Thèses sur le sujet « Images, Photographic – Social aspects »

The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.

Based on eighteen months fieldwork with Bedouin of the Negev, this thesis explores the varied presence of images as photographs and digital copies for local historicity in order to achieve a greater understanding of representational politics in southern Israel. It emphasizes pictures' ability to transmute, circulate, and acquire value in various social settings in contrast to popular academic treatments, which primarily focus on photographs' iconography and visual history in the Middle East. To do so, the thesis details the biographies of a series of 'significant images' (c. 1906-2010) circulating in this society. It describes their photographic and digital graphic contents as floating referents with the capacity to be coded and recoded by people but also their presence as historical evidence that acquire value in different contexts. The thesis builds on the concept of visual economy as opposed to visual culture in order to landscape images' meanings, material and digital transformations, and their influence for the making of Bedouin history over the last century amid Orientalist, national, and local imaginings. It argues that Bedouin in the Negev possess diverse representational repertoires and utilise a variety of techniques to pursue historical capital. In particular, local representations of the past are selective and instrumental but increasingly reliant on archival mediums such as photographs. Although it may be obvious, anthropologists of the Middle East have yet to adequately account for these occurrences among peripheral peoples and not merely urbanites in the region. Research found that Bedouin spokespersons treat photographs and digital images as evidentiary documentation during self-presentations of historical knowledge in the Negev. As they travel between visual economies, however, images become malleable proof for local history projects alternating between the tribal past, Islamic heritage, and ethnohistory. In conclusion, the thesis develops two theoretical themes in anthropology and visual culture studies of the Middle East: the material and visual efficacy of images for local historicity, and complicating self-representations among Bedouin in the Negev.

Et si la photographie avait inventé l'identité ? Le corps, au moment de sa transformation en image, devient le lieu d'un affrontement entre le général et le particulier afin de définir l'identité. Il est interrogé, interprété, et remis en question, dans la perspective de ses rapports à l'Homme moyen. Mais l'individu, en cela même qu'il est un et irréductiblement différent de tous les autres, n'est jamais l'identité modèle que la société voudrait lui attribuer ou dont il se désirerait porteur. Ces « individus », dont l'identité est dissoute et irréductible dans le même temps, ces « singularités quelconques » sont la matière de mes travaux. J'interroge le rapport de forces qui se joue dans l'identité représentée, entre volonté de contrôle et libération de l'individu, entre clichés et singularités. Le portrait photographique révèle ses composantes politiques et artistiques indissociablement mêlées, au coeur d'une réflexion sur l'image et sur la société de surveillance qui l'élabore.

Modeling the "thick description" of photographs began at the intersection of personal and institutional descriptions. Comparing institutional descriptions of particular photos that were also used in personal online conversations was the initial phase. Analyzing conversations that started with a photographic image from the collection of the Library of Congress (LC) or the collection of the Manchester Historic Association (MHA) provided insights into how cultural heritage institutions could enrich the description of photographs by using informal descriptions such as those applied by Facebook users. Taking photos of family members, friends, places, and interesting objects is something people do often in their daily lives. Some photographic images are stored, and some are shared with others in gatherings, occasions, and holidays. Face-to-face conversations about remembering some of the details of photographs and the event they record are themselves rarely recorded. Digital cameras make it easy to share personal photos in Web conversations and to duplicate old photos and share them on the Internet. The World Wide Web even makes it simple to insert images from cultural heritage institutions in order to enhance conversations. Images have been used as tokens within conversations along with the sharing of information and background knowledge about them. The recorded knowledge from conversations using photographic images on Social Media (SM) has resulted in a repository of rich descriptions of photographs that often include information of a type that does not result from standard archival practices. Closed group conversations on Facebook among members of a community of interest/practice often involve the use of photographs to start conversations, convey details, and initiate story-telling about objets, events, and people. Modeling of the conversational use of photographic images on SM developed from the exploratory analyses of the historical photographic images of the Manchester, NH group on Facebook. The model was influenced by the typical model of Representation by Agency from O'Connor in O'Connor, Kearns, and Anderson Doing Things with Information: Beyond Indexing and Abstracting, by considerations of how people make and use photographs, and by the notion of functionality from Patrick Wilson's Public Knowledge, Private Ignorance: Toward a Library and Information Policy. The model offers paths for thickening the descriptions of photographs in archives and for enriching the use of photographs on social media.

L’œuvre photographique de Sebastião Salgado, qui focalise la condition de vie des personnes affectées par la souffrance sociale causée soit par la guerre, soit par l’exploitation et la misère, prime par la qualité de la composition esthétique, mais ses images ne sont pas produites dans le contexte de la photographie d’art. Elles s’inscrivent dans la catégorie de la photographie documentaire et leur finalité discursive est la dénonciation sociale. Une part des spécialistes de l’image et des sciences humaines et sociales estiment que ses images ne peuvent pas servir à un tel propos, car leur caractère artistique déforme la vérité de la réalité représentée. L’autre part, en revanche, considère que c’est justement de la forme esthétique qu’elles tirent leur force de communication sociopolitique. Il s’agit du vieux débat sur le rapport entre esthétique et politique réactualisé par la question contemporaine du rôle sociopolitique des représentations médiatiques de la souffrance sociale. Pour constituer notre corpus analytique nous nous sommes servis d’un échantillon d’articles des spécialistes, publiés dans la Presse, dans lesquels on trouve un discours argumenté pour ou contre l’approche photographique de Salgado. La mise en confrontation des argumentations d’opposants et de partisans a permis non seulement de faire une sorte de mise en épreuve de la pertinence des concepts théoriques évoqués en soutien, mais aussi de mettre en évidence les apriori éthiques, sociologiques et politiques qui sont à la base des jugements qui indiquent si l’on doit considérer l’approche énonciative de Salgado comme une bonne ou mauvaise façon de représenter la misère du monde
The photographic work of Sebastião Salgado focuses on the living conditions of people affected by social distress resulting from civil wars, exploitation, and misery. The pictures are characterised by the quality of their aesthetic composition but they are not primarily works of art. They are rather documentary pictures that represent a social denunciation of intolerable living conditions. Some social scientists specialised in photo interpretation think that his pictures still exhibit too many characteristics of art work and might therefore deform reality. However, others are convinced that just this aesthetic approach constitute its particular strength in sociopolitical communication. The contrasting views reflect the old debate on the relation between politics and aesthetics recently revived by the discussion on the socio-political role of the media in the presentation of social distress. This thesis is based on a representative sample of articles published in print media in which arguments for and against the photographic approach of Salgado are presented. The analytic comparison of the opposed arguments allows an evaluation of the related theoretical concepts. It also reveals an a priori basis of the related ethics, aesthetics, sociology, and politics indicating whether the denouncing character of Salgado pictures is representing an adequate approach to communicate the misery of the world

