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1
Lim, Doris. « Twenty-Four Self-Portraits ». PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/2087.
Texte intégralRésumé :
These are twenty-four exercises in personal writing that observe an anonymous self in the apartment, who is writing, or reading, or looking at mundane things. The exercises are collected in four sections registering different iterations in self-recognition, as the anonymous, closely observed, changes from a shared commonplace to the particular and personal state. The exercises use prose paragraphs, lineation, and figures as a private methodology into the problem of writing: learning to see the self, thinking on the page, as a thing made from words.
2
Boswell, Timothy. « Portraits : A Collection ». Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28396/.
Texte intégralRésumé :
This collection consists of a critical preface and five short stories. The preface analyzes what it terms 'fringe fiction,' or stories dealing with elements that are improbable or unusual, though not impossible, as it distinguishes this category from magical realism and offers guidelines for writing this kind of fiction. The short stories explore themes of attachment, loss, guilt, and hope. Collection includes the stories "Portrait," "Dress Up," "Change," "Drawn Onward, We Few, Drawn Onward," and "Broker."
3
Manion, Deborah Maria. « The ekphrastic fantastic : gazing at magic portraits in Victorian fiction ». Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/1360.
Texte intégralRésumé :
While Oscar Wilde's The Picture of Dorian Gray depicts the quintessential literary portrait endowed with uncanny life and movement, dozens of such magic portraits are featured in Victorian fiction. From the ravishing picture of the title character in Mary Elizabeth Braddon's Lady Audley's Secret to the coveted portrait of a Romantic poet in Henry James's The Aspern Papers, imagined portraits in these texts serve as conduits of desire and fear--windows into passions and repressions that reveal not only the images' external effects but their relation to the unconscious of their viewers. My dissertation turns a critical eye on this gallery of ekphrastic pictures--those not actually visible to the reader but rather visualizable through verbal description--to argue that the meditations on representation and desire that these novels and stories perform not only anticipate but augment theories of the image and the gaze developed primarily since the advent of cinema. Though the dissertation benefits from film theory's models of visual exchange, the distinctions between these portraits and images in film open up fertile analytical terrain. Ekphrastic magic portraits provide a unique opportunity to delve into the intersecting realms of word painting and image perception, the optics of desire and subjectivity, to advance critical discourses in visual studies that are framed both historically and theoretically. Using psychoanalytic and narratological methodologies, particularly those relevant to feminist and queer image theory, "The Ekphrastic Fantastic" demonstrates how the fictional visual exchanges on display in magic portrait stories elucidate various power struggles regarding sexuality and narrative structuring. These literary pictures thereby provide new access to the social and artistic commentaries that often subtend Victorian fiction.
Each chapter considers three primary texts and the branch of image theory most relevant to their deployment of magic portraits. Laura Mulvey's foundational essay, "Visual Pleasure and Narrative Cinema," provides the point of departure in the first chapter, which looks at Charles Dickens's Bleak House, Braddon's Lady Audley's Secret, and Wilkie Collins's The Woman in White. The second chapter addresses Margaret Oliphant's "The Portrait," Thomas Hardy's "An Imaginative Woman," and James's The Aspern Papers with further feminist insights from Vivian Sobchack and Teresa de Lauretis. The final chapter determines the relationship of principles of visual representation and narrative production of the Aesthetic movement to magic portraits in Walter Pater's "Sebastian van Storck," Vernon Lee's "Oke of Okehurst," and Wilde's Dorian Gray, particularly as they relate to the nascent medium of cinema and the theories that soon as well as later arose to account for the impact of its kinetic mirage. The arc of my argument emphasizes how, as the Victorian period advances, the portraits become increasingly animate and subversive in their challenges to patriarchal gender norms and narrative formulas. In this way, they become the mechanisms by which new models of psycho-sexual relations can be expressed and new social and narrative systems can emerge.
4
Celdran, Lynn Y. « LETTERS AS SELF-PORTRAITS : EPISTOLARY FICTIONS BY WOMEN WRITERS IN SPAIN (1986-2002) ». UKnowledge, 2013. http://uknowledge.uky.edu/hisp_etds/17.
Texte intégralRésumé :
My study seeks to explore the interest that Spanish women authors such as Josefina Aldecoa, Carme Riera, Nuria Amat, Esther Tusquets, Marina Mayoral, Carmen Martín Gaite, and Olga Guirao have taken in the revival of epistolary fiction in recent decades. Eighteenth- and nineteenth-century epistolary fiction in Spain was conditioned by social practices and by literary conventions that typically confined its heroines to an amorous plot and women authors to anonymity. I contend that if modern tradition of epistolary practices and other male-discriminatory practices kept women writers silenced or invisible in the Spanish literary world, contemporary women writers sketch themselves back into their texts. Fictional letters function as written self-portraits for them to reflect and tell their own stories, thereby creating a playful mirror effect between the fictional epistolographer and the historical author. By pushing the conventional boundaries of letter writing as a sentimental genre, contemporary women authors take liberty to rewrite female representation and to give the fictional protagonists a new voice and visibility. They revisit the theme of love in epistolary literature to explore refashioned—and often transgressive—discourses on gender, sexuality, and subject identity.
5
Pang, M. W. Petti. « The image of physics and physicists in modern drama portraits and social implications / ». Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22535378.
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彭文慧 et M. W. Petti Pang. « The image of physics and physicists in modern drama : portraits and social implications ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31225056.
Texte intégral
7
Clermont, Célia. « Portraits de famille : Étude comparée du motif familial dans la fiction romanesque de la Grande Caraïbe aux XXe-XXIe siècles ». Thesis, Lyon, 2020. http://www.theses.fr/2020LYSES021.
