Senegal’s leading role in the development of African modernism in the 1960s is well known. Lesser-known is that, a century earlier, photography first arrived and took root in Senegal before circulating across French West Africa. This dissertation focuses on the genre of photographic portraiture in a country that did not have sculptural or masquerade traditions. It studies the ways in which photography accommodated and fostered new social and artistic practices and identities in Senegal between 1860—when the first studio opened in Saint Louis, the historical capital—and the 1960s, when photography became a “social imperative,” to use Geoffrey Batchen’s description (2001). The first chapter discusses cartes-de-visite commissioned as early as the 1860s by the first Senegalese patrons. In the course of this discussion, I challenge unilateral conceptions of photography as an apparatus of ideological control monopolized by the colonial authority. Chapter Two argues that Islam—the predominant religion in Senegal since the late nineteenth century—facilitated the popularity of the genre of portraiture through the circulation of devotional images in the form of lithographs, glass painting and photographs between the 1890s and 1920s. Chapter Three focuses on two photo series by amateur photographers from Saint Louis in the interwar period. I argue that these snapshots delineate the birth of a new subjectivity that neither mimicked French culture, nor conformed to Wolof customs. The last chapter juxtaposes the work of Mama Casset and Oumar Ka, two studio photographers working in the 1960s and 70s, in the capital and the rural interior of the country, respectively. In doing so I revisit the association between photography’s modernity and urban living, and propose that modernity can also be linked with “rural” tastes and styles. Rather than interpret it as either a “foreign” or “local” technology, this dissertation traces the fluctuations of photography’s significance in a dialectic relation with European, Islamic, American, African and Indian sources, revealing the nature of the medium as a multiplier of visions. Given Senegal's privileged status within La Grande France, this analysis will contribute to our understanding of the relationship between photography and modernity in Africa and beyond.

This study explores how young people's engagement with history outside of the classroom shapes the development of their historical consciousness. Drawing on public discourses around the First World War (WW1), I address the implications of this engagement for history teachers and young peoples' learning. Recognising the active and dynamic construction of memory and meaning by young people, I develop the concept of social remembering. Building on socio-cultural perspectives, I examine the 'lived experience' of young people's memory work. Using WW1 as a context, and adopting an innovative mixed methods approach, the research was conducted over two stages. The first stage of the research used a quiz and survey to explore the extent and nature of young people's social remembering. In the second stage of the study I examined young people's memory work outside the classroom. I worked with several small groups of students to construct their own ethnographic accounts of societal and familial remembering and their emerging historical consciousness, fashioning these into ethnographic portraits. The research highlights the role that social remembering plays in young people's identities, including the ways in which they value and use history, attribute historical significance to events and orientate themselves in time. It shows how different forms of social remembering can both include or exclude young people and impact positively or negatively on young people's historical consciousness. An understanding of social remembering outside the classroom can support history teachers in the development of pedagogies that build on students' meaning making associated with public events such as commemorations. I argue that teachers can use the intersections between social remembering and disciplinary history to engage and support students in their study of history. Although the study originated within the context of history education, it has wider value, offering a ground breaking methodological approach to exploring young people's understandings of the past and in contributing to the historiography of historical memory.

This thesis deals with the life and artwork of sculptor Čeněk Vosmík (1860 - 1944). Thesis contains an overview and evaluation of his artworks in the context of his time. Vosmík's artistic creation is followed from the beginning, which he spent studying in Vienna, through the period of the first successes and early artwork to the stage of his later artworks, when he devoted himself primarily to the religious art. Besides of the religious art thesis deals also with the allegorical, decorative and portrait work as well as restoration works. They are not neglected nor his unrealized proposals of works of art. Is especially emphasized Vosmík's early period of arts and his most important sculptures - The reprobate, The shepherd with bull and The Christ in the desert. Thesis also includes a comprehensive inventory of his art work. Keywords Čeněk Vosmík, sculpture, religious art, allegorical and decorative arts, portraits

Introduced in French Salons as a parlor game, the literary portrait appears in mid Seventeenth-Century. It is similar to the literary portraits inserted in Roman à clé but it does not hide the identity of the subject behind a pseudonym, it depicts the individual as is. In a self-portrait subjects look at, observe, evaluate then describe themselves. They offer themselves to the gaze of others and propose a true reading of what they are. The self-portrait attempts to harmonize the appearance and the inner being, to render visible the essence of the person. However, in the Seventeenth Century, people reinvent themselves, and the answer to the question "who am I?" changes under the gaze of a sophisticated society where everyone must play the role assigned by their class and their gender. The nobility and the cultured elite want to be a work of art; the art of pleasing, the art of conversation, the art of story telling, and also the art of knowing others. Everything is hyperbole: nobles are gods and goddesses-when they are not fairies-and life is a vast performance where self-image and representation are tirelessly adjusted because the observer is looking to catch what is behind the façade. At court or in Salons, gazes interpret more than what is on display because they observe signs: body language and facial expressions convey feelings visibly and communicate them better than words. Charles Le Brun, painter of the Court of Louis XIV, stated that the face is not the mirror of the soul but the readable expression of passions. This study examines literary and artistic representations of three representative individuals: Mademoiselle de Montpensier, the Duc de La Rochefoucauld, and the Cardinal de Retz, with the intention of demonstrating that, for the Seventeenth-Century, the portrait is the place where the conflict between "the inner being" and "appearances", the discomfort of the visible and the veiled, and also the uneasy co-existence of honnêteté and amour-propre, converged.