This study examined sports photographs in fifty-two issues (thirteen issues each) of The Source Sports, Sports Illustrated for Women. Sports Illustrated and ESPN Magazine for gender differences in the way athletes are visually portrayed. Duncan and Sayaovong's 1990 study was used as the foundation for this new study.The content analysis revealed quantitative differences in photographic depictions of female and male athletes. Like the previous study, gender differences were found in the overall number of photographs of female and male athletes. These photographs were then broken down into one-half page, full-page and pull-out photographs. Gender differences were also found in the number of male and female athletes on the cover of the magazines, and the level of activity or inactivity associated with athletes. Unlike the previous study, the researcher found no gender differences in prominent and supporting positions when both men and women were featured in a photograph and no difference in camera angles.
Department of Journalism

With this dissertation I propose to investigate critical theories dealing with memory and its role in photography. The function of memory is a well discussed and analysed topic within the ambit of historical research. Drawing from theoretical texts by critical theorists, namely, Roland Barthes, Annette Kuhn and Marianne Hirsch, I will critically address the function of memory in the understanding of photography; particularly how photographs have the ability to construct our identity in terms of history and narrative. I will study the content of memory in relation to visual images, focusing on what is remembered, what is suppressed, and finally, what is transformed when viewing an image. By doing so, I will consider whether or not still photographs have the ability to construct the past in a narrative form that is intrinsic to its medium. This consideration will be undertaken with specific reference to the works of contemporary South African artist Lien Botha. Special attention will be directed to her series of work entitled Amendment (2006), a series which permits me in turn, to deal with issues pertaining to memory and “visual narrative” which I have explored in my own professional art practice namely, Memory Boxes, Back Stories, Faces of You and Me, Memories Re-layered and Ghostly Remnants.

Comment la production et la consommation d'images mobiles privées, vernaculaires, passent-elles d'une relative confidentialité à une large exposition me��diatique, voire à un habitus généralisé, véritable phénomène social ? Avec l'accroissement de l'utilisation de ces images mobiles dans la vie quotidienne, comment et où ces effets ont-ils été perçus ? Afin de comprendre les mécanismes qui ont conduit à construire l'acceptation sociale de l'image mobile, la thèse de Gaby David explore les processus de légitimation et de validation que l'imagerie mobile a subis entre 2005 et 2015. Processus de légitimation : 10 années d'images mobiles tente d'organiser et de restituer l'histoire récente des processus de légitimation en deux grandes périodes. La première partie, structurale, comporte une double étude des processus de construction et de légitimation de ce phénomène par le biais de diverses industries culturelles, artistiques ou médiatiques ; notamment à travers une analyse ethnographique du festival Pocket Films, appuyée ensuite sur une série d'études de cas des images mobiles dans les circuits institutionnels de l'information. La deuxième partie se concentre sur l'étude de la validation faite par les groupes de pairs, comme dans le cas des communautés de pratiques, ou quand les images mobiles deviennent ordinaires : y est mise en évidence la prise de pouvoir des utilisateurs sur le processus d'auto-légitimation. Enfin, une auto-ethnographie, réflexion sur les propres pratiques de l'auteure observées rétrospectivement, révèle comment la pratique des selfïes a stimulé les échanges instantanés et éphémères, vers une utilisation encore plus connectée et conversationnelle de ces images
Gaby David's dissertation "Processes of Legitimation: 10 Years of Mobile Images" examines the legitimation and validation processes that vernacular mobile images underwent between the years 2005 and 2015. Her thesis explores answers to questions like: How did the production and consumption of private colloquial mobile images, as a visual phenomenon, develop from being a practice among a few individuals to being a widespread global habit? With an increase in use of mobile images in everyday life, how have its socio-cultural and visual effects been perceived? In what places has this happened ? The first and second chapters are a study of the cameraphone and its amateur use in early years, and the legitimation and value given to this early creation by artistic and media cultural gatekeepers. This is done through an ethnographic analysis of the Pocket Films Festival, and a global journalistic timeline of cameraphone images and the mediatization of them to create hard news. She also looks at the times during and after the smartphone mass penetration of the market and the use of its images. The third chapter focuses on studying peer-centered validations, as communities of practice, and it highlights the latest passage of the use of mobile images to a more conversational-connected use, demonstrating how the selfie and the short-lived or momentary snapshot dynamic influences today's sharing of such. She shows the results of focus groups, and online/offline interviews, that she has conducted. The fourth and last chapter is an a posteriori autoethnography of her own practices. Are we finally experiencing what Alexandre Astruc dreamt of: the fact that everyone would be able to use a camera pen? What transpired once this practice became adopted into the mainstream? Overall, this thesis is an endeavor to understand the evolving use of mobile images to convey complex communicative and multifaceted emotionally private and/or intimate meanings

