that reveal an impossibility of action. In the second axis, we demonstrate the naturalistic influence in these images: the entropic vision; the association between the tragic and everyday life; the option for narratives based either in falls or in circularity; the taste for the underworld, the deformations and the animalistic violence; the interest in diagnosis and its efficacy. In the third axis, we propose that the political gesture in this aesthetics is the symptomatology, in the sense that image itself should stand as a symptom in civilization. The symptomatology has a double strategy: producing discomfort and satisfaction in the spectator. Finally, we systematize the propositions from the Thesis and put in evidence what we believe is the key objective in these images: discovering and testifying the instinct (of death) that they believe lies deep in Brazilian reality.
Machado, Sheila da Silva. ""Vivo ou Morto?" : o corpo na escola sob olhares de crianças". reponame:Repositório Institucional da UnB, 2013. http://repositorio.unb.br/handle/10482/14999.
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O presente estudo precipuamente busca refletir sobre as percepções das crianças acerca de seu corpo na escola. Outrossim, justifica a concepção de infância enquanto sujeitos de sua própria história. Considera-se as crianças como agentes ativos e de direitos inseridos em uma sociedade a qual podem reproduzir, construir novos sentidos e intervir nas práticas sociais e culturais. Parte da crítica de uma infância desprovida de historicidade, submetida a um processo de expropriação de condição de ser humano, o que os fragmenta enquanto sujeitos. Objetivou analisar os sentidos conferidos ao corpo pelas crianças, a partir de elementos da educação do corpo, construídos pelo processo de escolarização. Para tanto, foi realizada pesquisa de campo com orientação etnográfica, envolvendo produção de dados em uma escola da rede pública de ensino do Distrito Federal, Brasil. As técnicas utilizadas compreenderam observação participante; coleta de desenhos; conversas com as crianças; e aplicação de “formulário sobre práticas culturais e de consumo de mídias”. Acompanhamos uma turma do quinto ano do Ensino Fundamental, formada por um total de vinte e três crianças. Os resultados apontam que embora a escola empregue a cultura de um corpo passivo, disciplinado e obediente as regras, as crianças as transgridem, criam e reinventam os tempos e espaços instituídos para elas neste ambiente. Apresentam ainda opiniões e soluções relacionadas aos espaços escolares, bem como a necessidade de serem ouvidas e de participarem dessas discussões. _______________________________________________________________________________________ ABSTRACT
This study seeks essentially to think over children’s perceptions about their body at school. In addition, it justifies the childhood conception as protagonists of their own history. Children are considered as active agents in their own rights inserted in a society that they may reproduce, build new meanings, and intervene in the social and cultural practices. It starts from the criticism of a childhood devoid of historicity, subjected to a humanness expropriation process, which fragments them as individuals. The objective was to analyze the meanings conferred to the body by the children, based on elements of body education, built by the schooling process. Therefore, a field research has been conducted under an ethnographic approach, involving the production of data in a public school in the Federal District, Brazil, has been conducted. The techniques used included participant observation; collection of drawings, conversations with children; and application of "cultural practices and media consumption form". We have observed a group of elementary school fifth graders, consisting of a total of twenty-three children. Results show that although the school uses the culture of a passive body, disciplined and obedient to rules, children break them, create and reinvent spaces and times set for them in this environment. They even have opinions and solutions related to school spaces as well as the need of being heard and participate in these discussions.
Cummings, Elizabeth Ann. "Optical Detection of Ultracold Neutral Calcium Plasmas". Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd692.pdf.
López, de Munain Gorka 1984. "Una genealogía de la máscara mortuoria. Tiempo, imagen, presencia". Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/404186.
The aim of this research focused on death masks has a double perspective: on the one hand, it seeks to develop a death masks theory in order to organize some of the central ideas (face, presence, death , likeness, time, etc.), and, on the other hand, to carry out an application of this theory on specific cases and environments previously selected. That is why the object of study, death masks, are not considered artifacts susceptible of being framed in a historical-artistic analysis, but sensitive objects that participate in a perceptive act. In the first theoretical sections, the conceptual notions of image, body and medium are defined. The medium takes an important role as a methodological tool that allows us to think about one of the main concepts of this research: presence. Once this theoretical framework is built, the second part of the research tries to identify a series of central arguments connected to each other, in order to build a constellation of figures and ideas that will shape our particular genealogy. We will focus our attention on the role played by the resemblance by contact from the Antiquity, analyzing the cases in which facial molding has gone beyond the mere technique. The inquiry will gradually move towards one of the most important hypotheses: the regarding of the death masks as autonomous objects disconnected from the practical application they have usually been reduced to.
Medley, Stuart. "Less realism : more meaning : evaluating imagery for the graphic designer". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2008. https://ro.ecu.edu.au/theses/232.