The seventeenth century saw a large increase in family-related portrait materials, including group family portraits, family portrait collections, and family memorial albums. In this thesis, I contend with the meanings and functions of family portraits created in the Netherlands in an attempt to illuminate the motives behind the rise in the number of portraits of the family during this period. I focus on the ways in which Dutch families utilised portraiture as a vehicle for constructing personal and national identity. In an age of extraordinary economic success, religious tension, and political upheaval, portraits of the members of the expanding Dutch ‘middle class’, who had the means and the desire to commission them, reveal a conscious inclination to define and substantiate a fashioned identity as the new urban elite of a Republic in the making. My study assesses family portraits as sites where identity and changing notions of selfhood were envisioned and performed. The shifting notions of ‘family’, and the increasing popularity of commissioning portraits seems to signal attempts to configure and imagine their relationship to Dutch society. I propose that the amount of portraits related to the family commissioned alongside an exploration of and struggle with identity is a symptom of the anxiety surrounding politics, religion, and social changes, for which the family often served as a metaphor. New perspectives on portrait theory and identity, especially those of Ann Jensen Adams and Joanna Woodall, contributed to the shaping of this thesis, particularly as a means to comprehend how portraits functioned in the lives of families. There are four chapters that make up the body of this thesis. In each chapter, I focus on specific works of art chosen for their suitability in highlighting certain concepts and anxieties about identity and the family in its cultural context at their extremes.