L'étude sur le documentaire a suscité ces dernières années de nombreuses approches : historique, rhétorique, pragmatique, stylistique. Celles-ci posent la question de la réalité dans le film ou dans la photographie, problématique récurrente du documentaire. C'est à nouveau cette interrogation qui sera abordée dans cette recherche. La perspective envisagée a l'ambition de synthétiser toutes ces approches en remontant à l'origine de la photographie, au dix-neuvième siècle, et en faisant valoir sa spécificité d'image. Un parcours photographique est proposé montrant en quoi l'image photographique a pu bouleverser notre rapport à la réalité. Cette ambition synthétique a trouvé son fondement dans un concept original initié par le philosophe allemand Ernst Cassirer : la forme symbolique. Il s'agit d'une logique culturelle qui propose de se placer au cœur de nos réalités et d'analyser les principes qui les gouvernent. Le point d'ancrage d'une telle philosophie repose sur la culture comprise comme une réalité relative. Dans cette perspective, l'image photographique en tant que documentaire est considéré comme un lieu donnant à penser une réalité ? Comment ? Cette recherche nous amène à envisagé trois moments pour l'élaboration de cette forme symbolique particulière : 1) l'invention d'une image-monde que l'image photographique a suscité ; 2) la survivance des réalités contenues et transformées dans cette image-monde ; 3) la création d'un lieu de mémoire par la constitution d'un patrimoine photographique.

Capes
Essa pesquisa pretende refletir sobre as interações socioculturais no uso técnico-estético da fotografia. Para tanto, seguiu-se uma metodologia de análises de imagens, e observações de práticas de oficinas de fotografia com jovens e crianças de Curitiba e Região Metropolitana, realizadas pela autora anteriormente a esse estudo. As análises basearam-se em estudos da imagem e semiótica visual. Contudo, tornou-se essencial estimular a compreensão dos sistemas de representações como construção social e possibilidades de expressão através da fotografia, tema desafiador em um tempo em que as representações visuais são naturalizadas, sem uma percepção crítica do que nos é colocado diante dos olhos. Partindo de um breve histórico da fotografia, seus modos de utilização na transformação social, buscou-se articular a prática e a apropriação fotográfica na construção do olhar de si, do outro e do entorno. Considerando a percepção um processo interativo e criador, atualizada nos usos da fotografia, tanto como linguagem quanto como aparato tecnológico, faz-se necessário despertar novos olhares e dar sentido a interpretações além das próprias imagens.
This research aims to reflect on the socio-cultural interactions in the techno-aesthetic use of photography. To do so, it was served as a method data analysis and observations of practices in photography workshops with youth and children in the metropolitan region of Curitiba, applied by the author before this research. The analyzes were based on studies of image and visual semiotics. Hence, it became essential stimulate the understanding of the systems of representations as a social construction, and the possibilities of expression through photography, challenging theme in a time when visual representations are naturalized, without having a critical awareness of what is placed in front of our eyes. We start with a brief historical analysis of photography, its modes of using it in social transformations, seeking to articulate the practice and photographic appropriation, the look construction the of yourself, of the others, and of the environment. Considering the perception as an interactive and creative process, and updated in different uses of photography, and it is used both as language and as a technological device, it became necessary to arouse new looks ans give more sensibility to other interpretations beyond the images themselves.

Submitted by secretaria pós-letras repositorio (secretaria.repositorio@gmail.com) on 2017-07-07T17:42:24Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Gabriel Cariello - Um tempo mais que presente.pdf: 5444849 bytes, checksum: a3f64700f94353cc8ba29a98680d6651 (MD5)
Approved for entry into archive by Jussara Moore (jussaramoore@id.uff.br) on 2017-07-12T14:21:09Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Gabriel Cariello - Um tempo mais que presente.pdf: 5444849 bytes, checksum: a3f64700f94353cc8ba29a98680d6651 (MD5)
Made available in DSpace on 2017-07-12T14:21:09Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Gabriel Cariello - Um tempo mais que presente.pdf: 5444849 bytes, checksum: a3f64700f94353cc8ba29a98680d6651 (MD5)
Mudanças na percepção da passagem do tempo que ocorrem nos últimos 50 anos têm influenciado a forma como a literatura e a fotografia representam as cidades contemporâneas. Aceleração, simultaneidade, distância para o passado e despreocupação com o futuro são alguns dos sintomas de transformações da sociedade — cada vez mais próxima de uma aldeia global virtual — cujo ápice parece passar pela consolidação do tempo presente como o momento da experiência. Viver o hoje, o agora, é comportar a experiência individual no tempo de um instante. Diante de um movimento cada vez mais enraizado, a literatura e a fotografia encontram caminhos para desenvolver narrativas que discutem ou questionam os efeitos de tais mudanças na vida cotidiana das metrópoles do século XXI, onde as novas configurações do tempo parecem impactar mais o indivíduo. Tomando esta reflexão como eixo de análise, o presente estudo examina as bases para a compreensão de como se dá o surgimento de um novo cronótopo, seguindo caminhos teóricos percorridos por David Harvey, Hans Ulrich Gumbrecht e Zygmunt Bauman, que perceberam uma influência direta do novo formato do tempo na forma como se vive nas grandes cidades globais. Na busca por entender como as narrativas do novo século representam as metrópoles contemporâneas a partir da influência do tempo presente, encontra-se no livro Eles eram muitos cavalos, de Luiz Ruffato, e na série de fotografias Babel Tales, de Peter Funch, duas representações de cidade que se alinham ao desafio de comportar a expansão do presente e problematizar seus efeitos sobre o indivíduo
In the last 50 years, changes in the perception of how time passes have influenced the way literature and photography represent contemporary cities. Acceleration, simultaneity, distancing from the past and a lack of concern for the future are some of the symptoms of society transformations — each time closer to a virtual global village — whose apex seems to be the consolidation of the present time as the moment of experience. To live the today, here and now, is to accept an individual experience in an instant. In facing a movement that is becoming more ingrained, literature and photography find ways to develop narratives that discuss or question the effects of daily life´s changes in the twenty-first century metropolis, where the new time configurations seem to impact more and more the individual. From this perspective as the pinnacle of an analysis, the present study examines the basis to comprehend the advent of a new chronotope, following the theoretical paths by David Harvey, Hans Ulrich Gumbrecht, and Zygmunt Bauman, who noticed a direct influence in the new time format over the way we live in big global cities. During the search to understand how narratives of the new century represent the contemporary metropolis from the influence of the present time, the book Eles eram muitos cavalos, from Luiz Ruffato, and the series of photographs Babel Tales, by Peter Funch, are two representations of a city that challenge the present expansion and question its effects over the individual

