This thesis analyses the role of clinical photography in late nineteenth-century Glasgow. The photographs for this study occur in five interrelated contexts. Firstly I examine the clinical uses of popularised techniques such as the stereograph, carte-de-visite and the cabinet card. Secondly, I shall discuss a selection of clinical photographs that featured in the context of the Glasgow Medical Journal from the late 1870s onwards. The first published images were the work of professional studio photographers. Over the following two decades, however, one sees an increase in the number of photographs taken by medical men. These published photographs circulated in a number of contexts including M.D. theses, medical society lectures and individuals' collections. Thirdly, clinical photographs began to feature in the context of the surgical ward journals and pathology reports of the Glasgow Western Infirmary and the Royal Hospital for Sick Children, Glasgow from the mid-1880s onwards. These photographs were often the work of House Surgeons and Resident Assistants. During the early 1880s while surgeon to the Glasgow Royal Infirmary, Sir William Macewen (1848-1924) began to take clinical photographs for inclusion in his Private Journals, our fourth context. Macewen began to mount duplicate prints of some of these cases on to boards, and write brief case notes on the verso. This formed the basis of a collection of clinical photographs, which he used in surgical demonstration classes at the Glasgow Royal Infirmary Medical School. The fifth, and final, part of this study examines Macewen's collection of clinical photographs, which expanded over the next thirty years or so, to contain over eight hundred items. In 1892 Macewen moved from the Glasgow Royal Infirmary to become Regius Professor of Surgery at the University of Glasgow and Visiting Surgeon to the Glasgow Western Infirmary. Macewen used his collection of clinical photographs in conjunction with plaster casts, specimens and lanternslides in surgical demonstration classes held at the University of Glasgow. Many visual sources in the history of medicine are fragmentary by their very nature, disconnected from their origins and contexts of use. In this thesis I take an interdisciplinary and contextualised approach to the study of late nineteenth-century clinical photography. The aim is to understand and interpret photographs within their local contexts of production, circulation and use. Photographs can have intimate connections with other forms of images, texts and artefacts. These inter-relationships have important implications for understanding the role of clinical photography within late nineteenth-century Glasgow medicine. Moreover, I shall explore alternative ways of illustrating the results of this research through means of visual expression.

Historians of photography have generally represented colonial photography as a predictable and oppressive genre. Taking the Belgian Congo (1885–1960) as its subject, this dissertation argues that the medium has also been the instrument of a rapprochement between metropole and colony, not only in the hands of Europeans, but also in those of Africans, as the consequence of a long-lasting reaction against the worldwide diffusion of the so-called “Congo atrocities” pictures (1904–1908). Chapter One explores this pivotal episode in the history of photography. The exceptional violence of these images prompted the counter-development of a representational ideal—the colonie modèle—that was deployed at two historical moments: first, in the interwar period with the illustrated magazine L’Illustration Congolaise, and after World War II with the governmental photographic service InforCongo. In Chapter Two and Three, the studies of L’Ilustration Congolaise and InforCongo trace how this colonial rapprochement was encouraged by increasingly representing Congolese décor and subjects as the mirrored image of Belgium, until it peaked in the late colonialism’s concept of a “Belgian-Congolese community.” Chapters Four and Five turn to Congolese family albums and queries how Africans’ self-representations sought to integrate—or not—the model colony. Based on research carried out in Belgium and in the Democratic Republic of the Congo, this dissertation is the first in-depth study of a history of photography in the Congo and the first comprehensive history of photography within a single colonial regime. Similarly, this project presents the first in-depth study of African family albums, examined in the multiple aspects that make up the significance of the photographic subject’s experience. Photography in the Belgian Congo developed in three contexts: European, African and colonial, which overlap but have usually been explored separately. This dissertation aims to weave together these different aspects, fully appreciating and integrating the vivid racial tensions inherent in a colonial system, but ultimately aspiring to complicate the visual colonial relations materialized in photography by taking into consideration parameters of assimilation and collaboration, co-authorship, or again, seduction.