Texte intégralRésumé :
Transdisciplinaire et transculturel, le motif familial a toujours entretenu des liens étroits avec le genre romanesque. Dans la littérature de la Grande Caraïbe, il fait l’objet de peu d’études critiques alors que l’espace caribéen se présente lui-même comme une famille géographique complexe, douloureusement marquée par la conquête coloniale, l’esclavage et le système de la plantation. Cette thèse se propose de l’aborder dans toute sa polysémie, de la représentation de la famille biologique aux différentes acceptions figurées – famille de substitution, famille de cœur, affiliations spirituelles, etc. – dans un corpus trilingue composé de quatre fictions romanesques caribéennes des XXe et XXIe siècles : Sartoris de William Faulkner, Cien años de soledad de Gabriel García Márquez, Texaco de Patrick Chamoiseau et La eternidad del instante de Zoé Valdés. Dans ces quatre romans, la représentation de la famille biologique révèle rapidement son caractère dysfonctionnel : rejetée par les personnages ou fragilisée par les événements, elle semble condamnée au délitement. Cet échec permet à d’autres types de relations d’apparaître ; loin de s’opposer au schéma familial initial, elles invitent à penser d’autres façons de « faire famille ». Ce passage d’une famille à l’autre permet ainsi d’engager une réflexion aussi bien sur la question de l’identité familiale des personnages que sur le rapport qu’entretiennent les romanciers caribéens avec les membres de la généalogie littéraire dans laquelle ils choisissent de se placerAn interdisciplinary and transcultural motif, the study of families has taken root in the genre of the novel. In Caribbean literature, there are but a few studies about the family pattern, despite the fact that the Caribbean area already constitutes a complex geographical family, painfully marked by colonization, slavery and the plantation system. This dissertation aims to study the various meanings of the representation of family, biological but also, figuratively, adoptive family, chosen family, spiritual family, etc. – in a trilingual corpus of texts made of four Caribbean fictional novels from the XXth and XXIst centuries: William Faulkner’s Sartoris, Cien años de soledad by Gabriel García Márquez, Patrick Chamoiseau’s Texaco and La eternidad del instante by Zoé Valdés. Within these four novels, the representation of the biological family soon reveals its dysfunctional dimension: rejected by the characters, fragilized by events, the family seems condemned to being dismembered. The failure allows for other relationships to form; far from being opposed to the way the original family was outlined, these relationships offer other ways to think about how to make a family. The passage from one family to the other allows to reflect upon, on the one hand, the question of familial identity on the part of the characters and, on the other, the relationship that Caribbean fiction writers have with the literary genealogy to which they wish to identify themselves
8
Sahmadi, Linda. « L’émergence d’un discours féministe dans la fiction courte de Nathaniel Hawthorne (1832-1844) : l’écriture du devenir-femme ». Thesis, Clermont-Ferrand 2, 2015. http://www.theses.fr/2015CLF20024/document.
Texte intégralRésumé :
L’élaboration de portraits féminins reflète la fascination de Hawthorne pour cette créature complexe, un attrait nourri par l’omniprésence des femmes dans son entourage. L’influence de ces dernières est indéniable, et semble être à l’origine du féminisme ambigu de l’écrivain, partagé entre, d’un côté, l’héritage puritain des Manning et Hawthorne, et, de l’autre, les convictions féministes émergentes de sa belle-famille, les Peabody. Les portraits de femmes de la fiction hawthornienne se caractérisent donc par un binarisme essentialisme-différentialisme qui émane de la vision étroite des protagonistes masculins, et que l’auteur tente de dépasser. Les concepts deleuziens du « mineur » et du « devenir-femme » nous seront d’une grande utilité pour comprendre comment la femme essentialisée des Puritains, ce que nous pouvons aussi appeler la femme-image, au sens lacanien du terme, est en réalité une femme minorée car amputée de son esprit et de son rôle social. Hawthorne témoigne ainsi d’un féminisme équivoque, une voix qu’il a du mal, par moments, à assumer et affirmer complètementFemale portraits are abundant in Nathaniel Hawthorne’s fiction, short stories and novels alike. The influence of the women evolving in his private sphere may be at the origin of his ambiguous feminist vision, as his allegiance was divided between his Puritan inheritance (both the Mannings and the Hawthornes) on the one hand, and, on the other, the emerging feminist convictions of his in-laws (the Peabodys). Hawthorne’s female portraits are thus characterized by a tendency to binarism as they pit an essentialist view of women against a differentialist one. This binarist perspective reflects the narrow-mindedness of the patriarcal system which the male heroes try to defend and maintain. Deleuze and Guatarri’s concepts of “minor literature” and “becoming-woman” will help us understand how the woman-image of the Puritans is a minored woman in the realm both of the social order and the symbolic order. Hawthorne’s feminist voice is an equivocal one as his text is undergoing a subterranean process of “becoming-woman.”
9
Bate, Holmberg Elizabet. « In Search of Eros and Freedom : Four Portraits of Women by Kate Chopin ». Thesis, Linköping University, Department of Culture and Communication, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-19111.
Texte intégralRésumé :
In this essay, Kate Chopin's portraits of women in three short stories, 'The Story of an Hour', 'A Respectable Woman', Athénaïse and the novel The Awakening are studied. It is argued that the outcomes depicted can be seen as increasingly provocative and extreme and that the main conflict and ending of The Awakening is a development and combination of the conflicts and resolutions in the three short stories.
I uppsatsen studeras Kate Chopins kvinnoporträtt i tre noveller, 'The Story of an Hour', 'A Respectable Woman', Athénaïse och i romanen The Awakening. Syftet är att visa att huvudhandlingen och slutet på The Awakening är en utveckling och kombination av de alltmer provokativa och extrema handlingarna och upplösningarna i novellerna.
10
Ramey, Margaret E. « The quest for the fictional Jesus : Gospel rewrites, Gospel (re)interpretation, and Christological portraits within Jesus novels ». Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1861.
Texte intégralRésumé :
Jesus' story has been retold in various forms and fashions for centuries. Jesus novels, a subset of the historical fiction genre, are one of the latest means of not only re-imagining the man from Galilee but also of rewriting the canonical Gospels. This thesis explores the Christological portraits constructed in four of those novels while also using the novels to examine the intertextual play of these Gospel rewrites with their Gospel progenitors. Chapter 1 offers a prolegomenon to the act of fictionalizing Jesus that discusses the relationship between the person and his portraits and the hermeneutical circle created by these texts as they both rewrite the Gospels and stimulate a rereading of them. It also establishes the "preposterous" methodology that will be used when reexamining the Gospels "post" reading the novels. Chapters 2 to 5 offer four case studies of "complementing" and "competing" novels and the techniques they use to achieve these aims: Anne Rice's Christ the Lord: Out of Egypt; Neil Boyd's The Hidden Years; Nino Ricci's Testament; and José Saramago's The Gospel according to Jesus Christ. Chapter 6 begins an examination of a specific interpretive circle based upon Jesus' temptation in the wilderness. Beginning with the synoptic accounts of that event, the chapter then turns to how Jesus' testing has been reinterpreted and presented in two of the novels. Returning to the Gospel of Matthew's version of the Temptation, chapter 7 offers a "preposterous" examination of that pericope, which asks novel questions of the text and its role with Matthew's narrative context based on issues raised by the Gospel rewrites. The thesis concludes by suggesting that Jesus novels, already important examples of the reception history of the Gospels, can also play a helpful role in re-interpreting the Gospels themselves.
