La caricature de mœurs fait définitivement son apparition à Madrid dans Gil Blas. Elle s'empare d'abord de la question féminine en se penchant sur la différence des corps. Les caricaturistes dénoncent les apparences fallacieuses du corps de la bourgeoise dans un déshabillage qui met en perspective un discours masculin sur les dépenses associées aux toilettes et livre un discours en creux sur la condition masculine à travers la critique du mariage. Le corps des femmes des classes populaires est marqué par le travail, la précarité, la vulnérabilité, la solitude. Autant de circonstances qui font planer le danger de l'entrée dans la prostitution, signifiée aussi par la ritualisation du corps empruntée à la silhouette de la cocotte. La caricature de mœurs s'oriente vers le terrain de l'érotico-festif en multipliant les figures de cocottes boulevardières. Celles-ci manifestent le nouveau statut de l'image commerciale de la femme. L'épaisseur sociale du corps féminin disparaît. Aux scènes de séduction où le caricaturiste déjoue le jeu hypocrite du marché de la chair, succède une représentation de la séduction de l'image. La prééminence de la cocotte manifeste l'avènement des nouveaux usages de la consommation. Dans la pluralité des images de la femme qui circulent dans la deuxième moitié du siècle, les caricatures diffusées massivement occupent une place décisive. / Moral caricature definitely appears in Madrid in Gil Blas. It first focuses on the question of woman, scrutinising bodily differences. Caricaturists denounce the deceptive appearances of the bourgeois female body and uncover the male discourse about the spending on garments. Thus they indirectly offer a discourse on the male condition, through criticising marriage. The body of lower-class women is affected by work, precariousness, vulnerability and loneliness –circumstances meaning that the danger of prostitution is ever present. Prostitution is also indicated by the ritualisation visible in the body of the cocotte. Moral caricature becomes both erotic and humorous while showing more and more streetwalkers, who embody the status of the commercial image of woman. The social dimension of the female body disappears. Seduction scenes in which the caricaturist unveils the hypocrite game of the commerce of flesh are replaced by images which seduce. The predominance of the cocotte ushers in new habits of consumption. Among the many diverse images of woman that circulate in the second half of the 19th century, massively diffused caricatures play a decisive role.

This thesis investigates the iconography, iconology, and style of Juan Bautista Maino s Adoration of the Shepherds (1615-1620) located at the Meadows Museum, Dallas, Texas. The study begins with an overview of general information on Maino and his works. Chapter 2 explores the evolution of the Adoration of the Shepherds depiction in art, while examining social and political factors which may have influenced Maino's iconographical choices. Chapter 3 is a comparative analysis of the Meadows Adoration of the Shepherds to two other Adoration of the Shepherds by Maino, revealing a stylistic progression and presenting an argument for the dates the Meadows painting was rendered. Chapter 4 reviews the findings and suggests further study on this and other paintings by Maino.

ABSTRACT This research report is a critical analysis of the iconography of six HIV/Aids murals from Johannesburg and Durban, in terms of race, class and gender. The six examples are community murals which were used as a social awareness tool to disseminate information on HIV/Aids to a supposedly highly illiterate Black audience public. This research focuses predominantly on the issue of stereotypes, and how certain societal stereotypes of Others are manifested in these HIV/Aids murals. My analysis also tries to make evident, how difficult it is for muralists to visually represent HIV/Aids facts, in addressing ‘high-risk’ groups. This report also tries to show that key issues of HIV/Aids transmission are often overlooked or omitted for various reasons. I argue that, given the importance of HIV/Aids murals as educative tools, muralists have to be made aware of their role in the possible perpetuation of societal racial, gender and class stereotypes, and how such perpetuation of stereotypes can contribute to the continued stigmatization of the disease. The final chapter of this research examines my own practical work that was produced as a requirement for the MA (Fine Art) degree. It analyses my performance-exhibition Walking the Line. My commentary focuses on how the social phenomenon of street trade in the Johannesburg city centre and specifically the ‘refurbishment’ of the Johannesburg Fashion District influenced my art practice. My analysis is further extended to the use of my own body in the performance, to consciously engage notions of hybridized identity.

