Дисертації з теми "INSCRIPTION IMAGES"

L'intérêt scientifique pour l'image de Louis XV et Louis XVI a été jusqu'ici bien moindre que celui manifesté pour celle de leur glorieux ancêtre, Louis XIV. Cette situation a pu être encouragée par une historiographie inclinant à l'hypothèse de la désacralisation de la monarchie au XVIIIe siècle. Il en aurait résulté une dégradation de l'image royale, la monarchie étant incapable de faire face au rôle de plus en plus déterminant joué par la sphère publique. Or, ce travail cherche à montrer que c'est précisément en raison de la prise en compte de l'opinion que cette image royale se redéfinit à cette période, une redéfinition qui apparaissait d'autant plus nécessaire après la défaite dans la Guerre de Sept Ans. C'est bientôt la représentation d'un roi simple et bienfaisant, inspirée par Stanislas Leszczynski, qui s'impose et qui contribue à la popularité de Louis XVI pendant son règne. Ainsi, la représentation royale évolue en se donnant de nouveaux modèles. Elle tire en outre parti d'une multiplicité de supports de diffusion dont la démocratisation permet de toucher un large public. Enfin, cette image ne se conçoit plus sans un nouvel acteur : la presse qui sert à la fois à promouvoir l'iconographie royale, à préciser son sens et à lui donner consistance
Up to now, scholarly studies have shown less interest in the image of Louis XV and Louis XVI than in the one of their glorious ancestor, Louis XIV. This situation may have been encouraged by a historiography fostering the hypothesis of the desacralization of the monarchy in the 18th century. It would have led to a degradation of the royal image, with the monarchy being unable to face up to the growing influence of the public sphere. Yet, this dissertation tries to show that it precisely was because public opinion was taken into account that the royal image was redifined at the period. It appeared all the more necessary after the defeat in the Seven Years War. Soon afterwards, the representation of a simple and benevolent king, inspired by Stanislas Leszczynski, began to prevail and contributed much to the popularity of Louis XVI during his reign. Thus, the royal representation evolved and refered to new models. It also made good use of the democratization of multiple diffusion mediums enabling it to reach a larger public. Finally, the royal image could not be contemplated without paying attention to a major new actor: the press. It was used to promote the new royal iconography but it also precised its meaning and gave it some intellectual substance

L'objet d'étude de cette recherche concerne les inscriptions graphiques désignées sous le nom de tag et apparues au début des années quatre-vingt en France. Relevant à la fois, de problématique linguistique de par sa relation au nom et à la signature, de problématique de l'image par son attrait visuel et spacial par son inscription dans les lieux publics urbains, le tag au carrefour de pratique humaine et sociale nous invite à ré-interroger l'écrit ou du moins le "faire scriptural" autrement. La pratique scripturale taguée comme objet d'étude ne peut être appréhendée uniquement sous l'angle sociologique. Système non clos, le tag implique dans son fonctionnement des relations avec d'autres systèmes pour mieux en saisir sa portée, dans une démarche interdisciplinaire (intersémiotique). . .

Focusing on a small number of richly illuminated manuscripts produced in Cologne around the year 1000—and known to scholars since the early twentieth century as the so-called "painterly" group of manuscripts—this dissertation takes the close study of a well-defined group of objects as the starting point for an examination of issues central to broader histories of medieval art. A diptych-like pairing of miniatures with inscriptions, each of which is given a full page, constitutes a characteristic feature of these manuscripts. Because these inscriptions were written specifically to accompany the facing images, the manuscripts from Cologne afford us a rare glimpse of a discourse on art and image making in the tenth and eleventh centuries, as well as providing insights into how such miniatures were meant to be viewed. The first chapter establishes a theoretical framework for the project, which examines both the historical and the scholarly origins of the Cologne School. Moreover, the concept of a "painterly" style is scrutinized and its use is traced back to significant developments in German art-historical writing of the late nineteenth century. The second chapter—devoted to a remarkable, yet relatively unknown tenth-century gospel book in Milan—demonstrates how the manuscript's carefully-crafted pictorial program draws upon an impressive tradition of Carolingian poetry and epigraphy in order to instill a pointed moralizing lesson on its recipient. A closely related sister-manuscript, preserved today in Paris, forms the subject of the third chapter, which demonstrates how the designer of its program employed philosophical and dialectical terms—taken from the school texts of the day—in order to devise an ambitiously complex set of miniatures and inscriptions, centered on a contemplative engagement with the paintings. The dissertation concludes with a chapter on the more famous Hitda Codex, illuminated at the behest of a powerful abbess in the early eleventh century. Through an analysis of the manuscript's narrative program, the chapter details how both image and inscription coordinate the active engagement of the viewer—prompting a consideration of the ways in which the pairings function as allegories of introspection. Throughout the dissertation I aim to reconcile the innovative formal qualities of the miniatures with the unusual complexity of their accompanying inscriptions. As a consequence of this study, it can be demonstrated that in the painterly manuscripts from Cologne, the close intertwining of image and inscription results in sophisticated programs of illumination, which elucidate an unprecedented contemporary reflection on the nature of painting in age otherwise known for its scarcity of written sources on art.
History of Art and Architecture

