I denna undersökning tittar jag närmre på arbetet med självporträtt i skolan, en återkommandeuppgift i alla åldrar, som upprepas efter givna mönster. Det kan uppstå känsliga situationer i arbetetmed självporträtt och i uppvisandet av dem under redovisningar. Kanske för att utövandet avsjälvporträtt innehåller ett specifikt moment då man måste förhålla sig till sig själv som objekt ochsubjekt/konstnär och modell - på en och samma gång. Självporträtts-uppgifter i skolan är ofta starktkopplade till identitet då porträttet förväntas berätta något om en själv. Jag förhåller mig i dettaarbete till subjektet och till lärandet som någonting rörligt och utgår från Gert Biestas teorier omsubjektifiering. På så vis förskjuter jag diskursen kring identitet till diskursen kring subjektetstillblivelse. Min frågeställning har varit: Vilka dolda kunskaper kan uppstå i tecknandet avsjälvporträtt och varför uppstår de?, samt; Vad händer i tecknande-processen då den somtecknar är både subjekt och objekt? Hur påverkar det subjektets tillblivelse?För att söka svar på min frågeställning gör jag fältstudier hos en sjundeklass på en skola iStockholm under deras arbete med en självporträttsuppgift som heter Insida-utsida. Min empiribestår i transkriberat material från en intervju med elevernas lärare, fältanteckningar från deltagandeobservation i klassrummet och material från en workshop som jag själv höll med några av eleverna.Som avstamp till min undersökning har jag utgått från en auto-etnografisk studie, i vilken jag underfyra veckors tid tecknade ett självporträtt om dagen och simultant antecknade tankar som for genommitt huvud. Detta för att få förståelse för vad eleven kan uppleva i sin process.På Konstfacks utställning, som detta år är digital på grund av Covid- 19, gör jag en slutliggestaltning i form av ett filmat performance inspirerat av citat från eleverna som uppkom underderas arbete med självporträtt. Även delar av min auto-etnografiska undersökning och elevexempelfrån workshopen visas. Jag använder mig av ett a/r/togrfiskt förhållningssätt och skiftar självsubjektposition mellan konstnär, forskare och lärare för att se vad som uppkommer i mellanrummenmellan dessa positioner. Genom att undersöka självporträtt i skolan ur ovan nämnda teorier ochperspektiv ämnar jag bidra med nya sätt att se på uppgiften.

The project New Faces is a series of portraits dealing with the theme of identity and its loss, human individuality and the phenomenon of ideal of beauty. Each of paintings depict different views on the same face, base on personal confessions of portrayed and his friends. Thus we can observe confrontation of the "subjective" and the "objective", where this supposed "objectivity" acquire the relative value in the context of other pictures. The project points to the problem of self-perception and it explores how human perception distorts the reality, especially if more factors (than just a visual image of reality) affects the person.

Der spanische Maler Diego Rodriguez de Silva y Velázquez (1599-1660) präsentiert in dem Berliner Bildnis eine elegante, aber bis heute nicht eindeutig identifizierte Dame in entspannter Körperhaltung in Dreiviertelansicht vor einem einfarbigen, braun-beigen Hintergrund (Abb. 1). Zwar deutet sich auf den Lippen der Porträtierten ein scheues, zurückgenommenes Lächeln an, doch lässt ihr direkt auf den Betrachter gerichteter Blick aus dunklen Augen sie nichtsdestotrotz selbstbewusst erscheinen.

In dem Selbstporträt von 1746 (Paris, Musée du Louvre) präsentiert sich der spanische Künstler Luis Meléndez (1715-1780) mit einem ausgewählten Werk in der Hand. Ernst und voller Stolz schaut der Künstler dem Gegenüber in die Augen, mit denen jener die Resultate seines Könnens (das Porträt wie die präsentierte Aktstudie) mustert. Den rechten Arm hat Meléndez in die Hüfte gestemmt, einen Kreidehalter mit schwarzer und weißer Kreide in der Hand, die mit zwei Fingern auf die gezeichnete Aktstudie verweist. Unter seiner rechten Hand bauscht sich ein dunkelblaues Tuch. Die Kleidung – eine dunkelgrüne Samtjacke, eine weiße Weste, darunter ein feines weißes Hemd mit jabot, einem Volant, der zwischen den Vorderkanten der Weste hervorschauen soll, – kennzeichnet den Künstler als Intellektuellen. Seine Haare hat Meléndez mit einem traditionel-len Tuch zusammengebunden. Den in Kleidung und Habitus formulierten Anspruch bestätigt die Aktstudie in der erhobenen Linken. Das Blatt zeigt ein stehendes männliches Modell in verlorenem Profil. Es hat seinen linken Unterschenkel auf ein niedriges Podest aufgelegt, den rechten Arm vor dem Körper angewinkelt und den linken seitlich abgesenkt; der Körper verdeckt, ob das Modell einen Gegenstand hält.

