Дисертації з теми "Portraits Social aspects"
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Harrison, Helen E. "In the picture of health, portraits of health, disease and citizenship in Canada's public health advice literature, 1920-1960." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ63424.pdf.
Повний текст джерела彭文慧 and 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.
Повний текст джерелаAtaie, Jutta Elisabeth. ""Who Would Have Thought, With a Diagnosis Like This, I Would be Happy?": Portraits of Perceived Strengths and Resources in Early-Stage Dementia." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1107.
Повний текст джерелаBoude, Yvan. "Les portraits officiels des présidents de la République en France : histoire et sociologie d’une mise en scène." Grenoble 2, 2005. http://www.theses.fr/2005GRE21010.
Повний текст джерелаOfficial portraits of presidents of the French republic are symbolically efficient ways for the presidential institution to turn power into image. They are mediatory snapshots the symbolic dimension of which is expressed through a particular staging, a scenography which allows them to represent and dramatise power, to provide a visible body and an apparent identity. The presidential effigy therefore asserts itself as an exercise of perpetuation and legitimization, as a revealed image of power. However, far from being a mere snap immortalizing his investiture or perpetuating his physical appearance, the President’s portrait is meant to be distributed and posted in the mains administrations. Thus, in order to define the proper practices of this portrait, we will have to further analyse the connotative reading of these pictures thanks to a socio-historical approach which will be based on a global discourse focusing on both the picture itself and its various contexts, i. E. The “sensitive chain” of a photograph. This interpretation of the links connecting image and power will then be interested in production devices and popularization mechanisms implemented by the institution to trigger the encounter between the citizen and the portrait attribution processes, the status of the picture…It will then question the purely administrative customs of the official portrait, that is to say the problems connected to the acquisition of its specific images by their institutional beneficiaries, such as acquiring and showing the portrait. It will finally question the public traditions and popular gesturesof the presidential portrait - partisan appropriation or perversion of memory.
Herrerias, Cuevas Vesta Mónica. "Le masque social ou la representation de la bourgeoisie mexicaine dans le portait photographique (1854-2008)." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030058.
Повний текст джерелаFar from social condemnation or a strictly historic review, this work seeks to understand the construction of the bourgeois personage through the study of Mexican bourgeoisie portraits between 1854 and 2008. The “mask” concept allows us to explain the portrait as the construction of a model of social representation. Part I offers an overview of the origin and evolution of the pictorial portrait and its influence on the photographic portrait, as well as the consequences of humanist ideas on art, the history of Mexican bourgeoisie and the bourgeois photographic portrait in Mexico. Part II analyses the carte-de-visite phenomenon as origin and model for the photographic portrait of the Mexican bourgeoisie, to later study the figure, the interpretation of posture, stance and facial expression as components of the construction of social identity. Part III studies depth: different spaces where the bourgeois character is photographed, the objects around him and his relation to them. Taken into account are the theoretical contributions of philosophers, writers, historians, and photographers, like André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Among the Mexican photographers studied are the Valleto brothers, Cruces y Campa, the Casasola Archive, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell and Ivonne Venegas
Solinas, Stéphanie. "Photographie et identité : images du corps surveillé." Paris 1, 2008. http://www.theses.fr/2008PA010709.
Повний текст джерелаMoris, Jean-François. "Portrait filmique d'un artisan-paysan des Vosges Saonoises." Paris 10, 1988. http://www.theses.fr/1988PA100070.
Повний текст джерелаBernier, Geneviève. "La bourgeoisie en portrait au Bas-Canada (1790-1830)." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29172/29172.pdf.
Повний текст джерелаTremblay-Houde, Sandrine. "La fascination pour les tueurs de masse : portrait d'une communauté sous-culturelle centrée sur la tragédie de Columbine." Master's thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/66308.
Повний текст джерелаDue to its extreme violent nature, mass shootings provoke indignation within society. Tosome people, those events rather generate curiosity, which sometimes evolve toward identification to and admiration of the perpetrators of these crimes. Those people reach toeach other through the internet to form a group called « fandom ». This work wishes to explore that phenomena, which has been poorly studied up to now. Unlike previous studies, which have focused on individual peculiarities, this research aims to understand how the fandoms centered on mass shootings are organized into virtual communities. To achieve this objective, the research studied, through thematic analysis, the discussions held by the members of r/Columbine, a community hosted on Reddit. The analyzed discussion took place over a period of approximately one year, the last discussion having been published in January 2019. Results suggest that, in a way similar to the mainstream fandoms, the community appropriates, transforms and reinterprets the official narrative to create its own narrative about the shooters. This narrative specific to the r/Columbine community seem to be influenced by the subjectivity and the life experiences of its members. Aware of the way society sees them, community negotiate its own deviance by opposing its identity to those of the communities it deems ‘’more deviant’’. This exercise generates a second narrative concerning the community’s identity.