Orientador: Maria Cristina Gobbi / Resumo: As fotografias são fatos sociais que representam determinados assuntos numa perspectiva ideológica de construção da realidade. Sua construção e leitura estão vinculados a fatos históricos, ideológicos, tecnológicos e sociais. As imagens que representam os grupos sociais não são frutos do acaso, há uma série de fatores sócio históricos que influenciam na sua elaboração, assim como sua produção de sentido que se constrói também a partir do contexto no qual o receptor está inserido. Dito isto, a presente pesquisa articula aspectos da linguagem fotográfica, a sua presunção em representar um real concreto, com a construção de identidades no Brasil Império, em específico, a exploração do conceito de exótico e do “Outro” nas produções da época. Para tanto, é feita uma análise para que se possa compreender como foi fotografada a família imperial em contraposição a outros grupos sociais na época do Brasil Império, durante parte do reinado de Dom Pedro II, entre 1852 e 1885, período no qual Alberto Henschel e Revert Henrique Klumb atuaram no país. Ambos foram detentores do título de Fotógrafos da Casa Imperial e retrataram paisagens, a família imperial, membros da aristocracia, escravos e pessoas das classes populares cujas obras compõem o imaginário oitocentista nacional. É apresentado um quadro geral da fotografia da época, além de uma análise das técnicas de composição mobilizadas em suas produções e como a linguagem fotográfica pode abordar o imaginário social em função de conceito... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Photographs are social facts that represent certain subjects in an ideological perspective of reality construction. Its construction and reading are linked to historical, ideological, technological and social facts. The images that represent social groups not happen by chance, there are a number of socio-historical factors that influence their elaboration, as well as their production of meaning that is also constructed from the context in which the receiver is inserted. That said, this research articulates aspects of the photographic language, its presumption in representing a concrete reality, with the construction of identities in the Brazilian empire age, specifically, the exploration of the concept of exotic and "Other" in the productions of that historical moment. Therefore, an analysis is made to understand how the imperial family was photographed in contrast to other social groups during the Brazilian empire in part of the reign of Dom Pedro II, between 1852 and 1885, during which time Alberto Henschel and Revert Henrique Klumb worked in the country. Both of them were holders of the title of Photographers of the Imperial House and portrayed landscapes, the imperial family, members of the aristocracy, slaves and people of the popular classes whose works compose the nineteenth century imaginary national. It presents a general picture of the photography of that time, besides an analysis of the composition techniques mobilized in its productions and how the photographic la... (Complete abstract click electronic access below) / Mestre

L'art de l'Ancien Empire, ayant mis en place le canon dit « classique » du corps égyptien, est souvent décrit comme uniforme, fondé sur la répétition de la même image parfaite sur les murs des tombes. Pourtant, certains personnages se distinguent par leurs caractères physiques inhabituels, allant du détail corporel atypique à une infirmité évidente. Ainsi, des aveugles, boiteux, chauves, malades, bossus, nains ou encore obèses se dissimulent parmi leurs congénères dans les registres des programmes décoratifs. Une étude minutieuse des parois révèle une profusion de ces figures qui se distinguent par l'emplacement, la fonction, le rôle social, les attributs ou la nature de l'altération. Si certains groupes ont été largement étudiés ces dernières années comme les nains, d'autres demeurent moins connus voire à peine signalés dans les publications. Pourtant, ces images parfois crues et disgracieuses révèlent bien la volonté des artisans-artistes de cette époque de souligner un contexte spécifique et d'ajouter du sens à la scène. En rassemblant tous ces personnages en hors norme, en les comparant et en analysant leur iconographie, il est possible de tendre vers une vision plus proche de la réalité égyptienne, et notamment de la façon dont était perçue cette catégorie de population. D'autre part, la présence du handicap dans l'art égyptien pose une question essentielle : pourquoi avoir recréé sur les murs des tombeaux un univers fonctionnel non pas peuplé de sujets parfaits, mais parsemé d'êtres imparfaits ?Dans un champ d'investigation chronologiquement délimité (du Prédynastique au milieu du Moyen Empire), nous avons choisi d'analyser ces figures et leur apport à notre connaissance de la société égyptienne, et plus généralement à l'histoire et à la représentation du handicap dans l'art. Afin de mieux comprendre la perception du corps altéré chez les anciens Égyptiens, seront étudiés les mots qui les désignent, les causes médicales possibles, le développement et les innovations iconographiques qui ont pu se répandre dans toutes les nécropoles du pays. Le rôle de ses figures, les sens