11
Heinimann, David. « A portrait of the young man as a failed artist / ». Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66151.
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Ammour-Mayeur, Olivier. « Portrait de l'autre en fiction : philosophies et poétiques asiatiques chez Henry Bauchau et Marguerite Duras ». Paris 8, 2002. http://www.theses.fr/2002PA082172.
Texte intégralRésumé :
Mes analyses du portrait de l'autre cherchent à renouveler la réflexion sur la question de l'altérité et à tendre vers la pensée de l'estrangement qui s'inscrivent chacune dans les œuvres d'Henry Bauchau et de Marguerite Duras. Ces écrivains deviennent des exemples d'un autre type de relation possible entre le monde et l'écriture de fiction par l'intermédiaire des philosophies et des poétiques asiatiques (Chine, Japon et Viêt-nam), lesquelles ont exercé une forte impression sur Duras et Bauchau et leurs œuvres. L'Extrême-Orient permet une transgression des frontières de la fiction en Occident. Ma lecture de L'Amour (Duras, 1971) et de Œdipe sur la route (Bauchau, 1990) tentera de montrer notamment les liens interculturels qui se tissent entre ces récits, le taoi͏̈sme et le bouddhisme, ainsi que les relations qui peuvent se faire jour entre littérature et peinture. Intertextualités qui sont analysées non moins à la lumière des théories de la déconstruction (Derrida, Nancy)My textual analysis of the portrait of the other seeks to renew a reflection on otherness and push further to the notion of estrangement which inscribes itself in the fictions of Marguerite Duras and Henry Bauchau. These writers set the example of a new relationship between the world and fiction writing, through the asian philosophies and poetics (from China, Japan and Vietnam) which made a deep impression on Duras and Bauchau and their fictions. The far East began to open up literary frontiers in the West. My reading of L'Amour (Duras, 1971) and Œdipe sur la route (Bauchau, 1990) will seek to show the links between strongly cross-cultural novels and Taoi͏̈sm and Buddhism. Finally, these intertextualities can be seen in the light of recent deconstruction theory (Derrida, Nancy)
13
Tormey, Jane. « The photographic portrait : directions of meaning and the ineffable (1970-2005) ». Thesis, Loughborough University, 2006. https://dspace.lboro.ac.uk/2134/7961.
Texte intégralRésumé :
This thesis uses the photographic portrait as an example of contemporary art practice to examine developments in aesthetic sensibility and constructions of meaning with particular address to ineffable qualities in both the subject and in the photograph. It examines the contribution of practice to a wider cultural debate, predominantly described as poststructural. Thomas Ruff's contention that it is impossible to photographically depict an individual, establishes a methodology that interrogates assumptions and directs examination toward reconfiguring issues of theory and practice. In the photographic portrait, what is `essential' equates with the expectation of visual statements that are definitive and what is 'ineffable' is that which transcends words. The persistent premise of capturing the 'essence' is dependant on the notion of 'presence', the certainty of pure perception or essential meaning, now undermined by poststructuralism in terms of conceptions of meaning and authorship. If essential depiction is problematic, how might a correlative adjustment to conceiving and validating photographic meaning be framed? How are essential or ineffable qualities displaced, formed and manifested? What constitutes the contemporary 'meaningful' portrait? Realigned as 'depictions of people', the 'portrait' serves a complex function, adjusted in the light of psychoanalysis and poststructuralism and visibly manifested as metaphor for contemporary consciousness. With particular reference to texts by Julia Kristeva, Emmanuel Levinas, Jacques Derrida and Jean Baudrillard, this thesis demonstrates photographic practice as a form of discourse that visualises implicit truth-values, and participates in debate. It asserts figural interpretations to photographs over literary systems like narrative, and immanent property over aspirations to 'transcendence' or 'essence' and proposes reconfigurations of psychological, critical or poetic 'fiction' as alternatives. It repositions the ineffable as a conceptual domain of possibility that assimilates the dynamic of differance as its poststructural equivalent and proposes a conceptual aesthetic that celebrates aspects of poststructuralism and is rooted in what the photograph provokes rather than what it depicts.
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Fleck, Débora. « Brás Cubas e o auto-retrato dalém-túmulo ». Universidade do Estado do Rio de Janeiro, 2008. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=577.
Texte intégralRésumé :
Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorEste trabalho pretende examinar como Machado de Assis conseguiu, através da escrita do romance Memórias Póstumas de Brás Cubas, problematizar não apenas este gênero literário, como também o discurso autobiográfico e a própria ficção. Nosso objetivo, portanto, foi analisar o livro dentro do livro, aquele escrito por Brás Cubas, e demonstrar que, através da criação desse artifício, o autor trouxe ao leitor uma discussão relevante sem, no entanto, apresentá-la com ares de tese. Em um primeiro momento, estudamos fundamentalmente os conceitos de autobiografia, romance autobiográfico, memórias e ficção, fundamentando-nos principalmente na teorização desenvolvida por Philippe Lejeune. Apresentamos também um breve panorama histórico do assunto, utilizando para isso, essencialmente, um ensaio de Luiz Costa Lima acerca das origens e dos diversos estágios por que passou o gênero autobiográfico. Em seguida, exploramos detalhadamente as noções de retrato e de auto-retrato, tanto na pintura como na literatura, ora por um viés histórico, ora por um viés conceitual, convocando historiadores da arte, filósofos e críticos literários, na tentativa de chegar a uma compreensão multidisciplinar do assunto. Finalmente, dedicamo-nos ao estudo das Memórias Póstumas de Brás Cubas, retomando os conceitos anteriormente examinados e buscando exemplos no texto que aproximem o livro escrito pelo defunto autor tanto da autobiografia quanto do auto-retrato
This work intends to examine how Machado de Assis achieved, through the writing of the novel Memórias Póstumas de Brás Cubas, the discussion of not only this literary genre, but also the autobiographical discourse and fiction in itself. Therefore, our objective was to analyze the book inside the book, the one written by Brás Cubas, and demonstrate that, through the creation of this artifice, the writer has brought to the reader a relevant discussion without, however, presenting that like a thesis. At first, we study mainly the concepts of autobiography, autobiographical novel, memoirs and fiction, using fundamentally the theories developed by Philippe Lejeune. We also introduce a brief historical panorama of the subject, using for that, essentially, an essay by Luiz Costa Lima concerning the origins and the different stages that the autobiographical genre has passed through. In sequence, we explore in detail the notions of portrait and self-portrait, in painting and in literature, through both a historical and a conceptual angle, gathering art historians, philosophers and literary critics, in the pursue of a multidisciplinary comprehension of the subject. Finally, we dedicate ourselves to the study of Memórias Póstumas de Brás Cubas, resuming the previously examined concepts, and searching for examples in the text that approximate the book written by the dead author both to the autobiography and to the self-portrait
15
Puliero, Catherine. « Nanni Moretti entre autobiographie, réalité et fiction ». Thesis, Paris 3, 2020. http://www.theses.fr/2020PA030004.
