A research report submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts (History of Art), 2017 / This research was instigated by a collection of uncollected portraits (completed and incomplete), photographs, letters, papers, documents, passbooks, and other materials, left behind when an airbrush portraiture studio, The Aqua Portrait Studio, closed in about 1998 after fifty years of continuous business. The portraits were created by enlarging small original photos – sometimes from two separate sources – and then colouring them with an airbrush and other materials. Because of the nature of the airbrush technique, it was possible to change the original image completely: to clothe the sitters in completely imaginary attire, for example, and pose them together with someone they had possibly never been photographed with. This process gave rise to a genre in which people could re-imagine themselves, enact other personas. Because the fifty years of existence of this studio almost coincided with the years of apartheid (the studio was open from about 1950 to about 1998), it seemed that the collection of uncollected images and notes left behind could be a source of rich information about the people who were the studio's clients, the process of acquiring airbrushed portraits, and the social and historical context in which those involved lived. I start with three fundamental questions: Since this portraiture form grew so exponentially in popularity, especially during the apartheid years, what specific significance and meaning had it taken on for the communities who were buying the portraits? What need was it meeting? What can we learn about these lives from this collection? The research takes two forms. First, it closely interrogates the material objects in the collection; and second, it tracks the routes of clients and salesmen to what were some of the former homelands of the northern part of South Africa. Both these investigations attempt to understand the possible roles and contribution of these pictures to the construction and reconstruction of self-identity under apartheid. / XL2018

Dans les années 2000, les séries télévisées rencontrent un engouement sans précédent. Ce qui ne constituait qu’une « sous-culture » pour quelques passionnés, devient un genre de plus en plus légitime. Ce succès, attribué par les journalistes au renouveau créatif des séries américaines, est largement alimenté par la programmation des chaînes françaises. La télévision n’est cependant plus leur seul diffuseur : DVD, streaming et échange de fichiers sur Internet ont largement pris le relais. Ces médias participent désormais à la configuration des séries, incitent à de nouvelles stratégies et invitent les spectateurs à des usages diversifiés.Les chercheurs montrent eux aussi un intérêt croissant pour les séries, les considèrent comme un terrain propice à l’étude des représentations sociales (sociologie), des « objets narratifs » (narratologique) ou encore des « programmes télévisés » (sémio-pragmatique).Alors, qu’est-ce qu’une série ? Dans le but de répondre à cette question, nous avons adopté une conception élargie des séries comme objets culturels médiatiques, configurés par l’ensemble complexe des médiations socio-techniques qui leur donnent forme. C’est alors par l’étude compréhensive du point de vue et des pratiques des acteurs de leur communication (professionnels, médias, spectateurs) que nous entendons appréhender les séries et la manière dont se construit leur culture. A la croisée de différentes méthodes (analyse de discours, entretiens compréhensifs, portraits), se dessinent les contours des séries au regard de leurs médiations, se laisse découvrir la complexité de l’objet et entrevoir la nécessité d’une réflexion sur les méthodes à engager dans leur analyse. / During the 2000s, television series met with an unprecedented public infatuation. What had previously constituted but a small "subculture" was rising to become a legitimate genre in its own right. This success, that journalists attribute to a creative renewal in American series, is largely fed by French television network programming. Television, however, is no longer the sole broadcaster : DVD and streaming and sharing online are now heavily present. Henceforth, these media will now participate in the configuration of series, incite new strategies and invite audiences to diversify their usages.Researchers themselves show an increasing interest in series, considering them a rich field for the study of social representations (sociology), "narrative objects" (narratology) or also "televised programs" (semio-pragmatics).So, what is a series ? In order to answer this question we have adopted a broad conception, regarding them as being objects of media culture configured by a complex ensemble of socio-technical mediations which give them form. To understand series how they construct their culture, we implement a comprehensive study of the practices and points of view of their communication actors (professionals, media and audiences). Through the use of different methods (discourse analysis, comprehensive interviews, portraits and transversal analysis) we outline series, with regard to their mediations, allowing us to discover the complexity of the object and the necessity of reflection upon the methods to employ in their analysis.

