Global ETD Search

341	Podnikatelský plán pro založení fotoateliéru / Business Plan for Photographic Studio Foundation Fait, Petr January 2012 (has links) Diploma thesis deals with establishment of photographic studio in Brno. The convenient procedure of forming the business plan was suggested in the thesis. This procedure was chosen because of the research and analysis of internal and external surroundings.
342	Konsumtionskulturen : Ett porträtt i tiden / The culture of consumption : A portraiture of our time Göth Nilsson, Annika January 2019 (has links) The purpose of this essay is to examine documentary photographs using art-science methods. The subject of the analyzes is photographer Lauren Greenfield’s project Generation Wealth, which reflects the Western consumer culture of our time. From a social-constructivist perspective, three photographs from this 25-year project are examined. These three photographs follow the theme of money and portray three different occasions that are not related to each other, but which are linked here as three subsequent steps in the theme. With the help of Erwin Panofsky's iconological interpretation model, the photographs are examined to reach a deeper meaning than merely documents about an event or of specific individuals. The iconological interpretation helps to put the photographs in a wider context which makes them symbols of our time. On the basis of the preparatory analyzes, connections are made with art historical works that both visually and contextually becomes keys in the interpretation. The photography of Phoebe 17 years becomes a symbol of the role of young people, especially girls, as objects in a consumer system. Eli Broad Dinner Party symbolizes how money controls the art market while this photograph also play with gender order. The photograph of Florian Homm becomes evidence of the emptiness that comes with the quest to constantly achieve financial success. The analyzes also discuss the division between documentary photography and art photography with the conclusion that such a division inhibits the photograph's sub-meanings. Such a division becomes a clear sign of social constructions and it’s need to categorize and place them in different fields. The essay discusses photography as a reality portrayal. This is a complex discussion which determines of the context in which the photograph is located. By simultaneously seeking an understanding of photography as a medium and by reading photography as a text, the photographs shows how social constructs are inherited and contribute to standards that keep people trapped in the culture of consumption. documentary photographs art-science Lauren Greenfield Generation Wealth social-constructivist Erwin Panofsky iconological interpretation photography consumption konstvetenskap samhällsanalys dokumentärfotografi Lauren Greenfield fotografi ikonografisk analys Erwin Panofsky konsumtion Art History Konstvetenskap
343	Melvene Draheim Hardee: Music Maker and Dreamer of Dreams Click, Sally Evelyn 05 April 2009 (has links) No description available. Academic Guidance Counseling Education Education History Teaching Womens Studies Melvene Draheim Hardee women in higher education student affairs leaders Florida State University The Life Net Photographs ACPA American College Personnel Association Southern College Personnel Association
344	This is My Family: An Erasure Rehman, Sadia 02 August 2017 (has links) No description available. Aesthetics African American Studies African Americans American History Architectural Architecture Art History Asian American Studies Asian Studies Black History Black Studies Film Studies Fine Arts Gender Gender Studies Geography History Individual and Family Studies Islamic Studies Performing Arts South Asian Studies Womens Studies World History markmaking cutouts collage stencil family photographs ritual object intimate object transliteration English Urdu installations photographs video barrier body race gender sexuality queer performance language Muslim Pakistani
345	Mythes personnels et mythes pluriels dans l'oeuvre de Kimiko Yoshida : une esthétique de l'entre-deux, 1995-2012 / Personal myths and plural myths in Kimiko Yoshida's work of art : aesthetics of the in-between, 1995-2012 Veillon, Charlène 25 February 2014 (has links) L'œuvre principalement photographique de Kimiko Yoshida (née le 23 juin 1963 au Japon et installée en France depuis 1995) se fonde sur la création de « mythes» à travers ses autoportraits. Les « mythes du Photographe» à l'origine des « fonctions» de son œuvre - visant entre autres à « informer, représenter, surprendre, faire signifier, donner envie» selon Roland Barthes dans La chambre claire - trouvent leurs sources dans la société, la culture, l'époque auxquelles l'artiste appartient et par conséquent également