Texte intégralRésumé :
Au moment où le cinéma italien semble peiner à se renouveler, Nanni Moretti fait son apparition en tant que réalisateur-acteur. Il impose au public son corps, son visage, son égocentrisme, une certaine image de soi teintée d’une pointe d’ironie. Depuis ses débuts, il se raconte ou raconte sa génération et les précédentes à travers les personnages qu’il interprète à l’écran. En regardant l’ensemble de ses réalisations, nous entrevoyons l’existence d’une interaction entre autobiographie, réalité et fiction. Cette thèse engage une étude chronologique et thématique de l’œuvre « morettienne » à partir de quatre lignes de forces. La première traite de l’autobiographie comme source d’inspiration. Elle questionne la manière dont le réalisateur construit ses films entre autobiographie et autoportrait. Elle révèle aussi comment il transforme ses expériences de vie, les objets ou les lieux en traces autobiographiques. La seconde démontre comment la représentation du réel est à la source même de ses créations grâce à la participation de ses proches ou grâce à l’emploi de supports écrits ou visuels. La troisième explore davantage les mécanismes créatifs de ses réalisations. Elle étudie particulièrement l’insertion des citations filmiques ou le tournage d’un film dans le film au sein de ses fictions. Une étude détaillée de Mia madre confirmera l’utilisation de l’autobiographie, de la réalité et de la fiction dans ce récit par le cinéaste. La quatrième révèle comment la fiction devenant la réalité fait de Moretti un artiste visionnaireAt a time when the Italian cinema seems to be struggling to renew itself, Moretti emerges as a director-actor. He imposes on the public his silhouette, his face, his self-centeredness, a certain self-image tinged with a touch of irony. Since his beginnings, he talks about himself or about his generation and the previous ones, through the characters he plays on screen. Reviewing his entire production, we identify the existence of an interaction between autobiography, reality and fiction. This thesis starts a chronological and thematic study of the "Moretian" work based on four main key elements. The first one deals with autobiography as a source of inspiration and questions how the director structures his films between autobiography and self-portrait. It also reveals how he converts his life experiences, objects or places into autobiographical traces. The second key element demonstrates how the representation of reality is at the very source of his creations with the participation of his relatives or by using written or visual materials. The third key element further explores the creative mechanisms of his work. It especially studies the insertion of film quotes or the shooting of a film within the film in his fictions. A detailed study of Mia madre will confirm the filmmaker's use of autobiography, reality and fiction in this narrative. The fourth key element reveals how fiction by becoming reality makes Moretti a visionary artist
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Gordon-Smith, George Michael. « Sympathetic Observations : Widowhood, Spectatorship, and Sympathy in the Fiction of Henry James ». Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2413.pdf.
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Murray, Delaney. « DAUGHTERS OF THE DIGITAL : A PORTRAIT OF FANDOM WOMEN IN THE CONTEMPORARY INTERNET AGE ». Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587738612384951.
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Koizumi, Symphorosa Sophia Yoko. « Mimetic devices of style in the earlier fiction of James Joyce : 'Dubliners', 'Stephen Hero', 'A Portrait of the Artist as a Young Man' ». Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/28084.
Texte intégralRésumé :
The major characteristics of Joyce's stylistic achievement in the organic unity of contents and expressions are, firstlyp the 'style* is not intended to reveal the author but the whatness, of his characters and subjects described and secondly Joyce's 'style' contains in itself particular meanings beyond the limits of the semantic and lexical contents of words. These features are more specifically defined as his use of the language for mimetic purposes to revealp suggest and represent consciousness (sometimes even unconscious and subconscious) mood, emotion mental patterns thought processes physical movement situation impression and sound effects through his command of the rhythmical syntactical and other grammatical, and phonological possibilities of his medium. In his earlier worksp Dubliners and A Portrait of the Artist as a Young Man(and Stephen Hero for comparison with the Portrait) examination of the variety of his mimetic devices and their purposes contributes to the better comprehension of his works where each stylistic pattern, whether occurring in limited locality or throughout is woven into the whole design of the works. The main recurrent devices can roughly be distinguished as follows andt accordingly, Joyce's mimetic creative ability and variety in his earlier works are to be examined under the following classification: 1. Rhythmic (defined as 'repetition with variations') devices to represent and reveal certain concealed aspects and qualities of his characters; firstly, for characterization by means of special devices of appellations and secondly for revealing the preoccupations and concerns. II. Syntactical grammatical and rhythmic devices to represent, reflect and suggest firstly, his characters thought processes mental patterns emotion, mood and other psychological aspects, and secondly physical movement situation, atmosphere and impression. III. Phonological devices to imitate and suggest actual and imaginary sounds.
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Rollin, Pascal. « La Barbe-Bleue : mythe, conte, légende : portrait de l'homme si laid et si terrible ». Paris 4, 1998. http://www.theses.fr/1998PA040150.
