Thesis (M.F.A.)--Montana State University--Bozeman, 2005. / Typescript. Chairperson, Graduate Committee: Harold Schlotzhauer.

Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010 / Forms of body adornment and scarification practices have been around since the origin of mankind. Many forms of traditional body adornment have evolved overtime and still exist within our mainstream society today, however examples of recent body adornments, show that although still very much in practice, in many cases the meaning has been lost. The motivational routes of western adornments are today based on what looks good as apposed to a ritual or right of passage that marks one's body for life. Therefore, the aim of this dissertation is to share the value of representation with the viewer - as representation has played, and continues to play, such an important role within the social aspect of mankind. Bycreating a link between traditional practices of African body adornmentl scarification and connecting these with body expression and representation within my own sub-cultural context, I hope to create awareness of body adornment throughout time. Finally the practical component of this research will consist of a portfolio of different photographs and videos documenting the process and completion of adorning different female bodies. These works of art will be traditionally inspired, nonpermanent three-dimensional body art that will also undoubtedly represent selfexpression and comment on 'trendv' sub-cultural society. As Idocument my progress and work it is hoped that I portray in a conceptual framework, a life cycle that comments on the evolution of culture from rural to urban, and from traditional to Western, and how Western lifestyle is diluting our social being with trends rather than using the method of body adornment as a cultural conversation.

My research problem was to experiment with four high school art classes in drawing and painting the figure, to draw conclusions about how they relate to working with the figure, and to recommend methods that appeared to be most successful in broadening viewpoints, developing skills and increasing interest and involvement in art. This problem was selected because teenage students, in the vast majority of cases, have great difficulty in drawing or painting figures and, therefore, strenuously avoid it. I discovered that a subjective approach that recognizes personal feelings, along with one that requires close looking, seemed to get the most exciting, results and to be the best received by the students.

No description available.

Call number: LD2668 .T4 1963 L35

Parmi les études portant sur les stratégies d'écrivains et la fabrication de l'auteur, il est un sujet encore peu exploité: celui du rôle attribué à la photographie d'écrivain. Bien que l'on se soit intéressé à quelques écrivains européens, les études de cas québécois sont inconnues, mis à part un chapitre du livre de Pascal Brissette portant sur Émile Nelligan dans son ouvrage Nelligan dans tous ses états. Un mythe national. L'objectif général de ce mémoire consiste à montrer quels peuvent être les rôles de la photographie d'écrivain dans la construction d'une figure d'auteur du champ littéraire québécois. Dans un premier temps, il est question de l'évolution du statut de l'auteur en regard de la représentation physique de l'écrivain. Nous voyons à quel moment la photographie apparaît, au Québec, sur les livres. Puis, nous nous intéressons aux diverses modalités de la représentation physique contemporaine de l'auteur: de l'écrivain immortalisé dans un univers de représentations connues à la photographie qui prépare ou confirme la lecture d'une oeuvre. Dans un second temps, nous effectuons une étude de cas, celle de la figure d'auteure de Gabrielle Roy. En identifiant les effets induits sur la figure de l'écrivaine, nous étudions à quels moments et pourquoi ses éditeurs principaux, Beauchemin, Stanké et Boréal, ont choisi telle photographie plutôt qu'une autre pour accompagner un texte donné. Par l'étude de diverses sources telles la correspondance, la biographie de l'auteure, les témoignages de ses éditeurs, nous voyons également quels rapports Gabrielle Roy entretient, tout au long de sa carrière, avec son image et avec ses éditeurs.

This thesis examines the extent to which a more accurate representation of the human body is developed from the last decades of the sixth century, and the reasons for this development. A sound knowledge of clinical anatomy is used to analyse closely the rendering of features and trace the way the Greek artist looked at his model. The study covers different media found in Attica (vases, sculpture in marble or in poros, bronzes, and terracottas) and shows that artists try to render the human body accurately in all, although the pace of development varies according to the cost, subject and technique used (painting, carving, casting, modelling). This move away from the conventional representation reflects a close observation of the life model even though the human figure is still rendered according to idealized proportions and features. In order to explain this change, literary evidence is gathered to reconstruct the knowledge of human anatomy and body at the time. A rich anatomical vocabulary is already developed in the Iliad and the Odyssey but is used in descriptions which combine imagination and reality, whereas, from the last decades of the sixth century, the extant philosophical and (slightly later) medical texts reflect a growing concern with anatomical features and internal organs in order to distinguish the human from the animal. This new approach may have influenced the way contemporary artists looked at, and represented the human figure, since it is probable that they knew these theories either from lay-texts, which often reproduce passages of philosophical or medical treatises, or from public lectures and readings.

