A presente pesquisa deu-se a partir do material de arte da Rede Salesiana de Escolas, Galeria de retratos, para alunos do 1º ano do Ensino Fundamental, no ano de 2012. Tem como objeto de investigação a relação entre autorretratos e crianças de seis anos, inserida numa educação contemporânea em Arte. A partir de uma abordagem autobiográfica, apresentam-se as diferentes situações de investigações vivenciadas nas aulas com os alunos, buscando entender como acontecem seus processos expressivos. O trabalho é desenvolvido em três capítulos: o primeiro trata do autorretrato e a relação com a criança. O segundo apresenta o relato das aulas realizado através de registros. Já no terceiro são apresentadas as questões relacionadas ao processo de identificação e de identidade cultural. / This research aims to research the relationship between the self-portraits in the identity formation of students six years, set in contemporary education in Art. The issue occurred after receipt the art material of Rede Salesiana de Escolas in 2007, \"Gallery of portraits,\" for students in the 1st year of elementary school. The object of investigation the relationship between self-portraits and six year olds, set in contemporary art education. From an autobiographical approach, present the different situations experienced investigations in classes with students, seeking to understand how their expressive processes happen. This work is developed in three chapters: the first deals with the self-portrait and the relationship with the child. The second presents an account of lessons conducted through records. In the third the issues relating to identification and cultural identity process.

behold, be still illuminates my predilection, that of a portrait photographer, which is driven by a fascination with viewing and collecting the ‘other’, the male, now extending into this suite of still moving portraits. Through this act and in my art practice, I uncover the vulnerabilities, both for myself and for my subjects, as they are offered for scrutiny on screen to become ‘public’, unlike their previous position in my photographic archive, which is private. I reveal for the first time my pathology in the drive to collect surrogates and stand-ins, to console the loss and give solace for the absence of one- revealing a latent scopophilia. Photography histories, specifically portraiture, and the moving image are discussed, focusing on the binaries of the medium/s, their reflective and reflexive qualities, and their inherent ability to reveal and conceal. My visual inquiry is an expansion to experiencing the portrait by presenting the sitters as close to ‘themselves’ via the medium of high definition video portraits. I expel the implications of women looking at men, and review the work of both significant and historical feminine influences and contemporary women artists positioned and working in this territory and who employ both film and photography. I highlight Victorian women and the melancholic age, where photography is deeply embedded, tracing the origins and lineage to my current work. I seek to define and locate the notion of a beautiful masculine, investigating what it is to view, receive, and collect between the axis of photography and video via the intimate exchange and operatives of my gendered and privileged gaze. The success is determined by the tension between these two machines and resulting portraits, as the act in sitting for a portrait with the technology of today, renders a more ‘accurate’ portrayal. From this the moving portrait completes the desire and an opportunity to obtain and possess the beloved after their absence. Crucial issues become apparent as I examine the imprint of the real in the photograph, the camera as a surrogate for myself, and the passive yet consensual subject.

This thesis seeks to examine the nineteenth-century art collections and architectural style of the original buildings at the University of Sydney in order to demonstrate ways in which visual material may be employed to shape public perception of an institution. I shall argue that the architectural style of the original university buildings was specifically chosen with particular aims which extended beyond the mere establishment of a tertiary institution for the colony. I will also argue that the style shaped the character of the institution, contributed to the maintenance of law and order in the colony, linked the colony more firmly than hitherto to the mother country and provided social benefits for the founders of the institution. The instant history and character thus imposed upon the institution was reinforced by the assembly of a portrait collection in emulation of other collections of portraits at leading institutions of the colony and the mother country, including the Oxbridge universities. Once the building proclaimed that the institution was comparable with the great universities of the world, the subjects of the portraits at the university could be placed in the class of founders of a great historical institution, thus at the same time enhancing the reputation of the institution and the individuals. The construction of an indentity through visual images was extended by the benefactions of Sir Charles Nicholson, the principal donor of works of art to the university in the nineteenth century. I argue that his intentions in relation to his collections were didactic but were also concerned with the entrenchment of the imperial hegemony over the colony, and again with the enhancement of his personal repuatation. This analysis shows how, by a complex of personal ambition and aspiration for the colony, the style of the buildings and the art collections formed were used to establish the colony as civilized and the new university as a bastion of English tradition.

