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Carrer, Beatrice <1992>. « I figurini per i costumi nelle opere di Gioachino Rossini. Le collezioni milanesi ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10508.
Texte intégralRésumé :
La tesi ha come obiettivo quello di offrire uno studio iconografico sui figurini per i costumi nelle opere di Gioachino Rossini presenti nelle collezioni milanesi. Il periodo considerato è quello della prima metà dell'Ottocento. La ricerca inizia dando una panoramica alla cultura dell'epoca, per poi passare ai cenni biografici di Gioachino Rossini e alle sue opere liriche. Viene poi dato uno sguardo al mondo scenografico del periodo a Milano per concludere con lo studio dei figurini e delle stampe.
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Aragon, Leslie D. « Figuring Out Figurines : An Ontological Approach to Hohokam Anthropomorphic Figurines from the Phoenix Basin ». Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/293745.
Texte intégralRésumé :
Anthropologists, and increasingly archaeologists, are using the word 'ontology' with escalating frequency. In Philosophy, where it originated, several subdivisions exist within the discipline, all of which deal with grouping things that exist into categories. What can archaeologists learn by taking this concept from philosophy and applying it to archaeology? Further, how do we recognize the ontologies of others, particularly those who did not leave a written record, in the archaeological record? The way that people categorize things plays a role in how they are disposed. Patterns in depositional practices emerge as visible traces in the archaeological record that allow us to recognize other people's ontologies. This is an important concept for archaeologists interested in addressing prehistoric value, since the value of a given object cannot be assessed without knowing how people in the past categorized things. In my work with anthropomorphic Hohokam figurines from the Phoenix Basin, I use an ontological approach to explore the life histories of figurines from their manufacture, through deposition in the archaeological record, and subsequent excavation in modern times. I then compare the figurine assemblage from recent excavations at La Villa (AZ T:12:148[ASM]) to see how it fits in the identified pattern.
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Conceição, Daniela Águas Campos da. « O figurino na ficção cinematográfica. Adrian e Colleen Atwood. Design de figurinos ». Master's thesis, Faculdade de Arquitectura de Lisboa, 2010. http://hdl.handle.net/10400.5/2990.
Texte intégralRésumé :
Tese de Mestrado em Design de ModaO cinema e a moda sempre estiveram relacionados, são vários os criadores de moda que prestaram contributo para figurinos no cinema, assim como, os figurinistas que inspiraram tendências no mundo da moda. No entanto um designer de moda não é um figurinista, embora ambos lidem com vestuário operando de formas comparáveis, a finalidade é sempre para alcançar intenções e objectivos distintos e específicos. Interessa portanto apurar o papel do figurino nas suas condicionantes cinematográficas, para além daquelas que decorrem do design de moda e que condicionam o seu projecto. Os figurinos desempenham uma função muito importante na ficção cinematográfica, em conjunto com outros elementos que a compõem. Revela-se necessário entender como todos os elementos visuais e também psicológicos operam, para criar uma ligação entre o cinema e o figurino, de modo a analisar esse valor e contexto. Nos estudos de casos são analisados em particular o trabalho de dois importantes designers de figurinos para o cinema, Adrian e Colleen Atwood, numa análise pormenorizada de alguns dos filmes em que colaboraram. Ambos pertencem a períodos diferentes da história e possuem em comum, para além da profissão, terem sido os responsáveis por diversos filmes do género de fantasia. Adrian para The Wizard of Oz (1939) e Colleen Atwood na interpretação do imaginário, tão peculiar, do cineasta Tim Burton, nos figurinos de alguns filmes que projectou, todos do género fantástico. A escolha destes dois designers não foi arbitrária, pretendeu-se que fossem analisados figurinos pertencentes a relatos históricos diferentes no cinema, neste caso, o cinema clássico e o cinema contemporâneo, para que se possam analisar as componentes que o avanço histórico apresentou. Com esta investigação pretende-se, portanto, mostrar como o design de figurinos funciona no cinema, quais as suas ferramentas e metodologias e como se relaciona com as outras condicionantes e técnicas do universo cinematográfico. Procura-se o seu contributo para o resultado final na narrativa ficcional na construção de personagens, ambientes e emoções.
Cinema and fashion were always related so that several fashion designers provided contributions in the movies, as well as the costume designers who inspired trends in the fashion world. However, a fashion design is not the same as a costume designer, though both deals with clothing operating in comparable ways, the purpose is always to achieve distinct and specific aims and purpose. It is essential to determine the role of a costume in its film constraints other then those arising out of fashion design which condition their project. Costumes play a very important role in the cinematic fiction along with other elements that compose it. It is necessary to understand how all the visual elements and also psychological operate to create a connection between cinema and costume in order to analyze the value and context. In the case studies are analyzed in particular the work of two important designers of costumes for the film, Adrian and Colleen Atwood, in a detailed analysis of some of the films in which they collaborated. Both belong to different periods of history and have in common, beyond the profession, having been responsible for several films of the fantasy genre. Adrian for The Wizard of Oz (1939), directed by Victor Fleming, Colleen Atwood in the interpretation of the imagery, so peculiar, of the film director Tim Burton, in the costumes of some films she designed, all belonging to the fantasy genre. The choice of these two designers was not arbitrary, it was intended that would be analyzed costumes belonging to different historical accounts in the cinema, in this case, the classic and contemporary cinema, so we can examine the components that made the historic breakthrough. With this investigation is aimed, therefore, show how the design works in film costumes, what are their tools and methodologies and how they relate to other restrictions and techniques of film universe. It seeks to know its contribution to the final result in fictional narrative in the construction of characters, settings and emotions.
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Soares, Kárita Garcia. « Figurino fora de cena : um estudo sobre a constituição de acervos de figurinos teatrais ». Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/7493.
Texte intégralRésumé :
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Cette dissertation nous présente une investigation autour de la constitution de fonds de costumes de théâtre chez Goiânia, à partir de l'analyse de la manière comme des groupes et d'autres producteurs scéniques s'organisent et se positionnent actuellement face à la thématique. La recherche veut la compréhension des possibles motivations et implications qui ont de la relation avec la formulation d'espaces dédiés au stockage de costumes de théâtre portés aux spectacles scéniques, spécialement dans le contexte de la capitale de l'État de Goiás. On voit que de tels espaces peuvent acquérir des caractéristiques diverses d'accord aux nécessités, désirs, et conditions structuraux et financiers de ceux qui se prédisposent à les organiser. Dans ce sens, à partir de la recherche bibliographique et de terrain - la deuxième comprise dans la réalisation de sept entretiens semi-directifs avec des différents professionnels et représentants du théâtre à Goiânia -, on trace des compréhensions conceptuelles et historiques du costume de théâtre et du théâtre chez Goiânia, ce qui indique une réalité dans laquelle le costume de théâtre est, de plus en plus, réfléchi avant, durant et après la scène.
Esta dissertação apresenta uma investigação acerca da constituição de acervos de figurinos teatrais na cidade de Goiânia. Para tanto analisa o modo em que grupos e outros realizadores cênicos vêm atualmente se organizando e posicionando acerca da temática. Busca-se a compreensão das possíveis motivações e implicações que se vinculam à formulação de espaços dedicados à armazenagem de figurinos utilizados em espetáculos cênicos, especialmente no contexto vivenciado na capital goiana. Nota-se que tais espaços podem adquirir características diversas de acordo com as necessidades, os desejos e as condições estruturais e financeiras daqueles que se predispõem a organizá-los. Com base em pesquisa bibliográfica e de campo, sendo a segunda expressa na realização de sete entrevistas semiestruturadas com diferentes profissionais e representantes do teatro da capital goiana, traçam-se compreensões conceituais e históricas do figurino e do fazer teatral em Goiânia, assinalando uma realidade na qual o figurino é, cada vez mais, refletido antes, durante e após a cena.
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Dias, Denise Helena Rutkowski. « A arte da concepção do figurino : um estudo de caso dos diferentes figurinos utilizados nas adaptações do livro orgulho & ; preconceito ». Master's thesis, Universidade da Beira Interior, 2012. http://hdl.handle.net/10400.6/1707.