Marchal-Roy, Véronique. "L'art du portrait en Espagne de 1814 A 1873 : peinture et société : paradoxale gestation d'une unité." Paris 4, 1997. http://www.theses.fr/1997PA040158.
Повний текст джерелаDuring the period 1814-1873 painting and society in spain face the same problem: to affirm their identity on an international scene where nations and national art schools each must prove their unity. With their country elevated into a romantic myth, the spanish people do not recognize themselves in the stereotypical images reflected upon them, nor in the battles waged on their territory between the most diverse political ideologies. In this thesis we explore these contradictions. They tirelessly question the reflections of their portraits painted by madrazo, esquivel, becquer, rosales, etc. Historical painting dominating the art world, portraiture is judged unbecoming. The paradoxes revealed by the study of the links between painter and model will question the conventions of art history. Furthermore, their contract based on a commonality of interest will reveal to be a fraud. Neither merchandise, nor instrument of seduction or propaganda, a portrait must free itself from context, from an obligation of resemblance, and of narrative detail. The principle of the nobility of subject makes way for a desire to paint the present, by nature ephemeral, but which through its universality also represents eternity. All the constituent parts of the portrait, here presented in a typology, are called on to contribute to this purpose. The costume will be neither picturesque, nor historical. The decor disappears slowly in favor of the pictorial matter which defines the artist rather than his model. The representation of the latter's individuality gradually defuses, his loss of identity is in fact precipitated. The royal portraits illustrate their missing greatness. Self-portraits reveal not the social environment, but the authority of the pictorial language. Society is being dissolved in artistic creation which, beyond the amateurs of local color and the aspiration of the models, remains the only perceptible link with eternity
Le, Pain Isabelle. "Difficultés émotionnelles et relations professionnelles : portrait de l'expérience des intervenants en protection de l'enfance." Doctoral thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/40076.
Повний текст джерелаThis research aimed to better understand the emotional difficulties (depression, anxiety, burnout, etc.) of Quebec’s child welfare clinicians and to explore the impact of these difficulties on their professional relationships (with the children and their families, colleagues and managers). By highlighting their subjective experience and experiential knowledge, the research allows to explain the emotional difficulties in a work context outside of the dominant psychiatric and psychological perspective. A sociological framework based on the concept of emotional labor as well as the clinical sociology theories of work was developed. This conceptual perspective shed’s light and articulates the contextual, organizational and individual factors that impact emotional difficulties experienced by clinicians in a child welfare setting. The research methodology is qualitative, based on semi-directed interviews at the CISSS and a CIUSSS from two different administrative geographic regions in the Québec province. The population sample is composed of thirty-one psychosocial clinicians (Professional Social Workers, Criminologists, Psychoeducators and Bachelor Professional Psychologists) working in child welfare organizations. The research results demonstrate that there are three (3) main protection factors at work (organizational mandate, work diversity, peers relations). Furthermore, the following factors were identified as impacting their emotional difficulties; three (3) contextual factors, nineteen (19) organizational factors and four (4) individual factors. From these categories two of them are structural as therefore external to individual control. As a result, targeting individual factors to explain clinicians emotional difficulties restricts the possibility of modifying their situation. Specifically, participants identified that the latest health care reform including the CISSS and CIUSSS service structure changes led to significant consequences that deeply affected their work organization and their clinical practice in the context of child welfare context. Also, the results show clinical functional impacts on their professional relationships. Negative impacts on their relationships with families and children were reported by all clinicians (decrease of intensity in service delivery, hurtful relationships with clients, lack of empathy and helpful relationship, decrease of work quality and objective and analytical abilities of clinicians). For 90% of the participants, emotional difficulties had negative impact on their relationships with their managers (anger, frustration, trustfulness, avoidance and lack of confidence) and 68% with their colleagues (isolation and withdrawal, negative emotional contamination, decrease in collaboration and lack of mutual aid). Overall, this research demonstrates the importance of protecting clinicians in a children protection mandate. Also, it shows that the emotional work that clinicians must produce, according to the requirements of the institutions involved (employer, academia and professional orders) is at the of all professional relationships in a child welfare context. This research allows in this regard to highlight the favorable conditions of emotional work, which can act as a protective filter in child welfare services. The research also allows, finally, to extend the typology of emotional work.
