L’objet de la présente thèse est la lutte contre la pauvreté. Elle cherche à identifier les conditions favorisant la sortie de la pauvreté dans un territoire urbain, ici le quartier de la Petite-Patrie. par une approche territoriale intégrée. S’inscrivant dans la mouvance des multiples initiatives de lutte contre la pauvreté et l’exclusion au Québec, le postulat qui fonde cette recherche est le suivant : la lutte contre la pauvreté par l’approche territoriale intégrée permet : 1) d’instaurer des conditions favorisant la sortie de la pauvreté et 2) de renverser les processus qui mènent à l’appauvrissement des personnes et, du même coup, d’améliorer les conditions et la qualité de vie de celles-ci dans un territoire particulier. Les résultats de cette recherche permettent : 1) de contribuer à la compréhension des dynamiques de lutte contre la pauvreté grâce à une approche considérant les acteurs agissant dans un territoire et, 2) d’éclairer les différents niveaux de conception et de mise en œuvre des politiques et des stratégies d’action, tant au niveau de l’État que de la société civile, sachant que les dispositifs d’intervention intégrés se créent à l’interface des initiatives locales ou régionales et des nouvelles formes de politiques publiques en matière de lutte contre la pauvreté. Les grandes conclusions qui émergent de cette recherche sont au nombre de trois : 1) Si la multidimentionnalité de la pauvreté est acceptée par plusieurs auteurs, on ne peut pas parler d’une seule pauvreté, mais de diverses pauvretés. Les visages de la pauvreté dans le territoire de La Petite-Patrie témoignent de cette diversité des pauvretés, et appellent une variété de stratégies d’action ; 2) Les personnes en situation de pauvreté, en fonction de leurs capacités d’agir, peuvent être appréhendées selon un double profil qui structure de façon importante leur processus de sortie de la pauvreté : le premier groupe rassemble les personnes en situation de pauvreté qui ont des initiatives découlant de leurs capacités d’agir, et le second groupe qui réunit les personnes en situation de pauvreté dont la capacité d’initiative est altérée, apparemment de façon durable, par leurs conditions de vie. Toute stratégie publique de sortie de la pauvreté dans un espace donné devrait alors considérer cette dimension relative aux capacités de rapprochement des individus et des ressources pour soutenir le développement d’une stratégie territoriale intégrée de lutte à la pauvreté plus efficace pour les personnes dont le processus de désaffiliation est plus avancé; 3) Les acteurs de lutte contre la pauvreté dans un territoire, pour réunir les conditions d’une action intégrée et mettre en place des conditions favorables de lutte contre la pauvreté, doivent s’appuyer sur la concertation, les alliances intersectorielles, le leadership inclusif et concerté, les passerelles formelles et fonctionnelles entre acteurs institutionnels, et sur une démarche hybride (emploi et défense des droits) qui constituent des ingrédients fondamentaux pour toute action ou intervention en faveur des personnes en situation de pauvreté vivant dans un cadre territorial défini et accepté par l’ensemble des acteurs locaux. Ce caractère hybride de la démarche permet d’agir de façon différenciée sur les deux groupes de la population. L’intégration est donc avant tout stratégique, c’est-à-dire fondée sur l’articulation d’une pluralité de logique d’action. / The subject of this PhD thesis is the fight against poverty. It aims at identify the conditions that promote transitioning out of poverty within an urban environment- in this case the Petite-Patrie district of Montreal-through an integrated territorial approach (ITA). This research fits into the various initiatives of fighting against poverty and exclusion in Quebec. This research is based on the following fundamental assumption: the use of an integrated territorial approach in the fight against poverty allows: (1) to implement conditions promoting a transition out of poverty and (2) to reverse the processes that lead to poverty, and, at the same time improve standards of living and quality of life of residents of a specific territory. The findings of this research make it possible: (1) to contribute to understanding the various mechanisms of the fight against poverty by considering the various stakeholders in a specific territory, and (2) to highlight the various types of designs and implementations of policies and development strategies, both at the State and Civil society levels, while taking into account that integrated intervention mechanisms should be developed where local and regional initiatives meet /interact with new types of public policies dealing with fight against poverty. The research led to three findings: (1) while most researchers agree that poverty has many dimensions, it is impossible to refer to only one poverty; there are many aspects or types of poverty. The various types of poverty encountered in the Petite-Patrie district support this assumption. It also calls for multiple and relevant strategies; (2) people living in poverty can be assessed according to their abilities to act or react and divided in two groups: the first group cover people living in poverty who take some initiatives according to their abilities to act; the second group cover people whose abilities to act have been reduced, may be permanently, by their living conditions. People’s abilities to act or the lack thereof, will impact the strategies implemented in the fight against poverty. Any public policy dealing with transitioning out of poverty in a specific territory must make sure there are resources available close to the people targeted, in order to support the development of a more effective integrated territorial approach in the fight against poverty when targeting people who are more disenfranchised. (3) In order to promote the prerequisites for an integrated approach in the fight against poverty in a specific territory, the relevant stakeholders must rely on collaboration, on alliances between the various sectors of society, upon an inclusive leadership and upon formal and functional linkages between the various institutions involved. There is also the need to use a dual approach -promoting employment and upholding human rights- two key factors in any intervention targeting people living in poverty in a specific territory, and taken into account by the local stakeholders. This dual approach allows intervening using different ways for the two groups defined. The integrated approach is essentially a strategy for coordinating a variety of measures.