This thesis is an attempt at understanding South African photography through the lens of Nontsikelelo “Lolo” Veleko, Tracy Rose, David Goldblatt, Jo Ractliffe and Santu Mofokeng. Through the works discussed this thesis intends to unpack photography as a complex medium similar to that of language and text, as well as attempt to understand how exploring South African experiences and spaces through the lens of photography shapes and mediates them. Furthermore it also attempts to understand how these experiences and spaces conversely affect the discourse of photography or at the very least our perception of it. Through these photographers and their works it is hoped that ultimately the interconnected relationship of exchanging codes that takes place between photography and society will be highlighted. The example of connectivity or dialogue I believe exists between the medium of photography and the physical/social and psychological spaces it photographs will be mediated through Deleuze and Guattari‟s conception of “the wasp and the orchid” where “the wasp becomes the orchid, just as the orchid becomes the wasp...an exchanging or capturing of each other‟s codes”. Other theorists I will be looking at include Vilém Flusser, focusing in particular on his book Towards a Philosophy of Photography, as well as Susan Sontag, Roland Barthes and others. The main aims and objectives of this thesis are to understand the veracity of the documentary image and whether or not the image harbours any objective truth, as well as whether truth, if it can truly be said to exist in the world, resides between the camera and the seen world. This dichotomy is further complicated by the matter of subject-hood and technical and philosophical understandings of the camera as an apparatus. At no point do I aim to be conclusive, rather it is hoped that by developing the dynamic tension between the theory and the image world that I will be able to bring fresh insight into the reading of a changing South African condition and the subject position of the photographer in relation to this condition.

Thesis (DTh) -- Stellenbosch University, 2007.
ENGLISH ABSTRACT: This study is an endeavour on the cutting edge of the field of practical theology. It engages in a pastoral assessment of contemporary men and masculinities in their manifold representations and embodiments. An in-depth assessment of current schemata of interpretation (on the issue of masculinity), is done within different cultural contexts, aiming to hermeneutically put this into dialogue with a pastoral-anthropological view on masculinity. This dialogue is initiated in order to gain deeper insight into diverse masculinities and the challenges they face in their search for meaning, intimacy and vitality. The point of the dialogue here is rather to describe than to prescribe. The dissertation analyses ‘masculinities as experienced and enacted’ in life and ‘masculinities as represented’ in the mass media as well as in other forms of pop culture, through a multidisciplinary perspective. It is further aimed at the contextual, theological deconstruction of these cultural representations and the establishment and furthering of meaningful connections between male identity, human dignity and Christian spirituality. The focus in contemporary (sociological and psychological) research on masculinity is on enactment of masculinities or ‘doing’ masculinities rather than ‘being’ masculine. The dominant cultural images of masculinity within a globalising life-order suggest and promote materialistic values such as efficiency, performance, mechanisation and functionality. These images are assessed and the interplay between it (the cultural images) and conceptualisations of God (God-images) are explored. This study asserts that men’s identity, self-understanding and spirituality is shaped in many ways by these images, but that the image of the crucified and risen Christ can indeed serve as a meaningful and normative-critical counter-image to the macho-images portrayed by most postmodern masculinities (which many men presently experience as confusing). This counter-image of Christ can transcend the abuse of power, the focus on performance and the commodification of male embodiment, in men’s lives, as they engage in a spirituality of vulnerable courage. A pastoral-anthropological perspective is employed in order to shift the emphasis on male identity in terms of gender and sexuality, towards a spiritual understanding of male identity in terms of human dignity and human destiny (i.e. the quest for meaning). The important question of the relationship between power, masculinity and male embodiment is addressed. Essentialist ideas about masculinity are deconstructed, and a re-interpretation thereof is introduced within a view of reality that affirms and embraces an earth-centred and embodied spirituality. Masculinity and male identity is in that sense “saved” from a commercial reduction by means of an eschatological and pneumatological perspective. This theological re-interpretation of masculinity presents a critical factor on the cultural notion that manhood is something that must be validated by means of performance (especially on the terrain of sexuality). Masculinity, viewed from an eschatological perspective, is thus more than virility that has to be manifested by doing functions. The culturally-determined understanding of masculinity - in terms of brutal power and control – is in this sense ‘emasculated’ in this study. In the light of Christ’s resurrection, there is new hope for the re-interpretation of masculinity. The postmodern man’s resurrection is therefore not guaranteed by the “Viagra-magic blue pill”, but in actual fact by the resurrection of Christ who daily unleashes and affirms new meaningful dimensions of hope in the globalised life-matrix. The power of masculinity thus lies in embodying vulnerability and mutual relationality, contesting unilateral and hierarchical relations. Within this context manhood is not equal to the size of achievement or success, nor performances or powerful penetration, but it rather denotes the capacity for lovingly hospitable relationships and the measure of the soul’s depth of character, i.e. its capacity to embody and affirm the courage to be.
AFRIKAANSE OPSOMMING: Hierdie studie is ‘n navorsingsreis op die snykant van die veld van praktiese teologie. Dit neem deel aan ’n pastorale ondersoek van hedendaagse mans en manlikhede in die verskeie opsigte waarop hul verteenwoordig en beliggaam word. ’n In-diepte assessering van huidige interpretasie-skemas - oor die onderwerp van manlikheid - word gedoen binne verskillende kulturele kontekste, met die doel om dit hermeneuties in dialoog te bring met ’n pastoraal-antropologiese perspektief op manlikheid. Hierdie dialoog word geïnisieër ten einde dieper insig te verkry in diverse manlikhede en die uitdagings wat hulle die hoof moet bied in hul soeke na sin, intimiteit en vitaliteit. Die punt van hierdie dialoog is eerder om te beskryf as om voor te skryf. Die dissertasie analiseer – deur ’n multi-dissiplinêre invalshoek - ‘manlikhede soos dit ervaar en uitgeleef word’ in die lewe asook ‘manlikhede soos dit verteenwoordig word’ in die massa media sowel as in ander vorme van populêre kultuur. Dit is verder gemik op die kontekstuele, teologiese dekonstruksie van hierdie kulturele verteenwoordigings, asook die tot stand bring en bevordering van betekenisvolle verbande tussen manlike identiteit, menswaardigheid en Christelike spiritualiteit. Die fokus in hedendaagse (sosiologiese en sielkundige) navorsing oor manlikheid val op die uitleef van manlikhede oftewel die ‘doen’ van manlikhede, eerder as om manlik te ‘wees’. Die dominante kulturele beelde van manlikheid binne ’n geglobaliseerde lewensbestel suggereer en bevorder materialistiese waardes soos effektiwiteit, prestasie, meganisasie en funksionaliteit. Hierdie beelde word ge-evalueer en die interaksie tussen dit (die kulturele beelde) en moontlike konseptualiserings van God (Godsbeelde) word verken. Hierdie studie voer aan dat mans se identiteit, selfverstaan en spiritualiteit op velerlei maniere gevorm word deur hierdie beelde, maar dat die beeld van die gekruisigde en opgestane Christus inderdaad kan dien as ’n betekenisvolle en normatief-kritiese kontra-beeld tot die “macho”-beelde wat deur meeste postmoderne manlikhede versinnebeeld word (maar wat baie mans huidiglik as verwarrend ervaar). Hierdie kontra-beeld van Christus kan die misbruik van mag, asook die fokus op prestasie en die kommodifisering van manlike beliggaming oorstyg in mans se lewens – deurdat hulle deelneem aan ’n spiritualiteit van weerlose moed. ‘n Pastoraal-antropologiese perspektief word dus hier benut ten einde die klem op manlike identiteit in terme van gender en seksualiteit te verskuif, in die rigting van ‘n spirituele verstaan van manlike identiteit in terme van menswaardigheid en menslike bestemming (d.i. die soeke na sin). Die belangrike vraagstuk van die verhouding tussen mag, manlikheid en manlike beliggaming word aangeraak. Essentialistiese idees oor manlikheid word gedekonstrueer, en ’n herinterpretasie daarvan word voorgestel binne ’n werklikheidsverstaan wat ’n aards-gesentreerde en beliggaamde spiritualiteit bevestig en waardeer. Manlikheid en manlike identiteit word in hierdie opsig “gered” van ’n kommersiële verskraling deur middel van ’n eskatologiese en pneumatologiese perspektief. Hierdie teologiese herinterpretasie van manlikheid bied ’n kritiese faktor op die kulturele opvatting dat manwees iets is wat gevalideer moet word deur middel van prestasie (veral op die gebied van seksualiteit). Manwees, gesien vanuit ‘n eskatologiese perspektief, is dus meer as viriliteit wat gemanifesteer moet word deur doen-funksies. Die kultureel-bepaalde verstaan van manlikheid – in terme van brutale mag en beheer - word in hierdie opsig ‘ontman’ binne hierdie navorsingstuk. In die lig van Christus se opstanding is daar nuwe hoop vir die herinterpretasie van manlikheid. Die postmoderne man se opstanding word daarom nie gewaarborg deur die “Viagra tower blou pil” nie, maar eintlik deur die opstanding van Christus, wat daagliks nuwe sinvolle dimensies van hoop in die geglobaliseerde lewensmatriks vrystel en bevestig. Die krag van manlikheid lê dus in die beliggaming van weerloosheid en wederkerige relasionaliteit, tesame met die weerstand bied teen unilaterale en hiërargiese verhoudings. Binne hierdie konteks is manwees nie gelyk aan die grootte van doelwitte wat bereik is of sukses, prestasie of kragtige penetrasie nie. Nee, manwees omvat eerder die kapasiteit vir liefdevolle, gasvrye verhoudings asook die afmeting van die siel se diepte van karakter, d.i. die kapasiteit daarvan om die ‘moed om te wees’ te beliggaam.