Cinq thèmes vont servir de support aux exposés. « Le projet autobiographique», « pratique du genre », «La vie « filtrée»» suivra « L'invention de Soi» et pour finir « Ecriture et fiction ». Mes travaux d'études artistiques et intellectuelles ont été pressentis afin de libérer ma mémoire et pouvoir revisiter cette dernière il n'importe quels moments. De la sorte, cette mémoire mise en défaut. Par moment pour des raisons thérapeutiques, s'est trouvé stimulée par mes recherches. En revisitant les travaux que j'ai réalisés, je me suis rendu compte du peu de souvenance de certains faits alors que d'autres sont apparus complètement différents. Réalité proposée ou mensonge avéré lors des photomontages sont dans ma croyance d'une réalité plus réelle que la mienne. L’individualisme sort vainqueur d'un épisode de contradictions générales dans une société en proie à des connivences communautaristes ou des volontés fédératrices. Ma démonstration a apporté la signification que la société est univoque et que l'individu est unique. De ce point de vue, ma sensation d'appartenir à un modèle sociétal disparaît et mon travail fait le sens inverse en m'intégrant dans mon quotidien au mouvement de la société. J'ai conscience que les étapes actuelles peuvent m'être étrangères, que mes préoccupations peuvent m'être tout à fait lointaines, revenant avec l'aide de mes travaux à la perception de mes images construites : l'individuel et le global Ce qui m'intéresse au plus près ressemble plus aux dialogues entre les cultures et aux actions humaines immédiatement comprises. Ces deux éléments comportementaux, apparemment barbares comme deux matières à l'alliance impossible (fer et argile), rendent la situation des consciences contemporaines hétérogènes. Il me faut montrer, exemplifier par mes instincts de photographe que les éléments du quotidien, hétérogènes eux aussi et présents autour de moi, sont la nourriture de mon langage artistique. / Five themes will be used to support presentations. "The autobiographical project," "practice of gender", "Life" filtered "" will be followed by "The Invention of Self' and finally writing and fiction. My work artistic and intellectual studies were contacted to release my memory and be able to revisit it in any time. In this way, the memory at fault, at times for therapeutic reasons, has been stimulated by my research. By revisiting the work I have done, I realized how little recollection of facts or other appeared completely different. Proposed or actually lie in the photomontages are proved in mv belief a reality more real than mine. Individualism emerged victorious from an episode of general contradictions in a society plagued by collusion or communitarian federative intentions. My demonstration brought meaning that the company is unique and that the individual is unique. From this point of view, my sense of belonging to a social model disappears and my work is the opposite of me in my daily life including the movement of society. I am aware that I may be the current steps abroad, that my concerns I may be quite distant, returning with the help of my work to my perception of images constructed : the individual and the global, the I'm interested in closer, more like the dialogue between cultures and human actions immediately understood. Both behavioral elements, as two seemingly barbaric materials alliance impossible (iron and clay), make the situation of contemporary consciousness heterogeneous. I must show my instincts exemplify by photographer items daily, heterogeneous also present around me arc the food of my artistic language.

No segmento criminal, uma ferramenta digital capaz de comparar informações sobre suspeitos criminais, restringindo a lista de potenciais criminosos, representa um grande avanço tecnológico. O desafio é conseguir recuperar imagens similares em banco de dados a partir do retrato falado de um suspeito, sendo assim possível localizar as imagens de criminosos no banco de faces da polícia. A importância desse desafio deve-se ao fato que na maioria dos casos, o retrato falado gerado, a partir da descrição verbal de testemunhas é o ponto de partida para o desfecho de muitas investigações. Em vista disto, este trabalho tem por objetivo apresentar um sistema computacional capaz de buscar imagens de faces humanas de um banco de faces através dos esboços das imagens de face, a partir de um retrato falado. Foram feitos retratos falados para comparar com os esboços das imagens das faces humanas presentes em banco de dados e foram recuperadas as mais semelhantes. Na metodologia proposta, as imagens de face passam por um processamento chamado Misturograma, que resulta no esboço da imagem de face, que é utilizado para se comparar com os retratos falados obtidos. O algoritmo proposto usa distância Euclidiana para comparação de semelhança e wavelets de Haar como descritor das imagens. Foram utilizadas as métricas estatísticas de avaliação de desempenho: Recall X Precision e Cumulative Match Score. A metodologia proposta obteve uma precisão de 95% de acertos nas buscas realizadas em Cross Validation, dessa forma mostra-se um método viável para recuperação de imagens a partir de retratos falados. / In the criminal segment, a digital tool able to compare information on criminal suspects, restricting the list of potential criminals, represents a major technological breakthrough. The challenge is to retrieve similar images in the database and thus from the sketch of a suspect you can find images of criminals in the police faces database. The importance of this challenge is due to the fact that in most cases, the sketch generated from the verbal description of witnesses is the starting point for the outcome of many investigations. In view of this, this paper aims to develop a computer system able to search for images of human faces from a database of faces using face images of outlines from a sketch. Sketches were made to compare with the outlines of the images of human faces present in the database and the most similar were retrieved. In the proposed methodology, the face images go through a process called Misturograma, resulting in the outlines of the face image, which is used to compare the obtained sketches. The proposed algorithm uses Euclidean distance to compare the similarity and Haar wavelets as a descriptor of the images. We used the statistical metrics for performance evaluation: Recall X Precision and Cumulative Match Score. The proposed method achieved an accuracy of 95% in carried out searches in Cross Validation thus proves to be a viable method for recovering images from sketches.

