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Personal memory and the negotiation of identity : a self portraitPratt, Sarah Jane 13 March 2017 (has links)
The first section of this paper surveys the differing characteristics of memory, its fragmentary qualities, its constant negotiation within the present, its personalised form and its links to identity-formation and construction. Concepts of continuity, stabilising identity within the present, and their corresponding memory-related problems are discussed. Photographs are looked at in relation to memory as well as for their ability to inform or influence individual identity. References to the multi-faceted information that is unconsciously assimilated from multi-media sources in today's society, and the resultant identity related complexities introduce a more personal outlook on historically specific factors that appear to have destabilised identity. The Truth and Reconciliation Commission is briefly introduced from the perspective of recreating one collective national memory and the implicit complexities involved on both a personal and collective level. Section two of the paper establishes the importance of place in the formation of identity and then looks specifically at historical incidents that are relevant to my personal self-consciousness. Zimbabwean land reform issues, political racism and economic problems are presented as occurrences powerful enough to trigger the conscious scrutiny of identity and a personal sense of the past. Travel-related experiences are discussed with issues pertaining to the destabilisation felt when the individual is introduced to "other" discourses or cultures. Exposure to these occurrences, and conjecture surrounding their "ripple effect" on the individual provide the starting point from which to understand the motivation behind my body of practical work. The third section of this paper looks closely at the problems, possibilities and variations involved in making a body of work around the concept of personal memory. The history of etching is briefly discussed, and the method of etching is compared to the recollection process. Finally, the panel of work is presented as a "heritage site" to the viewer, and a form of re-evaluation of identity for the maker. A series of narrative texts are sourced as personal springs that triggered the production of each image, and serve to accompany or enrich the artworks themselves.
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Die Geschichte des Doppelstandbildes : im deutschsprachigen Raum bis zum 1. Weltkrieg, mit beschreibendem Katalog /Zehm, Ursula. January 1995 (has links)
Texte remanié de: Dissertation--Universität Göttingen, 1991. / Bibliogr. p. (235-247).
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Composing and contesting the space of visibility : literary and visual portraiture in nineteenth- and early twentieth-century American culture /Lamm, Kimberly Kay. January 2007 (has links)
Thesis (Ph. D.)--University of Washington, 2007. / Vita. Includes bibliographical references (leaves 584-618).
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L' apparition du portrait gravé dans le livreBourgeaux, Laure Renaudin, Sophie Jarry, Bénédicte Selbach, Vanessa. January 2005 (has links) (PDF)
Mémoire de recherche diplôme de conservateur des bibliothèques : Bibliothéconomie : Villeurbanne, ENSSIB : 2005. / Texte intégral(volume1).
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A survey of George Frideric Handel’s life, music and selected portraits with and without his wig: a contribution to the celebration of the Handel yearSteyn, C, Mare, EA January 2009 (has links)
This year marks the 250th anniversary of the death of George Frideric Handel, one of the greatest
composers of the Baroque period. There are and have been celebrations of his life and works world
wide. Although he composed in every musical genre of his time, he is most famous for his oratorios,
and in particular the Messiah. The details of his public life are well-known, but his private life remains
obscure, especially in regard to his sexuality. It is of significance that he was associated with the Orpheus
myth throughout his life, and also in one of his monuments. In the eighteenth century Orpheus
was connected with both music and homosexuality. What the truth may be, Handel emerges as an even
more human and interesting figure than ever. His authentic portraits are discussed in two sections:
those with and those without his wig.
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Dichter und Denker im Porträt : Spurengänge zur deutschen Porträtkultur des 18. Jahrhunderts /Kranz, Roland. January 1993 (has links)
Diss.--Philosophische Fakultät für Geschichts- und Kunstwissenschaften--München--Ludwig-Maximilians-Universität, 1992. / Bibliogr. p. 245-269. Index.
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Das plastische Porträt im 19.und frühen 20.Jahrhundert : ein Beitrag zur Geschichte der Bildhauerei in Frankreich und Deutschland /Merkel, Ursula. January 1900 (has links)
Texte remanié de: Diss.--Philosophisch-historische Fakultät--Heidelberg--Ruprecht-Karls-Universität, 1992. / Bibliogr. p. 232-248. Index.
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Studien zum weiblichen Rollenporträt in England von Anthonis van Dyck bis Joshua Reynolds /Tasch, Stephanie Goda. January 1999 (has links)
Texte remanié de: Diss.--Fakultät für Geschichtswissenschaften--Bochum--Ruhr-Universität, 1995. / Bibliogr. p. 263-276. Notes bibliogr.
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Anonyme griechische Porträts des 4. Jhs. v.Ch. : Chronologie und Typologie /Piekarski, Dirk. January 2004 (has links)
Texte remanié de: Inaug.-Diss.--Philosophische Fakultät--Bonn--Rheinische Friedrich-Wilhelms-Universität, 2003. Titre de soutenance : Studien zu anonymen griechischen Porträts des 4. Jhs. v. Chr. / Notes bibliogr. Résumé en allemand et en anglais.
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Griechische und römische Kolossalporträts bis zum späten ersten Jahrhundert nach Christus /Kreikenbom, Detlev. January 1992 (has links)
Thèse remaniée de: Dissertation--Christian-Albrechts-Universität Kiel, 1987. / N° de : "Jahrbuch des Deutschen archäologischen Instituts" (1992) n° 27. Notes bibliogr.
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