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Barbe-bleue parcourt depuis les confins du moyen-âge un espace immense que ne parviennent à borner ni la géographie ni la chronologie. Du funeste roi breton qu'il fut à l'origine au mari secrètement blessé des opéras du XXème siècle, il endosse différents costumes dont le plus solide est sans doute celui que lui confectionna Perrault. Nous nous proposons, en une sorte de monographie, de visiter la galerie des portraits anciens et modernes de cet homme "si laid et si terrible", et de sa femme "parfaitement belle". Notre plan comprend trois parties : I légende de Barbe-bleue lorsqu'il n'est encore question ni de barbe, ni de couleur bleue (Ballade d'Halewijn ; légende de sainte-Tryphime ; Gilles de Rais ) ; II la véritable Barbe-bleue étude du conte de Perrault, suivie de celle des versions de Delarue, Calvino, Grimm, Pourrat ; III vers le mythe littéraire : Barbe-bleue sur scène inventaire commenté des adaptations théâtrales, lyriques et romancées, complété d'une filmographie ; étude, en particulier, des œuvres de Grétry, Offenbach, Dukas, Bartók : le second volume, une anthologie, comprend notamment le texte des pièces de ces deux derniers compositeursBluebeard runs to us from the medieval times, in a space which neither geography nor chronology cannot mark: but if he wears very different costumes, the most becoming is the Charles Perrault’s one. We invite you to follow us in the gallery of his ancient and modern portraits. I Barbe-bleue's legend, when the blue color or the beard are not really the point (ballad of sir Halewijn ; saint-tryphime's legend ; Gilles de Rais); II the true bluebeard : an extensive study of the Perrault’s tale, followed by the Delarue's, Calvino's, Grimms and Pourrat's ones ; III the literary myth : bluebeard on stage ; a comprehensive inventory of the stage works, including a study of Gretry's, Offenbach's, Dukas's and Bartok's lyrical works
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Bacon, Edwin Bruce. « Confronting eternity : strange (im)mortalities, and states of undying in popular fiction ». Thesis, University of Canterbury. English, 2014. http://hdl.handle.net/10092/9680.
Texte intégralRésumé :
When the meritless scrabble for the bauble of deity, they ironically set their human lives at the “pin’s fee” to which Shakespeare’s Hamlet refers. This thesis focuses on these undeserving individuals in premillennial and postmillennial fiction, who seek immortality at the expense of both their humanities, and their natural mortalities.
I will analyse an array of popular modern characters, paying particular attention to the precursors of immortal personages. I will inaugurate these analyses with an examination of fan favourite series
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Neves, Larissa Garay. « A CONSTRUÇÃO DO LEITOR FICCIONAL EM THE PORTRAIT OF A LADY E THE WINGS OF THE DOVE DE HENRY JAMES ». Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/9953.
Texte intégralRésumé :
Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorHenry James was one of the most renowned writers at the turn of the nineteenth into the twentieth century and is still known for his vast number of literary works and studies about the art of fiction. In his prefaces and critical essays, James discussed his own method of writing fiction, with a special focus on point of view and on issues related to the reception of his fictional work. In this sense, James also considered the importance of the role of the reader to the point of claiming in one of his prefaces: ―attentive reading, I avow, is what, at every point just like here, I completely invoke and hope for‖ (JAMES, 2009, p. 15). This dissertation discusses the construction of the fictional reader in two of James novels: The Portrait of a Lady (1886) and The Wings of the Dove (1902). Written twenty years apart from each other, these novels have meaningful similarities in their themes. The aim is to analyze how differences in the manipulation of point of view have implications to the rhetorical configuration of different readers in the two novels. In The Portrait of a Lady, James basically uses one single center of consciousness to narrate the story and constructs a reader that is gradually more participative and critical. In The Wings of the Dove, on the other hand, James opts for a more impersonal mode of presentation of the story, so the narrative is developed through several centers of consciousness. As a consequence, the configured reader is critical and inferential throughout the whole narrative because the gaps intentionally built by the writer have to be constantly filled. In short, our discussion shows that, along his career, Henry James projected readers that should be more and more critical.
Henry James é um dos escritores mais renomados da virada do século XIX para o século XX, conhecido por sua vasta produção literária e seus estudos sobre a arte da ficção. Em seus prefácios e ensaios de crítica literária, James discutiu o seu próprio método de escrita de ficção, com especial enfoque no foco narrativo, assim como questões relacionadas à recepção de sua obra ficcional. Assim, James também considerou a importância do papel do leitor: ―leitura atenta, confesso a propósito, é o que eu em cada ponto, como aqui, absolutamente invoco e espero‖ (JAMES, 1998, p. 19), exigia James em um de seus prefácios. Nesse sentido, neste trabalho discutimos a construção do leitor ficcional em dois de seus romances: The Portrait of a Lady (1886) e The Wings of the Dove (1902). Esses romances apresentam semelhanças temáticas significativas, apesar de terem sido escritos em um intervalo de quase vinte anos. Nosso objetivo é analisar como diferenças na elaboração do foco narrativo têm implicações para a configuração retórica de diferentes leitores. Em The Portrait of a Lady, James faz uso de basicamente um único centro de consciência para narrar a história e constrói um leitor gradualmente mais participativo e crítico. Já em The Wings of the Dove, James opta por um modo mais impessoal de apresentação da história, no qual a narrativa é desenvolvida por meio de diversos centros de consciência. Consequentemente, o leitor configurado é crítico e inferencial ao longo de toda a narrativa, pois é necessário que vazios intencionalmente deixados pelo escritor sejam preenchidos constantemente. Assim, nosso trabalho mostra que Henry James projetava leitores cada vez mais críticos na medida em que sua carreira avançava.
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Girard, Romain. « Portrait des "professionals" en tant que narrateurs dans la fiction courte victorienne et édouardienne : les discours de pouvoir des médecins, des hommes d’église et des hommes de loi dans les nouvelles de Joseph Sheridan Le Fanu, Wilkie Collins et Arthur Conan Doyle ». Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30044/document.
