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Tesis sobre el tema "Portraits"

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Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 25 de julio de 2024

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1

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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2

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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3

Richardson, Elaine M. "Portraits-within-Portraits: Immortalizing the Dutch Family in Seventeenth-Century Portraits". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212088663.

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4

Richardson, Elaine May. "Portraits within portraits immortalizing the Dutch family in seventeenth-century portraits /". Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212088663.

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Thesis (M.A.)--University of Cincinnati, 2008.
Advisor: Diane Mankin. Title from electronic thesis title page (viewed Feb. 24, 2010). Includes abstract. Keywords: Family Portraits; Dutch; Seventeenth Century; Jan Miense Molenaer; Jacob Ochtervelt; transience; harmony; prosperity. Includes bibliographical references.
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5

Ilmudeen, Jafeen S. "Portraits". Cleveland, Ohio : Case Western Reserve University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1239824184.

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6

Bontorno, Nicholas J. "Portraits". BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3267.

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This paper is a documentation of and supplement to my thesis project, which is on display in the Harold B. Lee Library Auditorium Gallery from April 2 - May 25, 2012. The seven paintings on display are included in this report are found on the following pages: Leann (18”x 24”) …………………………………………………………..9 Claire (28”x 36”) …………………………………………………………..10 Janell on a Couch (48”x 60”) ……………………………………………..11 My Dad in Winter (84”x 96”) ……………………………………………..13 Mel in Springtime (84”x 96”) ……………………………………………..14 Man on a Horse (48”x 60”) ………………………………………………..15 Danny Holding a Cat by the Ocean (28”x 36”) ……………………….…..15
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7

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.
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8

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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9

Tahir, M. Zaki. "Nationalistic portraits". The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1318950065.

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10

CALLAHAN, DUSTIN LEE. "URBAN PORTRAITS". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179519705.

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11

Schmitz, Matthew W. "Extended portraits /". Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/14.

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Thesis (B.F.A.)--California Polytechnic State University, 2009.
Project advisor: Eric Johnson. Title from PDF title page; viewed on Jan. 12, 2010. Includes bibliographical references. Also available on microfiche.
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12

Richardson, Alice. "Judging portraits". Thesis, https://www.youtube.com/watch?v=L6rCL7Dcm8w&index=9&list=PLdn0giYPTOk3y2B2KL2jtS6mHvMPFdj7u, 2014. http://hdl.handle.net/1885/13635.

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13

Haak, Christina. "Das barocke Bildnis in Norddeutschland : Erscheinungsform und Typologie im Spannungsfeld internationaler Strömungen /". Frankfurt am Main : P. Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb39164567n.

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14

Boswell, Timothy. "Portraits: A Collection". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28396/.

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This collection consists of a critical preface and five short stories. The preface analyzes what it terms 'fringe fiction,' or stories dealing with elements that are improbable or unusual, though not impossible, as it distinguishes this category from magical realism and offers guidelines for writing this kind of fiction. The short stories explore themes of attachment, loss, guilt, and hope. Collection includes the stories "Portrait," "Dress Up," "Change," "Drawn Onward, We Few, Drawn Onward," and "Broker."
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15

Shain, Jeanne Ungemach. "Portraits in flight /". Online version of thesis, 1996. http://hdl.handle.net/1850/11905.

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16

Cowan, Lee R. "24 Hour Portraits". BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2150.

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I believe an individual can be profiled by their color preferences, but not indefinitely, for a shorter period of time, a 24-hour period of time. A person's state of mind will change continually based on their experiences. These experiences will affect their perception and preference of color. I developed a model that will map an individual's profile, a portrait, through color. Participants are given a worksheet and a list of terms describing personality traits and states of mind. The worksheet is categorized by event, time of day, duration, impact, and summed term. From midnight to midnight, a 24-hour period, the participant records any event that they encounter providing information-fulfilling categories stated above. I use that information to then map out their portrait of 24-hours through color.
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17

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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18

Kattan, Naïm. "Portraits of a country, traduction de Portraits d'un pays de Naïm Kattan". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq21777.pdf.

