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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 41 to 47 of 47 (0.022 seconds)Spelling suggestions: "subject:"click"" "subject:"blick""
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Homoerotisk sensibilitet : Byggandet av homosexuell identitet genom konsthistorien / Homoerotic Sensibility : The Construction of Homosexual Identity Throughout the History of ArtVarnauskas, Jacob January 2020 (has links)
The question of homoerotic sensibility is, in the purpose of this thesis, a matter of visual language connected to the portrayal of male bodies. By identifying this sensibility throughout the western art canon the essay seeks to understand its origins, development and function in relation to expressions of power. With the introduction of theorists such as Alois Riegl, Laura Mulvey, Abigail Solomon-Godeau and Raewyn Connell, the aim is to deconstruct homosexual masculinity. Adapting formal analysis and parts of visual semiotics, the focus lies on the visual expression of power through the homoerotic gaze, and asks what consequences it has in forming homosexual identity. Greek antiquity is home not only to the ideals that foster western art history, but is also where we find early examples of same-sex affection being portrayed in the arts. Hence classical antiquity is so important for the homoerotic: whenever the classical language of style is popular throughout history, we are sure to find homoerotic sensibility. For reasons mentioned, the main periods analyzed are the Italian Renaissance, the French Neoclassicism and then, naturally the late 20th century onwards as this is the period of gay liberation and modern homosexual identity. By identifying classical acceptance of homosexual relations only in the form of a clear social hierarchy, we soon discover how homosexuality has appropriated the idea of binary difference within its masculinity throughout history. Accepting relationships only between erastes and eromenos, or man and ephebe, homosexuality is forced to exist only on the terms of difference of power. With classical ideals, these tendencies are recurring in the visual representation of male homosexuality, and becomes a big part of the liberation and forming of a modern identity in the late twentieth century. As a result of objectification of the male body, in combination with idealized and sexualized power, modern gay culture has in many ways embraced a destructive culture shaped by misogynist ideas of hegemonic culture, where sexual violence exists, but is not spoken of.
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Konstruerad utsatthet : En bildsemiotisk analys av Nathalie Djurbergs stop motion-filmer Greed och Cave / Constructed exposedness : A visual semiotic analysis of Nathalie Djurberg’s stop motion-films Greed and CaveCserhalmi, Nora January 2019 (has links)
This essay aims to analyse how the exposedness is constructed in the Swedish contemporary artist Nathalie Djurberg’s two stop motion-films Greed and Cave. Five stills from Greed and three stills from Cave will be examined from a feminist perspective with a theoretical viewpoint based on theories from both art history and film studies. The method applied is visual semiotics which focuses on how meaning is created within an artwork rather than what the meaning is. The stills from Djurberg’s films are analysed first on a denotative level and then on a connotative level. Furthermore, visual semiotics theorises that everything is made up of systems of signs which allows this essay to study how the women in Djurberg’s movies functions as signs. The essay demonstrated that the women in Djurberg’s films can be seen as passive objects under the power of the male gaze. However, the analysis also displayed that the woman in Cave can be perceived as someone who defies the patriarchal norms for how a woman should behave and look. Nonetheless, the exposedness of these women seems to be constructed firstly in their bodies and how they are represented, both in looks but also how they are posed to reinforce patriarchal conventions in the female representation, and secondly in their relation to male characters - or the implied male gaze from a spectator - in the films. The women in Djurberg’s films can thus be understood as signs for male sexual desires, as signs for the Woman posing as the Man’s opposite, as the objective for His gaze.
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Att lära sig hälsa /Quennerstedt, Mikael, January 2006 (has links)
Disputats, Örebro universitet, 2006. / Findes også på internet (PDF-format): http://www.diva-portal.org/diva/getDocument?urn_nbn_se_oru_diva-463-2__fulltext.pdf. Med litteraturhenvisninger.