qu'elles recouvrent, ainsi que leur rapport avec les constatations médicales sur les restes humains nous en apprendront davantage sur la société égyptienne au temps des pyramides. Certaines figures, comme le bouvier émacié ou le notable replet, sont devenues les symboles d'une classe sociale particulière et ont connu une longévité dans l'art et la littérature. La reprise de certains motifs d'une sépulture à une autre, parfois distantes de centaines de kilomètres, révèlent également une stratégie fondée sur la référence et la citation.Ainsi, loin d'être un monde uniforme et régulier, les décors des tombeaux se révèlent finalement bien plus complexes et étoffés qu'une simple évocation de l'idéal égyptien. / The art of the Old Kingdom, having set up the so-called "classical" canon of the Egyptian body, is often described as monotonous, with the repetition of the same perfect image on the walls of the tombs. But some characters are distinguished by their unusual physical characteristics, ranging from atypical body detail to obvious disability. Thus, blind or lame people, bald men, sick characters, hunchbacks, dwarves or fat people hid among their congeners in the registers of decorative programs. A study of the walls reveals a profusion of these figures, which are distinguished by the location, function, social role, attributes or nature of their alteration. While some groups have been widely studied in recent years as dwarves, others remain less known or barely reported in publications. However, these images sometimes raw reveal the will of the artists to emphasize a specific context and add some meaning to the scene. By bringing all these characters together, comparing them and analyzing their iconography, it is possible to reach a closer vision of the Egyptian reality, and in particular the perception of disabled people. On the other hand, the presence of disability in Egyptian art poses an important question: why did they choose to recreate on the walls of the tombs a functional universe not with perfect subjects, but strewn with imperfect beings?From Predynastic to the Middle Kingdom, we chose to analyze these figures and their contribution to our knowledge of Egyptian society, and more generally to the history and representation of disability in art. In order to better understand the perception of the altered body among the ancient Egyptians, we will study the words that designated them, the possible medical causes, the development and the iconographic innovations that may have spread to all the necropolises in the country. The role of these figures, their meanings and their relationships to the medical findings on human remains will tell us more about Egyptian society. Some characters, such as the emaciated herdsman or the fat nobleman, have become symbols of a particular social class and had a longevity in art and literature. The reuse of images from one tomb to another, sometimes hundreds of kilometers apart, also reveals a strategy based on reference and quotation.Thus, far from being a uniform and regular world, the decorations of the tombs reveal to be far more complex and elaborated than a simple evocation of the Egyptian ideal.

Sabe-se que a profunda ligação existente entre deuses e o soberano do antigo Egito é tida como um dos elementos mais significativos na legitimação do poder faraônico, notadamente divinizado naquela civilização. Valendo-se desse contexto e se aproveitando do período Amarniano como um estudo de caso privilegiado (Antigo Egito, 1353 a.C. - 1335 a.C.), o trabalho visa examinar a rearticulação que Amarna propôs a essa relação. Uma rearticulação que implicou em um reposicionamento do rei e em uma readequação do panteão politeísta, privilegiando o deus Aton. Esse processo não se esgota em uma simples abstração mental, ao contrário, ele se textualiza sobretudo nos dois hinos ao deus Aton, e se materializa em imagens do período. A respeito destas, além de tomá-las como fonte primordial de análise, buscaremos permitir que a sua metodologia tradicional de trato dê lugar a uma reflexão mais abrangente, baseada em sugestões da teoria da agência que visam entendê-las como imagens construtoras e modificadoras das realidades nas quais se inserem. / It is known that the deep connection between gods and Ancient Egypts sovereign is considered as one of the most significant elements in pharaonic discourse legitimacys construction, notably divinized in that civilization. Based on the Amarna period (Ancient Egypt, 1353 BC - 1335 BC) this research aims to study the reticulation to this relationship proposed on that period. A reticulation that implied on kings repositioning and on a polytheistic pantheons readjustment, privileging the god Aten. This process is not exhausted in a simple mental abstraction, on the contrary, it is textualized, especially in the two hymns to the god Aten, and materialized in images of that period. Regarding these images, besides taking them as analysis primary source, we will also seek to allow its traditional treatment methodology to lead into a more comprehensive reflection, based on suggestions from the Agency Theory that aim to understand images as a constructive power, being able to modify the realities in which they are inserted on.