Between the fourth and the seventh centuries CE, Christian patrons erected thousands of churches, chapels, and monasteries in cities and villages across the Mediterranean, decorating the apses, walls and floors of many of these structures with figural and geometric mosaics. These late antique Christian mosaics have been studied for their iconography, their Graeco-Roman components, and as evidence for the religious beliefs of newly-Christian patrons. However, art historians largely have ignored the ways that texts, inscribed within the visual field and composed of the same mosaic material, functioned as images in Christian spaces. For the first time, this thesis assembles the foundations of a comprehensive catalogue of early Christian mosaic inscriptions, places them back into the physical spaces in which they were meant to be read, and analyzes how these texts functioned both verbally and visually for the late antique reader/viewer, against the backdrop of Graeco-Roman traditions. I first examine the ekphrastic components of Christian inscriptions and look more closely at the different ways in which texts work with and against images and spaces, encouraging the viewer to react physically and mentally. Second, I study the language of light used by the inscriptions, and argue that this language linked text to the material of mosaic and enabled patrons to make complex statements about their cultural erudition and religious affiliation. Third, I investigate the functions and visual forms of short tituli which label scenes or name figures to simplify, authenticate or transform static images into narratives in motion. Finally, I turn to the frames of the inscriptions and contend that different forms conveyed powerful visual arguments. By writing these texts back into their mosaics, this thesis argues that texts and images were inseparable in the period, and that text written into images performed and played in more complex ways than has been previously thought.

Les temples installes des la xxieme dynastie sur la vaste "gezireh" naturelle de tanis, ont ete en partie construits de materiaux de recuperation de pi-ramses, la ville residence de ramses ii situee a une trentaine de kilometres de tanis a l'emplacement de la ville actuelle de qantir. Depuis sa decouverte en 1798 jusqu'aux travaux actuels les fouilles ont permis de mettre au jour un grand nombre de vestiges d'architecture en calcaire, granit, gres et quartzite au nom de ramses ii reutilises comme materiaux de construction en elevation et en fondation. Notre propos est de faire le point sur la documentation archeologique epargnee par les recuperateurs du passe comme du present. Elle est eparpillee dans differents musees, reenfouis, preservee in situ en bon etat, degradee par les sels ou disparue a jamais
The temples built as early as the xxi st dynasty on the vast natural "gesireh" of tanis, were partly erected using material from pi-ramses, the town where ramses ii resided, situated about thirty lomerers from tanis in what is now qantir. Since its discovery in 1798 until the present day, excavations have brought to light a considerable number of architectural romains in limestone, granite, sandstone and quartzite bearing the name of ramses ii which have been reused within walls and foundations. Our aim is to collate this arcehological documentation, spared by past and present time "pillagers". It is scattered amongst different museums, reburied, preserved in situ in good condition or damaged by salts or in some cases lost for ever

