Dans le cadre d'une création-recherche, la question initiale qui présidait cette réflexion épistémologique était de savoir comment penser la couleur et la coloration dans l'architecture traditionnelle et contemporaine dans les villes du sud tunisien. Ma thèse est fondée sur l'interprétation empruntée d'une propre expérience sur le terrain. J'ai élaboré une analyse chromatique rétrospective du site, de la ville et de l'architecture dans leurs dimensions économiques, sociales et culturelles. Ce travail d'invention de la couleur est, dans le fonds de ses parties, formé pour comprendre l'identité chromatique du lieu culturel. Ma recherche consiste à l'application de la méthode de planification scientifique à partir de laquelle les enjeux objectifs de la classification des couleurs ont été dégagés sur la base des facteurs sensoriels et des notions rationnelles. Elle regroupe toutes les activités qui consistent à structurer, fonder et évaluer un savoir chromatique en s'ouvrant sur des expériences de coloristes professionnels. Une pensée du développement a été établie au niveau de la couleur qui s'intègre dans une progression dynamique du secteur particulier du design environnement et développe ses propres concepts, usages et finalités au sein d'un milieu culturel spécifique. À travers cette recherche, j'ai développé le concept de la couleur locale comme étant un souci individuel, une pratique socioculturelle, un savoir scientifique et enfin comme un matériau et un processus de développement durable. Comment la couleur locale représente-t-elle un équilibre savant et permanent entre dimensions culturelles et axes d'acculturation ?

The Victorians saw more portraits than any generation before them. While the eighteenth century has been named 'the age of portraiture', portraits pervaded nineteenth-century society like never before. With the invention of photography, coupled with technological advancements in low-cost printing methods, the medium in which faces could be recorded was revolutionised, the classes of society that could afford to be immortalised expanded, and the spaces in which portraits were seen proliferated. These spaces included the public gallery, photography studio shop windows, and personal photograph albums. They also included the art periodical, biography, fiction, and poetry as the experience of portraiture became distinctly textual as well as visual. This thesis draws upon art history alongside literary, museum, and material studies to explore the creative exchange that developed between portrait viewership and reading practices in the mid- to late nineteenth century. Taking the establishment of the National Portrait Gallery in 1856 as its starting point, the thesis tracks the changing idea of the portrait gallery through its literary reception. It takes the portrait gallery to mean the physical space in which portraits were exhibited, and the conceptual idea of collecting, arranging, and interacting with portraits that permeated into the literary world. By focussing on the work of Edmund Gosse, Walter Pater, Thomas Hardy, and Vernon Lee, the thesis forms a 'gallery' of nineteenth-century tastemakers, each of whom looked to the democratic art of portraiture to reflect upon their literary art. How did portraits and texts interact in the mid- to late nineteenth century? In what ways did writers adapt the conventions of portraiture and the portrait gallery for the written text? This thesis seeks to answer these questions and provide new narratives about the complex relationship between the visual and the verbal in nineteenth-century culture. It observes the Victorian 'culture of art' with a more focussed eye to illuminate how the conditions of viewing, circulating, and collecting portraits specific to the period allowed the portrait gallery to serve as a particularly compelling arena for the literary imagination. Gosse, Pater, Hardy, and Lee tested the inherent limitations of portraiture as an art of imitation to realise its imaginative capacity for communicating with close and distant, contemporary and historic figures. They recognised that writing offered a valuable way of constructing the affective conversations that could be had with - and the stories that could be told about - portraits and portrait collections. With the proliferation of portraits came the problem and the opportunity of organising them.