dans ce qui touche à la singularité de la personnalité, du vécu, de l'histoire à l'échelle intime de celui-ci. De fait, le titre général de cette étude énonce une quête des « mythes personnels et pluriels dans l'œuvre de Kimiko Yoshida », dont le thème de « rentre-deux» constitue la posture esthétique majeure, l'artiste et son œuvre se trouvant entre Japon et Occident, entre figuration et abstraction, entre réalité et fiction, entre citation et transgression. Ce discours fictionnel par l'image et dans l'image subit différentes métamorphoses qui forment les quatre axes fondateurs de la thèse, à savoir l'entre-deux particulier du « personnage conceptuel» défini par Gilles Deleuze et Félix Guattari dans Qu'est-ce que la philosophie / appliqué à la « signature» Kimiko Yoshida : l'étude d'un entre-deux géographique et culturel définissant un « syncrétisme» artistique singulier: les illustrations des différentes dimensions spatio-temporelles perceptibles dans l ' œuvre de Kimiko Yoshida, notamment à travers les (enjeux des couleurs des images : et l'interrogation concernant la place du sujet à l'image, entre trace et absence. / The work of Kimiko Yoshida (born on June 23rd, 1963, in Japan and living in France since 1995), mainly based on photography, is founded on the creation of « myths ». This study is about searching, defining and analysing the « functions » of Kimiko Yoshida's self-portraits. The « myths of the Photographer », at the origins of her work's functions - aiming. amongst others, to « inform, represent, surprise, signify, create desire» according to Roland Barthes' Camera Lucida - are rooted in the society, the culture and the time the artist belongs to, and as a consequence also in the singularity of his/her personality, experience, and intimate story. Thus, the general title of this study brings forwards a research of « personal and plural myths in Kimiko Yoshida's work of art», whose topic of the « in-between » is the main aesthetic position, the artist and her work situated between Japan and the West between representation and abstraction, between reality and fiction, between quotation and transgression. The fictional speech through and in the image undergoes several transformations which make up the four founding lines of this thesis, that is to say the distinctive in-between of the « conceptual character » defined by Gilles Deleuze and Félix Guattari in Whut is Philosophy ) applied to Kirniko Yoshida's name : the study of a geographical and cultural in-between defining a singular artistic « syncretism » : the illustrations of the several perceptible space-time dimensions in Kimiko Yoshida's work, notably through the games/aims of the images' colours : and the questioning about the subject in the image, between trace and absence. Mythes personnels Autoportrait Japon (art) Japon (culture) Mariage (rituels de) Ma Nô Masque Maquillage Oshiroi Miroir (motif du) Bouddhisme Zen Haute couture Titres des photographies Yoshida Kimiko Ribettes Jean-Michel Personal myths Self-portrait Japan (art) Japan (culture) Wedding (rituals of) Vanitas (topic of the) Mask Mirror (motif of the) Buddhism Titles of photographs 770
346	Pedir, prometer e pagar: escritos, imagens e objetos dos romeiros de Canindé. / Request, promise and pay: writings, pictures and objects of pilgrims of Canindé. Silva, Lucília Maria Oliveira January 2007 (has links) SILVA, Lucília Maria Oliveira. Pedir, prometer e pagar: escritos, imagens e objetos dos romeiros de Canindé. 2007. 193f. Dissertação (Mestrado em História) - Universidade Federal do Ceará, Departamento de História, Programa de Pós-Graduação em História Social, Fortaleza-CE, 2007. / Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-06-27T15:58:09Z No. of bitstreams: 1 2007_Dis_LMOSilva.pdf: 5262863 bytes, checksum: 41443a686ae9d9a64712fe15254e17dd (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-20T12:11:43Z (GMT) No. of bitstreams: 1 2007_Dis_LMOSilva.pdf: 5262863 bytes, checksum: 41443a686ae9d9a64712fe15254e17dd (MD5) / Made available in DSpace on 2012-07-20T12:11:43Z (GMT). No. of bitstreams: 1 2007_Dis_LMOSilva.pdf: 5262863 bytes, checksum: 41443a686ae9d9a64712fe15254e17dd (MD5) Previous issue date: 2007 / This research discusses the religious practices of São Francisco pilgrims from Canindé (CE), Brazil, apprehending their relationships with the sacred according to their written prayers, and its purpose. This aim arose mainly from the analysis of devotees’ letters and photographs sent to Canindé to thank, ask for, or tell miracles. According to these choices and the availability of the sources, I opted to not delimit an inflexible period in order to consider certain inherent questions. Thus, at first I tried to understand how Canindé became a holy place by the narratives of miracles, the Church action and