This study reports the findings of a systematic visual content analysis of 356 randomly sampled images published about the Iraq War in Time, Newsweek, and U.S. News and World Report from 2003-2009. In comparison to a 1995 Gulf War study, published images in all three newsmagazines continued to be U.S.-centric, with the highest content frequencies reflected in the categories U.S. troops on combat patrol, Iraqi civilians, and U.S. political leaders respectively. These content categories do not resemble the results of the Gulf War study in which armaments garnered the largest share of the images with 23%.

This study concludes that embedding photojournalists, in addition to media economics, governance, and the media-organizational culture, restricted an accurate representation of the Iraq War and its consequences. Embedding allowed more access to both troops and civilians than the journalistic pool system of the Gulf War, which stationed the majority of journalists in Saudi Arabia and allowed only a few journalists into Iraq with the understanding they would share information. However, the perceived opportunity by journalists to more thoroughly cover the war through the policy of embedding was not realized to the extent they had hoped for. The embed protocols acted more as an indirect form of censorship.

VENÂNCIO, Rubens. Espaços da experiência como espaços da memória: narrativas e imagens entre os canoeiros do Rio Acaraú. 2009. 148f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2009.
Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-10-23T15:51:24Z No. of bitstreams: 1 2009-DIS-RVENANCIO.pdf: 5068819 bytes, checksum: 34be8e404759ff15b071620a2ec45324 (MD5)
Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-10-24T12:23:39Z (GMT) No. of bitstreams: 1 2009-DIS-RVENANCIO.pdf: 5068819 bytes, checksum: 34be8e404759ff15b071620a2ec45324 (MD5)
Made available in DSpace on 2013-10-24T12:23:40Z (GMT). No. of bitstreams: 1 2009-DIS-RVENANCIO.pdf: 5068819 bytes, checksum: 34be8e404759ff15b071620a2ec45324 (MD5) Previous issue date: 2009
Areas of experience as spaces of memory: narratives and images among the boatmen of the river Acaraú is the result of a social research that focuses on the experiences of memory from a group that keeps alive a secular profession in the adversities of the socio-economic modernization. Through the life trajectories of the boatmen, I seek to understand the construction of narratives backed in memory and its relationship with the city of Sobral/CE, mainly with regard to the knowledge of canoeing on the river Acaraú and the urban transformations that have occurred in the stretch of river that runs through the city.
Espaços da experiência como espaços da memória: narrativas e imagens entre os canoeiros do rio Acaraú é fruto de uma investigação social que versa sobre as experiências de memória de um grupo que mantêm vivo um ofício secular em meio às adversidades da modernização sócio-econômica. Por meio das trajetórias de vida dos canoeiros procuro compreender a construção de narrativas amparadas na memória e sua relação com a cidade de Sobral/CE, principalmente no que diz respeito ao saber da canoagem no rio Acaraú e as transformações urbanísticas ocorridas no trecho do rio que passa pela cidade.