O trabalho de pesquisa pretende aprofundar-se na concepção e método de cinema de Harun Farocki tomando como problema a relação da sua arte cinematográfica com a história e com as construções simbólicas que se operam a partir da produção de imagens no mundo pós-industrial. Há um duplo movimento em seus filmes que consiste em, de um lado, esboçar, através das imagens que circulam no interior do espaço social, uma história audiovisual da civilização que advém com a invenção da fotografia, a fim de localizar as convergências entre guerra, economia, política e representação. Do outro, investigar o papel do realizador e portanto questionar a técnica, a moral e a política de sua atividade, a fim de interrogar a prática cinematográfica em um mundo contemporâneo saturado dela. O presente trabalho buscará, pelo procedimento da análise fílmica discutir os aspectos sociais e políticos da produção de imagens na atualidade segundo a obra de Farocki, ancorando-se na crítica da fotografia (Flusser) e da história da cultura (Benjamin). A pesquisa evidenciará como as estruturas formais de seus filmes constroem uma relação singular entre as imagens de arquivo e os processos históricos correspondentes, tendo como horizonte compreender a ideia de cinema que se constrói nos filmes \"Imagens do mundo e inscrições da guerra\" (1988) e \"Videogramas de uma revolução\" (1992).
The present work intends to deepen in the conception and method of Harun Farocki\'s work and investigate the relation between his cinematography art, history and the symbolic constructions that are made since the development of the post-industrial world. There is a double movement in Farocki\'s film. The first one involves sketching trough images that circulate in the interior of society an audiovisual history of the civilization that emerges with the invention of photography to locate the convergence between war, economics, politics and representation. The second one consists in investigate the role of the director in the the contemporary world and therefore to question the technique, morals and politics of his activity, in order to interrogate the cinematographic practice in a contemporary world saturated with it. This work of research will seek, through de procedure of film analysis, to discuss the social and political aspects of the production of images in the present time according to the work of Farocki, anchoring itself in the critic of photography (Flusser) and the history of culture (Benjamin). The research will show how the formal structures of his films construct a singular relation between the archive images and the corresponding historical process in the films \"Images of the world and inscriptions of war\" (1988) and \"Videograms of a Revolution\" (1992).

À travers l’analyse des témoignages de l’épigraphie et de la statuaire relatifs à l’empereur Trajan, issus des cités des provinces occidentales, notre objectif est de déterminer les différentes formes d’expression d’allégeance et de loyalisme des provinciaux à son égard. La présence de Trajan à travers ces deux formes d’expression privilégiées pour la propagande impériale est très significative. Elle est due à plusieurs facteurs : Trajan est d’abord originaire d’Italica, en Bétique, Il est le premier provincial à prendre le pouvoir à Rome ; ensuite il est qualifié de Meilleur des Princes ; et il fut un grand militaire et un bon administrateur durant un long règne de 19 ans et demi. Aussi lui a-t-on rendu hommage par de nombreux documents épigraphiques, élevés sur les fora des cités provinciales qu’accompagnent des statues, en pied, ou équestre. C’est un prince bien connu aussi dans la littérature et la numismatique. Tous ces témoignages montrent qu’il est le premier empereur dont la titulature va s’enrichir d’attributs divers tout au long de son règne, il est Optimus princeps, le premier Dacicus, le premier Parthicus, mais aussi le premier à avoir porté le titre Proconsul, en dehors de Rome.Cette titulature établie d’abord à Rome puis envoyée dans les provinces constitue une matière d’étude riche et variée qui nous a permis de faire des comparaisons entre les provinces et les cités mêmes. Cela nous a été possible, grâce à un inventaire systématique des recueils épigraphiques, qui a recensé 316 inscriptions le concernant. Cet empereur, a non seulement renouvelé certains aspects dits républicains mais a préservé aussi le modèle augustéen, perceptible à travers sa dénomination dans laquelle Imperator Caesar est cité de manière constante en tête de la séquence impériale. En fait, les innovations de Trajan sont importantes et vont marquer longtemps l’histoire impériale, comme l’inauguration d’un nouveau comput tribunicien fixé au 10 décembre de chaque année, au lieu d’un comput variable marqué tout le premier siècle. Il n’a revêtu le consulat que cinq fois et pendant des périodes très coutres. Par cette pratique, il a redonné au pouvoir impérial son importance ; se présente comme le vrai père pour ses concitoyens, à Rome comme à travers l’empire. En somme, la formula de l’empereur trouve sa physionomie définitive à partir du règne de Trajan.Dans les cités des provinces occidentales, Trajan fut vénéré à travers le monumentum, comme par le texte qui fait corps avec la statue impériale. Cette image double répond d’abord aux exigences de la chancellerie impériale et parfois de l’empereur lui-même. Nombreuses sont les inscriptions qui lui sont dédiées. Elles expriment la reconnaissance des provinciaux, satisfaits de sa politique, source de paix et de prospérité. Les cités occidentales ont accordé une importance particulière à son image impériale et à ses différentes transcriptions liées parfois à un programme édilitaire. Il a bénéficié d’une reconnaissance sans limite par les provinciaux qui lui ont dédié des monuments encore visibles en Afrique, en Ibérie et en Germanies. Ce nouvel empereur, est grand conquérant, bon gouverneur, mais aussi héros (nouveau Diomède), il a plusieurs facettes. La fortune de l’empereur, sous son règne, comme après son décès est considérable. Il fut toujours le modèle du bon prince jusqu’aux époques contemporaines
Through the analysis of the epigraphic and statuary evidence that relates to emperor Trajan in the cities of the western provinces, my objective is to determine the various forms of expression of allegiance and loyalty of the provincials towards him . The presence of Trajan through these two forms of expression usually privileged for imperial propaganda is very significant. It is due to several factors: Trajan is originally from Italica, in Betic, He is the first provincial to take power in Rome; then he is called Best of Princes; and he was a great soldier and a good administrator during a long reign of 19 years and a half. He was therefore honored by many epigraphic documents erected on the fora of provincial cities, accompanied by statues, on foot, or equestrian. He is a prince well known also in literature and numismatics. All these testimonies show that he is the first emperor whose title will be enriched with various attributes throughout his reign; he is Optimus princeps, the first Dacicus, the first Parthicus, but also the first to have worn the title Proconsul, outside Rome.This imperial title first established in Rome and then sent to the provinces is a rich and varied subject of study to make comparisons between the provinces and the cities themselves. This seems thanks feasible to a systematic inventory of epigraphic books allowing us to list 316 inscriptions mentioning the Emperor Trajan. This emperor not only renewed certain aspects said republicans but also preserved the Augustan model perceptible through its denomination in which Imperator Caesar is quoted constantly at the head of the imperial sequence. But the innovations of Trajan are important and will mark the imperial history for a long time, as the inauguration of a new computary tribune set to 10 December of each year, instead of a variable computary marked the entire first century. He has only been in the consulate five times and for very long periods. By this practice he has restored to imperial power its importance; He presents himself as the true father for his fellow citizens, in Rome as well as throughout the empire. In short, the Emperor's formula finds its definitive appearance from the reign of Trajan