As praias de Agnès é um filme elaborado por meio de um movimento retrospectivo em que a cineasta Agnès Varda reflete sobre sua vida e compõe uma costura entre a sua narrativa e a maneira como mobiliza trechos de diversas obras suas. O trabalho está voltado para analisar o filme partindo da hipótese de que As praias de Agnes, além de estabelecer esse contato entre recordações e processo de criação, reúne elementos que atravessam a filmografia da cineasta. A pesquisa esteve dedicada a lançar luz sobre as recorrências mas também observando as singularidades de cada trabalho, percebendo neles o que torna Agnès Varda uma artista que instiga o estudo sobre sua obra. O esforço foi de investigar o modo como a cineasta aliou seus temas à forma fílmica a partir da relação que estabelece entre memórias, história e os contatos que promove entre o cinema e outras artes. / The beaches of Agnès is a film elaborated through a retrospective movement in which filmmaker Agnès Varda reflects about her life and composes an articulation between her narrative and the way she mobilizes excerpts from her various works. This work is focused on analyzing the film based on the hypothesis that The beaches of Agnès, in addition to establishing this contact between memories and the creation process, brings together recurring elements in the work of the filmmaker. The research was dedicated to shed light on the recurrences but also observing the singularities of each work, realizing in them what makes Agnès Varda an artist whose study of the work becomes so instigating. The thesis investigates the way in which Varda articulates form and content through an analysis of the rapport between memory ans history and of cinema relationship with other forms of art.

Este trabalho consiste de paisagens e autorretratos, inspirados nas memórias de minha infância. Desenho, gravura e aquarela são os meios utilizados na realização de tais obras, que são acompanhadas por um texto escrito que busca, por sua vez, refletir sobre ou evocar esta memória. / This work consists of inner landscapes and self-portraits, inspired by my childhood memories. Drawing, printmaking and watercolor are the means used in carrying out such works, which are accompanaied by a written text that seeks, in turn, to reflect on or evoke this memory.

NÁZEV: Portrait and identity in Art Education AUTOR: Zuzana Tomková, BcA. DEPARTMENT: Department of Art Education SUPERVISOR: Mgr. Zuzana Fišerová, Ph.D ABSTRACT: The goal of this diploma thesis is to create a didactic project applicable for various school types based on the knowledge from the chapter on theory. This work analyzes the evolution of portrait in the history of art, mainly photography. Further it delves into student identity and different approaches to it. The work also pursues the development of child artistic expression. Main focus is didactic project "How I perceive myself, how others perceive me" anchored in curricular papers followed by its analysis. A constituent part is an artistic chapter describing an author book "Us teachers" that pursues authors' seeking of own identity through her fellow students. Reproductions of the author book, copies of students' art works and a table analyzing these works can be found in appendix. KEYWORDS: Portrait; Selfportrait; Identity; Zuzana Tomková; Photography; Collage; Elememtary education; Jak se vidím já, jak mě vidí ostatní; "Us teachers"; 2018