As non-institutional digital image collections expand into social media, independent non-professional image curators are emerging, actively constructing alternative naming conventions to suit their needs in a social collecting environment. This project considers how independent user-curators are developing particular sense-making behaviors as they actively contribute names to large, unstructured social image collections. In order to capture and explore this evolving language adaptation, Pinterest names are analyzed using a matrix composed of Panofsky’s three strata of subject matter, Rosch’s levels of categorical abstraction, Shatford Layne’s image attributes and Wittgenstein’s language game constructions. Analyzing Pinterest image names illuminates previously unnoticed behaviors by independent user-curators as they create shared collections. Exploring the various language choices which user-curators select as they apply this new curating vocabulary helps identify underlying user needs not apparent in traditionally curated collections restricted to traditional naming conventions.

SILVA, Lucília Maria Oliveira. Pedir, prometer e pagar: escritos, imagens e objetos dos romeiros de Canindé. 2007. 193f. Dissertação (Mestrado em História) - Universidade Federal do Ceará, Departamento de História, Programa de Pós-Graduação em História Social, Fortaleza-CE, 2007.
Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-06-27T15:58:09Z No. of bitstreams: 1 2007_Dis_LMOSilva.pdf: 5262863 bytes, checksum: 41443a686ae9d9a64712fe15254e17dd (MD5)
Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-20T12:11:43Z (GMT) No. of bitstreams: 1 2007_Dis_LMOSilva.pdf: 5262863 bytes, checksum: 41443a686ae9d9a64712fe15254e17dd (MD5)
Made available in DSpace on 2012-07-20T12:11:43Z (GMT). No. of bitstreams: 1 2007_Dis_LMOSilva.pdf: 5262863 bytes, checksum: 41443a686ae9d9a64712fe15254e17dd (MD5) Previous issue date: 2007
This research discusses the religious practices of São Francisco pilgrims from Canindé (CE), Brazil, apprehending their relationships with the sacred according to their written prayers, and its purpose. This aim arose mainly from the analysis of devotees’ letters and photographs sent to Canindé to thank, ask for, or tell miracles. According to these choices and the availability of the sources, I opted to not delimit an inflexible period in order to consider certain inherent questions. Thus, at first I tried to understand how Canindé became a holy place by the narratives of miracles, the Church action and the devotees’ interpretations. Besides that, I focused on some peculiarities relating devotees’ concepts about the saints and the tactics for miracles attainment. Therefore, I talked about the miracles, that is, the needs presented by the pilgrims. This allowed us to perceive how they think and live deeply their daily historical experiences relating them with a concept of faith and protection.
O presente estudo objetiva discutir as experiências religiosas dos romeiros de São Francisco das Chagas de Canindé (CE), buscando apreender as formas (práticas) pelas quais vêm se relacionando com o sagrado, com destaque para a escrita de pedidos e suas finalidades. Este intuito surgiu, principalmente, do diálogo com cartas e fotografias que os devotos depositaram em Canindé pedindo, agradecendo ou narrando milagres. Seguindo estas escolhas e a disponibilidade das fontes, optei por não delimitar de forma rígida um recorte temporal. Desta forma, inicio pensando o processo de sacralização do espaço de Canindé permeado por narrativas de milagres, pela ação da Igreja e as interpretações dos romeiros, que vivenciam esse espaço reafirmando-o e resignificando-o. Desenvolvo uma abordagem histórica sobre as formas de argumentação dos devotos para com o santo e sobre os milagres, isto é, as necessidades e anseios apresentados pelos devotos. O que permite vislumbrar como pensam e vivenciam suas experiências cotidianas, e as relacionam com um imaginário de fé e de proteção historicamente situado.

Dissertation in fulfilment of the degree of Master of Arts in Fine Arts by coursework and research report at the University of the Witwatersrand 2014
My research intends to appropriate and recast Jacques Derrida’s ideas by seeking to interpret the written text as supplementary to photographic images. I use a close reading of Judith Coullie’s introductory text to Selves in Question: Interviews on Southern African Auto/biography (2006) to explore Santu Mofokeng’s representation of his biography and autobiography. Through selected works by Mofokeng, I highlight photographic ways and writing modes of expressing and locating his voice, drawing on the artist’s own subjective reality, memory and metaphor. The Truth and Reconciliation Commission (TRC) in conjunction with the introductory text to Selves in Question serve to provide much historical evidence and contexts to the complexities of writing a personal narrative in an exploration of freedom within the confines of oppression. I nevertheless acknowledge that some narratives are heavily dependent on a collaborative relationship. The negotiated different moments and perspectives that make up various presented narratives are born from spaces and places that act as intersections within the private and public in a constant state of stasis and movement..