We assessed age differences in the ability to resolve competition for figural status in stationary displays using small, enclosed, symmetrical silhouettes that participants classified as depicting "novel'' or "familiar'' shapes. The silhouettes were biased such that the inside was perceived as the shaped figure, and the outside was perceived as a shapeless ground. The critical manipulation was whether a portion of a meaningful object was suggested on the outside of the border of some of the novel silhouettes but not others M(+)Ground and M-Ground novel silhouettes, respectively). This manipulation was intended to induce greater inhibitory competition for figural status from the groundside in M(+)Ground silhouettes than M(-)Ground silhouettes. In previous studies, young adults classified M(+)Ground silhouettes as "novel'' faster than M(-)Ground silhouettes (Trujillo, Allen, Schnyer, & Peterson, 2010), suggesting that young adults may recruit more inhibition to resolve figure-ground when there is more competition. We replicated this effect with young adults in the present study, but older adults showed the opposite pattern and were less accurate in classifying M(+)Ground than M(-)Ground silhouettes. These results extend the evidence for inhibitory deficits in older adults to figure assignment in stationary displays. The (M(+)Ground - M(-)Ground) RT differences were evident in observers' longest responses, consistent with the hypothesis that inhibitory deficits are evident when the need for inhibition is substantial.

No description available.

The present study investigated the relationship between self concept and children's figure drawings. The principle variable under consideration in each child's drawing were (a) size of the drawing and (b) number of colors used. The Tennessee Self Concept Scale (Fitts, 1965) was administered to 80 students selected from the seventh grade at Logan Junior High School, Logan, Utah. The subjects were then instructed to draw a picture of themselves. No further instructions were given regarding specific details of the requested picture. Ten colored pencils along with a regular pencil were made available to each student. No instructions were given as to the type or number of pencils to be used in their figure drawing. After the subjects completed their respective drawings, the experimenter rated each picture in terms of (a) number of colors used for the drawing, and (b) the height or vertical size of the drawing measured in millimeters from top to bottom of the drawing. It was hypothesized that students who obtain high scores on a measure of self concept (positive self concept) will use a greater number of colors in drawing a picture of themselves than will students who score low (negative self concept) on the same self concept measure. Students with high score on the measure of self concept will also draw a picture of themselves which is larger in size (height) than will students with low scores on the self concept measure. In addition to the two major hypotheses, it was also hypothesized that: (1) the high self concept group will have more smiles on the faces of their drawings than the low self concept group; (2) the high self concept group will draw more full figures than the low self concept group; (3) the high self concept group will use more total space on the paper than the low self concept group; and (4) the high self concept group will draw their figures more in the top two-thirds of the page and the low concept group will draw their figures more in the bottom two-thirds of the page. All of the subjects were ranked from high to low scores obtained on the Tennessee Self Concept Scale and were then divided into a high self concept group (top 20 scores) and a low self concept group (bottom 20 scores). Scores for the total sample of 80 students ranged from 193 to 394. Thus, the high self concept group was comprised of students with scores from 314 to 394. The low self concept group scores ranged from 193 to 246. The figure drawings of high and low scores on the Self Concept Scale were then compared to determine any apparent relationship between measured self concept and (a) number of colors used in the drawing and (b) overall size of the drawing. Analysis of the figure drawings indicated no significant differences, either in number of colors used, or in size of figure between high and low scorers on the Self Concept Scale. the mean number of colors used by high scorers was 3.5 millimeters. Thus, the basic hypotheses of the study were not substantiated by the results obtained. However, subjective inspection of the pictures in terms of the four sub-hypotheses did produce two significant findings in terms of projective-type ratings of the pictures and statistical analysis by the chi square method. In brief, these particular differences were that students who scored high in self concept drew more pictures with smiling faces and utilized the top two-thirds of the drawing paper, while students with low self concept drew pictures with sadder-looking faces and more toward the bottom of two-thirds of the paper. The data also showed a significantly higher number of boys than girls in the high self concept group.