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Predictive gaze in action selection within virtual realityBampouni, Elpida January 2020 (has links)
The human gaze is pivotal in motion planning and control. Gaze is typically directed at visual target sites prior to physical interactions with them. This proactive gaze (PEG) behavior has been observed in a multitude of physical situations. However, PEG has not been examined in virtual reality (VR). Identification of PEG in VR could be helpful for digital human modeling applications and human-robot interactions. In this study we asked 10 participants to perform a pick-and-place (PAP) task in VR while we were tracking gaze behavior. Our results indicate that PEG also occurs in VR. Furthermore, the action to reach directly towards the PAP object or walk to it before reaching, results in different gaze strategies. Relocating before a reach is associated with gaze to additional sites, such as the floor and the table upon which the object was placed. / Den mänskliga blicken är avgörande för planering och kontroll av rörelse. Blicken riktas vanligtvis mot visuella mål före interaktion med dessa. Denna proaktiva blick (eng. ’proactive gaze’; PEG) har observerats i många olika slags fysiska situationer. Dock har inte PEG undersökts i virtual reality (VR). Identifiering av PEG i VR skulle kunna vara användbart för applikationer med digital mänsklig modellering och människo-robotinteraktioner. I denna studie instruerade vi 10 försöksdeltagare att utföra en s.k. pick-and-place-uppgift (PAP) i en VR-miljö medan vi registrerade deltagarnas blick. Våra resultat indikerar att PEG också förekommer i VR. Vidare leder handlingen att direkt sträcka sig efter objektet till ett annorlunda blickbeteende jämfört med att först förflytta sig innan man sträcker sig efter PAP-objektet. Vid förflyttning innan man sträcker sig efter objektet fästs blicken på ytterligare områden såsom golvet och bordet som objektet placerats på.
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Århundradets Kärleksnarcissism : Plats, skrivandet och konsumtionen av den andre i Århundradets kärlekssaga och Århundradets kärlekskrig / The Century of Narcissistic Love : Space, writing and the consumption of the other in Århundradets kärlekssaga and Århundradets kärlekskrigGuldbacke Lund, Linnéa January 2020 (has links)
Den här uppsatsen undersöker hur kärleksrelationen skrivs fram i två poetiska verk; Märta Tikkanens Århundradets kärlekssaga och Ebba Witt-Brattströms Århundradets kärlekskrig. Syftet med uppsatsen är att se till hur plats, blick och skrivandet samverkar i framskrivandet av kärleksrelationen. Jag utforskar hur det narcissistiska, inåtvända subjektet fungerar och hur skrivandet av den egna erfarenheten upprätthåller ett kapitalistiskt och narcissistiskt kärlekssystem där människor gör våld på sig själv och andra. Jag använder mig av Byung-Chul Han och hans verk Eros Agoni för att se hur och vad den andres platslöshet har för betydelse i kärleksrelationen. Jag går i dialog med Han kring hur det inåtvända subjektet fungerar i ett kapitalistiskt system och vad skrivandet av plats gör. Analysen utgår från hur den skrivande blicken gör mannen till den andre genom att skriva fram dennes abstrakta och fysiska plats. I platsbestämmandet finns en maktaspekt där en konsumerande blick utvinner den andre genom att göra, skriva denne. Parallellt med analysen problematiserar jag även mig själv och mitt egna skrivande och de rädslor som finns hos ett instörtat, narcissistiskt, skrivande subjekt. Jag visar på hur skribenten gör våld på text och analys, och hur platsbestämmandet är en illusion av en frigörelse i det kapitalistiska systemet. Jag visar hur det misslyckade skrivandet blir en väg ut ur ett kapitalistiskt samhälle där subjektet strävar efter perfektion. / This essay examines how the love relationship is made in Märta Tikkanens Århundradets kärlekssaga and Ebba Witt-Brattströms Århundradets kärlekskrig. The aim for this study is to analyze how place, and the consumption of “the other” interact in the writing of a love relationship. I explore how a narcissistic, collapsed subject functions and how it is made in the poems. I discuss how and if experience-based writing maintains a capitalistic and narcissistic lovesystem where the subject commits violence on itself and others by determining an abstract and physical place. The book Eros Agoni by Byung-Chul Han discusses the atopic otherness in the love relationship and how the liberalistic and consuming subject exploit the other and itself. I analyze this theory of the other and how the love relationships function in the poems. I also discuss how the others lack of space and how the consuming gaze is made in the writing. In the fixing of place there is an aspect of power where a consuming gaze exploits the other by doing, and writing it. In parallel with the analysis, I also problematize myself and my own writing and the fears that exist in a collapsed, narcissistic, writing subject. I show how the writer violates text and analysis, and how the determination of place is an illusion of liberation in the capitalist system. I show how failed writing can become a way out of a capitalist society where the subject strives for perfection.