Texte intégralRésumé :
Este estudo pretende analisar a função do figurinista no desenvolvimento de um
“guarda roupa” direcionadas ao cinema e televisão e sua relação com a moda da época. Com
este objectivo foram pesquisados os fatos históricos para avaliar a relação entre a história e
as tendências do design de moda da época e o figurino, como signo fundamental em uma
comunicação não –verbal. Numa primeira fase o estudo baseou-se numa pesquisa teórica e na
segunda parte, numa componente de análise de três obras cinematográficas baseados na obra
literária “Pride and Prejudice”, identificando a amplitude pela qual a narrativa visual está
inserida e suas inúmeras possibilidades. A realização desta análise baseou-se na investigação
feita de experiência de profissionais figurinistas, através de livros, relatos e entrevistas já
existentes. A vertente teórica fundamenta-se em historiadores de moda e autores
direcionados ao estudo da comunicação visual, como Umberto Eco. A investigação possibilitou
a compreensão aprofundada da complexidade do processo de concepção do figurino e a sua
ligação com o telespetador, isto porque os meio de comunicação influenciam a vida do
indivíduo, seja no modo de vestir ou se comportar. Permitiu também concluir a influência que
das tendências de moda de uma determinada época exercem na realização do “guarda roupa”
realizado pelo figurinista, bem como as influências que determinadas tendências de moda
usadas em cinema e filmes podem transpor-se para a sociedade do consumidor pelo sucesso
obtido perante o olhar do indivíduo.
6
Rodrigues, Fernanda Junqueira. « Do figurino cenico ao figurino de moda : a modernização do figurino nas telenovelas brasileiras ». [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284038.
Texte intégralRésumé :
Orientador: Maria Lucia Bueno RamosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A transformação do modo de produção na composição dos figurinos das telenovelas brasileiras guardou estreitas relações com o processo de modernização capitalista no Brasil dos anos 70 e também com a transformação das narrativas melodramáticas. A introdução de elementos da moda contemporânea, a partir do ano de 1973 - com a entrada da figurinista Marília Carneiro na TV Globo -, reflete uma modernização do gênero melodramático, com a aproximação às temáticas cotidianas assim como também a profissionalização e racionalização do fazer artístico. Esse trabalho propõe a investigação sobre esse processo de transição no modo de produção e caracterizações das personagens ficcionais - cuja composição passou das oficinas de costuras às lojas de rua - a reflexão sobre o poder das telenovelas brasileiras em lançarem novas modas e suas possíveis relações com as matrizes da cultura popular.
Abstract: The transformation of the mode of production in the costumes composition in Brazilian telenovelas has maintained close relationship with the process of capitalist modernization during the 70th years in Brazil. This is also true for the transformation of the melodramatic narratives. From 1973 elements of contemporary fashion were introduced - when costume designer Marília Carneiro joined TV GLOBO - which reflects modernization of the melodramatic genre. This genre approaches to the everyday thematic, with the professionalization and rationalization of artistic creation process. This paper proposes an investigation about this transition process in the mode of production and characterization of fictional characters - whose composition moved from the costume fashion workshops to street shops - and a reflection about the power of Brazilian telenovelas in launching new trends and their possible relationship with matrices of popular culture.
Mestrado
Mestre em Multimeios
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Morin, Molly C. « Figuring the digital ». Connect to this title online, 2007. http://etd.lib.clemson.edu/documents/1202500343/.
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Hanly, Peter Charles. « Figuring the Between ». Thesis, Boston College, 2013. http://hdl.handle.net/2345/3770.
Texte intégralRésumé :
Thesis advisor: John SallisThis dissertation is an attempt to describe parallels and convergences between the work of Martin Heidegger and that of the poet and philosopher of the Jena Romantic period Friedrich von Hardenberg, known also as Novalis. The fact that little attention has been given to the consideration of their relationship is undoubtedly owing to the fact that there is no sustained address to the work of the Jena Romantics in Heidegger's writing. However, the question of their relation merits reflection because of the insistence with which, albeit in a marginal way, Heidegger returns again and again in his work to fragments of Novalis. These fragments often seem to operate in Heidegger's lectures as something like stepping-stones, or guide-posts that mark a particular turn in the direction of the argument. Following one such quotation, Heidegger remarks that he "does not want to provoke and argument over the authority of this witness." However, it is indeed as "witness," and also in a certain sense as "authority" that Novalis is more often than not introduced. The question, then, is: what kind of authority? And to what is this authority called upon to bear witness? This question is rendered more substantial by the fact that these curious and marginal appearances of the Jena Romantic poet and philosopher take place in Heidegger's work over a period of forty years, from 1916 to 1959. More intriguing still, though, is that - when viewed together - these appearances attest to a strong ambivalence on Heidegger's part. On the one hand, a fragment of Novalis might be presented as an extraordinary "flash of insight" that presages unforeseen directions in philosophical thinking. On the other hand, these insights are also sometimes subject to summary judgment, dismissed by virtue of a broad and rather sweeping association with Hegel. Thus, it might be said that a kind of mystery hovers around this presence, a sense of both attraction and resistance. Following one such moment, indeed, and after having quoted Novalis' Monologue in its entirety, Heidegger writes: "Much remains dark and confusing in this monologue of λόγος, especially as he thinks in another direction and speaks in another language than the one attempted in these lectures." Still more than marking points of convergence, then, this project is dedicated to an attempt to shed light on this "dark and confusing" difference. To that end, the first part of the essay will engage Novalis' own extraordinary philosophical project; a project that involves an endeavor not merely to ponder the relations between philosophy and poetry, but to effect a complete elision of their distinction, and to offer to them thereby the thought of an entirely new meeting-ground. The essay will trace out the philosophical origins of this endeavor, and try to show how the thinking engendered in those origins flourishes to produce a unique conception of the relations between the natural world and the language we use to describe it. The second part of the essay will, by contrast, engage Heidegger, in an attempt to mark a terrain in which aspects of his work can be seen to come into close proximity with the thought of the Jena Romantics, often in quite unexpected and unpredictable ways. These considerations will operate along two axes. On the one hand, an address is made to question of pain in Heidegger's work, in order to show the continuity, but also to describe the philosophical orientation and historical genesis of this thematic. Secondly, the very distinctive manner of writing and thinking that belongs to Heidegger's work of the late 1930's is addressed in light of this thematic. It will be shown that it is in these texts, and most especially in the Beiträge zur Philosophie (Vom Ereignis), that Heidegger's processes of writing offer the most striking parallels to modes of thinking that unfold in the orbit of Jena Romanticism. Finally, though, what is hazarded in this essay is not by any means a "Romantic" reading of Heidegger, and still less a "Heideggerean" reading of Novalis, but rather an endeavor to show how, and to what extent, the thinking of both Heidegger and Novalis converge in taking their orientation, in very different ways, from the historical appropriation of a decisive moment in Greek thought, namely one particular thought that belongs to the fragments of Heraclitus
Thesis (PhD) — Boston College, 2013
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Philosophy
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Connors, Clare. « Figuring force from Nietzsche to Derrida ». Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527290.
Texte intégral
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AlKhudairy, Enas A. « Destructive preservation : figuring the urban ground ». Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/103424.
Texte intégralRésumé :
Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, 2016.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 146-147).
What does it mean to invert the urban fabric? When figure becomes ground, and ground becomes figure, how does a neighborhood adapt to moving from extreme privacy to communal living? Despite the complete destruction of the existing fabric, the proposition immediately disallows a Utopian, Tabula-Rasla response. Although ghosted, the idiosyncratic identity becomes even more identifiable, and somewhat nostalgic; rather than the footprints being inhabitable buildings, they become holes in the built environment that one can walk out into (ground floor courtyard) or look down into (upper floor windows/terraces). As one of the largest and most populated cities in the Middle East, the city of Riyadh is a clear example of a metropolitan city that is continuously growing in a low-density sprawl. This thesis aims to explore how we can re-imagine the city in the already-built environment as a way of densifying the fabric. Despite its metropolitan nature, importance and large population, life in the city of Riyadh is more suburban than urban, with the majority of people living in stand-alone houses. The culture of habitat has, however, begun adapting in this generation; from completely segregated stand-alone houses, to duplex houses, to gated communities, and finally moving a little bit into high-rise living. The project aims to push the slow transition into a faster trajectory towards a super-block mega-structure. Different people would come together under one larger roof, where different programs come together and pull apart. A unified plinth acts as a mediator between different kinds of traffic, different kinds of users, and different kinds of spaces, blurring the lines between public spaces, religious spaces, housing, and working environments. The whole aboveground environment becomes a pedestrian space, while a lower level of the plinth pulls vehicular traffic below ground, and creates an expansive parking and road zone
by Enas A AlKhudairy.
