The thesis concerns representations of Roman women of the imperial period depicted in the guise of a divinity. Portraits of women of all social levels have been included as have representations in any media excluding numismatic evidence. The latter, with its specific contextual characteristics, is only included and discussed as comparanda for the main body of material. The juxtaposition of a recognisable reality and a heightened reality in these representations raises a variety of interpretative questions: whether it is possible to establish a correlation between the mythological interpretation of a goddess and the socio-personal interpretation of an image of a mortal woman; the nature of the message being communicated through the choice of a particular deity; and whether the choice of deity for association in some way may be seen to conform to established ideals or topoi for women. The work examines Roman portraiture as a vehicle for self-expression and the transmission of ideals. Various aspects of the 'mechanics' for achieving this (idealisation, imitation, etc.) are investigated. Though, of particular importance to the argument is the relationship between image and spectator: the perception of portraits and the various factors contributing to forming an interpretation. Thus portraiture is established as a medium which within its contextual framework also includes the spectator - and the spectator's cultural reference points. The main body of the thesis centres on a dual examination of the range of deities with which Roman women were associated and the women presented in the divine guises, respectively proposing avenues of interpretations for the divine allusions and offering suggestions for methods of interpreting their use. The examination of the various deities in whose guises Roman women appear is also juxtaposed with the distinctions and attributes used to characterise women in literary and epigraphic sources. The correlation between these helps to elucidate the values represented in the images of women under discussion, and how they fit within a framework of ideals and virtues, and with the social personae of Roman women. Similarly, affinities between social status and mythological depiction are juxtaposed with a discussion of the role of the mythological representations themselves - exploring especially the relationship between mythological narrative and the tradition of exempla in Roman literature. It is further argued that interpretation is influenced also by viewer response - encouraged through empathetic identification and social emulation - and that the images of women in divine guises therefore may be perceived both as revealing intrinsic personal characteristics and as a costume symbolically articulating aspirational values. The inherent duality in these representations does in other words not so much concern degrees of reality as interacting realities: the individual"as a social participant, the public persona evidencing personal virtues. The images of Roman women presented therefore contain equally a reconfiguring response to the world and a socialising affirmation of identity.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

In this Thesis ‘Sel-f (DESIRES SN#2) 100MG' I will talk about my origin and how my life of living in the United States for 13 years made me become who I am and my concerns. It helped to make me realized why I make and why I have become an artist. While living in the US I realized I was like a frog that's in a well. I began to realized and appreciate my country and its histories and so on. Encountering many people from different walks of life, being able to connect with them and share made me grow a lot and appreciate what I do as an Artist.

This thesis provides an overview of Moritz Daniel Oppenheim's portraits of the Rothschild family with attention paid to the artist's training and personal artistic pursuits, as well as participation in Gentile and Jewish discourses. Oppenheim's knowledge of art history and use of style in creating the identities of his Rothschild subjects are the focus of this study. Oppenheim's methods and use of art historical styles are discussed with deference to the public or private nature of the portraits, and the resulting works' engagement of both German and Jewish issues. Methodologies used include the history of style and identity theory.

The Flemish painter Anthony Van Dyck extended his preoccupation with portraiture into the printed medium by designing a body of portrait prints, posthumously compiled into a book entitled, the Iconography. This suite of images, organized and designed by Van Dyck and printed by workshop assistants between 1632 and 1644, is comprised of engraved and etched half-length portraits of contemporary European men and women of various professions and backgrounds, including artists, scholars, diplomats, and religious leaders. This thesis examines the artistic and literary context for Van Dyck’s Iconography, with a focus on the changing social and intellectual status of artists in northern Europe during the seventeenth century. It seeks to provide the scholarship on the Iconography with an understanding of how the portraits function as a collective group that enhanced the prestige of artists in the seventeenth century.

This thesis proposes that California contemporary photographer Catherine Opie's Being and Having series (1991) and her Portrait series (1993-1996) parody the constraining binary gender discourse and stereotypes that emanate from it. In her art Opie uses familiar codes and identity discourses associated with traditional portrait photography and typological photographs to promote a postmodern and fluid model of gender identity. Her manipulation of photographic technique and subject matter validates cultural stereotypes of gender at the same time that it destabilizes them. Opie also simultaneously highlights fallacies such as the presumed objectivity and evidential force that is associated with the discourse of portrait photography as a documentary field. By presenting her portraits of lesbians to broad-based audiences in such a blatant and stylized manner, Opie comments on the limitations of society's continued reliance on gender non-nativity and physiognomic modes of identifying communities.