Denna uppsats gör med hjälp av Erwin Panofskys ikonologiska metod en analys av en serie på nitton porträtt av kända 1600-tals män. Dessa porträtt, vilka idag är placerade i biblioteket på Skoklosters slott utreds i sin ikonografi och sätts in i ett större ikonografiskt sammanhang. Porträtten har ett unikt utseende då de är målade på furupannå och sedan kontursågade kring den porträtterades huvud. Avsikten med uppsatsen är att förstå deras syfte och ursprung. Uppsatsen behandlar frågor som varför man har valt att göra dessa porträtt och om det finns en koppling mellan dessa och bibliotekskonst i stort. Likväl vilka som är avporträtterade, varför just dessa personer är det och vem som låtit göra porträtten undersöks. Det är en uppsats som till stora delar handlar om det adliga idealet på 1600-talet och hur det gav sitt uttryck i konsten. / This essay does, with the help of Erwin Panofsky’s iconological method, provide an analysis of a series of nineteen portraits of famous men of the 17th century. These portraits, which today are placed in the library of Skokloster castle, are analysed in their iconography, and placed in a larger iconographic context. The portraits all have unique appearances, since they are painted on pine panel and then sawed after the contour of the head of the portrayed. The aim with the essay is to understand purpose and origin of the portraits. The essay deals with questions such as why these portraits were chosen to be made, and if a connection exists between these works and library art in a bigger context. Who is being portrayed, why these people in particular, and who has taken the initiative of making the portraits are questions that are investigated as well. It is an essay that to a large extent treats the noble ideal of the 17th century, and how it gave its expression to art.

The Enigma of Appearances is an examination into the medium of three-dimensional photography, with particular focus on the technique of stereoscopy. Invented in the mid-Victorian era, stereoscopy was an attempt to simulate natural three-dimensional perception via a combination of optics, neurology, and a pair of dissimilar images. Whilst successful in producing a powerful illusion of spatial depth and tangibility, the illusion produced by stereoscopy is anything but ??natural??, when compared to three-dimensional perception observed with the naked eye. Rather, stereoscopic photography creates a strange and unnatural interpretation of three-dimensional reality, devoid of atmosphere, movement and sound, where figures appear frozen in mid-motion, like waxwork models, or embalmed creatures in a museum. However, it is precisely stereoscopic photography??s unique and enigmatic interpretation of three-dimensional reality, which gives it its strength, separating it from being a mere ??realistic?? recording of the natural world. This thesis examines the unique cultural position that stereoscopy has occupied since its invention in 1838, from its early role as a tool for the study of binocular vision, to its phenomenal popularity as a form of mass entertainment in the second half of the 19th century, to its emergence in contemporary fine art practice in the late 20th and 21stt centuries. Additionally, The Enigma of Appearances gives a detailed analysis of the theory of spatial depth perception; it discusses the dichotomy between naturalia versus artificialia in relation to stereoscopic vision; and finally, traces the development of experimental studio practice and research into stereoscopic photography, undertaken for this MFA between 2005 and 2007. The resulting work, Camera Mortuaria (Italian for ??Mortuary Room??), is a powerful and innovative series of anaglyptic portraits, based upon an experimental stereoscopic technique that enables the production of extreme close-up three-dimensional photography. Applying this technique to the reproduction of the human face in three-dimensional form, Camera Mortuaria presents a series of ??photo sculptures??, which hover between reality and illusion, pushing the boundaries of stills photography to the limit, and beyond.