Defence date: 25 June 2012
Examining Board: Professor Giulia Calvi, Istituto Universitario Europeo ( Relatore) Professor Jorge Flores Istituto Universitario Europeo Professor Luciana Martins (School of Arts, Birkbeck, University of London) Professor Luigi Tomassini (Università di Bologna)
First made available online: 31 August 2021
Il piccolo regno di Sarawak, nella parte settentrionale dell’isola del Borneo, occupa un posto del tutto speciale nell’immaginario esotico Vittoriano. Grazie alla sua posizione geografica, alla ricchezza naturalistica, alla complessità etnica, ma soprattutto all’originale modello di amministrazione coloniale introdotto da James Brooke, fondatore di una dinastia di “Rajah bianchi” che regna sul paese per oltre un secolo (James Brooke 1842-1868 suo nipote Charles 1868-1917 il figlio di quest’ultimo, Vyner 1917-1946), questa regione viene percepita nella cultura europea del tempo come una sorta di “utopia tropicalista” all’interno dell’Impero. Questo mito coloniale si nutre di una ricca produzione di scritti, racconti di viaggio, articoli e pubblicazioni scientifiche e viene celebrato dalla narrative d’avventura (Joseph Conrad, Emilio Salgari, tra gli altri). Ma è soprattutto attraverso le immagini, illustrazioni di libri e riviste, album di fotografie, lantern slides, che esso penetra in profondità nell’immaginario popolare del periodo. Concentrandosi essenzialmente sulle fonti visive, questo lavoro persegue un duplice obiettivo. Da una parte, lo studio del corpus iconografico, composto in gran parte di disegni e incisioni, realizzato da viaggiatori, naturalisti, oltre che dagli stessi residenti, permette di isolare e rendere evidenti i processi attraverso i quali le immagini, nella loro produzione, ma ancora di più nella loro circolazione e consumo, concorrono a formare e fissare, una conoscenza condivisa e omogenea, anche se in gran parte immaginaria, di questo paradiso coloniale. Dall’altra, l’analisi approfondita di alcuni casi di studio, intesi come sguardi individuali che rimandano a tipologie differenti di osservatori (sguardo di genere, sguardo antropologico, sguardo coloniale), e in particolare delle immagini fotografiche da loro prodotte in un periodo di tempo relativamente ristretto (tra l’ultimo decennio dell’Ottocento e il primo del Novecento), consente di mettere in evidenza il contributo della fotografia in questo processo di costruzione dell’immaginario; in che modo cioè la nuova tecnica si sovrappone ai precedenti mezzi di rappresentazione, con quali resistenze, adattamenti e stratificazioni. A dispetto della presunta “oggettività” per la quale la fotografia viene preferita, le immagini della ranée Margaret Brooke, dell’antropologo AC. Haddon, o dell’amministratore coloniale Charles Hose, mettono in primo piano la questione della soggettività e della ambiguità della visione, costringendo gli autori, e i destinatari della immagini a mettere a punto specifiche strategie di normalizzazione.

Chu Wing-yin.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1999.
Includes bibliographical references (leaves 156-158).
Abstracts in English and Chinese.
ABSTRACT --- p.ii-iii
ACKNOWLEDGEMENT --- p.iv
Chapter PART I --- INTRODUCTION
Chapter Chapter 1 --- p.1
Chapter PART II --- THEORETICAL FRAMEWORK
Chapter Chapter 2 --- """Frame"" as the Key Concept" --- p.16
Chapter Chapter 3 --- "The Role of Communication in Constructing Photographic Setting and ""Frame""" --- p.29
Chapter PART III --- METHODOLOGY
Chapter Chapter 4 --- Procedures of Data Collection and Analysis --- p.46
Chapter PART IV --- DATA INTERPRETATION
Chapter Chapter 5 --- "Dividing One's Life Experiences Into ""Frame"" of Photographs" --- p.61
Chapter Chapter 6 --- "How One's Life Story Can Be Told in Photographic ""Frame""? - Establishing Relationships in the Photographic World" --- p.76
Chapter Chapter 7 --- "The Process of Constructing Camera's ""Frame"" - Interactions and Negotiations Between Actors" --- p.111
Chapter PART V --- CONCLUSIONS
Chapter Chapter8 --- p.148
REFERENCES --- p.156

This research examined automatic evaluation of body-related stimuli in female undergraduates using an affective priming task. Automaticity was tested by varying the stimulus onset asynchrony (SOA) and valence congruence of the prime and target pairs. The prime to target interval (SOA) was either short or long, and the valence of the paired items was either the same (congruent) or different (incongruent). Automaticity was indicated by faster responses to congruent pairs than to incongruent pairs at the short SOA (parsimonious criterion) but not at the long SOA (classic criterion). Individual differences in thin internalisation, appearance schematicity, body dissatisfaction, and dietary restraint were assessed as potential moderators. Automatic evaluation of body-related images, but not words, was demonstrated in Study 1B and Study 1A, respectively. In Study 2A, automatic evaluation of nonbody-related words was obtained and this was extended to body-related words (Study 2B). In Study 3, automatic evaluation of normatively-selected body words was examined and body image schema activation was tested as a function of level of appearance schematicity. There was a trend toward automaticity and schematicity did not moderate schema activation. Overall, elevated body image concerns did not influence automatic evaluation in Studies 1A to 3 (with the exception of Study 1B). The role of extreme levels of appearance schematicity on automaticity and schema activation was examined in Studies 4A and 4B for normative and idiographic primes. Automatic evaluation was demonstrated in Study 4A and a trend was obtained in Study 4B. Schematicity did not moderate affective processing or schema activation. Automatic evaluation of body-related images was replicated in Study 5 but it was not moderated by prime strength or individual differences. Overall, the research suggests that most female undergraduates, irrespective of differences in body image concerns, automatically evaluate body-related stimuli. The final chapter provides an overview of the findings and discusses the theoretical and practical implications.