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19

Kerr, Thomas. "Portraits of a country : traduction de Portraits d'un pays de Naïm Kattan". Mémoire, Université de Sherbrooke, 1996. http://savoirs.usherbrooke.ca/handle/11143/2008.

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Portraits d'un pays, de Naim Kattan, est un ouvrage qui donne aux lecteurs un aperçu à la fois intime et humoristique sur les vies et carrières de certaines figures de proue canadiennes et Québécoises des derniers quarante ans. En traduction, cet aperçu sera également apprécié par un public anglophone. Le traducteur qui se voit confronté à un tel ouvrage sentira, il va sans dire, le besoin d'en produire une version anglaise qui rencontre toutes les exigences d'un lecteur minutieux, la plus parfaite limpidité quant à la langue et la plus nette fidélité quant au contenu. Les portraits en question tirent un charme additionnel du fait qu'ils nous apprennent tant sur Naim Kattan que sur les personnalités dont ils traitent. Ses sujets constituent une véritable mosaïque de personnalités canadiennes et québécoises. M. Kattan nous livre ses réflexions sur des écrivains canadiens-anglais aussi bien connus que Margaret Laurence, Marshall McLuhan, Northrop Frye, et Hugh MacLennan ; du côté québécois, il nous parle avec beaucoup d'entrain et de perspicacité d'Yves Theriault, Jacques Ferron, Hubert Aquin, et Alice Parizeau. Il nous fait en outre des révélations inattendues sur les carrières de politiciens aussi bien connus que René Lévesque et André Laurendeau. Grâce à son ouvrage, ce sont à peu près les plus grandes figures de l'histoire littéraire et politique du Québec et du Canada qui défilent devant nous. Je me suis vite rendu à l'évidence, cependant, que Naim Kattan n'est pas un auteur facile à traduire.
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20

Moisan-Dufour, Olivier. "Portraits de l'objet abstrait". Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/37728.

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356181\u Ce mémoire est une réflexion philosophique sur l’infini et l’indéfini, champ de recherche en arts visuels en relation avec ma pratique personnelle. Je vous propose une recherche basée sur les enjeux impliqués dans la construction, la présentation et la représentation de mes œuvres produites au cours de ma maîtrise, soit de 2017 à 2019. Ce projet d’écriture accompagne l’exposition «Reproduire l’improbable », qui a pour but d’amplifier l’appréciation de l’objet abstrait en présentant son portrait en peinture.
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21

Lim, Doris. "Twenty-Four Self-Portraits". PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/2087.

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These are twenty-four exercises in personal writing that observe an anonymous self in the apartment, who is writing, or reading, or looking at mundane things. The exercises are collected in four sections registering different iterations in self-recognition, as the anonymous, closely observed, changes from a shared commonplace to the particular and personal state. The exercises use prose paragraphs, lineation, and figures as a private methodology into the problem of writing: learning to see the self, thinking on the page, as a thing made from words.
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22

Pratt, Sarah Jane. "Personal memory and the negotiation of identity : a self portrait". Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/26143.