M. Arch.
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Veseli, Sabina. « Les figurines et les vases en bronze de la période archaïque jusqu'à la période romaine retrouvés en Albanie ». Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20028.
Texte intégralRésumé :
Cette thèse de doctorat a pour objectif l'étude des objets en bronze, vaisselle et figurines, trouvés sur le territoire albanais et datant de la période archaïque jusqu'à la fin de la période romaine. En effet, cette catégorie d’objets n’a jamais fais l’objet d’une étude spécifique d’ensemble et la plupart d’entre eux sont encore inédits. Cette thèse propose donc pour la première fois un catalogue exhaustif qui prend en compte la technologie, la typologie, la chronologie, les ateliers et la répartition géographique de chaque type d’objet, replacé dans son contexte archéologique et historique grâce à un corpus des sites d’où proviennent ces objets. Les chapitres de synthèses, fondés sur les données du catalogue et du corpus, enrichissent notre compréhension sur les croyances et les habitudes des populations qui utilisaient ces objets, sur les rapports commerciaux qu’ils entretenaient avec les autres centres du monde antique, et sur le développement d’un artisanat spécialisé dans le travail du bronze, et cela dans une perspective historique qui accorde toute son attention aux évolutionsThe principal objective of this thesis is the study of bronze objects, more specially figurines and vases, found in Albania, dating from the archaic period to the end of the roman period. These category of objects have never been subject of a specific study, and the majority of the objects have never been published. This thesis has proposed for the first time a complete study, in the form of a corpus of objects which comprises all the figurines and vases of bronze, found in Albania; which is based in the technology, typology, chronology and geographic distribution of each type of object. The objects are placed in their cultural context through the establishment of a corpus of sites where the objects were found. The synthesis which has analyzed the information of the two corpuses has also enriched our information for the populations by whom were utilized, their habitudes and believes, the merchandise with the other centers of the antique world, and the development of the bronze artisanat, all these issues based in an historic perspective which emphasizes attention in the evolution
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Duarte, Carolina Borlido. « Design de figurinos ». Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2019. http://hdl.handle.net/10400.5/18351.
Texte intégralRésumé :
Dissertação de Mestrado em Design, com a especialização em Design de Moda apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.A investigação desenvolvida em Design de Moda é centrada na área do Design de Figurinos, e mais especificamente nos figurinos para espetáculo musical do estilo Broadway. O design de figurinos é parte integrante das artes performativas (e.g., teatro, televisão e cinema), sendo o seu contributo indispensável para a criação de personagens. Para a concretização da investigação desenvolvida, foi realizado um estágio curricular na Produções La Féria, uma das mais relevantes produtoras do mundo do teatro musical em Portugal. Com a realização deste estágio foi possível alcançar vários objetivos, como a aquisição de diversas competências no desenvolvimento de figurinos, na interação e trabalho em grupo, no domínio de técnicas utilizadas no design de figurinos para espetáculo musical. De forma a recolher todas as informações imprescindíveis para o desenvolvimento da investigação, foi usada uma metodologia mista, primeiramente com base na revisão de literatura que se debruça sobre o assunto, nomeadamente livros, artigos, teses, filmes e produções de Filipe La Féria; durante o estágio a investigadora teve a oportunidade de não só fazer uma observação direta à criação de figurinos como também fazer parte da produção dos mesmos. Com o estágio foram conquistados os objetivos traçados, levando esta investigação para lá do âmbito académico, munindo a investigadora com as ferramentas e experiência necessárias para o futuro profissional no mundo do trabalho.
ABSTRACT: The research developed in Fashion Design is focused on the area of Costume Design, and more specifically on the Broadway style costumes. Costume Design is an integral part of performative arts (e.g., theater, television, and film), making it na indispensable contribution to creating characters. To carry out the research, a curriculum internship was held at Produções La Féria, one of the most relevant producers of musical theater in Portugal. With the accomplishment of this internship, it was possible to achieve some objectives, such as the acquisiton of several skills in the development of costumes, the interaction and group work, in the field of techniques used in the design of costumes for musical performance. In order to gather all the necessary information for the research development, a mixed methodology was used, firstly based on the literature review that deals with the subject, namely books, articles, theses, films, and productions of Filipe La Féria; during the internship the researcher had the opportunity not only to make a direct observation to the creation of costumes but also to be part of their production. With the internship the objectives were achieved, taking this research beyond the academic scope, providing the researcher with the necessary tools and experience for the future professional in the world of work.
N/A
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Collard, Marie-Louise. « Minoan anthropomorphic figurines ». Thesis, University of Bristol, 1987. http://hdl.handle.net/1983/3af5555d-83ca-4dc7-9816-cd43eb77195c.
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Cozzolino, Paula de Maio Iglecio. « O figurino no Cinema Marginal : Rogério Sganzerla ». Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-08042016-110200/.
Texte intégralRésumé :
Esta pesquisa analisa e documenta os figurinos criados para o cinema brasileiro na obra O Bandido da Luz Vermelha de Rogério Sganzerla, a qual tem como pano de fundo o Cinema Marginal. Focaliza o trabalho de figurino neste período, com o objetivo de contribuir para a memória coletiva nacional e enriquecer o material de investigação dos profissionais ligados à área. O estudo se faz a partir de um levantamento dos aspectos sócio-político-culturais do país nas décadas de 60 e 70, refletidos num cinema que aparece como uma reação à situação por que passava o país no período de 1964 1968, com a politização das manifestações artísticas face aos fechamentos ocasionados pela ditadura militar. A partir da análise do filme e entrevistas com profissionais participantes ou ligados à obra do autor, como o operador de câmera Carlos Ebert, o qual também atuou como fotógrafo no filme O Bandido da Luz Vermelha; a diretora e atriz Helena Ignez, ícone do Cinema Marginal e esposa de Rogério Sganzerla; e o diretor e produtor Julio Calasso Junior, inicia-se um entendimento do processo criativo utilizado nos filmes produzidos pelo cineasta, num relevante período da história do cinema nacional. Indaga como os trajes colaboram para a construção dos personagens numa obra cinematográfica e a importância do figurino na criação destes personagens, tanto para o diretor como para o próprio ator, e como a escolha dos elementos e materiais corretos compõe plasticamente esta figura e contribuiu na sua gestualidade. Verifica o mérito de uma direção de arte com referências ao Pop, em sua acepção mais verdadeira, a de popular; com uma linguagem de quadrinhos, onde apresenta alguns personagens que são verdadeiras caricaturas do povo brasileiro e, assim, avalia como os elementos visuais se tornam o suporte do discursoThis research verifies and documents costumes created for the Brazilian cinema into the work O Bandido da Luz Vermelha by Rogério Sganzerla, which has as its backdrop the Marginal Cinema. It focuses on the work developed for costumes in this period, aiming at contributing to the national memory and at the improvement of the research material of professionals connected to the area. The study was developed considering a deep investigation of social, political and cultural aspects of the country in the 60`s and 70`s, reflected in a movie that shows up as a reaction to the cultural situation the country was going through in the period between 1964 and 1968, with the politicization of artistic manifestations against the closures imposed by the military dictatorship. Based on the analysis of the film and interviews with some professionals close to the author, as the director of photography Carlos Ebert, who also worked as a photographer in the movie O Bandido da Luz Vermelha; the director and actress Helena Ignez, Cinema Marginal icon and Rogérios Sganzerla wife; and the director and producer Júlio Calasso Junior, it develops a new understanding of the creative process used in films produced by the film-maker Rogério Sganzerla, in this relevant period of the national cinema history. It questions how the costumes may contribute to the characters building in a cinematographic work, its significance for both the director and the actor, and how the chosen elements and right materials shape the image aesthetically and contributes to the artist´s gestures. It verifies the merit of an art direction, with references to Pop, in its most relevant meaning, which is to be ´popular`, with comic book language style, in which some characters who are true caricatures of the Brazilian people are featured, and assesses how well the visual elements become the support for the speech
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Khouri, Lamia Salem el. « The Nabataean terracotta figurines ». [S.l. : s.n.], 2001. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB9559021.