Michel, d'Annoville Caroline. "Recherches sur les statues et leurs fonctions dans le monde romain occidental (IVe s. J.-C.-Ve s. ap. J.-C.)." Thesis, Tours, 2009. http://www.theses.fr/2009TOUR2033.
Повний текст джерелаThe current study concerned the ancients' changing perception of the statue and its associated qualities during the enormous religious, political, and social upheavals of the 4th and 5th century A.D., focusing on the most clearly documented Western part of the Empire, particularly Africa, Italy and Gaul. The study draws on archeological, literary, legal and epigraphic sources more traditionally treated separately as belonging to either history or history of art. This multi disciplinary analysis casts new light on our understanding of statues, and the function of such images at the end of Antiquity as well as the unique plastic use of such images in sculpture in the round of the period. The images, which haunted the universe of the Ancients, were a product of its civilization in order to become the expression of it. This study thus takes an approach which includes social attitudes within the political and religious framework of a late Roman civilization in transition
Musset, Anne. "Stage costume and the representation of history in Britain, 1776-1834." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC294.
Повний текст джерелаThis thesis explores the relationships between stage costume and British historical culture in the period 1776-1834. Until the painstakingly researched antiquarian stagings of the mid-nineteenth century, the history of historical stage costume has typically been described in terms of a stereotyped ‘Van Dyck dress’. Yet the period witnessed the expansion of antiquarianism and portrait print collecting, the development of the Picturesque and Neo-Gothic aesthetics, the success of historical novels and a general desire to know more about the habits and costumes of the past. This interdisciplinary analysis situates stage costume within the wider visual and historical culture of the late eighteenth and early nineteenth centuries. Drawing on theatrical material related to the London theatres as well as paintings, engravings, book illustrations, shows and exhibitions, this study argues that the representation of historical stage costume in the visual arts reflects new ways of conceiving and depicting history, in which interest in the everyday life of past periods and a focus on the material and the visual were fundamental. This thesis suggests that ht historical costume in the theatre and its representation in theatrical portraiture played a role in a broader process that sought to define British art and identity
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.
Повний текст джерелаMembers 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
Ghedir, Said. "L'école algérienne à l’épreuve de la violence : contribution à une compréhension du phénomène au sein de collèges constantinois." Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1022.
Повний текст джерелаToday, the school violence is often raised and invoked. It holds the attention of the educational community and is a major concern for the politics. First of all, because it covers various aspects, both quantitative and qualitative. Then, because there exists a strong social and institutional request toward the cessation of this violence in all its forms. In Algeria, this phenomenon is certainly not new, but it has begun to expand a few years after the outbreak of bloody political and criminal violence (the terrorism). How, and in which forms, such a phenomenon does it occur within the Algerian schools ? To clarify not only its modalities, but also its issues and its structure, we were interested in the way in which the various actors of the educational educative community represent violence as well as its genesis and its development by taking the example of middle schools (colleges) in the city of Constantine. This research has enabled us, through an investigation by questionnaires and interviews conducted with a sample of 545 people, among which 388 pupils and 157 adults, to better understand the complex process of this spiral and to put forward the perceptions of these actors, in view to their logics of action. The results highlighted the link between the school and its environment in the light of a plurality of variables such as the family and urban context, school climate, the socio-economic situation, peer groups, the values, aspirations, the use of drugs
McBurney, Erin. "Art and Power in the Reign of Catherine the Great: The State Portraits." Thesis, 2014. https://doi.org/10.7916/D8CC0XT5.
Повний текст джерелаPereira, Jessica De Aguiar. "Believe in yourself(ie): a study of young, ordinary, South African women who share selfies on Instagram." Thesis, 2016. http://hdl.handle.net/10539/22628.