While scholarship often focuses on how early modern Italians used images in their devotions, particularly in the post-Tridentine era, little attention has been placed upon how laypeople engaged with devotional text during times of prayer and in their everyday lives. Studies of early modern devotional texts have explored their literary content, investigated their censorship by the Church, or concentrated upon an elite readership. This thesis, instead, investigates how ordinary devotees interacted with holy words in their material form, which I have termed ‘material prayers’. Since this thesis developed under the aegis of the interdisciplinary research project, Domestic Devotions: The Place of Piety in the Italian Renaissance Home, 1400-1600, it focuses primarily on engagement with these material prayers in domestic spaces. Using an interdisciplinary approach drawing from material culture studies, literary history, social and cultural history, and art history, it brings together objects, images and archival sources to illuminate how devotees from across the socio-economic and literacy spectrums accessed and employed devotional text in their prayers and daily life. From holy words, Biblical excerpts, and prayers to textual symbols like the Sacred Monogram of the Name of Jesus, this thesis explores how and why these material prayers were employed for spiritual, apotropaic and intercessory purposes. It analyses material prayers not only in traditional textual formats (printed books and manuscripts), but also those that were printed on single-sheets of paper, inscribed on jewellery, or etched into the structure of the home. To convey how devotees engaged with and relied upon these material prayers, it considers a variety of inscribed objects, including those sanctioned by the Church as well as those which might be questioned or deemed ‘superstitious’ by ecclesiastical authorities. Sermons, Inquisition trial records, and other archival documents have been consulted to further illuminate the material evidence. The first part of the thesis, ‘On the Body’, considers the how devotees came into personal contact with texts by wearing prayers on their bodies. It examines a range of objects including prayers with protective properties, known as brevi, that were meant to be sealed in a pouch and worn around the neck, and more luxurious items of physical adornment inscribed with devotional and apotropaic text, such as necklaces and rings. The second part of the thesis enters the home to explore how the spaces people inhabited and the objects that populated their homes were decorated with material prayers. ‘In the Home’ begins with texts inscribed over the entryways of early modern Italian homes, and then considers how devotees decorated their walls with holy words and how the objects of devotion and household life were imbued with religious significance through the addition of pious inscriptions. By analysing these personal objects and the textual domestic sphere, this thesis argues that these material prayers cut across socio-economic classes, genders, and ages to embody quotidian moments of domestic devotion as well as moments of fear, anxiety and change.