Le but de cette recherche est la description des formes de fonctionnement diégétique-cognitive des dessins animés de la télévision hertzienne au Chili, et leurs conditions de circulation (offre) et consommation pendant l’année 2000. L’analyse du rapport entre la description de la grille de programmation, l’audience (description statistique), les mondes diégétiques et les conditions cognitives présupposées (analyse qualitatif), nous permettra de constater que les dessins animés japonais sont les plus regardés au Chili, même s’ils ne sont pas les plus programmés.Les dessins animés japonais sont complexes : leur construction narrative ne se fait pas au sein d’une histoire linéaire, ils supposent beaucoup de savoirs pour les comprendre, ils ont des structures que les consommateurs doivent appréhender à travers plusieurs médias et supports différents. Nous pouvons donc affirmer que cette préférence est en corrélation avec l’existence de procès cognitifs complexes chez les téléspectateurs, réalité que nous avons pu découvrir grâce à une enquête appliquée à 300 cas différenciés par strate sociale, genre et âge ; ainsi que grâce à une recherche ethnographique qui nous a permis de découvrir d’autres circuits de circulation des objets culturels (grands magasins et magasins spécialisés liés à l’animation). L'étude sociologique et ethnographique de la réception nous a permis de comprendre, entre autres choses, que les jeunes téléspectateurs construisent leur identité autour des dessins animés japonais. Comme le démontre la recherche que nous avons menée, le goût pour l’anime japonais est lié à sa complexité, et en outre, l’attribution de valeur aux savoirs qui s’y rapportent est repérable chez les enfants âgés de 11 ans ou moins, ainsi que chez les adolescents ayant entre 12 et 15 ans. Alors, à travers de la recherche on a découvert une forme de fonctionnement cognitive complexe basée en comprendre hypertextes qu’ils sont possibles de saisir dans les magasins spécialisés, sur l'écran de télévision, dans Internet, en existant l’émergence de deux espaces d'identification: le non lieu de l'animation même et le lieu des magasins spécialisés, réalité de fonctionnement de la consommation de l’animation japonaise de l'époque. Dans le Chili de l’année 2000 il y a d’Internet dans tous les collèges, mais l'ordinateur et l'Internet n'arrive pas à tout les citoyens, seulement aux strates moyennes et haute, et les jeunes dans cette époque font l’usage du cybercafé pour l’acquisition des information sur l’animation, non Facebook, non Twitter, mais, il s’origine un savoir complexe de fonctionnement hypertextuel, préalable à la société des réseaux d'aujourd'hui, Car, la recherche est une contribution à comprendre une phase de transition préalable à la réalité actuelle, il s’agit de la description d’une partie de notre patrimoine culturel.La méthodologie de travail s’est construite autour de trois axes : des outils statistiques, une analyse qualitative des séries et une étude ethnographique des lieux de circulation. / The aim of the research is to describe cognitive diegetic operating modes in cartoons transmitted in open access television in Chile, as well as their traffic conditions (supply) and consumption during 2000. The analysis draws correlations between the scheduler’s description of the programming, the audience (statistical description), and the cognitive worlds and proposed diegetic protocols (qualitative analysis). Such description will allow us to detect that Japanese cartoons are the most popular and that this does not correspond to what most Chilean television channels program. Japanese cartoons are complex; there is no linear storytelling, and instead they require a vast amount of knowledge for comprehension, which their consumers acquire through reading in various supports and media. In this context "the most watched cartoons correspond to those where there is presence of complex cognitive processes," which was detected through a survey (300 cases, differentiated by social class, gender and age) and ethnographic research has allowed us to discover other circuits’ circulation of cultural objects (department stores / specialty stores). This sociological and ethnographic study of reception allowed us to understand how some Japanese cartoons’ young viewers build their identity. The consume of Japanese animation how much one knows about the series with the attribution of a value that strengthens them the construction of their identity, which is more developed to less equal age of 11 years and 12-15 years. The significance of the series in relation to the real world (diegetic world’s presuppositions) is not taken into account by the channels. The taste for Japanese animation allows one to link how much one knows about the series with the attribution of a value that strengthens their identity or indeed constructs it. This is more prevalent in groups aged 11 and below and ages 12-15. The significance of the series in relation to the real world (diegetic world’s presuppositions) is not taken into account by the channels. The design of statistical tools league qualitative research and analysis on the series with ethnographic studies of the circulation of such cultural objects. / El objetivo de esta investigación es la descripción de las formas de funcionamiento diegéticas cognitivas de los dibujos animados de televisión abierta (hertziana), y sus condiciones de circulación (oferta) y consumo durante el año 2000. El análisis de la relación entre la parrilla de programación, la audiencia (descripción estadística), los mundos diegéticos y las condiciones cognitivas presupuestas (análisis cualitativo)nos permite constatar que los dibujos animados japoneses son los más vistos en Chile, incluso cuando no son lo más programado.Los dibujos animados son complejos: su construcción narrativa no se desarrolla al interior de una historia lineal, ellos suponen muchos saberes para comprenderlos, conocimientos que los consumidores deben aprehender a través de medios y soportes diferentes.. Nosotros detectamos que esta preferencia está en correlación con la existencia de procesos cognitivos complejos de los jóvenes espectadores, a través de 300 encuestas diferenciadas por estrato social, género y edad, y a través de una investigación etnográfica que nos ha permitido detectar otros circuitos de circulación de los objetos culturales (grandes tiendas y tiendas especializadas ligadas a la animación). El estudio sociológico y etnográfico de la recepción me ha permitido comprender, entre otras cosas, que los jóvenes espectadores construyen su identidad en torno a los dibujos animados japoneses. Como lo hemos demostrado en la investigación, el gusto por la animación japonesa está ligada a la complejidad y a la asignación de un valor cultural respecto a saber sobre los dibujos animados japoneses en aquellos de edad de 11 años y en aquellos que tienes entre 12 y 15 años.En definitiva, a través de la investigación se ha descubierto una forma de funcionamiento cognitiva compleja basada en comprender hipertextos obstenidos tanto en las tiendas especializadas, en la pantalla de televisión, en Internet, existiendo la emergencia de dos espacios de identificación: el no lugar de la animación misma y el lugar de las tiendas especializadas, realidad de funcionamiento del consumo de animación japonesa de la época, el año 2000, donde si bien en Chile Internet está en todos los colegios, el computador e Internet no llega a cada casa, sólo a los estratos medios, y los jóvenes en dicha época usaban el cibercafé para conectarse y obtener información sobre el animé, sin facebook, ni twitter, se va perfilando un saber complejo de funcionamiento hipertextual, previo a la sociedad en redes de hoy, constituyéndose, entonces, en una contribución a comprender una fase de transición previa a la realidad actual, luego una parte de nuestro patrimonio cultural. La metodología de trabajo se ha construido alrededor de tres ejes: herramientas estadísticas, análisis cualitativos de las series y un estudio etnográfico de los lugares de circulación.