Esta dissertação parte do preto, da escuridão e do vazio como lugar onde, na ausência de referências do outro, não sobra outra opção além de olhar para dentro. Ou melhor, olhar para o que escapole de dentro de si frente à experiência da ausência. O processo apresentado aqui pensa sobre a origem da imagem, sobre quanto dela é descritiva e limitada ao registro do olhar no mundo e quanto dela tem origem na imaginação, na experiência particular de cada um. Pensa também na relação entre imagem e linguagem, por meio de fragmentos de fotografias e textos. Navega entre possibilidades de lugar, de estar, de ser, transitando pela possibilidade de transbordar cenas mais imagináveis do que propriamente visíveis. O resultado da pesquisa é um livro que chamei de Preto, composto de textos e fotografias realizadas entre 2009 e 2013, durante residências artísticas em Torres Vedras (Portugal), Pune e Bangalore (Índia), Copenhague (Dinamarca), Rio de Janeiro, São Paulo e Recife (Brasil). Proponho \"Janeiro 2009\" como uma introdução ao que estou chamando de livro-experiência, ao livro aberto a leituras diversas. Essa narrativa, em que conto a experiência de estar no breu absoluto durante 5 ou 10 minutos, é o ponto de partida tanto para as imagens (fotografias, luz branca no preto do escuro) quanto para os textos (palavras, tinta preta no papel branco). Preto tem a intenção de ser mole; de alguma forma, moldável ao manuseio, ao leitor. Um caderno de imagens, ou memórias, que surgem entre fade in e fade outs, entre luzes e sombras. Clarões na escuridão e formas breves / This dissertation sets out from the black, the darkness and from the void as a place where, in the absence of references to the other, there remains no choice but to look within. Or rather, to look at what slips out from within, faced by the experience of absence. The process presented here contemplates the origin of the image, about how much of it is descriptive and limited to the registering of the view in the world and how much of it has its origin in the imagination, the private experience of each individual. It also contemplates the relationship between image and language, through fragments of photographs and texts. It navegates between possibilities of place, of living, of being, transiting through the possibility of overflowing scenes more imaginable than actually visible. The result of this research is a book wich I named Black, composed of texts and photographs taken between 2009 and 2013, during artistic residencies in Torres Vedras (Portugal), Pune and Bangalore (India), Copenhagen (Denmark), Rio de Janeiro, São Paulo and Recife (Brazil). I propose \"January 2009\" as an introduction to what I am calling a bookexperience, a book that is open to various readings. This narrative, in wich I tell of the experience of being in absolute pitch-blackness for 5 or 10 minutes, is the starting point for the images (photographs, white light in the black of darkness) as well as the texts (words, black ink on white paper). Black has the intent of being soft; in some way moldable by handling, moldable to the reader. A notebook of images, or memories that arise between fade ins and fade outs, between light and shadow. Flashes in the darkness and brief forms.

Este trabalho nasceu de um discurso fotográfico, isto é, a fotografia não só como uma ferramenta de pesquisa, mas também como um discurso visual, retraduzindo textos em imagens, e que nos revelou que a cruz e a quadra são as marcas da arquitetura da Companhia de Jesus. No primeiro capítulo pretendemos demonstrar que a cruz é o princípio norteador da simbologia dos jesuítas, apresentar quem eles eram, o que queriam, e porque vieram ao Brasil nos primórdios dos primeiros agenciamentos e ordenamentos. No segundo capítulo pretendemos demonstrar como a cruz é um traçado regulador que originou o pátio e a quadra, e o que isso simbolizou ao longo da história; e no terceiro capítulo demonstraremos como isso reflete na arquitetura jesuítica no Brasil. No quarto capítulo verificamos porque a cruz reguladora dos pátios e das quadras foram aplicados no Brasil e de que forma isso foi feito. Concluímos que a arquitetura dos jesuítas foi um lócus onde o modelo cultural, civilizador e educador implantado era o aristotélico-tomismo mesclado aos novos métodos modernos e inacianos tal como os Exercícios Espirituais, as Constituições Inacianas e a Ratio Studiorum, onde seu canteiro e seu desenho foram formas e meios de alcançar o objetivo maior que era tornar o indígena um cristão, a partir da catequese, e um homem, aos moldes europeus. E que no Brasil, entre 1549-1759, a santa linha reta, quadrada, armada, racional e ordeira, da cruz, foi o princípio norteador da concepção, espaço e elementos de uma arquitetura moderna, em quadra, como meio de domínio, conquista e conversão. / This work was born of a photographic discourse, that is, the photograph not only as a research tool, but also as a visual discourse, retranslates text in images, and revealed in the cross and the court are the hallmarks of the company\'s architecture Of Jesus. In the first chapter we intend to demonstrate that the cross is the guiding principle of the symbology of the Jesuits, to present who they were, what they wanted, and why they came to Brazil in the early days of the first assemblages and systems. In the second chapter we intend to demonstrate how the cross is a regulatory route that led to the patio and the court, and what it symbolized throughout history; and the third chapter will demonstrate how this reflects in Jesuit architecture in Brazil. In the fourth chapter we see because the regulatory cross the courtyards and the court were applied in Brazil and how this was done. We conclude that the architecture of the Jesuits was a locus where the cultural model, civilizing and deployed educator was the Aristotelian-Thomism merged to new and modern methods such as the Ignatian Spiritual Exercises, the Ignatian Constitutions and the Ratio Studiorum, where your site and its design They were ways and means to achieve the main objective which was to make the Indian a Christian from the catechism, and a man, the European way. And in Brazil, between 1549-1759, the holy straight, square, armed, rational and orderly, the cross, was the guiding principle of design, space and elements of modern architecture, on the court, as a means of domination, conquest and conversion.