the devotees’ interpretations. Besides that, I focused on some peculiarities relating devotees’ concepts about the saints and the tactics for miracles attainment. Therefore, I talked about the miracles, that is, the needs presented by the pilgrims. This allowed us to perceive how they think and live deeply their daily historical experiences relating them with a concept of faith and protection. / O presente estudo objetiva discutir as experiências religiosas dos romeiros de São Francisco das Chagas de Canindé (CE), buscando apreender as formas (práticas) pelas quais vêm se relacionando com o sagrado, com destaque para a escrita de pedidos e suas finalidades. Este intuito surgiu, principalmente, do diálogo com cartas e fotografias que os devotos depositaram em Canindé pedindo, agradecendo ou narrando milagres. Seguindo estas escolhas e a disponibilidade das fontes, optei por não delimitar de forma rígida um recorte temporal. Desta forma, inicio pensando o processo de sacralização do espaço de Canindé permeado por narrativas de milagres, pela ação da Igreja e as interpretações dos romeiros, que vivenciam esse espaço reafirmando-o e resignificando-o. Desenvolvo uma abordagem histórica sobre as formas de argumentação dos devotos para com o santo e sobre os milagres, isto é, as necessidades e anseios apresentados pelos devotos. O que permite vislumbrar como pensam e vivenciam suas experiências cotidianas, e as relacionam com um imaginário de fé e de proteção historicamente situado. Saint Francisco Sacred Pilgrimage Miracles Historical experiences São Francisco pilgrims Religious practices Devotees’ letters and photographs Holy place Canindé Santuários cristãos -Canindé(CE) Ex-votos - Canindé(CE) Religiosidade Cartas Fotografias
347	Rozpoznávání textu pomocí konvolučních sítí / Optical Character Recognition Using Convolutional Networks Csóka, Pavel January 2016 (has links) This thesis aims at creation of new datasets for text recognition machine learning tasks and experiments with convolutional neural networks on these datasets. It describes architecture of convolutional nets, difficulties of recognizing text from photographs and contemporary works using these networks. Next, creation of annotation, using Tesseract OCR, for dataset comprised from photos of document pages, taken by mobile phones, named Mobile Page Photos. From this dataset two additional are created by cropping characters out of its photos formatted as Street View House Numbers dataset. Dataset Mobile Nice Page Photos Characters contains readable characters and Mobile Page Photos Characters adds hardly readable and unreadable ones. Three models of convolutional nets are created and used for text recognition experiments on these datasets, which are also used for estimation of annotation error.
348	L'été au Parc Belmont ; suivi de, Cartographies du père Charland, Thara 08 1900 (has links) L’été au Parc Belmont est un recueil de fragments qui allie prose narrative, photographies d’archives familiales, écriture manuscrite et dessins. Le récit relate l’enquête d’une narratrice sur l’identité de son père et la difficile mise au tombeau de celui-ci. Dans ce projet d’exhumation du passé paternel, la parole phagocytante de la narratrice rassemble toutes les informations qu’elle peut trouver et demeure l’unique énonciatrice du récit. C’est dans une temporalité ressassante, mélancolique et non linéaire que se déroule l’intrigue; entre l’enfance du père le long de la rivière des Prairies, son adolescence à Cartierville et sa vie adulte dans une ville de banlieue, le présent de l’enquête vient faire irruption. Le recours à des archives familiales sous forme de photographies et de vidéos pour l’élaboration de ce recueil problématise le rapport entre le texte et l’image. Ainsi, les photographies sont utilisées de diverses manières : photos qui apparaissent dans le texte sans qu’on les convoque directement, photos dont est donnée une ekphrasis elliptique ou falsifiée, photos accompagnées de légendes détournées, etc. Cartographies du père propose une réflexion sur les liens qu’entretiennent le topographique et le biographique dans les textes littéraires contemporains. Dans le cadre de cet essai, je m’intéresse à un corpus doublement mixte : québécois et américain, mais également narratif et graphique. L’étude porte plus exactement sur trois autrices et auteurs, soit Alison Bechdel (Fun Home : A Family Tragicomic, 2006), Hervé Bouchard (Harvey ou Comment je suis devenu invisible, 2009) et Catherine Mavrikakis (La ballade d’Ali Baba, 2014). Au-delà des rapports entre transmission et lieu, les textes de mon corpus sont liés par la mort du père, perte indépassable, événement toujours à investiguer pour les narratrices et narrateurs. Il s’agit non seulement d’analyser la manière dont ces textes thématisent l’absence