Esta dissertação se propõe a comparar o estilo de descrição da figura humana em retratos jornalísticos de Jorge Andrade e de Marcel Proust. O primeiro, enquanto repórter na revista Realidade e o segundo enquanto colaborador ocasional de inúmeros jornais e revistas da Belle Époque parisiense. Cada um desses dois escritores não hesitou diante da oportunidade de produzir artigos jornalísticos de forte verve literária sobre intelectuais, artistas e mundanos de suas épocas. A participação de Andrade na revista Realidade ocorre na segunda fase do periódico, entre 1969 e 1972, quando os métodos iniciais de edição de artigos foram reestruturados para contornar a censura do Ato Institucional nº 5 (AI-5). Por sua vez, Marcel Proust escreve para publicações que abrem espaço substantivo ao gênero portrait com o intuito de satisfazer a curiosidade de um público-leitor fortemente interessado pelos traços que distinguiriam o artista, o homem de letras ou o indivíduo da alta sociedade. A tônica comum nesses textos não é somente o aprofundamento nos traços sentimentais e psicológicos dos entrevistados, mas também a forte valorização do memorialismo, que se faz notar pelo recurso a experiências pessoais não somente daquele que é retratado, mas também do próprio escritor. Assim, o exercício do gênero retrato literário não apenas os inseriu de modo particular nas tendências da imprensa em seu tempo, mas também contribuiu para a experimentação de uma estética que viriam a consagrar em peças de teatro e romances. A partir da leitura comparada dos dez perfis jornalísticos de Jorge Andrade com uma dúzia de retratos literários selecionados na obra de Marcel Proust, buscamos descrever os fundamentos das formas de representação da realidade que aproximam os dois autores, traçar a maneira como dialogaram com a cultura midiática de suas épocas e testar a hipótese de que o jornalismo pode ter operado à moda de um laboratório estético no momento em que escreveram obras romanescas de maior comprimento e sofisticação: o romance Labirinto, de Andrade, e o ciclo À la recherche du temps perdu, de Proust. / Ce mémoire est une comparaison du style de description de la figure humaine dans des portraits journalistiques de Jorge Andrade et Marcel Proust. Le premier quand il était reporter pour la revue Realidade et le second en tant que chroniqueur occasionnel dans plusieurs journaux de la belle époque parisienne. Ces deux écrivains nont jamais hésité à produire des articles journalistiques sur des personnalités intellectuelles, artistiques et mondaines de leurs époques, où on aperçoit dun fort aspect littéraire. Jorge Andrade est devenu reporter chez Realidade au début dun tournant de lhebdomadaire, entre 1969 et 1972, quand les premières méthodes dédition darticles venaient dêtre restructurées pour éviter la censure de lActe Institutionnel n. 5 (AI-5). De lautre côté, Marcel Proust a publié plusieurs articles dans des journaux intéressés par le genre portrait, essayant par là, de satisfaire la curiosité dun lectorat appartenant à la haute société. Laspect commun dans ces textes nest pas seulement lapprofondissement des sentiments et de la psychologie des interviewés, mais aussi une remarquable valorisation du mémorialisme. Ce trait est perceptible grâce à la lumière que les écrivains jettent sur les expériences personnelles de chaque individu portraituré et sur eux-mêmes. Lexercice du portrait littéraire ne les a pas seulement placés dune façon particulière dans la tradition de la presse de leurs temps, il a aussi contribué pour quune certaine esthétique se développe dans des pièces de théâtre et romans. À travers la lecture comparée des dix profils journalistiques de Jorge Andrade et des douze portraits littéraires de Marcel Proust, on a essayé danalyser les similarités chez ces deux auteurs dans les représentations de la réalité et enfin de caractériser la façon dont ils ont dialogué avec la culture médiatique de leurs temps ; ainsi que tester lhypothèse selon laquelle le journalisme a pu être un laboratoire esthétique pour leurs ouvrages : le roman Labirinto, dAndrade, et le fameux À la recherche du temps perdu de Proust.