Este trabalho buscou analisar a iconografia e morfologia da cerâmica ritual produzida na Costa Norte peruana durante o Período Intermediário Tardio e o Horizonte Tardio, com o objetivo de identificar personagens aqui denominados \"figuras de poder\". O corpus da análise incluiu coleções pertencentes a diversas instituições museológicas brasileiras e estrangeiras. Os primeiros contatos com as coleções arqueológicas e as classificações usualmente adotadas nos museus com base nos referenciais teóricos histórico culturalistas evidenciaram uma aparente ruptura na produção cerâmica no Período Tardio, com o advento da hegemonia Incaica. No século XV a cerâmica produzida nos Andes apresenta um relativo declínio de artefatos que expressam a simbologia dos cultos ancestrais vinculada às representações do poder político, quando comparada aos períodos anteriores. Tomando como referência estudos aprofundados da história política dos domínios Chimú e Inca nos Andes Centrais, bem como a correlação dos artefatos cerâmicos estudados, buscamos entender como as mudanças observadas na composição e iconografia dos conjuntos cerâmicos observados está correlacionada com a organização das estruturas de poder respaldadas na cosmovisão de seus respectivos contextos políticos de produção. A redução do número de figuras de poder representadas na cerâmica produzida sob a égide do domínio Inca na Costa Norte, bem como a permanência de certos atributos identificados como expressão das particularidades da cosmovisão dos povos daquela região, sugerem que os Incas enfrentaram a necessidade de criar ferramentas de legitimação do poder centralizado em Cusco, diante do extenso território subjugado. / This study sought to analyze the iconography and morphology of ritual pottery produced in the Peruvian North Coast during the Late Intermediate Period and the Late Horizon, with the goal of identifying characters here referred to as \"figures of power.\" The body of the analysis included collections of several Brazilian and foreign institutions. The first contacts with the archaeological collections and classifications usually adopted in the museums based on theoretical historical-cultural references showed an apparent rupture in ceramic production in the Late Period, with the advent of Inca hegemony. In the 15th century, the ceramics produced in the Andes presents a relative decline of artifacts that express the symbolism of ancient cults linked to representations of political power, when compared to prior periods. We seek to understand how the observed changes in the composition and iconography of ceramic sets observed is correlated with the organization of power structures supported on worldview of their respective political contexts of production. We based on deep studies of the political history of the Chimú and Inca domains in the Central Andes and the correlation of the studied ceramic artifacts. We noted the reduction in the number of power figures represented on pottery produced under the aegis of Inca rule on the North Coast, in addition to the permanence of certain attributes identified as an expression of the particularities of the worldview of people from that region. Those suggest that the Incas have faced the need to create tools of legitimation of the centralized power of Cusco, in the face of the extended subjugated territory.