This study sets out to establish an hegemony of light and examine its relationship to the lens in photography. Through a series of sequenced photographs presented as an exhibition 'The Light Ages' in May 2017. The photographs were 841mm x 1189 mm Giclee prints mounted on aluminum which explore the way in which difference sources of light contribute to the identity of different spaces by fracturing and separating the light and duration of the image. The thesis explores how light permeates the English language and is inscribed in terms used to define photography. As a source of energy, light provides the very essence of visibility and defines the perception of objectivity and its limits. The geometric relationship between the light axes and the lens axis is what forms the basis of my development of Gramsci’s concept of hegemony. Since all photographs rely on some kind of light it was important to identify one that was developed specifically for photographic use and controlled almost exclusively by the agents of photographic representation. It also appears to mark the ontology of the image, however, as this study examines it is only one of the temporal registers. The practice seeks to tear apart these temporal registers to show the dualism and hegemony of light, how it attempts to pin down one interpretation at the expense of another. One of the greatest challenges for researchers, is to consider new photographic discourses that attempt to understand how advances in technology affect the relationship between the aesthetic and the signified. Through practice, the study tests and explores the relationship between flash light and the lens axis. It questions whether our perception of the centrality of photographic representation is the defining characteristic of photography as a stable form of representation in contemporary culture.

This thesis addresses how the photographic image contributed to the formation of the public and private identities of the artists Vanessa Bell and Duncan Grant. I propose that Bell and Grant primarily conceptualised photography as a medium of movement and it is this element that defines photographic images of them and their circle. Further, I suggest this definitive photographic element of their work situates them and the Bloomsbury Group in the development of English modernism in a new way. Chapter One explores the presence of movement in travel and tourism related photographic images from Bell and Grant's own generation and previous generations in their families. It compares images of alpine adventures, colonial life and first journeys to Europe alongside sections of personal correspondence by both generations offering a ‘verbal sketch' of the sights and sounds of the travel experience. Chapter Two considers how the photographic reproduction informs the development of public identity through an analysis of how Bell, Grant, Clive Bell and Julia Margaret Cameron used photographic images in the public arena and how contemporary media used photographs in assessments of their work. Chapter Three focuses on the nature of private physical and psychological photographic exchanges among both Julia Margaret Cameron's circle and the Bloomsbury Group and looks at paintings by Bell and Grant that were inspired by personal and private photographs in their possession. Chapter Four examines how the visual expression of monumentality and movement in photographs taken by Bell, Grant and their predecessors demonstrates a clear interest in making connections with past artistic and photographic traditions. The culmination of this discussion identifies defining features of the Bloomsbury photograph as created by Vanessa Bell and shows how it incorporates movement as a primary element of her photographic aesthetic.

This thesis examines aspects of photography and film in the selected work of Michael Ondaatje, specifically analysing their implementation and function within The Collected Works of Billy the Kid, Running In The Family, In the Skin of a Lion and The English Patient. Ondaatje's two films, Sons of Captain Poetry and The Clinton Special, as well as Anthony Minghella's film adaptation of The English Patient, are also examined. My critical approach is eclectic and driven by the demands of individual texts, focusing on some of the ways in which photography and film affect and help define the formal and thematic components of the prose works. My approach addresses photographic perspective and reader response with specific reference to the ontological nature of photographic stillness, as well as various components of filmic writing and the challenges of prose to screen transfer in cinematic adaptation. This study reveals how an exploration of the photographic and filmic aspects of the texts provides new insights into the way Ondaatje's work promotes indeterminacy of meaning and a blurring of the boundaries between genres.