Over a decade,text extraction of document has been a subject of intrest for the research,but a very few work has been done in digitizing inscription images of historical monuments. For unclear and complex archaeological inscription images,there is no sharp distinction between foreground and background.There are several problems in the text of inscription images,such problems are like there is low contrast between text and background thus the use of previously available method unsuitable. For the regions having high edge density and strength simple edge-based approaches are also considered useful. This edge-based method give good result if background is not complex,but for the inscription images background is complex,thus this method cannot be used directly. Badly degraded images which is having high inter/intravariation between the background and the foreground text,the segmentation of the text becomes a big challenge. This thesis propose a novel document image binarization technique for the monument inscription that earliar was used for the binarization of degrade document images.The proposed method is basically an adaptive image binariztion technique.In this first an adaptive contrast map is constructed for the input inscription image.The contrast map is then binarizd and then combined with canny’s edge map to identify the text stroke edge pixels.Local threshold that is estimated on the intensities of detected text stroke edge pixels within a local window,is further applied for the document tex segmentation.the proposed method is very simple, robust and it involves minimum parameter tuning. It has been applied on different monuments inscription images and have given good results.

Historical monuments and their inscriptions hold the story of the past attached to the monument. They give an idea of how the ancient people, the kings etc lived. Similarly, inscriptions found in temples or other holy places tell the inclination of ancient people towards god, religion and what they used to practice. These inscriptions are of great importance to the world's heritage and thus they need to be digitized in order to make them immortal. We see a lot of ancient temples, tombs and other monuments. They have inscriptions, sculptures and other architectural designs on them to signify the era to which they belong. We need to preserve and pass these to our upcoming generations so that they can understand and can contribute their part in maintaining the heritage. Sculptures found in these monuments are also very helpful in understanding the culture. It has been observed that the ancient people (in India, for e.g.) many times worship the same god, but with a different name. If using a classifier we can know the name of the god or sculpture in the language of our choice, and then it is much likely that we’ll extract other useful information related to them too. In our proposed work, we have worked on inscriptions and sculptures (of god/goddesses) from these monuments. Our work deals with enhancement of inscriptions and feature based classification of sculptures. The images of inscriptions and sculptures are noisy, have minimal distinction between foreground and background. These challenges create hindrance in the digitization and preservation of inscriptions. By preservation we mean that if the images of the inscriptions bearing text (of multiple languages) are passed to their respective language OCR’s then they show no sign of recognition. This is due to the problems discussed above. We try to enhance the text such that it outstands from the background. It can then be easily OCR-ed. The existing methods like variance based extraction and Fast-ICA based analysis fail to extract text from these inscription images. Natural gradient v Flexible ICA (NGFICA) is a suitable method for separating signals from a mixture of highly correlated signals, as it minimizes the dependency among the signals. We propose an NGFICA based enhancement of inscription images. The proposed method improves word and character recognition accuracies of the OCR system by 65.3% (from 10.1% to 75.4%) and 54.3% (from 32.4% to 86.7%) respectively. Sculpture classification method proposes to built a classifier based on the features of sculptures (of god/goddesses) to classify the images of gods and goddesses. The images have been taken from various sources such as temples, forts, ancient monuments, sculptures and other images from INTERNET. The sculptures classification can prove useful as it can help us classify the god (i.e. label them as god A or god B), extract information about the god/goddess, the era or history of that particular sculpture. This is a thoughtful step towards preserving the rich history India has and make future generations learn and remember the past efficiently. The proposed method also helps in solving a 2-class classification problem which works on the basis of training the classifier with the HOG features of the images. The proposed classifier has been tested on a small data set and gives 50-100% accuracy on four different data sets. The proposed method classifies the query image (of God/Goddesses) as belonging to either of the classes on which it has been trained. The proposed method can be extended for information retrieval after classification.