[pt] Retratos filmados: povoar, povoamentos, povo por vir é uma investigação textual que nasce de uma experimentação videográfica. Uma escrita em torno de encontros filmados que povoam o corpo-câmera da autora e formam um arquivo vivo, aberto, de falas, questões, povoamentos do tempo presente, expondo novas formas de se estar no mundo, processos de criação de si, pensamentos sobre o agora, insurgentes do esgotamento de um determinado modelo de vida, indicando um povo por vir. / [en] Film Portraits: populate, populating, people to come is a writing exercise on a video practice and experimentation. The writing investigates filmed encounters that populate the author s camera-body and create a live and open archive of narratives, issues and new ways of populating a thought of the present, revealing new existences and fresh approaches to processing the world, instigated by a collapsed model of life and indicating a people to come.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research intends to analyze the imagistic autobiographies representations operated by the image publishing website called fotolog, as parameter of the analysis, the art, specifically the contemporary self-portraits. Therefore, we examined in this paper, the extent to which reality and fiction blend in the production of this identities; and how the resources of art, specifically the image, are used to construct these self-portraits. Overexposure and theatricality are also common features between the two media and will be discussed in the survey. To map the similarities between the virtual identities on the web and the self-portraits of contemporary art we define, as a starting point for this discussion, the fotolog sensationslave and artwork of French Sophie Calle. / Esta pesquisa pretende investigar como se concebem as representações imagéticas autobiográficas no site de publicação de imagens fotolog tendo como parâmetro de análise a arte, especificamente os autorretratos contemporâneos. Sendo assim, examinamos, nessa dissertação, em que medida realidade e ficção se mesclam na produção dessas identidades; e como os recursos da arte, especificamente da imagem são utilizados na construção desses autorretratos. A superexposição e a teatralização também são aspectos em comum entre os dois meios e serão discutidos na pesquisa. Para mapear as aproximações entre as identidades virtuais na web e os autorretratos da arte contemporânea definimos, como ponto de partida para essa discussão, o fotolog sensationslave e o trabalho artístico da francesa Sophie Calle. / Mestre em Artes

Orientador: Jorge Sidney Coli Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-23T18:08:18Z (GMT). No. of bitstreams: 2 Faria_BrenoMarquesRibeirode1986-_M.pdf: 19576341 bytes, checksum: 73287f16f54e728d0264277127e00a23 (MD5) Faria_BrenoMarquesRibeiroDe_M_ANEXO.zip: 13890656 bytes, checksum: ddc4136097963a47741dcc439844ead0 (MD5) Previous issue date: 2012 / Resumo: O objetivo desta pesquisa é expandir o entendimento da pintura no Brasil colonial, especificamente a pintura de retrato. Sendo delimitado o foco para abarcar obras nas quais figuram membros da família real portuguesa e os indivíduos estreitamente relacionados a ela, como os vice-reis e governadores. A determinação do objeto de estudo visa selecionar um material privilegiado para observar certas características da cultura setecentista luso-brasileira, nomeadamente a dimensão da pintura de retrato dentro da esfera do poder monárquico absolutista português. A função cultural dessas representações visuais fica mais clara ao serem observadas as condições de demanda e execução das mesmas, bem como, os locais para os quais elas se destinavam. Buscamos reconstituir a circulação das obras para ser possível apreender o desenvolvimento desta retratística, que se origina na metrópole, atravessa o oceano Atlântico, e chega até a América Portuguesa / Abstract: The objective of this research is to expand the understanding of painting in colonial Brazil, specifically portrait painting. Being limited the focus to encompass the works which include members of the portuguese royal family and people closely related to it, as the vice-kings and governors. The determination of the object of study aims to select a privileged material to observe certain characteristics of eighteenth-century luso-brazilian culture, including the dimension of portrait painting into the realm of portuguese absolute monarchical power. The cultural function of these visual representations becomes clearer when they are subject to the conditions of demand and implementation of those, as well as the locations for which they were intended. We seek to reconstitute the circulation of works to be able to grasp the development of portraiture, which originates in the metropolis, crosses the Atlantic Ocean, and reaches the Portuguese America / Mestrado / Historia da Arte / Mestre em História