Texte intégralRésumé :
Les membres de la classe des professions, qu'ils soient narrateurs ou personnages, occupent une place à la fois centrale et équivoque dans le texte victorien, dans sa construction, sa composition. En effet, si cette place prépondérante paraît indiquer une prise de pouvoir de ces derniers, elle s'accompagne fréquemment d'une mise en question, voire d'une mise en danger de leur statut au sein du récit. Cette position paradoxale semble être le résultat du lien quasi-systématique (mais souvent sous-jacent) entre l'apparition d'un narrateur ou d'un personnage issu des professions et la déstabilisation des notions de signification et de vérité dans l'ensemble du texte. Nous étudierons les modalités et les outils de cette déstabilisation, mais aussi ses conséquences sur le corps du texte. Pour ce faire, nous nous concentrerons sur le support de la nouvelle véhiculée par les périodiques pour son caractère propice à l'expérimentation et sa grande diffusion auprès du lectorat victorien. Par ailleurs, nous avons centré notre corpus de textes sur Conan Doyle, Wilkie Collins et Le Fanu car ces derniers ont participé activement à la diffusion dans la littérature des idées propres aux classes moyennes et ont abondamment illustré les mutations sociales de cette classe durant la seconde moitié du XIXème siècle. Cela s’est fait à travers leurs nouvelles notamment, qui apparaissent comme le lieu privilégié de l’expression des interrogations concernant l'instabilité de certains discours structurants de la société : loi, religion et médecine. Ainsi, Joseph Sheridan Le Fanu, fils d’un homme d’église et féru de théologie, Arthur Conan Doyle, lui-même médecin de formation et William Wilkie Collins, homme de lettres portant un grand intérêt à la chose scientifique (comme le suggère son long roman didactique Heart and Science paru en 1883) ont tous trois contribué à la définition des relations particulières entre les membres des professions et le reste de la société victorienne. De plus, leur participation active à la publication des périodiques les plus lus de leur époque atteste de leur contribution importante à la définition de la pensée victorienneMembers of the middle class, particularly clergymen, doctors, and lawyers occupy a central place in Victorian literature, both as narrators and characters. However, it seems that this prominent place fosters questioning as much as empowerment. This paradoxical position seems to stem from the recurrent appearance of members of the professions in texts within which the principles of truth and meaning are undermined. Therefore, we will show how members of the professions, both as narrators and characters, put forward discursive strategies which allow them to manipulate the notion of truth and to destabilize meaning. In order to do so, we will study predominantly short stories, as this genre was favoured by Victorian writers as the locus of narrative and literary experimentation. Besides, this genre was widely read by Victorian audiences and can be seen as a privileged media for authors to express their doubts and commentaries on contemporary society. We have chosen to study the works of three authors in particular, who played a vital role in the bringing of the middle classes on the forefront of Victorian literary representation. Indeed, we will focus on Joseph Sheridan Le Fanu, the son of a clergyman and a man fascinated by the arcana of theology, Arthur Conan Doyle, a doctor himself, before he became a writer and William Wilkie Collins, who had a passion for science and the transformations its growing influence imposed on Victorian society. What is more, these three writers' active role in the establishment of the most popular Victorian periodicals attests to their vast contribution to the development of Victorian values
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Perez, Karine Gomes. « (RE) CONFIGURAÇÕES DO EU : A PRODUÇÃO DE AUTORRETRATOS FOTOGRÁFICOS COMO FICÇÃO/ENCENAÇÃO ». Universidade Federal de Santa Maria, 2010. http://repositorio.ufsm.br/handle/1/5186.
Texte intégralRésumé :
Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThis theoretical and practical research proposes to investigate the artistic creation process of photographic self-portraits. It analyzes the possibilities of identity reconfigurations, involved in this process, resulting in the series (Re)Configurações do eu [(Re)Configurations of me], produced from two different types of images: photos 3x4 of documents and fictional and dramatized photographs in domestic environment. The series is composed of works created from these contaminated photographs by pictorial means (encaustic painting) and digital manipulations (overlaps and juxtapositions of images in digital laboratory), printed on matte canvas. The works present the hidden body with other people's clothing and veils, establishing direct relationship with the camera that registers their "poses/actions". They also present space-temporal compositions overlapped, contained in each layer of the images. Through these procedures, the self-portrait s subgenre and the subjects identity are problematized, showing not an artist's identity seen as "mesmidade" but (re)configurations of me through hidings and possibilities of multiplications identity, produced in the images. Like this, from the documents photographs, that indicate a standardized "me", the work reach the production of many dramatized mes who are creations or fictions.
A presente pesquisa de mestrado tem como proposta investigar, de modo teórico-prático, o processo artístico de criação de autorretratos fotográficos, analisando as possibilidades de reconfigurações identitárias nele envolvidas. Resultou na série (Re)Configurações do eu , produzida a partir de dois tipos de imagens diferentes: fotografias 3x4 de documentos e fotografias ficcionais e encenadas em ambiente doméstico. É composta por trabalhos criados a partir dessas fotografias contaminadas por meios pictóricos (técnica de pintura-encáustica) e manipulações digitais (sobreposição e justaposição de imagens em laboratório digital), impressas em lona fosca. A série evidencia o corpo encoberto com vestimentas de outros indivíduos que não a autora/artista e véus, estabelecendo relação direta com a câmera fotográfica que registra suas poses/ações . Também apresenta variados agenciamentos espaço-temporais sobrepostos, contidos em cada camada das imagens. Através desses procedimentos, o subgênero do autorretrato e as questões identitárias do sujeito contemporâneo são problematizados, evidenciando-se, assim, não uma identidade do artista, encarada como mesmidade , mas (re)configurações do eu através de ocultações e possibilidades de multiplicações identitárias, produzidas nas imagens. Dessa forma, parte-se de fotografias de documentos, as quais presumem um eu padronizado, para atingir a produção de múltiplos eus encenados, que são criações ou ficções.
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Grébert, Marion. « Femmes invisibles. L’art de disparaître dans l’autoportrait photographique féminin. Vivian Maier, Francesca Woodman ». Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL116.
Texte intégralRésumé :
À partir des autoportraits photographiques de Vivian Maier (1926-2009) et Francesca Woodman (1958-1981), la thèse de ce texte est que la figuration féminine nous transmet un art de disparaître. Si l’on établit que cet art serait présent de manière plus ou moins active dans l’ensemble de l’iconographie du féminin, on montre que c’est un contexte particulier qui en révèle l’existence : celui de l’émancipation des femmes depuis la fin du XVIIIe siècle, de l’invention de la photographie au XIXe siècle et du bouleversement écologique contemporain. En effet, on constate chez Vivian Maier et Francesca Woodman, et plus largement dans l’autoportrait photographique féminin, une écologie poétique déterminée et engendrée par la technique photographique et les mutations modernes dans la vie des femmes, où se rencontrent désormais le destin de la figuration féminine dans l’histoire de l’art et le destin possible de notre espèce. Cette thèse propose de tirer de ces autoportraits un nouveau modèle pour habiter le monde en ce moment de transition historique à l’égard du genre et de la natureDrawing from the photographic self-portraits of Vivian Maier (1926-2009) and Francesca Woodman (1958-1981), this thesis argues that feminine figuration conveys an art of disappearing. Establishing that this art is, to a certain extent, at work across the iconography of the feminine, we are showing that it was brought to light within a specific context: the emancipation of women since the end of the 18th century, the invention of photography in the 19th century and the contemporary ecological crisis. Indeed, a poetic ecology emerges through the works of Vivian Maier and Francesca Woodman in particular, and the feminine photographic self-portrait as a whole, determined by the photographic technique and modern changes in women’s lives, where the destiny of feminine figuration in art history converges with the possible destiny of our species. From these self-portraits, this thesis offers to draw a new way of inhabiting the world in this historic moment of transition with regard to gender and nature
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Merino, Serrat Imma. « Subjectivitat i autorepresentació en el cinema d'Agnès Varda ». Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/109378.