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Matt, Eva. « Figuren der Übersetzung ». Diss., Ludwig-Maximilians-Universität München, 2013. http://nbn-resolving.de/urn:nbn:de:bvb:19-172156.
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Balke, Friedrich. « Figuren der Souveränität ». Paderborn Fink, 2009. http://d-nb.info/984068430/04.
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Rao, D. V. « Figuring Naipaul : The subject of the postcolonial world ». Thesis, University of Kent, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383419.
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Cortinhas, Rosângela. « Figurino : um objeto sensível na produção do personagem ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/27280.
Texte intégralRésumé :
Compreendendo o figurino teatral como objeto sensível capaz de produzir subjetividade, o presente estudo examina a força de contágio que ele dispõe ao provocar no ator acesso a um novo nível de existência, além de caracterizar o personagem. Neste sentido, a reflexão se desdobra por meio das noções da máscara, da imagem, da aparência e do travestimento amparada, principalmente, pelo pensamento de Constantin Stanislavski, Claude Lévi-Strauss, Eduardo Viveiros de Castro e Emanuelle Coccia.Understanding theatre costume as a sensory object that is capable of producing subjectivity, this study examines its power of contagion, giving the actor access to a new level of existence, as well as characterizing the role. In this sense, this reflection examines the notions of mask, image, appearance and disguise, based mainly on the works of Constantin Stanislavski, Claude Lévi-Strauss, Eduardo Viveiros de Castro and Emanuelle Coccia.
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Zaayman, Carine. « Seeing what is not there : figuring the anarchive ». Doctoral thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/31019.
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Absences in archives render as impossible access to the fullness of the past. Yet, within the post-apartheid sociopolitical milieu, demands are made of the slivers of evidence in colonial archives to yield more than they contain, to provide material from which counter-colonial narratives may be fashioned. I understand these demands as pressure exerted on archives. In this thesis, I consider this pressure in relation to historical narrations of the lives of two women from the colonial period of the Cape: Krotoa and Anne. Krotoa was a Goringhaicona woman who acted as an interpreter between the Dutch and the Khoekhoe in the early colonial period at the Cape (from 1652). I examine extant literature on Krotoa to show the various ways in which authors have responded to the pressure on the archives in which she appears and how they have dealt with absences within them. I then discuss a number of instances in the archives to demonstrate that the imprint of absence is clearly visible in these archives. Anne was a Scottish noblewoman who lived at the Cape from 1797 to 1802. I investigate the literature about Anne to show how scholars have responded to the pressure on her archive primarily by overlooking the absences within it. I then consider two aspects of Anne’s archive to demonstrate that it, too, bears the imprint of absence. In contrast to approaches to absence that seek to fill in the gaps in archives, I argue that paying attention to the imprints of absence enables us to begin to grasp something of absence in its own right, that is, the negative space of an archive that constitutes a form of absolute absence. I have named this absolute absence in archives the “anarchive”. Identifying the imprints of absences as indicative of the anarchive has led me to instantiate the anarchive through figuration. This is achieved via visual art methodologies in which I systematically avoid reconstruction and instead convene an archive of photographs whose subject, and the curatorial rationale behind their display, is emptiness and transience. My figuring situates the anarchive centre stage and proposes engagement with it as a means of escaping the constraints of archives. When the full extent of the anarchive is brought into view, the limitations of archives are sharply delineated and their ability to control our understanding of the past is rendered absurd.
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Wingard, Jennifer Leanne. « Figuring others : toward a transnational feminist rhetorical analytic ». Related electronic resource : Current Research at SU : database of SU dissertations, recent titles available full text, 2008. http://wwwlib.umi.com/cr/syr/main.
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Harrington, Paula Claire. « American dog : figuring the canine in American literature / ». For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.
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Austin, R. J. C. « Figuring out peer group hierarchies in secondary school ». Thesis, University of Sheffield, 2014. http://etheses.whiterose.ac.uk/6799/.
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This thesis considers children’s engagement in peer group hierarchies in transition to secondary school. Nineteen children in Year six in schools in South East England participated in the study, six of whom were revisited in Year seven, in secondary school. Data were gathered through loosely structured interviews and drawings, then analysed through contrasting lenses to consider the children’s identity work from different perspectives. In-group/out-group behaviours in line with social identity theory (Tajfel & Turner, 1986) were seen to establish and reinforce hierarchical interactions between groups of children in school contexts particularly in relation to perceptions of attractiveness, academic ability and popularity or reputation. The school context seemed to contribute to the formation of the power hierarchies enacted by the children. Some children navigated the complex social interactions within their peer groups so they could position themselves uncontroversially in the middle of the hierarchical structure. Other children either adopted or were ascribed roles which they enacted apparently uncritically. The work also considers the role of media stereotypes of secondary school peer groups. The children in this research drew on stereotypical identities in their talk about children and schools in general terms but adapted and refined these when talking about particular schools or individuals. Finally the work considers how or if the children maintained a coherent sense of self in the transition between schools. The children’s talk demonstrated how they used talk about past selves to account for sameness and change. They reinforced those aspects of self which they felt were representative of what they were ‘like’. Where their beliefs or behaviours had changed they used narratives such as those of ‘growing up’ to account for perceived changes in their identity performances. As a contribution to theory about identity, the thesis develops the mathematical concept of fractals, which form chaotic yet coherent systems consisting of recursive self-similarities. The notion of ‘fractal identity’ provides a means by which identity can be understood as a complex patterning of being which consists of ‘self similarities’ which contribute to an overall coherent, yet inchoate, ‘whole’.
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Crawford, Joanne Simone. « Figuring death : the phantom of presence in art ». Thesis, University of Leeds, 2001. http://etheses.whiterose.ac.uk/2614/.
Texte intégralRésumé :
Chapter 1; The dissemination of the rhetorical subject(ivity) Through an analysis of Hegel’s master/slave dialectic and de Man’s notion of prosopopeia I demonstrate how modernist discourses construct a figure [face] of/for the artist and cover up [entomb] the recalcitrance of his or her corporeal body to be the [ontological] site of meaning. Through Derrida’s notions of klang and force I investigate the ways in which the disintegration of material objects interrupt the whole process of facing the art work in this way. Derrida’s notion of hauntology is also utilised to argue that the selfidentical subject(ivity) is in fact a semiotically induced spectre. Chapter 2: Rothko, Death and Prosopopeia Again de Man’s figure of prosopopeia is explored to demonstrate how the artist Rothko is discursively posited as overcoming his own death. I argue that Rothko’s paintings ‘act’ as self-portraits and ‘figure’ his [enduring] presence. Through Derrida’s notion of the paragon [the frame] I also investigate how the propensity of the material to disintegrate ruptures the circularity of the discourse on Rothko and thereby undermines the transcendental moment proffered by his paintings. However, I also show, through an analysis of Derrida’s notion of the pharmakon, how discursive strategies keep raising the spectre of the transcendental artist to keep the fallacy of the self-identical subject(ivity) ‘alive’. Chapter 3: Michaux’s insomnia: The plenitude of the void I argue that the Mescaline drawings, made by Michaux in the 1950s, cannot be interpreted through a ‘standard’ modernist framework. In trying to construct an alternative interpretation for Michaux’s work I demonstrate how his drawings can be viewed as an attempt to articulate the excessive nature of corporeality and the impossibility of transcendence. Blanchot’s notion of insomnia is used to go beyond the polarities of the negative and the positive to the neutral and excessive zone of indeterminancy. Deleuze and Guattari’s notions of the tonal and nagual, becoming-animal and Bergson’s notions of extensity and duration are also utilised to [theoretically] access this zone of indeterminacy, as that of the insomnious subject(ivity). Conclusion: Face to de-face Firstly I reiterate the claims made in chapter 2, that modernism, as a circular discourse, constantly offers the ‘presence’ of Rothko as proof of his enduring transcendentality. As a contrast I use Deleuze and Guattari’s notion of faciality to argue that Michaux tried to de-face his art, but failed. I will therefore indicate the impossibility of totally de-facing the subject(ivity) within any discursive system where the name acts as primary signifier.