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The first section of this paper surveys the differing characteristics of memory, its fragmentary qualities, its constant negotiation within the present, its personalised form and its links to identity-formation and construction. Concepts of continuity, stabilising identity within the present, and their corresponding memory-related problems are discussed. Photographs are looked at in relation to memory as well as for their ability to inform or influence individual identity. References to the multi-faceted information that is unconsciously assimilated from multi-media sources in today's society, and the resultant identity related complexities introduce a more personal outlook on historically specific factors that appear to have destabilised identity. The Truth and Reconciliation Commission is briefly introduced from the perspective of recreating one collective national memory and the implicit complexities involved on both a personal and collective level. Section two of the paper establishes the importance of place in the formation of identity and then looks specifically at historical incidents that are relevant to my personal self-consciousness. Zimbabwean land reform issues, political racism and economic problems are presented as occurrences powerful enough to trigger the conscious scrutiny of identity and a personal sense of the past. Travel-related experiences are discussed with issues pertaining to the destabilisation felt when the individual is introduced to "other" discourses or cultures. Exposure to these occurrences, and conjecture surrounding their "ripple effect" on the individual provide the starting point from which to understand the motivation behind my body of practical work. The third section of this paper looks closely at the problems, possibilities and variations involved in making a body of work around the concept of personal memory. The history of etching is briefly discussed, and the method of etching is compared to the recollection process. Finally, the panel of work is presented as a "heritage site" to the viewer, and a form of re-evaluation of identity for the maker. A series of narrative texts are sourced as personal springs that triggered the production of each image, and serve to accompany or enrich the artworks themselves.
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23

Dufour, Hélène. ""Portraits, en phrases" : les recueils de portraits littéraires de Sainte-Beuve à Mallarmé". Paris 8, 1994. http://www.theses.fr/1994PA080883.

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Il existe au xixeme siecle un ensemble tres riche de recueils de "portraits litteraires" ou portraits ecrits d'ecrivains par d'autres ecrivains: de sainte-beuve a mallarme, nos recherches nous ont permis de recenser plus d'une centaine d'auteurs, illustres et inconnus, et plus du double de recueils de "portraits en pied" ou "medaillons". Ces portraits litteraires, avant de connaitre une consecration par le livre, constitutaient une des rubriques les plus populaires des journaux. Ils prennent les formes litteraires les plus variees, du simple billet boulevardier a la prose la plus travaillee, du texte frivole et mondain, parodique, au "tombeau", hommage d'un ecrivain a un autre ecrivain: dans leur diversite, ils composent ainsi une sorte de "spectre" de la litterature contemporaine. En meme temps, se definissant par rapport a la peinture, ils mettent en jeu une esthetique de la representation et de la ressemblance. Faisant defiler un a un tous les "grands hommes" du xixeme siecle, ces "galeries" ou "pantheons" constituent une forme de discours double sur la vie litteraire contemporaine. Ils cristallisent les mythes lies a la figure de l'ecrivains, en donnent une image emblematique qui devient le lieu d'une
In the nineteenth century in france, there existed many collections of "literary portraits" or word portraits of writers written by other writers. From sainte-beuve to mallarme , we found more than a hundred of authors and more than twice as many books of full-length portraits or medaillions. Those literary portraits, before being published in books, were one of the most popular columns of papers. They are very different one another: from the elaborate prose to the simple note, from the trifling parody to the "grave", homage from a writer to another writer. In their variety, they are drawing a "spectrum" of the contemporary literature. At the same time, since they have to be understood in relation with painting, they involve an aesthetics of likeness. Showing the great men of the nineteenth century, these "galleries" or "pantheons" constitute a form of double discourse on the contemporary literary life. They crystallise the myths related to the figure of the writer, they are drawing an emblematical image of him, which is at the same time an interrogation about writing. This study tried to determine the
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24

Lamm, Kimberly Kay. "Composing and contesting the space of visibility : literary and visual portraiture in nineteenth- and early twentieth-century American culture /". Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/9340.

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25

Jaeggi, Othmar. "Die griechischen Porträts : Antike Repräsentation - Moderne Projektion /". Berlin Reimer, 2008. http://d-nb.info/986863106/04.

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26

Martin, Kendra K. "Portraits of street corner culture". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23155.pdf.

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27

Urquidi, Nicole Lauren. "Cindy Sherman| Portraits in question". Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527024.

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Since her Untitled Film Stills of the 1980s, Cindy Sherman has assumed the roles of artist and model to present a continuum of complex female personas that are embedded within our cultural unconscious. Though we are often reminded that her photographs are not self-portraits, Sherman continues to employ many stylistic conventions of portrait photography. I use this as a means to re-contextualize Sherman's practice within a critical study of portrait photography that will open up new possibilities in reading her work. Using the photographic index, Charles Sanders Peirce's classification of signs, Charcot's nineteenth century photographs of hysterics, and Jacques Lacan's four discourses, I locate Sherman's practice within a complex history of photographic portraiture from the nineteenth century to today's digital landscape to ask where portraiture has been and where it is headed.