In A Portrait of the Artist as a Young Man, James Joyce used the form or structure of his language to connote a meaning which supported the content of the text. The elements of form he used most often were sentence and paragraph structure, punctuation, rhythm, and classical rhetorical schemes. By manipulating these, he gained three benefits: he supplied an emotional appeal to the content, he represented his epistemological beliefs in his language, and he gave elegance to his prose. Background research reveals the influences that led to Joyce using form to support content. They include his Jesuit education, his own predisposition to the connotative aspects of language, and his literary work previous to Portrait. The examination of the text of Portrait exhibits the particular ways Joyce used the elements of form to fit content. Several of the highly emotional episodes of the story, the most likely to contain form-fitting-content examples, are examined in detail. Attention is given to rhetorical schemes of repetition because it is through these schemes that emotional pitch is adjusted in the story. Joyce's innovative use of syntactical structures to fit content, and his application of such poetic forms as rhythm and meter to simulate physical action are discussed. An examination of the end of the book, a section where rhetorical schemes and structural manipulation seems to disappear, shows how the apparent lack of connotative elements is appropriate to making a new form fit a new content. The use of form to support content in Portrait was an artistic commitment which Joyce began in Portrait. He would continue and intensify his commitment in all of his writing after Portrait. How Joyce wrote would always thereafter be determined by what he wrote about. / Graduation date: 1995

L'œuvre Au-delà du regard constitue le corps de la présente thèse création. Elle explore les enjeux liés à la mémoire et propose une réflexion sur la mort et la survie. Des signes de l'imaginaire féminin appartenant à la fin du XIXe et au début du XXe siècle sont mis en scène dans une installation vidéographique. Celle-ci se compose de projections d'images photographiques animées de visages de femmes, d'un ensemble de quatre cents têtes de poupées disposées au sol, dont certaines sont identifiées par un prénom; des codes d'identification numérique et des noms de famille inscrits sur certains murs de la salle d'exposition. La création de ce lieu de mémoire est une invitation à découvrir ces femmes, à s'interroger sur leur existence et ainsi, à les faire revivre dans notre imaginaire. L'œuvre présente également un questionnement sur les migrations des mémoires de femmes qui, à travers le regard d'aujourd'hui se réactualisent constamment. Ma proposition dépasse la question de la femme et ouvre sur le thème de la finitude de l'humain et de l'installation comme espace de commémoration. Dans le contexte de cette thèse création, une approche descriptive et autopoïétique est privilégiée. Le point de vue adopté est celui de la production et l'accent est mis sur la genèse et le processus de création d'Au-delà du regard. Le texte qui accompagne l'œuvre prend la forme d'un récit de pratique qui décrit et analyse différentes stratégies et opérations artistiques, instaurant une dialectique entre l'effacement et la réactivation de la mémoire des femmes. Autrement dit, l'observation et l'analyse portent sur le travail de collecte d'images dans les archives photographiques brésiliennes et québécoises; sur les différents processus de traitement des images comme la numérisation, le découpage et l'animation; sur le travail sculptural, c'est-à-dire, le processus de reproduction de poupées en argile par le moulage et, finalement, sur la mise en espace de l'œuvre. Plusieurs études philosophiques sur la photographie, l'indice, les archives, la théorie de l'image numérique, la vidéo, le moulage, l'installation et la mémoire m'ont permis d'analyser les opérations sur lesquelles se fonde ma pratique. M'appuyant sur un cadre théorique hybride et hétérogène, harmonisé par l'autopoïétique, j'analyse d'un point de vue d'artiste un corps d'œuvres contemporaines. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : archives, installation, mémoire, mort, opérations artistiques, photographie de femme, survivance, vidéo.

Diss.--Facoltà di lettere et filosofia--Università degli studi di Firenze. / Bibliogr. Index.