Texte intégralRésumé :
Agnès Varda ha deixat empremtes visibles de la seva subjectivitat en una filmografia desenvolupada pràcticament en sis dècades. El propòsit és abordar el conjunt de l’obra cinematogràfica de Varda rastrejant-hi aquestes empremtes subjectives, lligades a una manifestació de l’autoria, a través dels comentaris escrits i dits per la mateixa cineasta inscrits en els films; i també fer atenció a les diverses formes d’autorepresentació en relació amb la projecció de la cineasta en diversos personatges de les seves ficcions i la presència física d’ella mateixa a les imatges. Analitzant aquests elements, el text vol considerar les aportacions de Varda a la modernitat cinematogràfica en la mesura que, amb una gran llibertat creativa, ha inventat noves formes posant en qüestió les convencions genèriques, entre les quals la divisió entre documental i ficció.Agnès Varda has left visible imprints of her subjectivity in her filmography developed over the last six decades. The objective of this doctoral thesis is to consider her entire cinematograghic work scrutinizing these subjective imprints and, through the filmmaker’s voice on off commentaries, linking them to a manifestation of authorship and the desire to exemplify that the world is represented through a singular point of view. Attention is called to the diverse forms of self-representation in the projection of the filmmaker through diverse characters as well as her physical presence in images. Analizing these elements, this text considers Varda’s contribution to modern cinematography to the extent that, through great creative freedom, she has invented new forms which question generic conventions, amongst them the distinction between documentary and fiction.
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O'Leary, Margaret Hayford. « Post-war Norwegian fiction portraits of women in occupied Norway / ». 1987. http://catalog.hathitrust.org/api/volumes/oclc/16948437.html.
Texte intégralRésumé :
Thesis (Ph. D.)--University of Wisconsin--Madison, 1987.Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 156-161).
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Hsin-ni, Liu, et 劉昕霓. « The Portraits of loneliness──The Writing and Thinking of Fiction Writers of newer Generation in Taiwan ». Thesis, 2009. http://ndltd.ncl.edu.tw/handle/54739599592473035638.
Texte intégral
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Alves, António José de Jesus Martins. « O retrato fotográfico : media e arte ». Doctoral thesis, 2020. http://hdl.handle.net/10437/12214.
Texte intégralRésumé :
Doutoramento realizado ao abrigo da bolsa de investigação COFAC I-DPropomo-nos elaborar uma investigação de âmbito teórico que se centra na relação entre o Retrato, os novos media e as diversas representações visuais da identidade na contemporaneidade, com particular enfoque no retrato fotográfico. Este estudo foi realizado no quadro de uma exploração da dicotomia objectividade-ficção, incidindo no desenvolvimento dos vários media ao longo da história do Retrato, da pintura à fotografia, concluindo com os novos media digitais.
We propose to develop a theoretical research that focuses on the relationship between the Portrait, the new media and the various visual representations of identity in contemporaneity, with particular focus on the photographic portrait. This study was realized as part of an exploration of the objectivity-fiction dichotomy, focusing on the development of several media throughout the history of Portrait, from painting to photography, concluding with the new digital media.
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Broadbent, Lianne Rose. « Portrait with Still Life : Re-imagining Silenced Women’s Stories Through Historiographical Metafiction ». Thesis, 2017. https://vuir.vu.edu.au/40538/.
Texte intégralRésumé :
This thesis is made up of two separate components: a creative manuscript titled Portrait with Still Life and its accompanying exegesis. The project as a whole problematizes the links between life and fiction, examines the power of female artistic ‘voice’, in both imagery and text, and discusses the significance of this voice in re- imagining silenced women’s stories. Furthermore, the intersection of image and text used throughout is central to the development of the overall structure of this thesis and its attempt to answer key questions: What is the potential of historiographical metafiction in creating awareness of the exclusion of women from official history and dominant narratives, particularly women who have been institutionalised or have transgressed societal norms? What is the possibility of female artistic endeavour, particularly artists who utilize disquiet and unease in their work, in highlighting the uniquely gendered experience of women in Western society? It further questions whether the use of imagery as a metafictional device in the creative manuscript can contribute to the analysis of subjectivity in historical writing and be used as a method to unearth silenced women’s stories.
Portrait with Still Life is an experimental text that uses historiographical metafictional devices to highlight the gaps and omissions inherent in many women’s lives. The novel blurs the boundaries between fiction, historical writing, memoir and biography in order to explore and re-imagine the lives of women – both past and present. The hybrid nature of the creative work as fictional autobiography is a significant aspect of this text and its aim to highlight the links between life and art, and that it is rooted in fact. The narrative recounts the story of Sarah, a contemporary Australian woman suffering from mental illness, her quest to discover the mystery of her ancestor Rebecca, and how this process allows her to not only write Rebecca’s story but also come to terms with her own difficult past. The dream that Sarah harbours of finding connection with a haunting image of Rebecca, and the narrative she creates, is integral to her eventual freedom and recovery.
The exegesis discusses the work of a number of female writers and artists, particularly women who have used autobiographical and historiographical metafictional devices in their work, and how they have influenced and informed the writing of the creative manuscript. It also explores the power of the artist’s voice, both in image and text, and the importance of this voice in the recovery of hidden or silenced stories in order to attempt to answer the overarching questions outlined above. The use of my own personal story throughout each part of the exegesis further examines the links between life and artistic pursuit and its role in highlighting women’s gendered experience in order to question, and eventually counter, its negative experience on many women in contemporary society.
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Trudeau, Beaunoyer Karianne. « Stills, suivi de, Moins «ça-a-été» que «ça-pourrait-être» : fictions et distorsions de l'autoportrait ». Thèse, 2017. http://hdl.handle.net/1866/20129.
Texte intégral
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St-Pierre, Marie-Christine. « Les collections de littérature jeunesse à contenu LGBTQ dans les bibliothèques publiques québécoises : portrait et évaluation ». Thesis, 2019. http://hdl.handle.net/1866/24147.