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-05-12T12:43:59Z No. of bitstreams: 1 SANDRA FÁTIMA DA SILVA ARAÚJO.pdf: 1107564 bytes, checksum: f9cff204766c4a51e868c55fa5507a2c (MD5) / Made available in DSpace on 2017-05-12T12:44:00Z (GMT). No. of bitstreams: 1 SANDRA FÁTIMA DA SILVA ARAÚJO.pdf: 1107564 bytes, checksum: f9cff204766c4a51e868c55fa5507a2c (MD5) Previous issue date: 2017-03-03 / This work is an investigation about the duo in a perspective of the irony and the narcissism, by the use of the esthetic language in the Oscar Wilde‟s novel: The portrait of Dorian Gray. The novel works with the manifestation of the beauty and the youth, in a relationship with the Victorian Age on the XIX Century, considering the preponderance of Dandy symbol in the tale. This research aims to demonstrate how the duo is an occurrence of the irony, presented in Dorian‟s character. It also aims to dispute the presence of irony in the manipulation process in the novel and the influence of the Estheticism in the action of this character. This study also approach the linguistic sign in interaction with the image, in this specific case, the portrait. This research adopts as methodology the qualitative approach, the bibliography revision and the analysis of contents as a support to make a comprehension about the society, the human practices and the values inside the novel. As a theoretical support, this study adopts many authors that discuss about cultural semiotics and language, art and literature and the studies of Muecke (1995), Todorov (2013), Kierkegaard (2005), Bakhtin (2005) end Barros (2008). / A ocorrência do duplo e seus desdobramentos na perspectiva da ironia e do narcisismo, pelo recurso do uso da linguagem estética na obra O Retrato de Dorian Gray, de Oscar Wilde. O romance suscita a manifestação do belo e da busca pela juventude eterna, numa relação direta com a sociedade vitoriana da Inglaterra do século XIX, considerando a preponderância do dandismo nesse período. A presente pesquisa tem visa a demonstrar como o duplo sedimenta a ocorrência do narcisismo, materializado no personagem Dorian Gray. Intenta, também, apresentar a operacionalização da ironia no processo de manipulação presente na narrativa e a influência do esteticismo no agir desse personagem. Associados a esses dois fatores, abordase o alcance do signo linguístico e suas relações com a imagem, no caso, o retrato de Dorian Gray, elemento artístico desencadeador de toda a trama e ações no romance analisado. A pesquisa adota a abordagem qualitativa, a revisão bibliográfica e a análise de conteúdo, por constituírem indicadores indispensáveis para organizar este estudo sobre transgressão do conceito de arte, de sociedade e dos valores aqui inseridos. A partir do suporte teórico de autores que versam sobre linguagem, arte, literatura, cultura, embasando-se no quadrante da semiótica cultural e na linha teórica da narrativa, esta pesquisa parte dos princípios estabelecidos e discutidos por Muecke (1995), Todorov (2013), Kierkegaard (2005), Bakhtin (2005) e Barros (2008).

The major characteristics of Joyce's stylistic achievement in the organic unity of contents and expressions are, firstlyp the 'style* is not intended to reveal the author but the whatness, of his characters and subjects described and secondly Joyce's 'style' contains in itself particular meanings beyond the limits of the semantic and lexical contents of words. These features are more specifically defined as his use of the language for mimetic purposes to revealp suggest and represent consciousness (sometimes even unconscious and subconscious) mood, emotion mental patterns thought processes physical movement situation impression and sound effects through his command of the rhythmical syntactical and other grammatical, and phonological possibilities of his medium. In his earlier worksp Dubliners and A Portrait of the Artist as a Young Man(and Stephen Hero for comparison with the Portrait) examination of the variety of his mimetic devices and their purposes contributes to the better comprehension of his works where each stylistic pattern, whether occurring in limited locality or throughout is woven into the whole design of the works. The main recurrent devices can roughly be distinguished as follows andt accordingly, Joyce's mimetic creative ability and variety in his earlier works are to be examined under the following classification: 1. Rhythmic (defined as 'repetition with variations') devices to represent and reveal certain concealed aspects and qualities of his characters; firstly, for characterization by means of special devices of appellations and secondly for revealing the preoccupations and concerns. II. Syntactical grammatical and rhythmic devices to represent, reflect and suggest firstly, his characters thought processes mental patterns emotion, mood and other psychological aspects, and secondly physical movement situation, atmosphere and impression. III. Phonological devices to imitate and suggest actual and imaginary sounds.