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This theoretical and practical research proposes to investigate the artistic creation process of photographic self-portraits. It analyzes the possibilities of identity reconfigurations, involved in this process, resulting in the series (Re)Configurações do eu [(Re)Configurations of me], produced from two different types of images: photos 3x4 of documents and fictional and dramatized photographs in domestic environment. The series is composed of works created from these contaminated photographs by pictorial means (encaustic painting) and digital manipulations (overlaps and juxtapositions of images in digital laboratory), printed on matte canvas. The works present the hidden body with other people's clothing and veils, establishing direct relationship with the camera that registers their "poses/actions". They also present space-temporal compositions overlapped, contained in each layer of the images. Through these procedures, the self-portrait s subgenre and the subjects identity are problematized, showing not an artist's identity seen as "mesmidade" but (re)configurations of me through hidings and possibilities of multiplications identity, produced in the images. Like this, from the documents photographs, that indicate a standardized "me", the work reach the production of many dramatized mes who are creations or fictions. / A presente pesquisa de mestrado tem como proposta investigar, de modo teórico-prático, o processo artístico de criação de autorretratos fotográficos, analisando as possibilidades de reconfigurações identitárias nele envolvidas. Resultou na série (Re)Configurações do eu , produzida a partir de dois tipos de imagens diferentes: fotografias 3x4 de documentos e fotografias ficcionais e encenadas em ambiente doméstico. É composta por trabalhos criados a partir dessas fotografias contaminadas por meios pictóricos (técnica de pintura-encáustica) e manipulações digitais (sobreposição e justaposição de imagens em laboratório digital), impressas em lona fosca. A série evidencia o corpo encoberto com vestimentas de outros indivíduos que não a autora/artista e véus, estabelecendo relação direta com a câmera fotográfica que registra suas poses/ações . Também apresenta variados agenciamentos espaço-temporais sobrepostos, contidos em cada camada das imagens. Através desses procedimentos, o subgênero do autorretrato e as questões identitárias do sujeito contemporâneo são problematizados, evidenciando-se, assim, não uma identidade do artista, encarada como mesmidade , mas (re)configurações do eu através de ocultações e possibilidades de multiplicações identitárias, produzidas nas imagens. Dessa forma, parte-se de fotografias de documentos, as quais presumem um eu padronizado, para atingir a produção de múltiplos eus encenados, que são criações ou ficções.

La Dynamique de la Persistance Identitaire se veut, à travers l'autoportrait plastique, une analyse des notions du moi et du surmoi. L'autoportrait soulève pour la majorité des artistes, des plus anciens aux plus novateurs, la question de l'identité à travers l'apparence, le caractère, mais aussi des origines sociales et culturelles et son exacerbation amène à un narcissisme qui fut le moteur de l'activité de nombreux maîtres parmi les plus illustres. Se remémorer certaines périodes de la vie, des souvenirs heureux ou malheureux de situations vécues, conduit à l'introspection, où le temps est une notion majeure artistique et nécessaire à la structuration psychologique d'un individu. De nombreux artistes se sont penchés sur leur image en employant de nombreuses techniques plastiques traditionnelles et, depuis peu, expérimentales (expériences tridimensionnelles). Ces représentations, à l'aide des nouveaux outils informatiques accessibles à tous, sont désormais modifiables à volonté, apportant un choix illimité d'altérations réversibles en mode uniquement virtuel. Dans un travail initial (Evolution Identitaire) ce dessein interroge l'autoportrait de l'auteur à l'aide de dessins unicolores éclairés de rehauts de blancs ou chaque visage apparaît trait par trait pour constituer l'individu. La Dynamique de la Persistance Identitaire remet en question ces trente et un visages représentés le plus objectivement possible pour dévier de l'image réelle à l'image rêvée, par la technique du Makeover, très utilisé sur internet et donnant ainsi une possibilité de reconquête de l'identité, à