paternelle ainsi que les difficultés et les apories de la transmission qui en découlent, mais aussi de quelles façons ils représentent le lieu, jouent avec l’espace de la page, mobilisent les outils de la cartographie et décrivent les trajets. Pour ces héritières et héritiers, la reconstruction d’un événement ou d’un passé familial passe nécessairement par une reconstitution du lieu, qu’il soit la campagne de la Pennsylvanie, la maison familiale des Bouillon ou le chemin entre Montréal et Key West. L’analyse de cette reconstitution du lieu informe le lecteur du rapport que l’héritier entretient avec la figure paternelle. Cartographies du père offre également une réflexion sur l’acte de raconter l’autre et sur les recours fictionnels inévitables que cette entreprise oblige. / L’été au Parc Belmont is a collection of fragments that combines narrative prose, family archive photographs, handwriting and drawings. In this story, the narrator is investigating her father’s identity. The narrator gathers all the information she can ﬁnd and remains the sole enunciator of the story in her attempt to exhume the paternal past. The plot unfolds in an overwhelming, melancholy and non-linear temporality; between the father’s childhood along the Rivière des Prairies, his adolescence in Cartierville and his adulthood in a suburban town, the narrator’s investigation periodically bursts in. The use of family archives in the form of photographs and videos problematizes the relationship between text and image. Thus, photographs are used in various ways : photos which appear in the text without being directly referred to, photos which are given an elliptical or falsiﬁed ekphrasis, photos accompanied by diverted legends, etc. Cartographies du père oﬀers a reﬂection on the links between topography and biography in contemporary literary texts. In this essay, I am studying a corpus that is both Québécois and American, as well as narrative and graphic. The study focuses on three authors : Alison Bechdel (Fun Home : A Family Tragicomic, 2006), Hervé Bouchard (Harvey ou Comment je suis devenu invisible, 2009) and Catherine Mavrikakis (La ballade d’Ali Baba, 2014). Beyond the relationships between transmission and locales, the texts of my corpus are linked by the father’s death, an unsurpassable loss, an event that is yet to be investigated by the narrators. While this essay focuses on the way in which these texts thematize paternal absence –namely through the diﬃculties and shortcomings of the transmission resulting from this loss – it is also questioning the ways in which the authors represent various locales, play with the space of the page, mobilize mapping tools and describe routes. For these heirs, the reconstruction of a family event or history necessarily involves a reconstruction of the setting, whether it be the Pennsylvania countryside, the Bouillon family home or the road between Montreal and Key West. The analysis of the reconstruction of the locale informs the reader of the relationship that the heir maintains with the father ﬁgure. Cartographies du père also oﬀers a reﬂection on the act of remembering and talking about another person and on the inevitable ﬁctional shifts that this action provoke. Intertextualité Études sur le lieu Figure paternelle Roman Bande dessinée Photographies Création littéraire XXIe siècle Littérature américaine Littérature québécoise Quebec literature American literature 21st century Creative writing Photographs Comics Novel Father ﬁgure Place studies Intertextuality
349	Naturligt farligt : Hur visualiseringar av klimatförändringar är laddade med tecken och känslor Jägerskog, Mattias January 2010 (has links) <p>The purpose of this thesis was to examine the relationship between feelings and visualizations of climate change. A case study was done on visualizations of climate change from a web page concerning climate change published by the Swedish newspaper <em>Expressen </em>and from the American photographer Gary Braasch’s web page “World view of global warming”. The thesis is based on the article ”Emotional anchoring and objectification in the media reporting on climate change” by Birgitta Höijer. I have been aiming to understand the feelings of fear, hope, guilt, compassion and nostalgia through semiotic theories of icon, index and symbol.</p><p>Previous research has proven the difficulties in bringing the issue of climate change up on the public agenda – which is connected to the difficulties of visualizing climate change. The nature of climate change being slow and hard to spot on an individual level has been highlighted as a cause of both of these difficulties. Pictures and photos have in this thesis been seen as the “interface” between science and the public – and hence <em>decoders</em> of the science of climate change. Höijer’s article about feelings has been used to understand this process of decoding.