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Bundy, LaTasha. « Still Figuring This Out : a symphony for orchestra ». ScholarWorks@UNO, 2017. https://scholarworks.uno.edu/td/2400.
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Mackwood, Gae. « Figuring inventions, education in the wake of the postmodern ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0008/NQ59625.pdf.
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Butcher, Daniel. « 'Figuring and becoming' : developing identities among beginning nursing students ». Thesis, Oxford Brookes University, 2017. https://radar.brookes.ac.uk/radar/items/571df309-5032-47e6-9df4-e2869db4b19a/1/.
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The contemporary professional context of initial nurse preparation is characterised by multiple and sometimes competing social and historical discourses. It is in this context that beginning nursing students take their early steps on the road to developing identities that will shape their future practice and continued professional development. Unlike much of the existing nursing literature, the study adopts a post-modern perspective towards the nature of identity. Here it is conceived as a relational concept, dynamic and continuously evolving through the production and performance of narratives of experience embedded in cultural and social environments. This thesis examines, in detail, the stories told by five pre-registration nursing students at points throughout the first year of their undergraduate education with the aim of exploring how emergent professional identities are constructed. The study is grounded in the social constructivist approach that recognises the impact of distinct cultural contexts and foregrounds the embodied processes of meaning-making and agency in the negotiation of identity. The study seeks to honour the voices of students in this process. Data was gathered through a series of one-to-one meetings with each participant and supplemented with occasional audio diary recordings and the personal statements used to support their pre-course application. The narrative structure and content of 110 bounded stories were analysed using a multi-dimensional approach designed to reveal the changing identity claims made by individuals. This thesis contributes to understanding of professional identity development in a number of ways. It demonstrates that nursing students begin their nurse preparation with pre-existing and rudimentary images of the profession that serve as frameworks for their interpretation of early clinical and education experiences. Beginning nursing students improvise their identities, telling tales to audiences that include themselves, at the intersection between the Figured Worlds of practice and education. This represents an arena where they author their present and future selves, using individualised and unique stories to buffer conflicts and establish affiliations. Each participant created a rich and detailed compendium of stories that served to positively represent themselves and ‘tell’ themselves into nursing. This small scale study reveals the significant and often untapped potential of nursing students’ stories to establish understanding of identity development. As such they are under-utilised educational and developmental tools that have significant potential for enhancing nurse education.
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Price, N. D. I. « Figuring the mosaic image prohibition in early modern Italy ». Thesis, University College London (University of London), 2017. http://discovery.ucl.ac.uk/1570355/.
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In his description of Michelangelo’s statue of Moses (c.1513-1545), Giorgio Vasari alleges that Roman Jews would abandon their religious observances to “adore” the image of the iconoclastic Hebrew lawgiver on the tomb of Pope Julius II. The Mosaic prohibition of “graven images” is recognised in Judaism as the original antithesis to pagan image-worship, but its authority has been undermined in Christianity by the idea of God incarnate. As Vasari’s tale helps to illustrate, Michelangelo’s Moses embodies an enduring conflict of religious and cultural ideals, originally encapsulated by the biblical prohibition. This thesis examines how aspects of that conflict – especially the perceived opposition between Christian and Jewish attitudes to figural representation – were visualised in Italy during the Reformation and Counter-Reformation. Vasari’s allegation of Jewish apostasy – wherein the Jews establish their own image-cult of Moses – seems to epitomise the Freudian concept of the return of the repressed; the “inexorable” rule by which repressed psychic or cultural material (in this case idolatrous worship) re-emerges through the agent of repression; here, the forbidding figure of Moses, destroyer of the Golden Calf. The central idea of this thesis is that Freud’s psycho-cultural rule has unexploited potential as a tool for understanding not only Michelangelo’s Moses (which is horned, like a species of pagan idol), but Renaissance art and culture in more general terms. While developing this idea, the thesis also explores Jewish cultural reactions through visual media, including printed books, ritual objects and portrait medals, to the oppressive anti-Judaism of Counter-Reformation popes. The isolation of Jews in Italian ghettos was expected to induce mass conversion to Roman Catholicism, but Jews remained largely resistant to assimilation, and visual evidence of Jewish acculturation often involves symbolic reassertions of religious integrity. This thesis examines the complex interactions between Christian and Jewish (visual) cultures in early modern Italy, and challenges received ideas about a lack of agency in the latter.
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Tiggs, Jennifer C. « Figuring (un)figures : reading Beckett's 'Ping' through moving-image ». Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/8818.
Texte intégralRésumé :
In this thesis I explore the idea that Samuel Beckett's 'Ping' is a text that 'performs' - acting on the reader to create an active response - through the act of translating the text into a different medium - one that fundamentally also 'performs'; sounds, shows, moves, that of moving-image.
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Montaño, Jesus A. « Writing a nation : figuring community in late medieval England/ ». The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu148819010986812.
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Anderson, Catherine Eva. « Embodiments of empire : Figuring race in late Victorian painting ». View abstract/electronic edition ; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3328111.
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Baggaley, Jonathan. « Figuring the photographic portrait studio as a psychic apparatus ». Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/7db6e7c0-8ffe-42d9-86e4-39c14ca3a077.
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This research project makes use of photographic art practice as an investigative tool, through which a variety of strategies have been employed in order to picture the traditional photographic portrait studio. The thesis provides both a context within which to understand this art practice and expands upon and develops the themes proposed by it. The history of the photographic studio is presented in traditional narrative form and as a discursive formation; being analysed at two specific junctures within this narrative. This historical and cultural contextualisation allows the studio to be viewed in terms of a space and apparatus that embody particular characteristics. It is suggested that whilst these characteristics are explicitly located within discourses relating to class and aesthetics they also incorporate an implicit psychical dimension. The studio as an apparatus is analysed as constituting particular subject positions. These are discussed in relation to ideas drawn from film theory that utilise Lacanian psychoanalytic concepts. The studio is considered as a space in which the presence of the Lacanian Gaze becomes suggested with particular prominence. As an architecture that embodies the presence of the gaze, the studio is discussed in relation to a number of theories around the nature of space and modernity. The possibility of transference as an element of the studio encounter is also posited. Four artists (Helmut Newton, Jemima Stehli, Broomberg and Chanarin and Christopher Williams) are identified as producing work that critically engages the space of the studio. Analysis of this work serves to develop the arguments made so far and provides an extended consideration of the particular subject object relationships that become played out in the studio. This becomes developed further in relation to commercial portrait practices and is demonstrated through analysis of portraits by Mike Disfarmer and Suresh Punjabi both of whom have been the subject of significant theoretical discussion. The thesis concludes with a reflection on how the practice produced for this research has both been conceived and executed in relation to theory but also on how it can be thought of as providing, in itself, a unique and valuable contribution to knowledge. It is argued that the practice not only makes visible a coercive discourse and psychic economy implicit within the studio but that it also promotes a particularly compelling and pertinent consideration of how the two might be related.
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Toepfer, Yvonne. « Afterlives of the Sandman : Re-Figuring the Fantastic-Sublime ». Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18386.
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This comparative project investigates different representations of the sandman between the 19th century and the 20th century. My discussion focuses on Romantic texts, in particular E.T.A. Hoffmann's 1816 literary tale "Der Sandmann." While the traditional scholarship on Hoffmann uses both psychoanalytical and feminist approaches, I show how Friedrich Schlegel's concept of chaos and Jean-François Lyotard's concept of the postmodern sublime help us to understand Hoffmann's complex narrative structure. I argue that in Hoffmann's tale there is no unified sandman figure. However, different storytellers in the tale shape the sandman's various depictions. In a way, the sandman figure becomes a fluid character whose enigma the narrative's structure sustains. Paul Berry's 1991 stop-motion animation "The Sandman" visualizes Hoffmann's narrative. However, the film also reintroduces a unified sandman figure that is characterized by uncanny strangeness. My analyses both of Hoffmann's literary and Berry's cinematographic narrative show that their complex structures allow for ceaseless interpretations. This leads me to conclude that fantastic narratives lend themselves to insightful and critical ponderings.