la recherche d'une esthétique optimisée, adaptée au choix de l'artiste: deux cent dix-sept dessins, toutes réalisations confondues, sont ainsi conçus. Cet ensemble est diffusé à travers une exposition et une vidéo et il est adaptable à plusieurs espaces sous trois formes complémentaires :une double frise chronologique en parallèle d'autoportraits format A4 sur un papier légèrement teinté où sont confrontées représentations objectives et subjectives des formes suivant les critères des lois de la Gestalt. une vidéo projection ou les visages se dévoilent progressivement, donnant ainsi naissance à une technique dite "dessin évolutif', proche de l'animation, et donnant vie à l'individu avec le morphing en étape ultime qui dévoile avec fluidité un nouveau visage rectifié selon les désirs de l'auteur, une longue frise chronologique format A2 blanc où l'image vécue est couplée et confronté à l'image idéalisée, sur une même représentation, par deux couleurs différentes pour signifier les corrections accomplies. Cette recherche devrait être complétée, dans l'avenir, toujours avec pour moteur la recherche de réalisations d'autoportraits tridimensionnels, à l'aide de technologies pointues, telles anamorphoses et imprimante 3D. / Dynamics of identity Persistence wants, through the plastic self-portrait, an analysis of the concepts of ego and superego. Self Portrait raises for the majority of artists, from the oldest to the most innovative, the question of identity through the appearance, character, but also social and cultural origins and exacerbation leads to a narcissism that was the engine the activity of man y of Art masters. Remember certain periods of life, happy or unhappy memories of life situations, leads to introspection, where time is a necessary artistic and psychological structuring an individual major concept. Many artists have focused on their image using many traditional engineering plastics and, more recently, experimental (three-dimensional experiments). These representations using new tools accessible to all are now modified at will, bringing unlimited choice reversible alterations only virtual mode. In initial work (Identity Evolution) this design questions the portrait of the author with one colored drawings illuminated highlights of each face appears white or line by line to form the individual. Dynamics of identity Persistence puts into these thirty questions and faces presented as objectively as possible to deviate from the actual image to the perfect picture, the technique Makeover, widely used on the Internet and giving an opportunity to reconquer identity, the search for an aesthetic optimized, adapted to the choice of the artist: two hundred and seventeen drawings, ail outputs combined, are well designed. This package is distributed through an exhibition and a video that is adaptable to many spaces in three complementary ways:-A double timeline of self-portraits in parallel on A4 paper with a lightly tinted face objective and subjective representations of forms depending on the requirements of Gestalt's laws. -A video projection where faces are gradually revealed, giving rise to " evolutionary drawing " , close to the animation technique, and giving life to the individual with the morphing ultimate step reveals a new face smoothly corrected according to the wishes of the author. -A long white frieze chronological format A2 where the image is coupled lived and confronted with the idealized image, on the same representation by two different colors to signify the completed corrections. This research should be completed in the future, always with engine research achievements of three-dimensional self-portraits, with pointed and such anamorphic 30 printer technologies.

Made available in DSpace on 2016-12-08T16:18:51Z (GMT). No. of bitstreams: 1 lilian2.pdf: 3345748 bytes, checksum: bce81bd804bd436b12e7e520aefc5cdc (MD5) Previous issue date: 2012-12-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Investigating the foundations of thought and production of photographic self-portraits, through a literature review and documentary photographic practices that use the self-portrait as a genre and poetic art from the twentieth century, this research aims to analyze how these relate to their productions time, looking for ways to draw a greater understanding of current photographic production, through an analysis and reflection of the