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Gender – Bilder – Sanaa. Eine EthnographieLinke, Irina 29 August 2017 (has links)
Diese Studie erkundet den Zusammenhang von Gender und Bilderpraktiken in Sanaa vor dem Hintergrund der globalen Zirkulation von Bildern. Von Geschlechtersegregation gekennzeichnet und an der Peripherie globaler Bilderproduktion liegend, bietet sich der Jemen für die Erforschung des Spannungsfelds von Bildern und Gender an. Betrachtet wird insbesondere, wie Jemenitinnen öffentliche Bilder entschleierter Frauen auf eigene Vorstellungen von Sittsamkeit und Unsichtbarkeit beziehen und wie öffentliches Erscheinen von Frauen verhandelt wird. Ein filmischer Zugang führt zur Betrachtung der performativen Dimension von Bildern. Gefilmte Mikrosituationen werden nach einem hermeneutischen Verfahren interpretiert, das sich am Prozess-, Interaktions- und Diskursverlauf der gefilmten sozialen Praxis orientiert. Sprache wird kontextualisiert und zu Bildern in Bezug gesetzt. Befunde zur Rolle des Umgangs mit Bildern bei der Geschlechterkonstitution offenbaren drei zentrale Themen. Erstens sind Bilderpraktiken von Frauen dynamische und konflikthafte Prozesse, in denen Frauen genderspezifische Räume und Rollen aushandeln. So werden beispielsweise jemenitische Frauen, die im Fernsehen erscheinen, dem Anderen zugeordnet, visuelle Elemente öffentlicher Bilder von Frauen werden heruntergespielt. Zweitens gefährden Bilder die Geschlechtersegregation. Indem das Verbot für Frauen, sich zu sehen zu geben, auch Bilder umfasst, wird das subversive und transgressive Potenzial von Bilderpraktiken deutlich. Es wird deutlich, dass sich hinter früheren wissenschaftlichen Befunden zum islamischen Bilderverbot teilweise genderbezogene Blickverbote verbergen. Drittens folgt die Suche jemenitischer Frauen nach dem eigenen Bild einer Dialektik von Sichtbarkeit und Unsichtbarkeit, denn oft erreichen Frauen öffentliche Sichtbarkeit durch die Repräsentation von Unsichtbarkeit. Diese Ergebnisse verdeutlichen die Notwendigkeit performativer Ansätze bei der Erforschung von Bildern und Medienpraxen. / This ethnographic study explores the intersection of gender and image usage in Sanaa, Yemen, against the background of the global circulation of images. Yemen is a gender-segregated society at the periphery of image production and provides a powerful context in which the phenomena of this intersectionality can be captured and analyzed. Of particular relevance is the means by which Yemeni women relate public images of unveiled women to their requirement of modesty in front of men outside their close families. Within this setting, the negotiation of women’s public appearance is studied. A filmic approach leads to a consideration of the performative dimensions of images. Filmed micro-situations are interpreted according to a hermeneutic method, informed by the procedural, interactive and discursive aspects of social practice. Using this methodology, spoken language is contextualized and related to image practices. Findings on the role of image practices in gender constitution concern three main themes. First, image practices are found to be dynamic and conflictual as gender-specific social spaces and roles are negotiated. For example, Yemeni women who appear on TV are often attributed to the Other, and on the level of language, visual elements of public images of women are downplayed. Second, images pose challenges for gender segregation. As prohibitions on women allowing themselves to be seen in person extend to their images, the subversive and transgressive potential of image practices become apparent. Interestingly, this reveals that some prohibitions on images in the Islamic context discussed by previous researchers are in fact gendered restrictions on looking at women. Finally, the search of Yemeni women for an image of self follows a dialectic between visibility and invisibility. Often those women who reach public visibility do so by representing invisibility. This work demonstrates the need for performative approaches to the study of images and media practices.