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28

Dragulescu, Alexandru C. "Data portraits : aesthetics and algorithms". Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/55188.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2009.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 91-93).
While interacting online, one generates a multitude of personal data trails, both textual and behavioral. The data portrait is a way to collect, condense and represent these information trails, which are often time consuming and tedious to find and grasp when read linearly across web pages or domains, into an easy, legible, and compelling visualization. This thesis presents various data portraiture techniques that generate both individual and collective portraits of users participating in online social media. The data used in generating the portraits are unstructured text and publishing timestamps of Twitter micro-blog posts, as well as aggregate RSS feeds from FriendFeed. The strategies for depicting people's online personas explored in this thesis focus on the compression, mapping and visual representation components of the visualization pipeline. The resulting portraits attempt to maintain a tight connection with the data, and be legible to viewers, but at the same time, venture to explore more expressive visual forms, and engage with the evolving aesthetics of cinematography, typography and animation.
by Alexandru C. Dragulescu.
S.M.
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29

Jurus, Richard E. II. "Portraits from the dark lodge". The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1321985801.

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30

Lamirault, Guillaume. "Portraits moléculaires des pathologies cardiaques". Nantes, 2007. http://archive.bu.univ-nantes.fr/pollux/show.action?id=b37dda3d-31e3-4879-ad15-b9637ec0d705.

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Les pathologies cardiaques représentent une cause majeure de morbidité et de mortalité. L'achèvement du séquençage du génome humain a permis le développement de nouvelles approches des maladies comme les études d'expression génique. Au moyen de puces à ADN, les travaux de cette thèse se sont centrés sur l'étude des variations transcriptomales survenant dans l'insuffisance cardiaque et la fibrillation auriculaire chez l'homme. Un profil d'expression génique permettant de prédire le niveau de sévérité clinique des patients en insuffisance cardiaque avancée a été identifié et pourrait servir de base au développement d’un biomarqueur du pronostic. Dans la fibrillation auriculaire chronique, l'analyse des variations d’expression génique a suggéré l’existence d’un phénotype tissulaire pro-thrombotique qui pourrait mieux expliquer le risque thromboembolique majeur de la maladie. Ces résultats ont globalement confirmé l'intérêt de l’étude des variations transcriptomales dans les maladies cardiaques. La poursuite des travaux déjà engagés devrait non seulement permettre une meilleure compréhension des mécanismes moléculaires des pathologies mais également l'identification de biomarqueurs à but diagnostique, pronostique ou d'orientation thérapeutique
Cardiac diseases remains a major cause of mortality and morbidity. With the completion of the sequencing of the human genome, new techniques like gene expression profiling have been developped to study human diseases. Using DNA-microrrays, we analyzed transcriptomal alterations associated with heart failure and atrial fibrillation in humans. We identified a gene expression profile associated with clinical deterioration of advanced heart failure patients which may be used to better define patients’ prognosis. Gene expression alteration in chronic atrial fibrillation were suggestive of a hypercoagulable state, a result of potential importance to better understand the pathophysiology of thromboembolic events in atrial fibrillation. Taken together, these results show the great potential of gene expression profiling to study cardiac diseases. Further studies will improve our knowledge of pathological mecanisms occuring in these diseases and will probably provide us with new biomarkers for diagnosis, prognosis and therapy of cardiac diseases
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31

Lamirault, Guillaume Houlgatte Rémi Steenman Marja. "Portraits moléculaires des pathologies cardiaques". [S.l.] : [s.n.], 2007. http://castore.univ-nantes.fr/castore/GetOAIRef?idDoc=50756.