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While Oscar Wilde's The Picture of Dorian Gray depicts the quintessential literary portrait endowed with uncanny life and movement, dozens of such magic portraits are featured in Victorian fiction. From the ravishing picture of the title character in Mary Elizabeth Braddon's Lady Audley's Secret to the coveted portrait of a Romantic poet in Henry James's The Aspern Papers, imagined portraits in these texts serve as conduits of desire and fear--windows into passions and repressions that reveal not only the images' external effects but their relation to the unconscious of their viewers. My dissertation turns a critical eye on this gallery of ekphrastic pictures--those not actually visible to the reader but rather visualizable through verbal description--to argue that the meditations on representation and desire that these novels and stories perform not only anticipate but augment theories of the image and the gaze developed primarily since the advent of cinema. Though the dissertation benefits from film theory's models of visual exchange, the distinctions between these portraits and images in film open up fertile analytical terrain. Ekphrastic magic portraits provide a unique opportunity to delve into the intersecting realms of word painting and image perception, the optics of desire and subjectivity, to advance critical discourses in visual studies that are framed both historically and theoretically. Using psychoanalytic and narratological methodologies, particularly those relevant to feminist and queer image theory, "The Ekphrastic Fantastic" demonstrates how the fictional visual exchanges on display in magic portrait stories elucidate various power struggles regarding sexuality and narrative structuring. These literary pictures thereby provide new access to the social and artistic commentaries that often subtend Victorian fiction. Each chapter considers three primary texts and the branch of image theory most relevant to their deployment of magic portraits. Laura Mulvey's foundational essay, "Visual Pleasure and Narrative Cinema," provides the point of departure in the first chapter, which looks at Charles Dickens's Bleak House, Braddon's Lady Audley's Secret, and Wilkie Collins's The Woman in White. The second chapter addresses Margaret Oliphant's "The Portrait," Thomas Hardy's "An Imaginative Woman," and James's The Aspern Papers with further feminist insights from Vivian Sobchack and Teresa de Lauretis. The final chapter determines the relationship of principles of visual representation and narrative production of the Aesthetic movement to magic portraits in Walter Pater's "Sebastian van Storck," Vernon Lee's "Oke of Okehurst," and Wilde's Dorian Gray, particularly as they relate to the nascent medium of cinema and the theories that soon as well as later arose to account for the impact of its kinetic mirage. The arc of my argument emphasizes how, as the Victorian period advances, the portraits become increasingly animate and subversive in their challenges to patriarchal gender norms and narrative formulas. In this way, they become the mechanisms by which new models of psycho-sexual relations can be expressed and new social and narrative systems can emerge.

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 qualitative study draws on the traditions of narrative inquiry and arts-based research to explore the intricate puzzle of the experience of writing in a grade nine English Language Arts classroom, with a particular group of participants engaged in a creative autobiographical writing project. This case study of a small rural classroom, where 10 of 12 students participated as writers in the research, explores both the teachers and the students experiences. As a participant-researcher, I designed a three-cycle writing project spanning nine weeks, where all participants engaged in conversations about writing. One specific feature of the classroom setting was that both the teacher and the researcher were themselves active writers and deliberately and systematically offered stories of their own writing practice as part of the teaching about writing process, while undertaking the same writing tasks as the students. The data collected and analyzed in this dissertation includes students group conversations in class time, participants drafts and final writing, entry and exit drawings of how students saw themselves as writers, and individual reflective private conversations. From this data, I created portraits of the participants as writers and of the instructional moments. The drawings which were shaped by a participants historical relationship with writing, their broader personal, social and educational context, and the study provided insight into the individuals relationship to and with writing, providing access to a participants knowledge and experience at times unavailable through more traditional forms of data. Two main themes that emerged were resistance to writing and students complex relationship with revision. Their resistance manifested itself in a variety of forms, including one instance of plagiarism and a total absence of writing with another. An exploration of revision practices revealed a tangled process that often failed to improve the quality of students writing, where revision became, for example, a matter of excision with the delete key or serial first drafting. This study complicates the common school use of autobiographical writing prompts, by documenting the many forms of participant resistance and task subversion. Further, the interpretation of autobiographical as necessarily entailing only the true proved an area of tension.

Master I--Histoire de l'art--Paris 4, 2006. / Bibliogr. p. 125-146 (vol. 1).

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