In this paper I will discuss the personal process of making a film, specifically as it relates to my thesis Galatea. I will do this be examining the individual aspects of filmmaking, including but not limited to: writing, directing, production design, cinematography, editing, and visual effects.

This dissertation examines Raphael's Galatea (1512-13), located in the Villa Farnesina in Rome, and the role of viral transmission in relation to the iconic status and exclusivity of this fresco, and how its meaning and reception was shaped over time by its subsequent dissemination through print. The approach considers how human motivations and sensibilities drive and shape response, proposing that printed image and text participated in and amplified a process of social transmission. As such, prints can be examined, along with the objects they seek to interpret or mediate, using the contemporary notion of going viral. Printed images and text leave us traces of how ideas traversed time, place, audience, and culture, decontextualizing and then re-contextualizing works of art for distant audiences. Along the way, they shaped thoughts about those works as creators and consumers pursued agendas of their own. These portable objects offer us artifacts of the nuanced process of viral transmission that often includes a response to the original space and the insider discourses concealed on the larger market. As many details fell away, others solidified and remain with us today. Itself a response to predecessors in both literature and art, Raphael's Galatea inspired interpretations by others and became a work apart. After exploring the stories that evolved about the Villa Farnesina, its patron Agostino Chigi, and Raphael, this case study then turns to the creation and experience of the frescoes in the Loggia of Galatea. It sheds new light upon Raphael's fresco as a remarkable response to the holistic experience of Agostino Chigis villa and the intertextual and intermedial dialogue taking place amongst the various works. The final content chapter offers a re-evaluation of related engravings by Marcantonio Raimondi, Marco Dente, Hendrick Goltzius, and others, from the more familiar to the more obscure. This examination reveals an insider dialogue lost over time, illuminating how viral transmission shaped attitudes about art and artists, ultimately contributing to the formation of a canon. / Art History

L'effet de Pygmalion au travail est intégré dans les cadres conceptuels des prophéties autoréalisatrices et des styles de leadership dans le domaine du comportement organisationnel. Son actualité se caractérise par un effet d’espérance interpersonnelle, son importance étant d’avoir un impact exceptionnel sur l’amélioration du leadership et la performance professionnelle des employés. Cependant, les préoccupations éthiques, phénoménales et méthodologiques de ses expériences ont soulevé des critiques. En réponse à cela, la thèse a proposé une nouvelle perspective à mettre en œuvre basée sur les trois dimensions du naturel (comportement, mise en place, traitement) et a émis l'hypothèse de l'occurrence naturelle de l’effet Pygmalion au travail. Par conséquent, la thèse visait à voir le test de la réalité, si et comment il est réalisé dans le contexte choisi du Programme d'Emploi de la Communauté culturelle. Il a appliqué une conception séquentielle exploratoire avec deux collectes de données: observation des participants (n = 25-130), questionnaires organisationnels (n = 1146-1155). L'analyse reposait sur des stratégies de quantification et de validité et prenait des statistiques descriptives et inférentielles. Les résultats ont contribué aux aspects théoriques et méthodologiques des recherches sur les effets de Pygmalion et de Galatea, à la question du contexte naturel et au programme étudié. / The Pygmalion effect at work is embedded into the conceptual frameworks of self-fulfilling prophecies and leadership styles within the field of Organisational Behaviour. Its actuality lays in operating as an interpersonal expectancy effect, its significance lays in having an outstanding impact on leadership improvement and follower job performance. However, the ethical, phenomenal and methodological concerns of its experiments raised arguments. As a response to these, the dissertation proposed a new perspective to be implemented based on the three dimensions of naturalness (behaviour, setting, treatment) and hypothesized the naturally occurring Pygmalion effect at work. Therefore, the thesis aimed to see the test of reality, if and how it is realized in the chosen context of the Cultural Community Employment Program. It applied an exploratory sequential design with two data collections: participant observation (n=25-130), organisational questionnaires (n=1146-1155). The analysis was based on quantification and validity strategies, it took descriptive and inferential statistics. The findings contributed to the theoretical and methodological aspects of Pygmalion and Galatea effect researches, the issue of the natural context and the investigated program.

Tesis--Madrid. / At head of title: Consejo Superior de Investigaciones Científicas. Patronato Menéndez y Pelayo. Instituto Miguel de Cervantes. Includes text of Góngora's poem. Bibliography: v. 1, p. [55]-72.

The purpose of this dissertation is two-fold: one is to analyze the narratives of Acis and Galatea written by Ovid, and the two libretti by Handel's librettists including Nicola Giuvo (1708) and John Gay (1718) with John Hughes and Alexander Pope; the other is to correlate this textual analysis within the musical languages. A 1732 pastiche version is excluded because its bilingual texts are not suitable for the study of relationships between meaning and words. For this purpose, the study uses the structural theory- -mainly that of Gérard Genette--as a theoretical framework for the analysis of the texts. Narrative analysis of Acis and Galatea proves that the creative process of writing the libretto is a product of a conscious acknowledgement of its structure by composer and librettists. They put the major events of the story into recitative and ensemble. By examining the texts of both Handel's work, I explore several structural layers from the libretti: the change of the characterization to accommodate a specific occasion and the composer's response to contemporary English demand for pastoral drama with parodistic elements, alluding to the low and high class of society. Further, Polyphemus is examined in terms of relationships with culture corresponding to his recurrent pattern of appearance.

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