This examination of photography in Thatcher's Britain explores the abject photographic responses to the discursive construction of ‘sick Britain' promoted by the Conservative Party during the years of crisis from the late 1970s onwards. Through close visual analyses of photojournalist, press, and social documentary photographs, this Ph.D. examines the visual responses to the Government's advocation of a ‘healthy' society and its programme of social and economic ‘waste-saving'. Drawing Imogen Tyler's interpretation of ‘social abjection' (the discursive mediation of subjects through exclusionary modes of ‘revolting aesthetics') into the visual field, this Ph.D explores photography's implication in bolstering the abject and exclusionary discourses of the era. Exploring the contexts in which photographs were created, utilised and disseminated to visually convey ‘waste' as an expression of social abjection, this Ph.D exposes how the Right's successful establishment of a neoliberal political economy was supported by an accelerated use and deployment of revolting photographic aesthetics. My substantial contribution to knowledge is in tracking the crises of Thatcher's Britain through reference to an ‘abject structure of feeling' in British photography by highlighting a photographic counter-narrative that emerged in response to the prevailing discourse of social sickness. By analysing the development and reframing the photographic languages of British documentary photographers such as Chris Killip, Tish Murtha, Martin Parr and Nick Waplington, I demonstrate how such photography was explicitly engaged in affirmative forms of social abjection and ‘grotesque realism'. This Ph.D examines how this renewed form of documentary embodied an insurgent photographic visual language which served to undercut the encompassing discourses of exclusionary social abjection so pervasive at the time.

Participatory photography initiatives promise to 'empower', 'give voice' and 'enable social change' for marginalised communities through photography. This thesis questions this promise, demonstrating participatory photography to be a contested practice defined as much by inherent tension, ethical complexity and its limitations as by its potential. Caught up in governmental practices and instrumental discourses, 'NGO-ised' participatory photography has lost its purpose and politics. Using multiple case-studies and presenting empirical research on TAFOS, a pioneering Peruvian participatory photography project, this thesis explores under examined areas of participatory photography practice, including its governmentality, spectatorship and long term impact on participants. It establishes the effectiveness of photography as a tool for fomenting an enduring critical consciousness (Freire 1970, 1973) while questioning the romantic narrative of participatory photography's inherently empowering qualities and capacity to enable change. Pluralism is used as a theoretical and conceptual framework for re-framing the promise of participatory photography. It is argued that a pluralized notion of participatory photography highlights the paradoxical, uncertain and negotiated character of the practice. It re-conceptualises the method as a mode of mediation that enables a plurality of seeing, that supports emerging and unrecognized claims and that cultivates a critical engagement with difference; qualities that are vital to democratic pluralism. The notion of a 'Photography of Becoming' re-imagines the critical and political character of participatory photography and the complex and vulnerable politics of voice in which it is immersed.

This thesis challenges the notion that landscape can be seen or thought as a picture i.e. in terms of its modern definition and etymology. In questioning the modern definition of landscape the thesis asks a number of specific questions: does the etymology of landscape yield any latent meanings which may be profitably explored? Can these be used as the basis for a new formulation of landscape i.e. ‘landtext’ or landscape as text? The thesis goes on to consider what the implications of this are. Importantly, this thesis is practice based which has entailed that the work is interdisciplinary in nature, the working method amounts to a dialogue between disciplines. The practice with which the thesis concerns itself is photography and it has been a pivotal component of this research to consider photography in terms of Jacques Derrida’s expanded field of writing. The photograph as a motif of the metaphysics of presence, a Barthesean emanation, is presented in relation to Derrida’s grammatology, or generalised system of difference. Critically this thesis asks is photography a form of writing? If so, what are the consequences of this for the relation between photographic writing, or as it is termed here, photogrammatology and landtext? The thesis explores whether intertextuality adequately describe the nexus of relations between each of the systems of difference. Due to the practice led nature of the project, a significant consideration has been the implication of a relational, text based understanding of practice for the viewer or reader in the gallery. To this end the thesis investigates relational aesthetics vis à vis text with a view to theorising photographic practice in a gallery setting in terms of a text which the reader enters. In addition, the role of light in the intertextual relation is considered, especially with respect to the articulation of difference.