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32

James, Courtni Elizabeth. "Grand tour portraits of women". Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1142015848.

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33

Zehm, Ursula. "Die Geschichte des Doppelstandbildes : im deutschsprachigen Raum bis zum 1. Weltkrieg, mit beschreibendem Katalog /". Weimar : VDG, Verlag und Datenbank für Geisteswissenschaften, 1995. http://catalogue.bnf.fr/ark:/12148/cb40921935t.

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34

Blizzard, Allison. "Portraits of the 20th century self : an interartistic study of Gertrude Stein's literary portraits and early modernist portraits by Paul Cézanne, Henri Matisse and Pablo Picasso /". Frankfurt am Main : P. Lang, 2004. http://catalogue.bnf.fr/ark:/12148/cb392447627.

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35

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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36

Piekarski, Dirk. "Anonyme griechische Porträts des 4. Jhs. v.Ch. : Chronologie und Typologie /". Rahden/Westfalen : M. Leidorf, 2004. http://catalogue.bnf.fr/ark:/12148/cb39276231p.

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Texte remanié de: Inaug.-Diss.--Philosophische Fakultät--Bonn--Rheinische Friedrich-Wilhelms-Universität, 2003. Titre de soutenance : Studien zu anonymen griechischen Porträts des 4. Jhs. v. Chr.
Notes bibliogr. Résumé en allemand et en anglais.
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37

Roberts, Hayden. "Portraits and Landscapes in Family Narrative". TopSCHOLAR®, 1998. http://digitalcommons.wku.edu/theses/330.

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This thesis works from my interest in how individual perspectives affect family narratives and constructions of family history. Narrative exists chiefly in story form, but it also exists in people's mind, helping them to understand material culture, customs, and other forms of folk expression. These folk ideas define us and bind us socially. The way we arrange things in our minds, make sense of life experiences and the narratives we about create these experiences, define our social ties, such as family. Before one can understand the collective or group perception of itself, one must understand how each component or person in that group look at it separately. These individual perceptions can be seen in the portraits and landscapes of people and places that each family member generates, receives from others, and gives status to within the family's collective concept of folklore and history. While the meaning that people derive from family narratives and history is individualistic, the organization of these folkloristic forms is structurally consistent. Most people order and develop family narratives and history in much the same way. In my thesis, I address how family narratives and perceptions of family history form from individual perspectives, but also look at how family members convey their point of view by using the same structural elements, which I call narrative and visual vignettes. These vignettes exist in all forms of expression and documentation, from short anecdotal stories to photographs. Each vignette is separate from the next, but if tied together in a sequence as a narrator or organizer deems appropriate, harmony or cohesion of family experience is created. As one looks at these vignettes and examines their connection to one another, one can see that the connections come from conscious ordering and editing. This limited recounting of past events generally provides only one perspective, making them more like opinions or editorials than complete chronicles of history. For this study, I surveyed previous scholarly works associated with family folklore. Following that review comes a broad discussion of family folk groups, the use of folklore in those groups, the establishment of my own definition of family folklore, and an analysis of the dynamic of family and the organizing principle of family narratives. Then I turn specifically to family narratives and the construction of family history, examining this through my own immediate and extended family. I highlight how family history is constructed from varying types of vignettes and discuss the presence of these vignettes in material forms (family heirlooms and pictures), written accounts (such as letters and manuscripts that my grandfather collected), and oral storytelling. Within these expressive forms, narrative works in two ways: as portraits of family members and as landscapes characterizing the environment or situations involving these members. As this study concludes, no substantial conclusion is made— only a discussion of how it can influence family folklore scholarship.
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38

Harvey, Sara. "DIVERS PORTRAITS : ÉTUDE ET ÉDITION CRITIQUES". Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25809/25809.pdf.

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39

Chung, Sung-Woo. "Jewish portraits of Jesus in Romans". Thesis, University of Sheffield, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289635.

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40

Phillips, Jolyn. "Let’s go home: Stories and portraits". University of the Western Cape, 2014. http://hdl.handle.net/11394/6485.