A dissertação trata dos aspectos iconográficos da chamada Terceira Idade (art.1º, Lei 70.741/2003) em que idosos são retratados em comunicações marcárias e suas imagens são divulgadas nas mídias sociais, isto é, em páginas de fãs da rede social Facebook, blogs, comunidades virtuais, sites e portais. A análise da representação visual de pessoas com 60 anos ou mais visa entender como a publicidade mobiliza estereótipos da velhice por meio de mensagens visuais. Compreender a imagem dos idosos produzida na publicidade digital sugere reunir estudiosos das temáticas: Comunicação e Envelhecimento (Featherstone; Hareven; Debert), Mídias Sociais (Lévy; Shirky; Recuero), Imagem e Marcas (Kapferer; Kotler; Souza) e Iconografia (Panofsky; Morris). Com vistas a atingir o objetivo investigativo, foi adotada a metodologia de pesquisa em cinco etapas: revisão bibliográfica, observação empírica, protocolo de análise, interpretação de dados e categorização iconográfica. O corpus empírico é constituído por 766 comunicações marcárias de nove marcas organizadas por núcleo de marcas públicas - Banco do Brasil, Governo de Santa Catarina e Governo de São Paulo; núcleo de marcas privadas - Dove, Itaú e Nestlé; e núcleo de marcas de mídias de conteúdo - Aproveitando a Terceira Idade, Terceira Idade Conectada e Portal do Envelhecimento - publicadas entre junho de 2011 a dezembro de 2016. Como processo complementar, oito profissionais de comunicação e criação publicitária foram entrevistados e auxiliaram tanto a contextualizar a dinâmica de representação e publicação de imagens de idosos quanto a definir o período de investigação. Com o protocolo de análise, elaborado em cinco partes orientadas pelos três níveis de significados de Panofsky (1976) e pelas três dimensões téoricas de Morris (1985) foi possível obter resultados e inferências sobre a amostra que aponta a identificação de convenções sintático-semânticas tanto ao universo da Terceira Idade quanto aos valores publicitários. / The dissertation deals with the aspects\' iconographic of the so-called Third Age (art. 1º, Law 70.741 / 2003) in which elderly people are portrayed in branded communications and their images are published in social media, such as Facebook fan pages, blogs, virtual communities, websites and portals. In order to understand how advertising mobilizes elderly stereotypes in branded communications a great visual analysis was developed with the presence of persons aged 60 or over in companies and institutions\' portrayed. Understanding the image of the elderly produced in digital advertising suggests bringing together scholars from different areas: Communication and Ageing (Featherstone; Hareven; Debert), Social Media (Lévy; Shirky; Recuero), Image and Brands (Kapferer; Kotler; Souza) and Iconography (Panofsky; Morris). During the investigative process was adopted a methodology in five stages: an extensive review of the literature, empirical observation, establish an analysis protocol, quantitative and qualitative data analysis and interpretation and detailed iconographic categorisation. The empirical corpus is made of 766 examples of brand communications from nine brands organized by public core - Banco do Brasil, Governo de Santa Catarina and Governo de São Paulo; private core - Dove, Itaú and Nestlé; and content brands core - Aproveitando a Terceira Idade, Terceira Idade Conectada and Portal do Envelhecimento - published between June 2011 and December 2016. As a complementary process, eight communication professionals and advertising creation were interviewed and helped both to contextualize the dynamics of visual representation and publication of old people images as to define the period of investigation. With the analysis protocol which was elaborated in five parts guided by the three levels of meanings of Panofsky (1976) and by the three theoretical dimensions of Morris (1985), it was possible to obtain results and inferences about the sample that identifies the syntactic-semantic conventions both to the universe of the Third Age in terms of advertising values.

O autor pergunta, a partir da iconografia da Guerra de Tróia, pelo lugar da guerra no imaginário ateniense durante os séculos VI-V a.C.. O corpus da pesquisa é constituído por 248 vasos áticos referentes a nove cenas: 1) Armamento de Aquiles; 2) Partida de Aquiles; os duelos entre 3) Páris e Menelau, 4) Enéias e Diomedes, 5) Ájax e Heitor, 6) Aquiles e Heitor, 7) Aquiles e Mêmnon; os retornos de guerreiros mortos em batalha: 8) Sono e Morte carregando o corpo de Sarpédon e 9) Ájax carregando o corpo de Aquiles. Os recortes espacial, Atenas, e cronológico, séculos VI-V a.C., foram feitos devido à escolha deliberada dos vasos áticos e ao surgimento e desaparecimento do tema nesse período. Partindo dos pressupostos de que há uma relação entre imagens e sociedade e de que as imagens são construções do imaginário social, que permitem uma aproximação às representações coletivas, o autor propõe ser a Guerra de Tróia um elemento constitutivo do imaginário ateniense nos séculos VI-V a.C. e remeter sua iconografia às representações dos atenienses sobre a atividade guerreira em seu próprio tempo. As imagens pintadas da Guerra de Tróia, antes de serem ilustrações de um evento do passado, são manifestações da imagem que a cidade de Atenas faz de si mesma em relação à guerra. Presente