Texte intégralRésumé :
Cette étude dresse le portrait des collections de littérature jeunesse à contenu LGBTQ dans les bibliothèques publiques québécoises afin de déterminer si la population est bien servie à cet égard, peu importe le lieu et la taille de la collectivité. Pour ce faire, nous avons adopté une approche qualitative et utilisé la méthode de l’évaluation par liste. Ainsi, les collections de 41 bibliothèques publiques municipales ont été examinées au moyen d’une liste de vérification de 38 titres de littérature jeunesse à contenu LGBTQ publiés de 2003 à 2018. Les données recueillies ont fait l’objet d’une analyse statistique surtout descriptive. À l’instar d’études antérieures sur les collections des bibliothèques canadiennes et américaines, la présente recherche a montré que le niveau de présence de la littérature jeunesse à contenu LGBTQ varie considérablement selon les bibliothèques et que la taille des populations, l’importance des collections et le budget consacré aux livres ne suffisent pas à expliquer toutes les fluctuations. L’analyse des données a aussi permis de révéler que les romans à contenu LGBTQ destinés aux ados étaient beaucoup plus susceptibles de figurer dans les collections que les albums et les premiers romans destinés aux enfants. De plus, l’analyse a montré que le thème de l’homosexualité masculine était largement représenté dans les collections, tandis que celui de l’homoparentalité était considérablement sous-représenté. Pourtant, selon les données recueillies, les albums pour enfants sur le thème de l’homoparentalité sont justement le type de matériel qui était le plus emprunté dans les bibliothèques au moment de l’étude. Cette étude exploratoire ne permet pas de conclure avec certitude que les collections de littérature jeunesse à contenu LGBTQ dans les bibliothèques québécoises sont suffisantes et appropriées. Toutefois, la comparaison des résultats obtenus avec ceux d’autres recherches suggère que, dans l’ensemble, les bibliothèques québécoises font plutôt bien à cet égard.The purpose of this study is to examine the stocks of young adult and children’s literature collections with LGBTQ content made available in Québec public libraries to determine whether the population is sufficiently provided for, regardless of the location and size of the city or town where they live. To carry out this research project, we used the checklist evaluation method. Collections from a sample of 41 municipal public libraries were thus examined, using a checklist of 38 young adult and children’s literature titles with LGBTQ content, published from 2003 to 2018. The collected data was subjected to statistical analysis. As with previous studies of Canadian and American public library collections, this research has shown that the level of presence of young adult and children’s literature with LGBTQ content varies considerably in all libraries, and that the size of populations, the size of collections and the budgets for printed books can’t explain all the fluctuations. Data analysis also revealed that novels with LGBTQ content for teenagers were much more likely to be held in collections than early readers’ novels and children’s picture books. The results have also shown that male homosexuality as a theme is well represented in the collections, while same sex parenthood is significantly underrepresented. However, according to the data, the picture books for children on the topic of same-sex parenthood are exactly the type of material which was the most borrowed in the sampled libraries at the time of the study. This exploratory study alone does not entirely support the conclusion that collections of young adult and children’s literature with LGBTQ content in Québec public libraries are sufficient and appropriate. However, comparing results from this research to those from other researches suggests that, overall, Quebec libraries seem to be doing well in this regard.
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Campbell, Jeremy T. « Raising the pillar in the "house of fiction" : a study of the processes of development and change in the central characters of two novels of Henry James : The portrait of a lady and The ambassadors ». Thesis, 2000. http://hdl.handle.net/10413/3291.
Texte intégralRésumé :
The thesis focuses on a variation of James's interest in the "international theme", the effect of transatlantic influences on the development of personality, culture and idea. In the context of this theme it seeks to understand the processes in the development of, and portrayal of change in, the identities of two central characters in the fiction of Henry James, Isabel Archer and Lambert Strether. The two novels analysed, The Portrait of a Lady and The Ambassadors. have a strong contextual relevance to the ''international theme", and compass the span of James's career, providing some degrees of comparison. Beginning with a view of the preliminary vision that James had of the main elements of each central character, the thesis seeks to understand how Isabel Archer and Lambert Strether are subsequently shaped, and developed, by way of the incidents and experiences they meet, and what they make of them. Of primary importance amongst these are the relations they form with the other characters in the novel.Thesis (M.A.)-University of Natal, Pietermaritzburg, 2000.
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Gonçalves, Carlos Eduardo Peixoto. « Retratos de Guimarães : do espaço e da ficção do espaço ». Master's thesis, 2017. http://hdl.handle.net/1822/46366.
Texte intégralRésumé :
Dissertação de mestrado integrado em Arquitectura (área de especialização em Cultura Arquitectónica)A fotografia remete sempre para o seu referente. Mas, de certa forma, transforma-o. No caso da cidade, essa transformação é feita pela enfatização do seu retrato. Os seus espaços ficam numa imobilidade eterna que permite o seu estudo. Permite analisar a evolução urbana e, também, a evolução do olhar sobre a Cidade. Um olhar com intenções que repercutem no espaço, representado através da fotografia, teoricamente diversa, desde o acto mecânico a uma forma de relato, equiparado à escrita. Pretende-se sintetizar estas correntes ideológicas que alteram a percepção, e a sua capacidade de representação. Perceber de que forma certos actos e opções ao fotografar o espaço mais têm que ver com cada uma delas. Este trabalho pretende, assim, analisar se na fotografia o espaço representado se altera, se renova, e passa a pertencer ao campo do ficcional.
Photography always links with its referent. But transforms it, in a certain way. Taking the city, as example, the transformation is operated by emphasizing its portrait. The spaces stay in eternal immobility that allows its study. Allowing the analysis of the urban evolution and, also, the evolution of the sight about the city. A sight with intentions that reflect in space, represented by photography. Diverse in theory, from a mechanical act to a form of description, compared to writing. It is intended to synthesize those ideologies that distort the perception, and its representation capacity. Understand in which way certain acts and options in the space photography are more similar to each one of this ideologies. This work seeks to find if in the photography the referent space changes, renews, and shifts to a ficcional field.
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Anderson, Matthew Neil 1983. « Predatory portraiture : Goethe's Faust and the literary vampire in Gogol's [P]opmpem and Wilde's The picture of Dorian Gray ». Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-12-2171.
Texte intégralRésumé :
Despite the fact that there seems to be no direct link between the works of Nikolai Gogol and those of Oscar Wilde, Gogol’s novella, Портрет (The Portrait) and Wilde’s novel, The Picture of Dorian Gray, share many elements in common, most notably the device of the predatory portrait. This report explores the parallels that exist between these two texts and argues that they mutually derive from elements found in Goethe’s Faust and the trope of the literary vampire.text
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Lalonde, Johanne. « L'acte poétique de la "transfiguralité" : pratiques de l'autoportrait entre écriture et photographie ». Thèse, 2016. http://hdl.handle.net/1866/19083.
Texte intégral