The designed building is a proposed Learner's Resource Centre situated in Berea Park. The development will be funded by the European Union and managed by a section 21 company of tertiary institutions and government departments. It creates a community facility that is needed in the Pretoria inner city, addressing lack of study space and urban parks in the CBD. The main building includes a digital library, offices, auditorium, conferencing facilities and a restaurant. This building forms the focus of the investigation, while the rest of the campus development forms part of an Urban Design scheme proposed for the Pretoria inner city. The functions included on the campus are overnight facilities, workshops, classrooms and a multi purpose hall. The thesis is introduced by an investigation into the theory of the meaning in architecture. This includes research in the fields of semiotics and visual culture and the conclusion of that theory into a designed building. / Dissertation (MArch (Prof))--University of Pretoria, 2005. / Architecture / unrestricted

Orientador: Leandro Karnal / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-18T12:56:23Z (GMT). No. of bitstreams: 1 Tatsch_FlaviaGalli_D.pdf: 40321222 bytes, checksum: cb66576be2b3a95a377510525367def0 (MD5) Previous issue date: 2011 / Resumo: Este estudo apresenta uma reflexão sobre a construção da imagem visual da América nos séculos XV e XVI. O reconhecimento do potencial cognitivo da gravura como documento e a percepção do conjunto de relações que perpassam cada uma delas foram fatores importantes ao longo da pesquisa. Procurava-se entender de que forma as estampas eram o resultado de aspectos discursivos, da absorção das informações etnográficas e das operações de tradução e lugar de enunciação do Outro. Para isto, dividimos esta tese em três capítulos. O primeiro se ocupa da reflexão sobre a diversidade das imagens e das perguntas que podem ser feitas a elas, assim como a contribuição de alguns autores para essa discussão. O segundo capítulo trata das xilogravuras impressas para acompanhar as cartas sobre de Cristóvão Colombo e Américo Vespúcio. Entremeadas à escrita, não necessariamente pretendiam representar a realidade americana, mas traduzi-la em ilustrações compreensíveis ao público. O terceiro capítulo analisa dois momentos específicos: a construção de uma imagem a partir de estereótipos aliados à representação de objetos descontextualizados de seu uso original; e a personificação da América em alegorias. A conclusão diz respeito às sucessivas camadas que moldaram gradualmente a imagem visual da América e os significados diversos que dela emanavam / Abstract: This study presents a reflection on the construction of the visual image of America in the fifteenth and sixteenth centuries. The recognition of the cognitive potential of images as documents and the perception of the set of relationships that permeate each one of them were important factors during the research. The aim was to understand in which way the prints became the result of discursive aspects of the absorption of ethnographic reports and operations of translation and loci of enunciation of the Other. To accmplish this, we divide this, this thesis was divided into three chapters. The first one addresses reflections about the diversity of the images and questionings that could arise to them, as well as the contributions of several authors to this discussion. The second chapter deals with the woodcuts that accompany the printed letters by Christopher Columbus and Amerigo Vespucci. Interspersed in the writing, they did not necessarily intend to represent the American reality, but translate it into illustrations understandable to the public. The third chapter discusses two specific moments: the construction of an image from stereotypes associated with the representation of objects detached from their original context of use, and the personification of America in allegories. The conclusion refers to the successive layers that gradually shaped the visual image of America and the different meanings thereby conveyed / Doutorado / Historia Cultural / Doutor em História

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The theme of the diploma dissertation became a view of a field of alphabets (letters and types) in contexts of communication, history, art and education. The theoretical part is focused on historical, contemporary movements of the phenomenon all at once. Inclusive of reflecting on alphabets in art and also links to a medial communication. The second part of the diploma dissertation reacts to the strongest and the most inspiring moments. It focuses on a practical applications for art lessons. The third part [artistic] takes advantage of media knowledges and art lessons. They are interfaced into an interactive teaching material which challenges students to an active perception of visual culture.