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Coldicutt, Richard Phillip. « The beach as an erogenous zone : figuring through painting ». Thesis, Curtin University, 2014. http://hdl.handle.net/20.500.11937/1898.
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The feeling of tranquillity and freedom, so often associated with the zone that lies between dunes and breakers, belies vast complexities and subjectivities that regulate the littoral. The beach is a liminal place both physically and socially, a landscape of hypersensitivity existing in flux with an endlessly shifting environment ... an erogenous zone. This study, explores the complexities of this cultured space through a series of Acts performed and figured in both text and paint.
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Durham, Emma. « Metal Figurines in Roman Britain ». Thesis, University of Reading, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533780.
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This thesis is a study of metal figurines in Roman Britain. These small figures mainly depict deities and animals or birds, and occasionally priests or other human subjects. They are an important example of the changed religious practice of Romanised Britons, and provide fascinating insights into the spread of technology and forms of worship. Material was collected from publications, the Portable Antiquities Scheme database and museum collections, resulting in a corpus of over 1000 figurines. Analysis focuses on four principal areas: the spatial and social distribution of figurines, figurines as an expression of Romano-British art, their role in Romano- British religion and the evidence for the regional use of figurines. My research shows that there are differences in the use and production of figurines throughout Britain. For example, Eastern deities, particularly those of the Cybele and Isis cults, are predominantly associated with urban and military populations, and there is a concentration of such objects in London and Colchester. Traditionally, high quality figurines are thought to have been imported, poorly executed pieces locally produced, and moderate pieces are identified as possibly British or Gaulish. However, my research shows that figurines such as some of the horse and riders from eastern Britain are well-executed British products which exhibit a high level of technical competence. The presence of figurines at temples and in domestic contexts shows that figurines played an important role in the religious practices of Romano-Britons. The identification of figurines dedicated to Romano- Celtic deities shows that figurines were used in the worship of local deities. I also identified the production of figurines with a particularly Romano-British style in the southwest which show not only the development of a local style utilising elements of both native Iron Age and imported Roman art, but also the adoption of classical style to depict native deities.
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Mac, Kay Fulle Arturo Martín. « Figurinas del valle del Rimac ». Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/114537.
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Khan, Muhammad Ashraf. « Les figurines en terre cuite de Sardheri et leurs relations avec les autres figurines du Gandhara ». Paris 1, 1989. http://www.theses.fr/1989PA010598.
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Le gandhara, se trouve dans l'extreme nord-ouest du pakistan, entre les monts de la passe de khyber, la riviere de kaboul et le grand fleuve indus. L'histoire ancienne du gandhara est, en effet, le long recit des epopees de peuples venus de l'occident lointain, de l'iran, des steppes de l'asie centrale, et qui voulaient atteindre le souscontinent indien. Le site de sardheri se trouve au nord-ouest du pakistan, a livre un tres grand nombre de figurines feminines en terre cuite. Il en va de meme pour d'autres sites archeologique de gandhara. Les figurines feminines de sardheri les quatre types de deesses-meres l'archaique, l'hellenistique, indo-scythe, et gandharienne. Le but de cette etude est tout d'abord d'etablir une structure chronologique basee sur le temoignage apporte par les strates pour les figurines feminines de sardheri et ensuite de presenter les collections de figurines provenant de divers sites et periodes qui ne representent pas un repertoire d'echantillons complet pour ces sites et periodes.
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Castelli, Marco. « Advances in optical surface figuring by reactive atom plasma (RAP) ». Thesis, Cranfield University, 2012. http://dspace.lib.cranfield.ac.uk/handle/1826/10420.
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In this thesis, the research and development of a novel rapid figuring procedure for large ultra-precise optics by Reactive Atom Plasma technology is reported. The hypothesis proved in this research is that a metre scale surface with a form accuracy of ~1 μm PV can be figure corrected to 20 – 30 nm RMS in ten hours. This reduces the processing time by a factor ten with respect to state-of-the-art techniques like Ion Beam Figuring. The need for large scale ultra-precise optics has seen enormous growth in the last decade due to large scale international research programmes. A bottleneck in production is seen in the final figure correction stage. State-of-the-art processes capable of compliance with requisites of form accuracy of one part in 108 (CNC polishing, Magneto-Rheological Finishing and Ion Beam Figuring) have failed to meet the time and cost frame targets of the new optics market. Reactive Atom Plasma (RAP) is a means of plasma chemical etching that makes use of a Radio Frequency Inductively Coupled Plasma (ICP) torch operating at atmospheric pressure. It constitutes an ideal figuring alternative, combining the advantages of a non-contact tool with very high material removal rates and nanometre level repeatability. Despite the rapid figuring potential of this process, research preceding the work presented in this manuscript had made little progress towards design and implementation of a procedure for metre-class optics. The experimental work performed in this PhD project was conducted on Helios 1200, a unique large-scale RAP figuring facility at Cranfield University. Characterisation experiments were carried out on ULE and fused silica surfaces to determine optimum process parameters. Here, the influence of power, surface distance, tool speed and surface temperature was investigated. Subsequently, raster-scanning tests were performed to build an understanding on spaced multiple passes ... [cont.].
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Evans, Joel Christopher. « Concepts of the global in contemporary culture : figuring the totality ». Thesis, Lancaster University, 2017. http://eprints.lancs.ac.uk/85508/.
Texte intégralRésumé :
This thesis approaches a selection of contemporary literary, filmic, and philosophical works from the point of view of a now well-established field of concern – namely, the global. It takes into account a broadly Western view of the global, prioritises Anglophone cultural production, and looks at a range of authors and directors, such as Margaret Atwood, Iain Banks, Neil Blomkamp, David Cronenberg, Mark Danielewski, Gilles Deleuze, Don DeLillo, Félix Guattari, Michael Hardt, Kazuo Ishiguro, Fredric Jameson, Charlie Kaufman, Patrick Keiller, David Lynch, Antonio Negri, Peter Sloterdijk, Ali Smith, and Bernard Stiegler. The project locates prominent and significant concepts of the global in contemporary culture, which offers a break from current studies which either focus purely on ways in which texts represent the current form of so-called globalisation, or ways in which texts, and traits of texts, circulate across the globe. The overarching argument of the thesis is that, through conceptualisations of the global, we witness a return to figurations of the totality in contemporary culture. There is not just one way of conceptualising the global today, however, and to register this four main modes of conceptualisation are identified. These are: the immanent; the transcendent; the contingent; and the beyond-measure. The political, philosophical, and aesthetic implications of conceptualising the global in each way are assessed throughout. During the course of the thesis, two additional ways of figuring the human totality are discovered. These come under what is called in general terms the ‘Global Brain’, and are dubbed individually the ‘Idealist Brain’ and the ‘Unhuman Brain’. With the Idealist Brian, we uncover a longstanding vision of the global, which has again become present in contemporary culture. This is a view of the Earth as the ultimate place of the global, with the privileging of the human sensorium being at the heart of this. What the Unhuman Brain figures is a scenario whereby the human is traversed by the inhuman at the level of totality. The identification of this new strain of the Global Brain has all sorts of implications, not least being the fact that it puts into question the Earth’s status as the site of the global, and its close ties with the human subject.
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Wilson, Stuart. « Figuring time by space : representing sensory motion in cortical maps ». Thesis, University of Sheffield, 2011. http://etheses.whiterose.ac.uk/2171/.
