By focusing on how bourgeois and feminist discourses intersect in the moralistic paintings of Jean-Baptiste Greuze (1725--1805), I argue that Greuze's images manifest a thrust toward liberation from the ideological constraints of Father's Law and toward the advent of feminized ontology. Through the analysis of L'Accordee de village and La Malediction paternelle, I claim that the deconstruction of patriarchy and the return of the feminine are catalyzed in bourgeois economy by the monetary system. To support the significance of Greuze in the development of Realism, not only in art but also in literature, I posit Greuze as the precursor of Balzac. Informing my discussion by Jean-Joseph Goux's theory of the homology between the referential status of the sign, the Father, and the fiduciary system, I argue that Balzac's Realism, illustrating the milieu of commercial capitalism of the nineteenth century, exacerbate the loss of moral superiority of the paterfamilias. Although Greuze's work is profoundly embedded in the patriarchal ethic, the analysis of La Paresseuse italienne and La Mere bien-aimee provides evidence of the painters (not intended) feminist vision.

The main objective of the inquiry is to deduce the methods and techniques that were employed in the manufacture of the historically unique Shroud of Turin. By taking a more or less phenomenologically based stance, it is argued that this image could only have been produced by employing a photographically related technique. To this end, an examination is made of both the nature of the image, as well as all relevant documented evidence which supports the above stated hypothesis. In addition, practical experiments are conducted which employ the kinds of technology and apparatus known to have existed c 1250-1357 AD. The results of this investigation strongly support the notion that persons living c 1250- 1357 AD did in fact have the necessary technology to manufacture what could be termed a negative solargraphic image of a human subject. / Thesis (Ph.D.)-University of Durban-Westville, 1993.

<p> In this thesis, I explore two works from Mail Order Brides/M.O.B., <i> A Public Message for Your Private Life </i>(1998) and <i>Mail Order Bride of Frankenstein</i> (2003), that take into account the histories and identities produced within Filipino/a American Communities. I use Sarita Echavez See and Emily Noelle Ignacio's theories on parody to analyze the performative aspects of M.O.B's artworks. According to See and Ignacio, parody can be utilized as a tool to simultaneously form solidarity within Filipino American communities. By examining these ideas, I argue that M.O.B. performs appropriated representations of their ethnic and assimilated cultures by using parody to critique and problematize often-misrepresented individual and cultural identities.</p>

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<p> The cultural sensation known as the movida madrile&ntilde;a has been a subject of fascination since its origins in Madrid throughout the late 1970s and 1980s. This dissertation examines one of its most famous products, the journal <i>La Luna de Madrid</i> (1983-1988). This dissertation explores examples of illustration and photography throughout the journal's first seven issues, from November 1983-May 1984. Concentrating on the use of strategies from tourism promotion, this framework reveals how visual elements work with text to encourage readers to become tourists of modern Madrid. </p><p> Chapter One provides a background of how tourism images and messages have shaped perceptions of Spanish cultural identity from dictatorship to democracy, from the 1950s to the 1980s. Within this context, it is possible to understand the efficacy of tourism promotional tropes in portraying an attractive vision of Madrid in the journal's pages. </p><p> Chapter Two emphasizes how the movida represented the positive changes developing in Post-Franco Madrid, leading local and regional political leaders to employ this phenomenon in programs focused upon cultural revitalization and civic participation. This chapter argues that the movida not only appears as the main cultural tendency of interest within <i>La Luna de Madrid </i>, but that its treatment within the journal allows it to be viewed as an attractive tourism destination. </p><p> Chapter Three and Chapter Four provide close readings and in-depth visual analysis of certain repeated illustrated and photographic segments within <i> La Luna de Madrid</i> from November 1983-May 1984. By narrowing the research scope to these first seven months of publication, we can examine how patterns of viewing are established that encourage readers to contemplate selective historical and contemporary cultural trends in Madrid from the perspective of a tourist. </p><p> The combination of text and imagery at work in <i>La Luna de Madrid </i> reinforces the efforts of the various creative practices of the movida while giving readers opportunities to participate in this cultural scene. This dissertation argues that experiments with the visual and rhetorical tropes of tourism in <i>La Luna de Madrid</i> attempt to foster favorable impressions of the Spanish capital's past and present.</p>

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<p> This is a graduate thesis catalog exploring the work of 19th wood engraver Elbridge Kingsley. Kingsley's contemporary influences are traced using primary sources and visual analysis. Kingsley's stylistic tendencies, in both his original and interpretive engravings, are linked to other 19th century American artists. A brief discussion of the history of wood engraving and its technique are included as it relates to the evolution of Kingsley's style, as evidenced in his published work and his prints for collectors.</p>

Thesis (Ph.D.)--Lehigh University, 2007.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: . Adviser: Jordana Mendelson. Includes bibliographical references (leaves 220-240) Available on microfilm from Pro Quest Information and Learning.