Within and Without is a document which illustrates my personal and artistic research into the nature of the postmodern conception of the self: that self is unfixed, multiple, and reactive. It explicates my myriad and explorative approaches to photographic portraiture. Furthermore, it indicates many of my theoretical and artistic references and how I have applied my lessons both as an artist and a researcher to maximize the effect of my concepts within the formal and aesthetic confines of my photographs. Finally, this document explains my own beliefs concerning the nature of self and how a synthesis of my influences has led me to these beliefs.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

The diploma thesis deals with the topic of measuring society-wide values according to the theory and method designed by Shalom Schwartz. The concept of values and its place in sociology is introduced, the development of Schwartz' theory and method is outlined and its varieties presented. Using the Portrait Value Survey Method, which is based on the data from the European Social Survey, the values of the Czech society are measured. This is carried out by the means of correlation and regression analyses of ten basic values with chosen descriptive variables - age, gender, education and political orientation. The results of the study does not show any significant deviations from the anticipated outcome, the values are quite traditional especially in connection with the gender and age differentiation. The values of individuals change in time and are dependent on the above mentioned factors.

A produção cafeeira da segunda metade do século XIX não só atraiu fotógrafos para atestar reconhecimento à nova elite agrária, por meio do retrato em estúdio, como também gerou subsídios à imigração europeia para trabalhar nas fazendas de café. No sistema de colonato, a unidade de produção era familiar, mas a mulher, mesmo conjugando o trabalho na roça com o de subsistência, não era considerada trabalhadora rural. A mecanização da produção, a concentração da propriedade de terra e a aprovação de direitos trabalhistas no campo geraram uma expulsão em massa desses trabalhadores para as cidades, surgindo a figura da boia-fria. Mesmo com sua força de trabalho considerada individualmente, as mulheres ganhavam menos que os homens, enfrentavam o preconceito por andar de pau-de-arara, além de assumir uma segunda jornada na criação dos filhos e nas tarefas domésticas. Movimentos de retorno ao campo por meio da ocupação de latifúndios improdutivos foram se consolidando a partir da década de 1960, mas essa nova estrutura social construída nos acampamentos mantinha a mesma tradição patriarcal, em que o homem assume as posições de liderança e o título da terra, quando dividida. As mulheres exigiram seus direitos criando diferentes movimentos de emancipação, em busca de reconhecimento do seu trabalho, direitos previdenciários e mais participação política, e essas mudanças conquistadas foram alavancadas por políticas públicas de equidade de gênero no campo a partir de 2003. Não só o papel social da mulher camponesa de reforma agrária mudou, como também a imagem que ela tem de si. Nesse contexto que algumas mulheres do Assentamento Dandara, na cidade de Promissão, estado de São Paulo, foram retratadas fotograficamente e conduziram a forma como gostariam de ser vistas. As produções fotográficas foram acompanhadas de análise individual e coletiva, fabulações de si e dos seus pares pela mediação da memória e do imaginário. / The coffee production of the second half of the 19th century draw not only photographers that acknowledged the new rural elite\'s recognition through the practice of studio portraits, but also enabled the migration of European workers to the coffee plantations. In the system of \"colonato\", the production unit was typically familiar, but women were not considered rural workers per se, even though they worked both at home and in the farms. Production mechanization, property concentration of land and new labour legislation forced a huge migration of these rural workers to big cities, giving birth to the \"boias frias\". Women, even though regarded as an individual work force, were paid less than men and had to face prejudice for sharing the \"pau-de-arara\" system of transportation. They also faced a second working day burden by raising the children and keeping up with housework. From the 1960\'s on, the return of these people to rural areas was marked by the occupation of unproductive land properties. This new social structure built in the settlements, though, kept the same patriarchal traditions, in which men hold leadership positions and own the land titling. Women, then, started to demand their own rights by creating different emancipation movements focused on having their work recognized, as much as access to retirement rights and political emancipation. Those changes were accomplished with the support of new gender equity public policies and helped change not only the social role of the peasant women involved in the agrarian reform but the image these women had of themselves. It is in this context that some women from Dandara settlement, in Promissão city, São Paulo state, were portraited in photographs by deciding the way they wanted to be seen. These photographic productions were followed by individual and collective analyses, as much the fabulation of themselves and their rural peers through memory and imaginary.