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Magister Artium - MA
Let's Go Home encompasses thirteen short stories inspired by the Coloured fishing community of Blompark in Gansbaai. These stories embody a range of voices and perspectives, some contemporary, some set in the past thirty to forty years, each of which attempts to represent the lives, loves and losses of a rural community that too often has found itself at the margins of society and ignored by literary representations. Themes explored include traumaphysical, psychological and spiritual. Some of these traumas are linked to the legacies of Apartheid: For example, my story titled "Fraans‟ is about a man who struggles with alcohol addiction and represents one of countless individuals within rural Coloured communities still haunted by the inheritance of the dop system . Other traumas in Let's Go Home represent more personal and private traumas. In "Secrets‟, for instance, a young woman who finds out that the man she wishes to marry is in fact her illegitimate brother. Such stories in rural communities are not uncommon because children born out of wedlock are seen as sinful and thus many women keep quiet about illegitimate offspring. Voice, (whether that of a narrator or in the form of the characters' dialogue) is also a central concern, for as I have explained above, one of my chief preoccupations and inspirations for writing this collection, has been the lack of texts giving voice to Coloured fishing communities.
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41

Murmann, Lukas. "Computational bounce flash for indoor portraits". Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/111928.

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Thesis: S.M., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2017.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 31-33).
Portraits taken with direct flash look harsh and unflattering because the light source comes from a small set of angles very close to the camera. Advanced photographers address this problem by using bounce flash, a technique where the flash is directed towards other surfaces in the room, creating a larger, virtual light source that can be cast from different directions to provide better shading variation for 3D modeling. However, finding the right direction to point a bounce flash towards requires skill and careful consideration of the available surfaces and subject configuration. Inspired by the impact of automation for exposure, focus and flash metering, we automate control of the flash direction for bounce illumination. We first identify criteria for evaluating flash directions, based on established photography literature, and relate these criteria to the color and geometry of a scene. We augment a camera with servomotors to rotate the flash head, and additional sensors (a fisheye and 3D sensors) to gather information about potential bounce surfaces. We present a simple numerical optimization criterion that finds directions for the flash that consistently yield compelling illumination and demonstrate the effectiveness of our various criteria in common photographic configurations.
by Lukas Murmann.
S.M.
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42

Waterhouse, Joanne Caitlyn. "School leadership in context : three portraits". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610771.

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43

Choi, Bong-lim. "Portraits de mains dans la photographie". Paris 1, 1998. http://www.theses.fr/1998PA010662.