La thèse est consacrée à l’œuvre de portraitiste de Parmigianino au cours des deux périodes parmesanes de sa carrière, depuis sa naissance en 1503 jusqu’à son départ pour Rome en 1524, puis de 1531 à 1540, date de son décès. L’objet de la recherche est d’élucider les significations propres à chacune des effigies du corpus et d’analyser les processus plastiques et sémantiques par lesquels le peintre a élaboré les discours figuratifs que constituent ses portraits, dans le contexte de leur commande, production et réception. A cette fin, on a opté pour une approche pluridisciplinaire. La thèse débute par une étude de l’histoire artistique de Parme de 1500 à 1540 et une analyse des pratiques du portrait dans cette ville, au regard de ses nombreuses relations avec d’autres centres culturels et artistiques (Milan, Venise, Bologne, Florence et Rome). L’histoire sociale et politique de Parme pendant la première moitié du Cinquecento est un autre sujet de la recherche. Son objet est l’articulation des transformations institutionnelles au sein de la comune, les conquêtes par plusieurs pouvoirs étrangers entre 1499 et 1520 jusqu’à la création du duché de Parme et Piacenza par Paul III en 1545 avec le marché et les pratiques du portrait. Après cette étude du contexte, chacun des portraits de Parmigianino est examiné de façon approfondie, à travers une approche trans-disciplinaire qui associe histoire de l’art, histoire culturelle (littérature, du livre et de l’édition, emblématique, traditions de la rhétorique, débats linguistiques), histoire sociale et politique. / The dissertation deals with Parmigianino’s activity as a portraitist during the two periods of time he spent in his native Parma, between 1503 and 1524 and then between 1531 and 1540. Its aim is to analyze the painter’s male portraits in particular, that is to to clarify their specific significances and, at the same time, to elucidate the visual and semantic processes through which Parmigianino elaborated the figurative discourses that his portraits convey, in the artistic, cultural, social and political context of their creation. To reach this goal, several methodological approaches are used. The disseration begins with a close study of the artistic history of Parma between 1500 and 1540 and an analysis of the traditions related to portraiture in the city, with regard to its many cultural and political relations to other regions and states (Milan, Venice, Bologna, Florence and Rome). The political history of Parma during the first half of the Cinquencento is an other field of research. Its purpose is to articulate the many institutionnal transformations of the comune, the conquest of Parma by several foreign powers between 1499 and 1520, until the creation of the Duchy of Parma and Piacenza by Pope Paul III, with the market and practices of portraiture. After this close examination of the context, Parmigianino’s portraits are analyzed through a trans-disciplinary approach that deals with art history, cultural history (literature, history of the book, emblems, traditions of rethoric, linguistic debates), social and political history).

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Issu d’une dynastie de sculpteurs parisiens, formé sous la Régence, en plein triomphe du style « rocaille », Jean-Baptiste Lemoyne (1704-1778) construit sa renommée sur la faveur que lui accorde Louis XV. Des années 1730 aux années 1750 Lemoyne s’illustre dans le genre colossal. À moins de dix ans d’intervalle, en 1743 et 1754, le sculpteur inaugure à Bordeaux puis à Rennes deux monuments à la gloire de Louis XV, prouesse artistique et technologique jamais égalée jusqu’alors. À partir des années 1750, le sculpteur recentre sa production sur l’art du portrait, devenant, avant Houdon, le sculpteur des grands hommes. Célébré de son vivant, Lemoyne connut une destinée posthume tragique : la plupart de ses monuments religieux et royaux furent détruits sous la Révolution et le sculpteur tomba dans l’oubli, victime du mépris de la génération néoclassique. L’artiste est demeuré longtemps méconnu, éclipsé par la renommée de Bouchardon puis de Houdon. Cette étude se propose de reconsidérer l’une des figures majeures de la sculpture française du XVIIIe siècle, en mettant l’accent sur son héritage familial et esthétique, l’influence de son atelier et le rôle que la « sociabilité » des Lumières a joué dans la réussite de sa carrière et le succès de ses portraits. / Born in a family of Parisian sculptors, Jean-Baptiste Lemoyne was trained under the Régence period when the rocaille style triumphed. His fame then was rooted in Louis XV’s favor. From the 1730s to the 1750s, Lemoyne became renowned for his colossal sculptures. In less than ten years, between 1743 and 1754, he erected in Bordeaux and Rennes two monuments to glorify the King, thus achieving a unique artistic as well as technological performance. From the 1750s on, Lemoyne focused on sculpting portraits, thus preceding Houdon in being the sculptor of illustrious men. Although he was a celebrated and well-known artist during his lifetime, Lemoyne’s fame vanished after he died. Most of his religious and royal monuments were destroyed during the French Revolution. His work, despised by the néoclassique generation, fell into oblivion. Unlike his rivals Bouchardon and Houdon, he remained unstudied for a long time. My dissertation proposes to reconsider one of the leading figures of eighteenth-century French sculpture. I particularly focus on three points: the aesthetic heritage Lemoyne received from his family, his influential workshop, and the key role played by enlightened networks and societies in his successful career as a portraitist.