content covered. Therefore, we took as a starting point to investigate ways and conceptual and aesthetic concerns of a group of contemporary artists in the exhibition I unfold in Many - A self-representation in Contemporary Photography, part of FOTORIO 2011 - International Meeting of Photography of Rio de Janeiro, which occurred in CCBB - Centro Cultural Banco do Brazil, in the period from May 31 to July 10, 2011, curated by Milton Guran and Joan Mazza, which led to several exhibitions and other developments on the theme. / Investigando as bases de pensamento e produção de autorretratos fotográficos, através de uma pesquisa bibliográfica e documental das práticas fotográficas que utilizam o autorretrato como gênero e poética artística a partir do século XX, a presente pesquisa pretende analisar de que forma essas produções se relacionam com seu tempo, procurando traçar caminhos para uma maior compreensão da produção fotográfica atual, através de uma análise e reflexão dos conteúdos abordados. Para tanto, tomou-se como ponto de partida a investigação de formas e preocupações conceituais e estéticas de um grupo de artistas contemporâneos presentes na exposição Eu me Desdobro em Muitos - A Autorrepresentação na Fotografia Contemporânea, parte integrante do FOTORIO 2011 - Encontro Internacional de Fotografia do Rio de Janeiro, ocorrida no CCBB - Centro Cultural do Banco do Brasil, no período do dia 31 de maio a 10 de julho de 2011, sob curadoria de Milton Guran e Joana Mazza, o que levou a várias outras exposições e desdobramentos sobre o tem

Esta dissertação objetiva analisar a representação do negro no Brasil no século XIX a partir de retratos produzidos pelos estúdios fotográficos de Alberto Henschel (1827-1882), entre 1866 e 1882. Alemão radicado no Brasil, em 1866, este empresário bem sucedido do campo da fotografia chegou a ser agraciado com o título de fotógrafo da Casa Imperial, tendo produzido um grande número de retratos de negros no formato carte-de-visite. A investigação parte da hipótese de que essas imagens materializam certos estereótipos, característicos da representação da alteridade, além de fazerem uso das convenções pictóricas contemporâneas e, até mesmo, anteriores à própria invenção da fotografia. Para essa análise foram utilizados os conceitos de identidade e diferença, bem como de representação e autorrepresentação. Por intermédio do cotejamento das fotos de brancos com as fotos de negros, produzidas por Henschel, foi possível comprovar que a produção das últimas visava a atender a uma demanda por imagens tipificadoras, adequadas ao colecionismo de caráter etno-antropológico. Tratava-se de uma prática de viés imperialista que teve lugar na Europa. Além da análise das fotografias, propriamente ditas, esta dissertação problematiza a natureza dos arquivos que guardam a produção fotográfica de Alberto Henschel, os critérios que nortearam sua formação e aquilo que, de fato, eles nos permitem conhecer a respeito do fotógrafo, sua obra e sua época. / This dissertation aims to analyse the representation of black people in Brazil during the XXth century based on portraits produced by Alberto Henschel (1827-1882)s photographic studios between 1866 and 1882. This successful German photography businessman settled in Brazil since 1866 was awarded the title of Photographer of the Royal House having produced a large number of portraits of black people in carte-de-visite format. This study starts from the assumption that these images embody certain stereotypes characteristic of the representation of otherness, as well as making use of pictorial conventions both contemporary and previous to the invention of photography itself. The concepts of identity and difference were used for this analysis, as well as those of representation and selfrepresentation. Through mutual comparison of photographs of white and black people produced by Henschel, it could be verified that the production of the latter sought to meet a demand for typifying images adequate for ethno-anthropological collecting (collectionism). This was a practice with a imperial bias which took place Europe. Besides analyses of photographs, this dissertation also raises a discussion on the nature of the files storing Alberto Henschels photographic production, the criteria which guided their formation, and what they actually allow us to know about the photographer, his work and his time.