碩士
國立澎湖科技大學
海洋創意產業研究所
96
Penghu is developed 400 years earlier than Taiwan, and the inhabitants almost come from early Minnan, living with the sea. Faiths in temples are strong and reverent in Penghu. Temples have become spiritual supports that cohered community consensus. In average, each village has 1.5 temples. The quantity and density are the first place in Taiwan. The sea has played an important role on civilized evolution and social economic development since the ancient time. Penghu, praising itself by the sea, is rich in ocean images. Along with time vicissitude, temples are reconstructed again and again. Cultural relics in temples have become the evidence of history. However, the preservation of cultural relics is not easy wherever they are set, at the cultural relic rooms, warehouses, outside temples or the roadside. In this research, we study cultural relics such as stele inscriptions, horizontal tablets and couplets in Penghu before 1945, and conduct research and explanation on these cultural relics. A Japanese scholar, Ino Kanori（伊能嘉矩）, visited Penghu within eighteen days and wrote a diary called “Field Investigation in Penghu” in 1990. In this research, we also plan a historical journey to the same scenic spots in his diary. In this research, we apply the following methods: (1) field investigation; (2) in-depth interview; (3) content analysis. This research divides cultural relics of temples into six categories: (1) sea god beliefs, (2)ocean officials, (3) ocean economic activities, (4) war and shipwrecks, (5) marine creatures, and (6) the concept of generalized seas. We combine these cultural relics with the development of cultural industries. We collect 414 cultural relics, including 142 stele inscriptions, 199 horizontal tablets, and 73 couplets. Among 106 relics of ocean image, civil and military official relics are the most, which are 37 altogether, account for 36%; marine creatures relics are the least, which are 2 altogether, account for 2%. “Field Investigation in Penghu” described 56 relics. In Penghu, there are still 34 relics preserved, account for 61%, and 21 relics lost, account for 38%. It is difficult and fortunate to obtain cultural relics in temples. They should be preserved in temples of villages.

Ce mémoire porte sur l'usage du vêtement comme outil de médiation du corps féminin dans le travail de Jana Sterbak et de Vanessa Beecroft. Plus spécifiquement, nous souhaitons observer de quelle façon, à l'intérieur des représentations, le vêtement participe à (dé)construire l'identité du sujet. En abordant la représentation de la femme par l'analyse de ses inscriptions vestimentaires, nous cherchons également dans les oeuvres l'affirmation d'une subjectivité indissociable du corps. Dans un premier temps, nous procédons à une mise en contexte historique et théorique afin de démontrer le rapport d'interdépendance entre le corps féminin et son revêtement dans l'image et soulignons le rôle primordial de l'habillement dans la construction de la subjectivité. Nous exposons par ailleurs les divers enjeux soulevés par la représentation de la femme et observons des stratégies de résistance à la représentation objectivante du corps féminin. En second lieu, suivant les travaux de théoriciennes féministes, nous examinons notamment le concept d'image du corps ainsi que les modèles foucaldiens d'inscription corporelle et de pouvoir disciplinaire. De même, nous nous intéressons au rôle de l'habillement et des pratiques de la beauté dans la discipline du corps féminin afin de démontrer non seulement leur pouvoir normalisant et leur participation au maintien des identités monolithiques, mais aussi de considérer leur potentiel subversif. Enfin, la notion performative de l'identité de genre nous porte à croire que, dans les pratiques artistiques contemporaines, la mascarade féminine et la répétition ironique pourraient permettre d'explorer à la fois la construction des identités et la déconstruction critique. Nous analysons finalement les inscriptions vestimentaires dans les oeuvres de Sterbak et de Beecroft. Par leur utilisation du vêtement comme forme, matériau ou costume, les artistes suggèrent des images du corps transgressives qui viennent questionner les modèles culturels de la féminité en pointant leur contexte naturalisant. Malgré la singularité de leur démarche respective, les deux artistes donnent à voir des images du corps où les processus de construction identitaire ou d'élaboration d'une position de sujet s'avèrent sans cesse confrontés à des formes de pouvoir: les conventions de l'art, le regard de l'Autre, la maîtrise du corps, les diktats de la mode. Au terme de notre étude, les différentes stratégies parodiques observées nous apparaissent comme autant de négociations permettant de résoudre ponctuellement des problèmes liés à la représentation et à la définition du féminin. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Art contemporain, Jana Sterbak, Vanessa Beecroft, Corps, Féminisme, Genre, Identité, Représentation, Vêtement.