Submitted in partial fulfillment of the requirements for the Degree Master of Technology: Graphic Design, Durban University of Technology, Durban, South Africa, 2014.
The aim of this study was to investigate how images of women in the media that espouse women’s empowerment can indeed have the opposite effect and may even contribute to lowered self-esteem in women. To this end, this project is intended to explore issues such as body image and image manufacture in order to find a possible answer to the question of what is ‘real beauty’ in the South African context. A semiotic approach seeking to review the ways in which women are seen through visual communicative images was undertaken. This visual research revealed the importance of the ‘gendered gaze’ at the centre of issues that relate to self-esteem. An in-depth analysis of the literature, pertaining to self-esteem, interrogated the works of Naomi Wolf, John Berger and Susie Orbach, amongst others. This was carried out in order to understand more about how the dictates of consumerism pervade the work of the style industries. These sectors are well supported by the diet, food and cosmetic surgery industries who tend to effectively increase and add to a sense of body related insecurities. In addition, content analysis of selected South African editions of Cosmopolitan magazine was conducted. The images described represents a significant development period in the emergence of certain beauty ideals in South Africa. The British Unilever marketing campaign, The Dove Campaign For Real Beauty, was used as a base model for the applied design component of this study. In addition an action research approach was employed through a series of interviews and questionnaires directed at mostly female participants in South Africa. This method revealed that self-esteem issues have far reaching implications, affecting women of all ages. As a response to the perceived need for a South African based campaign, this research project informed the development of The Sisterhood Self-Esteem Crusade. In contrast to The Dove Campaign For Real Beauty which was created to promote increased sales of beauty products, The Sisterhood Self-Esteem Crusade’s focus is to interrogate and raise awareness of self-esteem. Underpinning this was an attempt to build confidence, cascade new ways of understanding and to propagate sense making, informed through action research, amongst South African women.

This thesis examines the use of images of the foetus in the abortion debate, in Australia over the last decade. It begins by reviewing existing literature on abortion in Australia and the emergence internationally of a small body of feminist critique of foetal images. It then catalogues common images and campaign materials used in pro-life campaigning in Australia and builds on existing feminist critiques of such images. It focuses on three cases studies: the Osborne bill in the ACT; Protect Life sit-ins in Brisbane; and the Tell the Truth campaign in Victoria. These cases encompass the breadth ofpro-life practices and materials across different jurisdictions. Thus, this thesis presents a detailed record of the contemporary visual culture of Australian pro-life politics. I identify three major themes which are represented in pro-life images of the foetus: the wonder of life; the human form and human frailty of the foetus; and the barbarity of modern society. These messages depend on a worldview which combines aspects of religious thought and scientific knowledge. Images of the foetus provide evidence of its substance and enable its social embodiment. Yet they also emphasise the fragility and the vulnerability of the foetus, and invite the empathy of the viewer. Indeed, images of aborted foetuses prompt a visceral reaction and thus demand empathy. This empathy is fundamental to the intersubjective connection created between the foetus and the viewer, and, in turn, that intersubjectivity demonstrates the moral significance of the foetus for the pro-life viewer. The meanings of images of the foetus are built on our parallel understandings of sight and feeling as immediate and unmediated. Emotion is a powerful element of politics, and images of the foetus challenge the emotion, and hence the humanity, of the viewer.

Sociocultural theory is becoming increasingly important in Early Childhood Education (ECE) for improving young children’s literacy learning, especially for children in disadvantaged communities. Many studies about sociocultural theory have been undertaken in ECE. This study investigates young children’s sociocultural literacy practices in a global/local context. The particular case that is the focus of this study is the Futuro Infantil Hoy (FIH) Program — “Children’s future is today”. The FIH Program is a transnational public-private educational intervention established by the Fundación Minera Escondida (a social agency established by BHP Billiton) and the University of Western Sydney (Australia). As a community capacity building project in ECE, the FIH Program has been working to strengthen educational leadership and pedagogy in 20 early childhood centres (ECCs) in extremely poor communities in the city of Antofagasta (Northern Chile). This study focuses on the five pilot ECCs in the FIH Program. The research reported in this thesis draws on Ranciere’s (2009, 2010) concepts to develop a theoretical framework to address the question of learning in terms of the debate over intellectual in/equality. This provides the basis for analysing primary evidence which enables the questioning of sociocultural approaches to young children’s literacy learning in the global/local context of the Australian-Chilean program. Of course, it would be unreasonable to expect that the problems of poverty, inequality and education could be solved by the FIH Program. But as this thesis shows, it does provide insights into the opportunities children from disadvantaged communities need to learn. The thesis argues that more is likely to be achieved if such programs acknowledge – and engage with – the intelligence and conceptual knowledge of members of disadvantaged communities. Often this is unrecognised and undervalued. T

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

The literature survey reports that persons electing cosmetic plastic surgery for aesthetic or medical reasons, or those persons not electing any form of surgery, often experience physical, psychological and socio-cultural problems. The complexity among the associated variables, body images, identity status, fashionable clothing behaviour and social self-consciousness were investigated comparatively, using a biopsychosocial approach. The samples consisted of cosmetic surgery patients (n=25), Black and White female fashion participants (n=60) and breast oncology case studies (n=3). The research methods included descriptive and inferential statistics. A maximum of six questionnaires was administered per individual. The results indicated that a positive body image perception was related to identity integrity, fashionable dressing and a sense of social acceptance. Insight into the importance placed on the body as a means of self-expression can contribute to successful cosmetic and breast oncology surgery and also promote intercultural harmony, by reducing body-based prejudice.
Psychology
M.A. (Psychology)

Thesis (M.A.)--Indiana University, 2007.
Title from screen (viewed on June 11, 2007) Department of Sociology, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 65-72)

The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253

Information on deforestation and forest management is limited due to lack of understanding as to how socioeconomic factors affect deforestation. Without adequate data, it is difficult to manage deforestation; particularly in Chipuriro where deforestation is occurring at a rapid rate. This research was carried out to address the problem. Surveys and landsat images were used to collect data. To quantify deforestation, images were processed using Geographical Information System. Pearson’s Correlation Coefficient was used to deduce the relationship between socioeconomic factors and deforestation. Socioeconomic factors were obtained through household surveys and focus group discussions. Results indicated high rates of deforestation in Ward 18 (4.7% per annum) while in Ward 16 woodland cover increased throughout the study period (7.7% per annum). Population growth with its demand on fuel wood, settlement and agricultural land caused a significant decrease in woodland cover in Ward 18. Plantations increased the area under woodlands in Ward 16.
Environmental Sciences
M. Sc. (Environmental Management)

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.