Esta pesquisa propõe uma reflexão sobre a tecnologia colaborativa e a visualidade como os principais elementos para construção da identidade nas redes sociais, com ênfase na fotografia e no vídeo. A explosão, nos últimos 20 anos, dos processos de mediação tecnológica, já consolidados como parte da vida cotidiana, tem gerado uma forma distinta de construir identidades, fato que denominei como conceito de trabalho, Identidades Expandidas. Neste trabalho, descrevo como antecedentes, duas trajetórias separadas, mas interligadas, que dão conta da conformação destas identidades expendidas e configuram um campo emergente, para posteriormente elaborar uma análise de sua relação com as mídias e com a arte contemporânea utilizando diversos exemplos de produções recentes. De uma parte, está a trajetória da tecnologia em rede desde os primórdios até a Web 2.0 ou Web Social, mediação que proporcionou ferramentas importantes para arquitetar novos modelos da identidade individual, e que atualmente estão centrados na sobre-exposição do Eu na imagem interconectada. De outra, está a trajetória das tecnologias da visão usadas quase exclusivamente na arte como exercício de análise para a autoexploração, o que deu como expressão máxima o autorretrato, que recentemente se viu confrontado por o excesso de autoimagens na rede. No ponto em que confluem estas duas trajetórias se instala o recém-chamado Selfie, que é a prática paradigmática da imagem em rede. O selfie é usado como foco de estudo porque é um exemplo destacado de como a tecnologia, visualidade e identidade tem influenciado as mídias e novas práticas artísticas. O objetivo do trabalho que aqui apresento é refletir sobre a relação entre tecnologias sociais, processos de subjetivação, imagens digitais e práticas artistas, num diálogo sobre a transformação radical da visualidade contemporânea. / This research proposes a reflection about collaborative technology and the visuality as the main elements for identity construction on social networks, focusing on photography and video. The explosion, on the last 20 years, of technologically mediated processes that are becoming part of the everyday life, has shaped a new form of identity construction that I have called Expanded Identities. In this work I describe two different but interconnected trajectories that set the base for an understanding of these expanded identities. With these trajectories as a base the analysis, describes several cases in media and art works that engage with these identities and outline an emergent field. The first trajectory frames Internet history focusing on the technologies that make possible the so-called Web 2.0, a social web. These set of technologies create affordances that shape new models of identity that are centered on the over exhibition of networked images. The second trajectory accounts for the technologies of vision that had been traditionally used only by artists as a self-exploration analysis, being the self-portrait as the main genre. This relationship is challenged right now because of the excess of self-images online known as Selfies. These trajectories converge precisely in the Selfie as the paradigmatic practice of the networked image. The selfie is used asfocus ofstudy because it is a good example of how technologies, visuality and identities are influencing the media and new artistic practices. The main objective of this research is to reflect upon the relationship between technologies,subjectivity processes, digital images and artistic practices that form a dialogue on the radical transformations of contemporary visuality.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-05T19:15:20Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO PRONTA.pdf: 1409577 bytes, checksum: 088929a4a0fca9bf39b461c8f40531cf (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-06-26T17:57:11Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO PRONTA.pdf: 1409577 bytes, checksum: 088929a4a0fca9bf39b461c8f40531cf (MD5) / Made available in DSpace on 2017-06-26T17:57:11Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO PRONTA.pdf: 1409577 bytes, checksum: 088929a4a0fca9bf39b461c8f40531cf (MD5) / Programa de Língua Estrangeiras Modernas, Niterói, RJ / O trabalho traz um estudo e uma tradução comentada de alguns dos muitos retratos escritos pelo duque de Saint-Simon em suas Memórias, que mostram personagens representantes da corte do Rei Louis XIV, na qual o autor viveu por muitos anos. A relevância do estudo do retrato como gênero literário é fundamental para a tradução, uma vez que nele convergem o contexto sociocultural e o estilo singular do autor / This work presents a study and a commented translation of some of the many portraits written by Duke of Saint-Simon in his Memoirs, showing representative characters of King Louis XIV court, in which the author lived for many years. The relevance of studying portrait as a literary genre is fundamental to the translation, since in it converge both the sociocultural context and the unique style of the author