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How does the brain represent sensory input? When stimuli move across sensor surfaces, such as a light source moving across the retina, sound moving between the ears, or contact moving over the skin, patterns of activation propagate across sheets of neurons that form the primary sensory cortices. Understanding how the movement of stimuli across the sensor surfaces relates to the activation of the cortical sheet is a fundamental problem in neuroscience. The thesis presents a series of computational neuroscience studies, addressing how sensory stimuli are represented in mammalian primary sensory cortex. Each study constructed a model of how tactile stimuli, experienced by rodents via the array of facial whiskers, are encoded in the barrel cortex area of the primary somatosensory cortex. Each explains how the responses of cortical neurons to sensory stimuli can be predicted from their location in the cortical sheet. In each case, simple organising principles, based on cortical connection geometry and/or local learning rules, could account for how neuronal responses vary according to sensory stimuli. The success of these highly simplified descriptions of cortical circuitry at explaining complex neurophysiological data suggests an important role for sensory experience and neural inter-connection geometry in neural computation. The roles of both have been largely overlooked in recent large-scale efforts to model somatosensory cortical processing, which have focussed instead on cataloguing descriptions of neural tissue in increasing levels of detail. Using a top-down approach to modelling, the thesis generates specific hypotheses about the functional organisation of the sensory cortex, that can be used to guide future experimental work. The contribution of the thesis will therefore have been to lay the foundations of a theoretical framework for studying tactile stimulus processing in the somatosensory cortex, which is emerging as one of the most popular model systems in modern neuroscience.
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Midgelow, Vida. « Reworking the ballet : re-figuring the body and 'Swan Lake' ». Thesis, University of Surrey, 2003. http://epubs.surrey.ac.uk/849747/.
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Reworking the ballet: Refiguring the body and 'Swan Lake' illuminates the choreographic praxis, context and politics of reworkings of classic ballets. Dance reworkings can be seen as unruly acts framed within the status quo of the canon and are positioned as examples of canonical counter-discourse. Deconstructing the canon through processes of demythologisation and the strategies of intertextuality, reworkings have the potential to resist the nostalgic and the authoritative frame of the canon. Revealing gaps and omissions, elucidating assumptions and privileges, and exposing gender and ethnic specificities, these dances evoke difference and diversity, and bring the partial and the provisional to the fore. Through close readings and using feminist/postfeminist and postcolonial perspectives particular attention is given to the revision of gender within these dances. Gender is shown to be especially fictive within reworkings due to the explicit reappropriation, and reinscription, of the body within these dances. The ways in which three radical reworkings of Swan Lake by Susan Foster, Shakti and myself refigure the female body and the erotic forms the main focus of the thesis. These dance makers rework the already highly gendered body of the ballerina - reclaiming the body and the erotic as a force for women, such that they have the potential to enjoy the power and pleasure of their own sexuality without recourse to dominant orthodoxies. Reworkings assert the simultaneous habitation of multiple and overlapping formulations. As hybrid, intertextual works these dances activate, at the very least, a bi-directional gaze - simultaneously challenging and evoking their source texts. Through this 'double gesture' these dances have the potential to reconfigure their source texts, and the bodies therein, in such a manner as to operate beyond binary oppositions of canon/counter-canon.
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Loisel, Robert. « Figurines, suivi d'une, Etude de personnages ». Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30184.
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The first part of this master's thesis in French Literature is as a short story collection. Inspired by people's social and family situations, these short stories try to render the conflict that structures these situations and gives life to characters. In general, this conflict always takes place between real and imaginary worlds.The second part of this thesis is an analysis of two Stefan Zweig short stories. In my analysis, I try to determine at which moment a character passes from being simply a character on paper to a "living" character. Thereby, I hope to disprove Florence Goyet's theory that a short story character is merely subjugated to a structure. I use the theory of reception, as Vincent Jouve used it to study novels.
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Kostíková, Martina. « Návrh testovací figuríny pro nárazové zkoušky ». Master's thesis, Vysoké učení technické v Brně. Ústav soudního inženýrství, 2017. http://www.nusl.cz/ntk/nusl-318116.
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The main objective of this thesis is construction of crash test dummy for vehicle-pedestrian crash tests. There is review of nowadays used crash test dummies types in the introduction of this thesis. This is followed by part describing construction itself. Chapter about construction begins by characterizing of used materials features in relation with real human body physiology. Main part of chapter is describing construction of crash test dummy’s skeleton and its individual components including 3D modelling and strength analysis. Thesis is finished by cost assessment.
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Danta, Christopher. « The trial of time : figuring Abraham in Kierkegaard, Kafka and Blanchot ». Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5472.
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Aquino, Agda Patr?cia Pontes de. « Casal nacional : significa??es do corpo e do figurino no telejornalismo ». Universidade Federal do Rio Grande do Norte, 2011. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16399.
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Previous issue date: 2011-03-31Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
The main objective of this study is to investigate the meanings of body and costume as essential components of television journalists aesthetic discourse, as exemplified by the presenters of Jornal Nacional, from Rede Globo. The study is inspired on the paths proposed by semiotics, and combines this approach with other techniques of scientific investigation to identify the meanings of this non-verbal communication form. For that, this work uses the concept of communication proposed by the Palo Alto School s authors, more specifically the concept of Watzlawick et al. (2005), which understands communication like relation and inherent of human beings. The precepts of complex thought and the hologramatic principle of Morin (1990), which value the union and the need to connect the knowledge of elements or parts to that of the systems these parts constitute, is also present in the thinking that guides the work. Throughout the chapters, we elucidate our understanding of body and television as media, and fashion and television journalism as languages. This work approaches a televisual history of Jornal Nacional in order to better understand the aesthetic proposed by television news over time, its presenters and costumes. The elements that are part of the televisual language s expression and content are addressed so that we can better understand the importance of body and presenters costume in this context. Finally, we conduct an analysis of the meanings of television journalism presenters body and costume through their stereotypes, their integration into the fashion cycle and also into the televisual analysis of the most important costume elements of Jornal Nacional s presenter couple: colors, models and accessories. We thus seek to strengthen the understanding of the wardrobe inseparable from the body as communication and detail some of their production understanding processes. The women historical role in brazilian television journalism, as well as masculinization of TV journalism environment are important elements to contextualize televisual language thinking in contemporary society. The investigation covers the origins, concepts, proposals, stereotypes, prejudices, reproductions, naturalizations and reinterpretation of the body and the costume of the presenters through time and the relationship between body, fashion and communication
O objetivo principal deste trabalho ? investigar as significa??es do corpo e do figurino como componentes essenciais do discurso est?tico dos jornalistas de televis?o, exemplificados atrav?s dos apresentadores do Jornal Nacional, da Rede Globo. Inspira-se nos caminhos propostos pela semi?tica, aliados a outras t?cnicas de investiga??o cient?fica, para identificar as rela??es de significado presentes nessa forma n?o-verbal de comunica??o. Para tanto, o trabalho recorre ao conceito de comunica??o proposto pelos autores da Escola de Palo Alto, mais especificamente a conceitua??o de Watzlawick et al. (2005), que a entende como rela??o inerente ao ser humano. Os preceitos do pensamento complexo e do princ?pio hologram?tico de Morin (1990), que prezam pela uni?o e pela necessidade de ligar o conhecimento dos elementos ou partes ao dos conjuntos ou sistemas que elas constituem, tamb?m se faz presente no pensamento que norteia o trabalho. No decorrer dos cap?tulos, explicitamos nosso entendimento do corpo e da televis?o como m?dias e da moda e do telejornal como linguagens. O trabalho aborda tamb?m uma hist?ria televisual do Jornal Nacional, com o objetivo de compreender melhor as propostas est?ticas do telejornal ao longo do tempo, de seus apresentadores e figurinos. Os elementos que fazem parte dos planos de express?o e do conte?do da linguagem televisual s?o abordados para que se possa compreender melhor o papel do corpo e do figurino dos apresentadores nesse contexto. Por fim, fazemos an?lises das significa??es do corpo e do figurino dos apresentadores de telejornal atrav?s dos seus estere?tipos, da sua inser??o no ciclo da moda e ainda na an?lise televisual dos principais elementos que comp?em o figurino do casal de apresentadores do Jornal Nacional: cores, modelagens e acess?rios. Dessa forma buscamos fortalecer a compreens?o do figurino indissoci?vel do corpo como comunica??o e detalhar alguns dos seus processos de produ??o de sentido. O papel hist?rico da mulher no telejornalismo brasileiro, bem como a masculiniza??o do ambiente telejornal?stico s?o elementos importantes para contextualizar o pensamento sobre a linguagem televisual na sociedade contempor?nea. A investiga??o abrange origens, conceitos, propostas, estere?tipos, preconceitos, reprodu??es, naturaliza??es e ressignifica??es do corpo e do figurino dos apresentadores atrav?s do tempo e a rela??o entre corpo, moda e comunica??o
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Souza, Aline Corrêa de. « Como manda o figurino : práticas terapêuticas entre idosos de Porto Alegre ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/5627.