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Mes études concernent deux problèmes à travers les portraits de mains dans la photographie : l'un théorique l'autre historique. Le premier qui a, pourtant, une réelle validité historique consiste à savoir comment la figuration de mains peut entrer dans la définition du genre portrait, en d'autres termes, comment la main peut se substituer au visage. Le second pourrait se formuler de la façon suivante : à quelles conditions historiques et à quelles adhésions de systèmes iconographiques les portraits de mains peuvent-ils se produire? Mes études essaient d'abord de reconstituer la signification des affirmations de soi par les artistes eux- mêmes en donnant à chaque autoportrait de mains un caractère d'évènement et en voulant déterminer l'horizon esthétique dont son émergence dépend. Elles examinent ensuite des modalités de la fonction commémorative de notre objet, lesquelles ont pour conséquence de considérer la figuration de mains en tant que paradigme du portrait. En dernier, on analyse, à travers la « main du banquier d***, étude chirographique » de Nadar, les conditions externes de possibilité de l'apparition du portrait documentaire qui s'accompagne de la perte totale des valeurs commémoratives inhérentes au portrait, et élucide le propre du portrait documentaire. Le portrait de mains apparaissait au XIXe siècle au moment où les valeurs de la main étaient dépréciées profondément dans la production iconographique : l'académisation des arts visuels procédait à la démarcation entre l'esprit et la main à partir de laquelle s'est établie toute la hiérarchie des arts du dessin. À l'époque ou l'esprit s'est réservé le droit exclusif d'assumer les actes signifiants de l'homme, l'acte photographique a continué de valoriser la main humaine
My studies concern two problems through the portraits of hands in the photography : one is theoretical, the other is historical. The first which has yet a real historical validity consists in knowing how the figuration of hands can enter into the definition of the portrait, in other words, how the hand can be a substitute for the face. The second can be formulated the following way : at which historical conditions and in which implications of iconographic systems the portraits of hands can be producted? My studies try first to constitute the meaning of the assertions of the self by the artists themselves, in giving to each self-portrait of hands the characteristic of an event, and in trying to determine the esthetic frame on which its emergence depends. They examine next the modalities of the commemorative function of our object, which have as consequence to consider the representatin of hands as paradigm of the portrait. Lastly, we analyse, through the « hand of banker d***, study of chiromancy » by Nadar, the external conditions of the possibility of appearance of the documentary portrait which is accompanied by the total loss of the commemorative values, inherent to the portrait, and clarify the proper of the documentary portrait. The portrait of hands appeared in the 19th century, at the time when the values of the hand were deeply undervalued in the iconographic production : the academic process of the visual arts proceeded to reinforce a boundary line between the spirit and the hand on which the whole hierarchy of the arts of drawing was established. At the time when the spirit reserved the exclusive right of assuming the meaningful acts of the human being, the photographic act has continued to restore the values of the human hand
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44

Walker, William D. "Woven Portraits of Four Youngstown Businessmen". Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1239913345.

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45

Stachowicz, Tamara L. "Melungeon Portraits: Lived Experience and Identity". Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1382444721.

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46

Watkins, Portia L. "Black Women Faculty: Portraits of Othermothering". University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535634706111088.

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47

Badea-Päun, Gabriel. "Portraits de société : XIXe - XXe siècles /". Paris : Citadelles & Mazenod, 2007. http://swbplus.bsz-bw.de/bsz275921824inh.pdf.

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48

Tasch, Stephanie Goda. "Studien zum weiblichen Rollenporträt in England von Anthonis van Dyck bis Joshua Reynolds /". Weimar : VDG, 1999. http://catalogue.bnf.fr/ark:/12148/cb39971369n.

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49

Wallis, William Philip. "Ancient portraits of poets : communities, canons, receptions". Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11937/.

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This thesis examines the ancient sculptural portraits of poets in relation to the literary reception of their works by investigating a range of contexts for, and interactions with, these objects. Contemporary scholarship has found it productive to examine biographical material relating to ancient poets as evidence for early reception. This thesis explores how the ancient portraits of poets take part in the constructions of these authors, and how they are integrated into the reception of ancient poetry. Recent scholarship has cast doubts over the methodologies conventionally used to relate portraits to the biographical reception of their subjects: there are strong arguments that an individualistic character-based approach to these objects can mislead us about how they were perceived in their various ancient contexts. This thesis takes a different approach by considering the archaeological contexts and literary interactions in which we find these objects, from fourth-century BC Athens to sixteenth-century AD Ferrara. I show how, through these contexts and interactions, the sculptural portraits of poets can engage in keys ways with the literary reception of their subjects: Hellenistic communities use portraits to strengthen their connections to prestigious poets; Roman aristocrats use portraits of poets to signal engagement with Greek culture and therefore elite status; poets are positioned within literary histories and canons through programmatic assemblages; later poets focus on portraits in order to explore their relationships to their predecessors; finally, early modern writers present these portraits as offering an engagement with an absent poet that complements reading the poet’s works. These, then, are the three main concerns of this thesis: communities, canons, and receptions. The case studies examined in this thesis show that the portraits of poets have been engaged in literary reception from antiquity to the present, and that they have raised persistent questions about presence and absence in literary encounters.
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50

Will, Constance Irene. "Portraits of nursing knowledge, contemplating nurses' lives". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ58909.pdf.

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