The installation is formed from the fifth sculptures, individuals, larger than life size. Their bodies are just shapes and surfaces, which leave place for the rest of the human form. The form is preserved only in black-and-white photography, in portraits, which are part of the sculptures. They ostensibly do nothing, like stopping in time. However they move, but for that move is neccessary initial impetus and it is the role of the viewer. Instability of sculptures is an expression of the unstable position of the human beings in today's society (the origin of instability). Sculptures creates society thanks for their quantity, community and contact.

No description available.

The female characters in James Joyce's fiction have received considerable critical attention since the publication of his writings and are often denigrated as misogynist portrayals of women. However, a textual and historical analysis of the female characters in A Portrait of the Artist as a Young Man, Dubliners, Ulysses, and Finnegans Wake shows them in a more constructive light. Such an analysis reveals them to be sympathetic portrayals of the situation of Irish women at the turn of the twentieth century. An historical contextualization of the characters is essential in any reading of Joyce, but is particularly important for his female characters. An historical and textual analysis also reveals a noticeable shift in the characterization of women from his early novel to his later novels. Additionally, approaching Joyce's fiction from this angle highlights the significant influence of Nora Barnacle, whom he eventually married, on Joyce's characterizations of women. Joyce started writing A Portrait of the Artist as a Young Man as a very young man, before he met Nora, and this fact coupled with the choice of an adolescent boy as the narrator explains some of the criticism leveled at the novel. The subject of the novel, an artist as a young man, requires that the narrator be a self-centered youth. Consequently, the aesthetics of the novel are not focused on the female characters, but this is a result of the somewhat narcissistic adolescence of the narrator, not Joyce's purported misogyny. A close textual reading reveals the female characters as somewhat fleeting as a result of the age of the narrator, but not misogynist creations. The discussion of Portrait serves as an introduction to the larger subject of the admirable aspects of his female characters in Dubliners, Ulysses, and Finnegans Wake. Numerous parallels can be found between the female characters in "Araby," one of the first short stories in Dubliners, and the female characters in Portrait. However, throughout the progression of the collection of short stories, the female characters become more detailed, in part because the narrator is no longer an adolescent and has become more socially aware. This textual analysis of the female characters in "Araby," "Clay," "Eveline," and "The Dead" is enhanced by an historical analysis that clarifies the similarities between the women in the stories and the situation of Irish women as Joyce observed them, as discussed by Joyce in some of his published letters. An awareness of these close parallels between the characters and the historical setting reveals the characters as sympathetically drawn, eliciting a reader's pity rather than judgments of misogyny. A similar textual and historical analysis, when applied to Molly Bloom in Ulysses, reveals the mosaic-like quality of her characterization. Although she speaks only in the "Penelope" episode, Molly Bloom's characterization is established from the beginning of the novel through frequent references to her by her husband Leopold Bloom, and other characters throughout the novel. The layered or mosaic-like approach to her characterization is a departure from Joyce's earlier style, but the resultant character is engaging and intricately detailed. An historical and textual analysis accounts for the stylistic aspect of her character and allows for a more engaging perspective of Molly. Always innovative, Joyce transforms the mosaic style of characterization used for Molly in the characterization of Anna Livia Plurabelle and Issy in Finnegans Wake and, instead, creates the characters on an entirely differentscale, that of myth. Ulysses is a daytime walk through Dublin that could also function as a founding myth for Ireland; Finnegans Wake is the nighttime counterpart to a walk through Dublin. Joyce chose to stylistically obscure the language in the novel in order to create the nighttime setting for his dream-like comment on Dublin's founding myths. The characters of Finnegans Wake are rooted in mythic tradition also, which serves this aesthetic choice well. An historical and textual analysis of ALP and Issy reveals the universalized and nuanced characterization inherent in their creation and execution. From A Portrait of the Artist as a Young Man to Dubliners, Joyce's early female characters are notable in their own right, and function as important precursors to Joyce's visionary approach to characterization which culminated in Ulysses and Finnegans Wake with Anna Livia Plurabelle.

The self portrait is a consistent aspect of art history, with many artists returning to it again and again across their lives. This project intends to explore the function of the self portrait. Through research and execution of artwork, the artist has found that the self portrait has multiple functions, including: a practice of anatomy; a display of status, skill, and likeness; an outlet for emotion; and a place for psychological confrontation. Across the life of this project, the artist completed twenty-two self portraits in a variety of styles and materials.

This phenomenographic study examines how imagining a future self as an English speaker and extramural English habits interact and affect the desire to learn English and engagement in the English classroom. The study was carried out in northern Sweden, and used a purposive sample of 23 pupils in the fifth and sixth grade of Swedish compulsory school. Mixed-methods data collection was used which included a questionnaire, an interview, and two linguistic portraits. Findings from this study indicate that in a Swedish compulsory school context young pupils are capable of imagining possible future English selves, and that these imagined future selves are dependent on the pupils’ dreams and aspirations or a view of English as a useful global language. Additionally, while these imagined future English selves are a reason for the pupils to learn English and indirectly affect their desire to learn English, they fail to explain the pupils’ engagement in English class with but a few exceptions.

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