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 19, 2010). Thesis advisor: Dr. Michael Yonan. Art work removed from thesis by author. Includes bibliographical references.

Vi omges ständigt av ljus i vår vardag, det finns naturligt ljus samt artificiellt. Även under de grå dagarna finns det ljus och dess närvaro är alltid där även om den inte alltid är som klarast. I detta kandidatarbete beskrivs ljuset ur olika synvinklar, men framförallt hur Rembrandt och impressionisterna i sina konstverk använt ljuset i sitt skapande. För att få en bredare syn på vår process tar vi hjälp av de två begreppen “fluid” och “fire” som kommer från aktör-nätverksteori (ANT). Utifrån den teoretiska delen av arbetet skapas en gestaltning i form av digitala illustrationer med budskapet “våga vara dig själv”. Detta görs i form av olika porträtt där ljuset ligger i fokus inte bara i ljussättningen utan även som en helhet. Med hjälp av den teoretiska och praktiska delen av kandidatarbetet har det framgått att frågeställningen “Hur kan man med illusionen av ljus skapa ett porträtt med digitala medier?” kan besvaras på olika vis, då vi illustrerat ljuset med olika uttrycksätt och visuella språk. / We are constantly surrounded by light in our daily lives, there’s natural and artificial light. During cloudy days there is light and it’s presence is always there even if it’s not the clearest. In this bachelor thesis we examine the light from different angles, but above all how Rembrandt and the impressionists in their artwork used the light. To get a broader view of our process, we use the two terms "fluid" and "fire" from actor-network theory (ANT). Based on the theoretical part of our work, we created digital illustrations with the message “Dare to be yourself”. This is done in the form of various portraits, where the light is in focus not only in the lighting but also as a whole. With the help of the theoretical and practical part of the bachelor thesis we are shown that the question "How can one with the illusion of light create a portrait with digital media?" can be answered in different ways, as we illustrate light with different expressions and visual languages.

I have produced two distinct bodies of work, landscapes and portraits. In both, I investigate my relationship to the subject. My role as the photographer fluctuates between the time I spend by myself and the time I spend with others. The landscape series promotes the act of looking and obscures my presence as photographer. Responding to the saturation of images in the media today, I hope to recalibrate viewers to a slower pace. I look for spaces at the edge of a controlled wilderness that are still accessible to the general public and mimic the identity of my childhood home in Northern California. Both color and black and white photographs sentimentalize manicured nature in ordinary locations. These landscapes facilitate reflection through consideration of similarities and differences. In doing so, these locations lose their specificity and approach a generalized sense of the sacred. The second body of work is a series of photographic collaborations I make with my autistic friend, Will Johns. He selects the subject matter and operates the light meter. His autism informs his methods, which then affects my methods. His idiosyncratic choices force me to photograph subject matter I wouldn’t be drawn to and compose in a new way where I must consider Will as author, subject and subject matter. In these images Will stands with the light meter, his posture gaze and facial expressions explicitly make reference to our relationship and reveal the complexity in separating subject matter from subject and the difficulties artists face with issues of exploitation and authorship. / text

In 1800, Gilbert Stuart began three paintings of his friend, republican writer, Sarah Wentworth Apthorp Morton--the Worcester, Winterthur, and Boston portraits. While Morton has been remembered more for a tragic personal family scandal than for her literary endeavors, Stuart's provocative images acknowledged her as both a poet and an intellect. His portraits presented a progressive and potentially controversial interpretation of his sitter--the lovely and learned Morton--by prioritizing the writer's life of the mind rather than her socially prescribed life in the world. This study reconstructs the circumstances by which Stuart composed the group of Morton paintings that culminate in his unorthodox Worcester rendering through which he ultimately depicted Morton as the first woman of ideas in American art. Supported by close readings of her work, this dissertation illuminates both the course and depth of the exceptional personal and professional relationship between Morton and Stuart. The paths of the two republican figures crossed at several historic junctures and is highlighted by the interconnectivity of their work. Most significantly, the Stuart portraits represent an ideal lens through which to view Morton's life and work as well as to follow the Boston native's transformation into one of America's earliest women of ideas. / text