Comment peut-on transformer un Je réel en œuvre ? À quoi peut-on reconnaître dans une œuvre l’identité de ce Je et de l’auteur ? Dans cette recherche, nous voudrions tenter d’explorer un espace autobiographique dans le domaine cinématographique, à partir de la présence d’un double filmique du cinéaste, d’un autre moi dont l’identité se construit et se prolonge de film en film.Dans le cinéma français, nous pouvons relever trois types de double filmique : l’« Orphée-poète » de Jean Cocteau, l’« Antoine Doinel » de François Truffaut, et cet « ancien militant de la génération 68 » de Romain Goupil. Au travers de ces figures de l’image de soi, les trois cinéastes, dont les univers filmiques se différencient radicalement les uns des autres, parviennent à se raconter eux-mêmes au-delà de toute référence biographique.Afin de mettre en lumière certaines caractéristiques de l’expression du Je, nous voudrions étudier les diverses facettes du regard porté sur soi : nous y verrons ce regard croisé avec un moi-autre, qui nous mènera jusqu’au regard impossible sur sa propre mort. Tous ces regards seront aussi étudiés au travers des diverses modalités de la façon dont nous entendons la voix du cinéaste. Le regard de l’auteur se dédouble sans cesse dans une inlassable dialectique entre le moi réel et un autre moi. De ce dédoublement du regard résulte d’ailleurs une forme de polyphonie. Si nous parvenons à reconnaître une œuvre comme autobiographique, c’est du fait de ce dédoublement du regard et de la voix, qui s’opère à l’intérieur de l’œuvre elle-même. / In which way does a cineaste transforme his or her reel self into works? How can we recognize this self-image in the films? This study concerns the autobiographical expression in the films of sevral french cineastes, such as Jean Cocteau, François Truffaut, and Romain Goupil, those who intended constantly to create their own cinematic double all over their works. We will see the distinctive character of self-expression films through the various aspects of cineastes’ introspective gaze : those toward his « another self », toward his own death, etc. These gazes might be also examined in relations with the various ways that we can hear the polyphonic voices of cineastes.

Cette thèse présente une réflexion sur les multiples figures du romancier américain qui émergent des entretiens littéraires de The Paris Review entre 1953 et 1973, soit les deux premières décennies d'existence de la revue. Afin de mieux saisir les spécificités et l'impact du modèle d'entretien littéraire créé par une poignée de rédacteurs aussi inspirés que débutants, cette étude revient tout d'abord sur l'histoire des little magazines, sur le contexte de la création et le fonctionnement interne de The Paris Review, avant de retracer l'histoire complexe de l'entretien littéraire. Grâce à l'analyse des archives de la revue, elle met en évidence la collaboration de l'équipe de rédacteurs et des romanciers interviewés dans un processus novateur de réécriture des entretiens. Car l'entretien littéraire est un lieu de négociation de différentes autorités, entre l'« ethos préalable » de l'écrivain utilisé par l'interviewer et les diverses stratégies (scénographies auctoriales, postures, « prêt à être écrivain ») déployées par le romancier pour asseoir sa légitimité. Derrière le portrait à deux voix que semble être l'entretien littéraire apparaît bientôt l'autoportrait de l'écrivain. L'entretien littéraire de The Paris Review donne lieu à une forme de fiction biographique, à travers laquelle l'écrivain que The Paris Review était venu interroger sur « l'art de la fiction » laisse la parole à l'auteur pour construire et défendre son image. / This dissertation examines the various figures of the American novelist which takes form in the famous literary interviews published by The Paris Review during the first two decades of its existence (1953-1973). In order to analyze the specificities and the impact of the new model of literary interview created by the inspired, yet inexperienced editors and interviewers of the review, this dissertation first traces the history of "little magazines" as well as the context in which the Paris Review interviews were shaped and polished, and then analyzes the complex history of the literary interview as a genre. Through the study of the archives of the review, the author casts a light on the collaboration between the editorial board and the interviewed novelists during the demanding rewriting process of the literary interviews. The literary interview thus appears as a space where negotiations take place, opposing the preconceptions of the interviewer to the various strategies displayed by the novelist in order to assert his legitimacy. What was originally designed as a single portrait composed by two instances actually turns into the novelist's controlled self-portrait.Ultimately The Paris Review literary interview becomes a form of biographical fiction, in which the writer, initally questioned on "the art of fiction", leaves center stage to the author, who takes great care of his own public persona.