na memória coletiva dos atenienses, a Guerra de Tróia é um acontecimento, no qual a cidade fundamenta seus valores, sua sociedade e os respectivos papéis de seus cidadãos. Em suma, a guerra, antes de ser uma atividade restrita aos guerreiros, envolve toda a cidade, isto é, os não guerreiros, entre os quais, a mulher e o homem idoso, pais do guerreiro, ocupam um lugar preponderante. / From the iconography of the Trojan War, the author asks about the place of the war in the Athenian imaginary in the sixth and fifth centuries B.C. The corpus of the research is composed of 248 attic vases about nine scenes: 1) The arming of Achilles; 2) The departure of Achilles; the duels: 3) Paris fighting Menelaos, 4) Aeneas fighting Diomedes, 5) Ajax fighting Hector, 6) Achilles fighting Hector, 7) Achilles fighting Memnon; the returns of the dead warriors in battle: 8) Sleep and Death carrying the body of Sarpedon, and 9) Ajax carrying the body of Achilles. The choice of space, Athens, and chronological period, 6th and 5th centuries B.C., was based on a deliberate option for the attic vases and on the appearance and disappearance of the theme in this period. Based on the assumptions that there is a relationship between images and society and that images are constructs of the social imaginary, allowing an approximation to collective representations, the author proposes that the Trojan War is a constituent element of the Athenian imaginary in the sixth and fifth centuries B.C. and that its iconography refers to the representations of Athenians on the war activity in their own time. The Trojan Wars painted pictures, rather than being illustrations of an event from the past, are manifestations of the image that the city of Athens makes about itself, concerning the war. The Trojan War is an event in the collective memory of the Athenians, upon which the city establishes its values, its society and the respective roles of its citizens. In short, that war, rather than being an activity restricted to warriors, concerns the whole city, namely, the non-warriors, among them, the woman and the old man, the warriors parents, who hold an important place.

Le travail présenté ici est étude de principe relative à la possibilité d’enseigner à l’école élémentaire, en France, des éléments d’histoire symétrique permettant aux enfants dont les parents sont venus d’Afrique de se penser comme français. Puisque la mémoire nationale est devenue un enjeu politique, il fallait trouver pour eux un lieu de mémoire du même type que : "Nos ancêtres les Gaulois se sont battus contre l'empire romain, etc. ». Nous avons donc expérimenté, dans une classe de CM2 des confins de Marseille et à l’intention des élèves d’une cité qui accueille depuis longtemps les nouvelles générations d’immigrants, la possibilité de leur raconter comment durant la seconde guerre mondiale des Africains alors colonisés se sont mobilisés ont participé à la libération du sol national. C'est parce que leurs ancêtres ont mené ce combat pour la liberté que ces élèves sont présents dans une école française, et qu’ils ont un droit privilégié à la nationalité française : ils participent du combat pour la liberté et la fraternité, des valeurs fondatrices de la France républicaine et ce lieu de mémoire leur permet de participer légitimement de l’identité nationale. C’est aussi pour cela qu'ils ont des états nationaux autonomes. L’analyse didactique de l’expérience montre que l’absence d’une documentation iconographique permettant de montrer ce point de vue africain empêche l’enseignement proposé d’être stable dans le temps, le professeur ne pouvant pas, comme il est attendu d’un professeur des écoles conduisant des enseignements pluridisciplinaires, ni appuyer son récit sur l’ouvrage d’histoire des élèves ni en étudier les documents iconographiques. / The work presented here is mainly a principle study on the possibility of teaching primary school in France some elements of symmetrical history for children whose parents are from Africa to think like French people do. The national memory has become a political issue so that one had to find a place of memory of the same type : « Our ancestors the Gauls fought against the Roman Empire, etc. ». We have experimented - in a CM2 class in the outermost bounds of Marseille with pupils from deprived estates where new generations of immigrants have been welcomed for a long time - the opportunity to tell them how during World War II colonized Africans rallied and participated in the liberation of the national soil up to be a large proportion of the troops landing of Provence. It is because of their ancestors’ fight for freedom that those pupils are present in a French school and that they are allowed access to a special right to become French : they became part of the fight for freedom and fraternity - that are the founding values of the French republic and this place of memory helps them participate legitimately to the national identity. The didactic analysis of the experiment shows that the absence of an iconographical documentation which should highlight the African perspective, prevents the lesson from being stable in time because the teacher cannot support his account on the pupils’ history book nor study its iconographic documents such as expected from a school teacher lecturing multidisciplinary knowledge.