Повний текст джерелаThis research study essentially sets out to explore the practices of young, ordinary, South African women who take and post selfies on social media platforms, like Instagram. The general commentary surrounding selfies is typically negative, and tends to frame the selfietaker as a narcissistic, self-absorbed individual. Therefore, this study is interested in understanding what this very particular smartphone-enabled photographic technique means to this group of women, and in doing so, aims to determine whether or not there are underlying significances to such practices. This research study adopts a vast framework of literature in order to conceptualize and contextualize selfies in contemporary culture, by drawing on the rich history of self-portraiture and snapshots as well as concepts of mediation and the representation of the self online; in addition to describing the role that mobile technologies and social media platforms have played in contributing to cementing selfies as a cultural hallmark in today’s society. This study is additionally grounded upon three dominant theoretical themes, namely: narcissism, self-exploration, and self-regulation; and Christopher Lasch, Michel Foucault, Angela McRobbie and Rosalind Gill’s theoretical contributions are predominantly referred to in an attempt to explain such principles adequately. Through the responses that were yielded by interviewing 14 young, ordinary, South African women, this research study essentially established that the practices of selfie-taking do in fact play a significant role in the lives of these young women, from empowering them and teaching them to learn to love and accept themselves again, to inspiring personal growth, capturing special moments and memories, and allowing them to feel accepted and as though they belong and have a fixed placed in society. Therefore, this study argues that selfies are not necessarily only about narcissism and self-obsession, but rather more about the notion of self-love and acceptance (for this group of participants at least).
MT2017
Dunn, Callan Shae'. "Sexy, Smart & Altogether Spectacular analysing the self-display of young black South African women on instagram." Thesis, 2017. https://hdl.handle.net/10539/24528.
Повний текст джерелаMany young black aspirational South African women are involved in the construction of their identities, and their ideal selves, through their self-display on Instagram. Within the framework of certain hegemonic structures, these women are seen exercising their ‘freedom’ within a post-feminist setting, as neoliberal citizens, and thus striving for a sense of empowerment from this engagement. This project explores the self-display of 10 of these young women that have each accumulated more than 10,000 followers on Instagram. Semi-structured interviews were conducted with each of them, and their Instagram images were analysed, in order to find out how their online performances relate to consumption and global celebrity culture, and how these ideologies are depicted in their images. They draw inspiration from certain black female celebrities such as Beyoncé and Rihanna, and their emulation of these celebrities is used in their identity construction. They do this by displaying a lifestyle of glamorous consumption by incorporating certain exclusive brands and fashionable items into their online presentation. Additionally, they modify and model themselves to fit a specific beauty ideal, which is characterized by long straight hair, fair skin and a curvaceous body. By doing all of this, these young women are, by their own definition attaining a level of ‘success’, and achieve the status of ‘Insta-Celeb’ by the Instagram community. The ideological frameworks on which this construction is built, involves a collective imperative to be liked and accepted by their online followers, the desire for status, and the contradictory creation of a faux idea of female empowerment that is, in reality, not actually as free as it seems.
XL2018
Jooste, Ané. "Childhood sexual abuse and contemporary trauma theory : a visual exploration in selected South African artworks." Diss., 2020. http://hdl.handle.net/10500/27260.
Повний текст джерелаThe study delves into traumatic memories rooted in the unconscious mind and the modalities of expression of traumatic memories of childhood. Specific reference is made to the trauma studies of Cathy Caruth and Bessel van der Kolk. Using a framework of contemporary trauma theory, I argue that trauma manifests through childhood sexual abuse (CSA) manifests in trauma and that a number of artworks by myself, Penny Siopis and Nathani Lüneberg, reflect such trauma. The research is conducted as practice-led research and focuses on interpretations of selected artworks as well as a theoretical component. The body of large-scale digital paintings plays a significant role in the research process, which implies that theory leads practice and vice versa. The work encompasses the visual exploration of CSA and it is specifically analysed according to my interpretation of symbols such as the naked female body and intimate scenes which illustrate, vulnerabilty, curtains that metaphorically represent a view into my unconscious mind. The symbol of the uterus or the womb, where a foetus or unborn baby develops and grows, is a symbol of nurturing and protection. The artworks are primarily considered according to notions of CSA that cause betrayal and traumatic associations with sex, angst and psychological fragility in children. The exhibition portrays the psychobiological and psyhoanalytical aspects of childhood trauma resulting from CSA. The creative work consists of four digital paintings and seven photographic artworks. The artworks in The Silent Wound Series portray CSA, childhood trauma, and traumatic memories in the unconscious. Dealing with the understanding and representation of childhood trauma such as CSA, these themes are continuously embodied in my artworks. As the portrayal of the fragile girl child’s body as a signifier in the artworks relates to my personal situation, I choose an empathic view of childhood trauma within the study, portraying traumatic events and the memories thereof in the unconscious. The aim of the study is to recognise how digital painting and photography enable the representation and understanding of CSA and traumatic memories and how the silenced and abused child’s voice can be expressed through the affective and transactive quality of art. The main study objective is to investigate if traumatic memories occur in victims of CSA.