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Im Zwielicht | Großstadt, Kino, SchützengrabenSimon, Anna 06 April 2022 (has links)
Thema dieser Dissertation ist die Frage, wie sich Licht und Sehen im Zuge der Elektrifizierung veränderten, und zwar aus Sicht literarischer Erzähltexte, die zwischen 1900 und 1933 publiziert wurden. Ausgangslage der Untersuchung ist erstens die These, dass durch den Einsatz des elektrischen Lichts eine Reihe neuer Wahrnehmungsdispositive entstanden, wo trotz der Lichtstärke elektrischer Leuchtmittel zwielichtige Licht- und prekäre Sichtverhältnisse herrschten. An drei besonders markanten Zwielichtszenarien der ästhetisch-technischen Moderne – Großstadt, Kino und Schützengraben – werden anhand einer breiten Quellenbasis aus Literatur, Technik, Wissenschaft, Philosophie und Ästhetik aufgezeigt, wie die Ausdifferenzierung der lichttechnischen Infrastruktur neue Blickregime und ästhetische Weltanschauungen produzierte, die ihrerseits veränderte Techniken des Sehens evozierten. Eine weitere zentrale These lautet, dass sich angesichts der prekären Licht- und Sichtverhältnisse auch die kulturelle Semantik des Lichts veränderte: die Art und Weise, wie Licht, und damit ebenso die Vorstellungen von Wahrnehmung, Wahrheit und Wirklichkeit, vor- und dargestellt wurden. Die neuen Lichtphänomene erforderten neben aisthetischen (die sinnliche Wahrnehmung betreffende) Anpassungsleistungen auch ästhetische Bewältigungsstrategien: neue Darstellungsweisen und symbolisch-metaphorische Zuschreibungen, die das zeitgenössische Wissen über Licht und Sehen gehörig in Bewegung brachte. Es entstanden virulente neue Korrelationen ‚moderner Wahrnehmung‘ zwischen technisch erzeugtem Zwielicht, epistemischer Irritation und narrativ erzeugter Visualität. Ich hoffe, mit meiner Arbeit neue Perspektiven auf die nach wie vor relevante Frage ‚moderner Wahrnehmung‘ zu werfen, die sich seit der ‚elektrischen Moderne‘ sukzessive als immer ausgeklügelteres Zusammenspiel von (Licht-)technik, aisthesis und Ästhetik neuformiert. / This dissertation focuses on how light(ing) and seeing/ perception changed in the course of electrification, from the perspective of German literature, published between 1900 and 1933. My first claim is, that the use of electric light created a series of new perceptual dispositifs, where dubious light and precarious visual conditions prevailed despite the luminous intensity of electric lighting. Three particularly striking twilight scenarios, that play a significant role in technology and aesthetics in the early 20th century, – namely the City, the Cinema, and the Trenches of WWI – are gripping settings to demonstrate, how disruptive lighting infrastructure produced new scopic regimes and innovative aesthetic perspectives (Weltanschauungen) that changed the techniques of visual perception. Drawing from a broad base of sources from literature, technology, science, philosophy, and aesthetics, I argue that the disruptive lighting technologies did not only change light phenomena, visual conditions and perception, but also transformed the cultural semantics of light substantially. Closely tied to concepts of truth, perception and reality, the rhetoric of light and lighting are dense metaphors and symbols, deeply interconnected with the history of knowledge. The new light phenomena required aisthetic (sensory perception-related) adaptations, as well as aesthetic coping strategies, like new modes of representation and symbolic-metaphorical attributions that troubled contemporary knowledge about light and visuality. My research zooms in on the visual dispositifs of ‘electric modernity’ and thus on the new correlations between technically generated twilight, epistemic irritation, and narrative visuality. By analysing the interplay of lighting and visual technology, aisthesis, and literary aesthetics in early 20th century, I hope to shed new light on the intriguing question of ‘modern perception’ that remains relevant from the beginning of the electric age until now.
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