TITLE: Fragments of narration in comics (Comics phenomenon in art education) AUTHOR: Mgr. Erika Grendelová DEPARTMENT: Department of Art Education SUPERVISOR: doc. ak. malíř Ivan Špirk ABSTRACT: The thesis deals with logics of narration in comics (as a visual narrative). It looks for a new approach to the structure of this medium, analyzes its structure from a narrative point of view and it further transfers this new knowledge to art education practice in a form of research project for high school students (in the first grade). In this part of the research, different students' approaches towards reading and creating visual narratives were identified, in particular the use of fragments of visual culture. This dissertation is thus a contribution to a view on visual culture as an important part of teaching the art education. KEYWORDS: comics, narrative, visual culture, fragments of narration, imported fragments, art education.

Dans un monde où l'image d'archive fusionne avec la « ville-hashtag », cette thèse relate la récente métamorphose d'une place de Lisbonne nommée Intendente. Parcelle urbaine historiquement traversée par une longue artère commerçante, une population cosmopolite s'y retrouve depuis toujours. Cumulant bars interlopes et activités clandestines, la place d'Intendente est ensuite devenue l'arène du stigma du centre de la ville. Jusqu'à ce que la mairie y impulse, entre 2011 et 2014, un vaste projet urbain visant à en faire un quartier attractif de la capitale. Dès le début, les habitants ont été alertés : le Maire disait vouloir « changer l'image du quartier ». Et de fait, de l'avant à l'après chantier, le paysage d'Intendente bascule manifestement d'un état d'invisibilité à un espace d'hypervisibilité. Reconnaissant l'importance croissante de la dimension visuelle du « faire ville », nous restituons la complexité de ce processus à l'aune d'une question centrale : quel sont les rôles des images dans la transformation urbaine contemporaine ? Des images de la ville aux imaginaires urbains, notre récit suit ainsi au présent de narration le fil de l'histoire d'Intendente. Composant le portrait d'un lieu dans le temps, cette thèse se présente dès lors sous la forme d'une chronotopie, dont la ligne chronologique restitue le cumul et l'anachronisme de multiples évènements. Au sein d'une trame qui entrecroise tout du long images et textes, cette thèse figure ainsi la réflexion anthropologique d'une culture visuelle de la transformation urbaine. / In a world where archive footage melts with the “hashtag-city”, this thesis reports on the recent metamorphosis of a Lisbon square named Intendente. This urban plot historically crossed by a long commercial thoroughfare has always sheltered a cosmopolitan population. Adding interlope bars to clandestine activities, the Intendente square has become the stigma arena of the town center. Until the Mayor launched, between 2011 and 2014, a wide scale urban project aiming to its transformation into an attractive neighborhood of the capital city. The locals were warned from the beginning: the Mayor said he wanted to “change the neighborhood’s image” and, indeed, from the start to the end of the project, Intendente’s landscape undoubtedly toggles from a state of invisibility to hypervisibility. Recognizing the growing importance of the faire ville visual dimension, we restore the complexity of this process to a central question: which roles do images play in modern urban transformation ? From city images to urban imaginaries, our narrative thus follows, in a narrative present, the time line of Intendente’s history. Composing the portrait of a place in time, this thesis appears under the form of a “chronotopy”, whose chronological path comprehends the sum and the anachronysm of multiple events. Within a frame that continuously overlaps images and texts, this thesis displays the anthropological reflection of a visual culture in urban transformation.

The Master's thesis is focused on research of the Italian academic discourse from the years 1891-2008 dealing with the influence of the visual culture of Ravenna on Dante's Divine Comedy. One of the scholars that can be placed in the context of Italian discourse is the philologist and aesthetician Jaroslav Hruban, the only Czech scholar who occupied himself with the relationship between Dante and Ravenna and continuously followed up the development of the interwar Italian Dantology. The thesis puts forward two questions: how the scholars of the Italian academic discourse and Jaroslav Hruban reflect the relationship of Dante and Ravenna, and if we can trace the influence of the visual culture of Ravenna (especially of the mosaics from the 5th and 6th centuries) in the text of Dante's Divine Comedy. The questions are solved by application of the historiographic methods that were used to examine Italian Dantology, the methods of literary studies and art history by which analysis and comparison of the text and imagery were performed, and also the methods of visual culture that were used to reconstruct the image of Ravenna during the time of Dante's stay in the town and his "period eye". The scholars believe that the inspirational influences of the Ravenna mosaics and visual culture on Dante's Divine...

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