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Observa-se que indivíduos e idosos, particularmente, utilizam diversas práticas terapêuticas, buscando o alívio ou a cura de algum desconforto físico ou mental. Culturalmente, em diferentes sociedades, os indivíduos utilizam-se de vários recursos para manter-se com saúde; além das práticas "formais", fazem uso de fórmulas caseiras ou medicamentos que possuem em casa. Com este estudo objetivou-se conhecer e compreender o uso de práticas terapêuticas entre idosos residentes em área urbana, na Zona Leste do município de Porto Alegre. Trata-se de um estudo exploratório descritivo com abordagem qualitativa. Foram desenvolvidas entrevistas semi-estruturadas com 24 idosos. Processou-se a caracterização sociodemográfica desses idosos e a análise temática das informações coletadas. Os idosos entrevistados eram na maioria do sexo feminino, com média de idade de 68 anos, tinham 4 anos completos de estudos, e renda familiar, em média, de três salários mínimos, a metade dentre eles possuía convênio de saúde particular. Para metade dos idosos entrevistados a saúde era considerada como ausência de doença, outra parcela considerava que o processo saúde e doença está diretamente ligado aos usos sociais do corpo, como, por exemplo, o trabalho e a realização de atividades diárias. Dentre os participantes 4 referiram a saúde como um processo mais complexo no sentindo de qualidade de vida, dependente de fatores biopsicossocias. A principal prática terapêutica referida pelos entrevistados foi a automedicação. Dessa forma, verifica-se que mesmo as práticas terapêuticas informais sofreram um processo de medicalização. O uso de chás caseiros restringe-se a problemas considerados comuns. A outra prática terapêutica referida pelos idosos foi a busca por um profissional médico. Esse fato foi evidenciado principalmente entre aqueles que possuem convênios de saúde. A busca por terapeutas populares foi a prática menos referida. Acredita-se que isso foi influenciado pela presença do profissional de saúde e pelo receio de serem "repreendidos". Outro fato que se observou foi a utilização simultânea de diferentes práticas terapêuticas. O que motiva a escolha por uma, ou outra alternativa, é a duração e a gravidade do desconforto físico e acessibilidade dos recursos terapêuticos. Observou-se um processo crescente de medicalização entre os entrevistados, influenciado pelo mercado da saúde e também pela mídia. Isso pode ser verificado pela busca de soluções mágicas e sem esforços que são a primeira opção, pois respondem à lógica da urgência e do mercado farmacêutico que acaba por induzir esses comportamentos imediatos. Considera-se que por meio da análise e discussão crítica da temática, pode-se subsidiar a capacitação de profissionais no campo da Educação em saúde e do trabalho da Enfermagem em particular, favorecendo, assim, os processos de autocuidado e de resolutividade terapêutica para os problemas da população idosa.
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El-Desouky, Ayman Ahmed. « The self-begetting modern : figuring the human in Whitman and Joyce / ». Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004257.
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Silva, Amabilis de Jesus da. « Figurino - penetrante : um estudo sobre a desestabilização das hierarquias em cena ». reponame:Repositório Institucional da UFBA, 2010. http://www.repositorio.ufba.br/ri/handle/ri/9650.
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A presente pesquisa se propõe a pensar nas relações do figurino com o corpo, assinalando duas perspectivas para a noção de persona: aquela derivada da idéia de um personagem espírito (fantasma), pré-existente em forma de literatura, e o figurino como sendo seu corpo; e outra em que o personagem-espírito se manifesta no figurino e no corpo-atuante conjuntamente. Sublinha-se esta segunda relação, híbrida, grotesca, que funde humano/inumano, arte/vida, por representar um primeiro passo para as noções futuras de presentificação do corpo. A matéria do figurino como um incômodo para o corpo, e que além de cobri-lo, o penetra, perfura, marcheta ou o invade, é também um topos de criação. Assim, a desestabilização das hierarquias entre os elementos da cena ganha outro sentido. Não se trata somente de garantir ao figurino uma participação como signo, senão de confiar a este elemento a função de colaborar na promoção de estados diferenciados do corpo, considerando-o como integrante do processo inicial da cena. O debate filosófico sobre as questões da alma/corpo servem como aporte, dando sustento às discussões ligadas à subjetividade. Os estudos voltados para a Body Modification e a Body Hacking aparecem como exponenciais quando apontam o corpo invadido como lugar de colisões, do devir, do auto-controle, e o lugar da transgressão, do destino a ser traçado; por isso mesmo, o lugar das novas subjetividades. Os estudos de caso indicam que a utilização do figurino-penetrante estabelece outros procedimentos, interferindo na estruturação e entendimento da cena, e exigindo a desestabilização das hierarquias.
Salvador
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Loisel, Robert. « Figurines, suivi de, Une étude de personnages ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64166.pdf.
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Santos, Priscila Tatiane dos. « Gêneros e figurinos no cinema de Hitchcock ». Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/5317.
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Previous issue date: 2010-05-24In general, this work aims at analyzing the matter of genders in Hitchcock s motion pictures, understanding his reference to the phallic type of femaleness, the different maternal kinds, the ambiguity in generic categories and how sex roles are distributed in his movies. Specifically, it addresses the examination of these generic configurations from costume design s point of view. This work s methodology consists of bibliographic and filmographic research. The main references are theoretical and critical works about Hollywood s narrative classic cinema and works about Hitchcock s cinema. As for the matter of genders, this work bases on Freud s three Contributions to the Psychology of Love. Freud s concept of The Uncanny is the theoretical basis for the articulation between misogyny and the uncanny, i.e., the matter of the woman as sinister. There are particularly interesting keys to the comprehension of this question in The Taboo of Virginity. Images, scenes and sequences the most significant ones, which demonstrate the costume design role in gender configuration from the movies that make up the corpus will be analyzed so as to understand how these female and male types and their ambiguities are constructed by costume design. Especially in this approach to genders, the analysis of Hitchcock s movies is paramount, because, by mixing up sex roles through shuffling generic categories, the director almost reaches homosexuality, which, linked with clothes, will be examined in almost-explicit homosexual characters. This study arises from the hypothesis that Hitchcock s cinema has broken down gender categories, shuffled sexual role distribution and built sexually ambiguous characters at least since 1940. As a secondary hypothesis, it is presented that the nuanced generic configurations can be interpreted through costume design
O objetivo geral desta pesquisa é analisar a questão dos gêneros em filmes de Hitchcock, compreender a maneira como se dão a distribuição dos papéis sexuais, a recorrência ao tipo fálico de construção do feminino e entender os diferentes tipos maternais e a ambiguidade das categorias genéricas. O objetivo específico é examinar essas configurações genéricas a partir do figurino. A metodologia consiste em pesquisa bibliográfica e filmográfica. As principais referências são obras teóricas e críticas sobre o cinema clássico narrativo hollywoodiano e sobre o cinema de Hitchcock. Para o problema dos gêneros, o Mestrado se apoia nas três Contribuições à Psicologia do Amor de Freud. O Estranho, também de Freud, é a base teórica para a articulação entre misoginia e estranho, vale dizer, a questão da mulher como sinistra. Há chaves particularmente interessantes para a compreensão dessa questão em O Tabu da Virgindade. Imagens, cenas e sequências as mais significativas, que melhor demonstram o papel do figurino na configuração dos gêneros dos filmes que compõem o corpus serão analisadas para compreender como esses tipos femininos, masculinos e suas ambiguidades são construídos pelo figurino. Principalmente nessa abordagem dos gêneros, é indispensável a análise de filmes de Hitchcock pois, ao confundir os papéis sexuais por embaralhar as categorias genéricas, o diretor quase chega à homossexualidade, que, ligada às roupas, será analisada em personagens homossexuais quase explícitos. Este estudo parte da principal hipótese de que o cinema de Hitchcock coloca em crise as categorias de gêneros, embaralha a distribuição dos papéis sexuais e constrói personagens sexualmente ambíguos, ao menos, desde 1940. A hipótese secundária é a de que essas configurações genéricas nuançadas podem ser lidas através do figurino