Uphononongo lungena nzulu kwiinkumbulo ezoyikisayo ezendele kwingqondo eleleyo kunye neendlela zokubonisa iinkumbulo ezibuhlungu zobuntwana. Ngokukhethekileyo kujoliswe kuphando olwenziwe kwizifundo zomothuko zikaCathy Caruth noBessel van der Kolk. Ndisebenzisa isakhelo sethiyori yanamhlanje, ndivakalisa ukuba umothuko wokuxhatshazwa ngokwesondo ebuntwaneni (i-CSA) bubonakala kuloyiko kwaye eminye yemisebenzi yam yobugcisa, uPenny Siopis kunye noNathani Lüneberg, ibonisa uloyiko olunjalo. Uphando lwenziwa njengophando olukhokelwa kukuziqhelanisa kwaye lujolise kutoliko lwemisebenzi yobugcisa ekhethiweyo kunye nenxalenye yethiyori. Uvimba wemizobo emikhulu yedijithali idlala indima ebalulekileyo kwinkqubo yophando, oko kuthetha ukuba ithiyori ikhokelela ekusebenzeni kwaye nangokuphendulelekileyo. Umsebenzi uquka uphando olubonakalayo kwe-CSA kwaye ucazululwa ngokukodwa ngokokutolika kwam iisimboli ezinje ngomzimba wabasetyhini ehamba ze kunye nemiboniso esondeleleneyo ebonisa, ukuba sesichengeni, iikhethini ngokukwekwayo ezimele imbono kwingqondo yam eleleyo. Uphawu lwesibeleko okanye isibeleko, apho umbungu okanye usana olungekazalwa lukhula khona kwaye lukhule, siluphawu lokondla nokukhusela. Imisebenzi yobugcisa iqwalaselwa ikakhulu ngokwemibono ye-CSA ebangela ukungcatshwa kunye nomanyano oludakumbisayo ngezesondo, ixhala kunye nobu-ethe-ethe ngokwengqondo ebantwaneni. Umboniso uzoba iimeko zengqondo ephilayo kunye nohlalutyo lwengqondo elimeleyo yobuntwana ebangelwe yi-CSA. Umsebenzi wobugcisa unemizobo emine yedijithali kunye neefoto zobugcisa esixhenxe. Imisebenzi yobugcisa kwi-Silent Wound Series izoba i-CSA, umothuko wobuntwana, kunye neenkumbulo ezibuhlungu ezikwingqondo eleleyo. Ukusebenza nokuqonda nokutolika ukwenzakaliswa kobuntwana okufana ne-CSA, le mixholo ihlala iyinxalenye kwimisebenzi yam yobugcisa.Njengoko ukwenza uzobo lomzimba o-ethe-ethe womntwana oyintombazana njengomboniso kwimisebenzi yobugcisa kunxulumene nemeko yam yobuqu, ndikhetha umbono onovelwano wokwenzakala kobuntwana kolu phononongo, ndibonisa iziganeko ezihlasimlis 'umzimba kunye neenkumbulo zazo ezingqondweni ezileleyo. Injongo yophando kukufuna ukuqonda ukuba imizobo ngedijithali kunye nokufota kukwenza njani ukumelwa kunye nokuqondwa kwe-CSA neenkumbulo ezenzakalisayo nokuba ilizwi elithulisiweyo nempatho-mbi yomntwana linokuvakaliswa njani ngokomgangatho ochaphazelayo notshintshayo wobugcisa. Eyona njongo iphambili yophando kukuphanda ukuba iinkumbulo ezibuhlungu ziyenzeka kumaxhoba e-CSA.
Arts and Music
M.V.A.
Terrell-Curtis, Kara Beth. "Representative form and the visual ideograph : the Obama "Hope" poster." Thesis, 2014. http://hdl.handle.net/1805/3884.
Повний текст джерелаIn this study, Janis Edwards and Carol Winkler’s method, based on Michael McGee’s ideograph, is applied to non-discursive forms in order to understand the extent to which these images can be understood as a representative form functioning ideographically. Artifacts for analysis include the 2008 Shepard Fairey Obama “PROGRESS” and “HOPE” images, related campaign graphics, and parodies, political and non-political, humorous and serious. Literature on visual rhetoric, the ideograph, and extensions of McGee’s ideograph to visual forms was reviewed. When the method was applied to the artifacts, the Obama “HOPE” image was found to be an example of a representative form. Additionally, the representative form was demonstrated to function ideographically in the parodied examples analyzed in this thesis. Opportunities for further study on the visual ideograph and additional artifacts were proposed.
Bakalová, Jana. "Hodnotové a normativní aspekty v analýze drobné hospodářské kriminality." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-307794.
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