</p><p>The results show that the analyzed material could be linked to and described by the semiotic theories of icon, index and symbol. The emotional anchoring found in the material and the semiotic application have been shown to work complementarily with each other, leading to a broader understanding of the material’s relationship to social cognitions. The results further demonstrated that context is essential in some of the analyzed visualizations of climate change. Generic pictures found in the material could have been regarded as icon, index or symbol of other messages – but is through its contexts anchored with feelings, and becomes visualizations of climate change. The analysis also suggests that if icons of nature could be connected with feelings – so could nature itself. The consequences are speculated to lead to objectification of nature and ecophobia. By objectifying nature and using generic pictures, the material’s relationship to the concepts of “truth” and “myth” is questioned.</p><p>In conclusion, understanding of the analyzed material is advantageously achieved through complementary use of Höijers emotional categories and the semiotic theories of icon, index and symbol.</p> climate change nature environment climate internet media Expressen Gary Braasch visualization images photographs emotions feelings fear hope guilt compassion nostalgia truth myth semiotics archetypes icons index symbol Höijer iconographic sign interpretant object decoding generic anchoring objectification ecophobia context klimatförändringar natur miljö klimat internet media Expressen Gary Braasch visualisering bilder foton känslor rädsla hopp skuld medlidande nostalgi sanning myt bildsemiotik semiotik urbilder ikon index symbol Höijer ikonologisk ikonografisk preikonografisk tecken interpretant objekt avkodning generiska förankring objektifiering ekofobi kontext Media and communication studies Medie- och kommunikationsvetenskap
350	Juxtaposing Sonare and Videre Midst Curricular Spaces: Negotiating Muslim, Female Identities in the Discursive Spaces of Schooling and Visual Media Cultures Watt, Diane P. 09 May 2011 (has links) Muslims have the starring role in the mass media’s curriculum on otherness, which circulates in-between local and global contexts to powerfully constitute subjectivities. This study inquires into what it is like to be a female, Muslim student in Ontario, in this post 9/11 discursive context. Seven young Muslim women share stories of their high schooling experiences and their sense of identity in interviews and focus group sessions. They also respond to images of Muslim females in the print media, offering perspectives on the intersections of visual media discourses with their lived experience. This interdisciplinary project draws from cultural studies, postcolonial feminist theory, and post-reconceptualist curriculum theorizing. Working with auto/ethno/graphy, my own subjectivity is also brought into the study to trouble researcher-as-knower and acknowledge that personal histories are implicated in larger social, cultural, and historical processes. Using bricolage, I compose a hybrid text with multiple layers of meaning by juxtapositing theory, image, and narrative, leaving spaces for the reader’s own biography to become entangled with what is emerging in the text. Issues raised include veiling obsession, Islamophobia, absences in the school curriculum, and mass media as curriculum. Muslim females navigate a complex discursive terrain and their identity negotiations are varied. These include creating Muslim spaces in their schools, wearing hijab to assert their Muslim identity, and downplaying their religious identity at school. I argue for the need to engage students and teacher candidates in complicated conversations on difference via auto/ethno/graphy, pedagogies of tension, and epistemologies of doubt. Educators and researchers might also consider the possibilities of linking visual media literacy with social justice issues. border epistemologies bricolage autoethnography cultural studies curriculum theory epistemologies of doubt feminist postcolonial theory high schooling experiences post 9/11 mass media as educator media literacy and social justice issues Muslim female student identities visual media literacy media representations of Muslim women decolonizing methodology experimental ethnography intercultural education in-between sonare and videre currere hybrid consciousness deconstructive pedagogies complicating readings of self and other entanglement in veiling discourses disrupting Orientalism photographs, culture, and memory relational theories of learning feminist poststructural critique personal narratives

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