The purpose of this thesis is to explain some of the historical and personal developments in the painting of portraits. For this project, eleven models were selected all of whom showed a wide range of emotional types and were painted in oil on canvas. The subjects were placed in shallow space, and color was explored as an emotional element. The personal experiences were evaluated and ideas for future development were suggested.

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La série feuilletonnante occupe aujourd'hui (plus encore qu'hier) une place prépondérante dans la production comme dans la consommation audiovisuelle turque. Elle est à l’intersection de diverses dynamiques, d’ordres politique, socio-culturelle et économique. Sur le plan de la production, elle est un élément majeur du « soft power » national, la Turquie étant le second exportateur de séries (notamment dans le Moyen-Orient) après les États-Unis. Sur le plan intérieur, la production de série obéit aux impératifs de la concurrence, régulée par le gouvernement, chacune des 553 chaînes de télévision (nationales, régionales et locales) étant à la recherche d’une audience maximum. La durée d’écoute quotidienne des Turc.que.s étant de 5h 50min., bien au-dessus de la moyenne européenne, les séries feuilletonnantes représentent une part essentielle de la consommation télévisuelle. Comme nous le verrons, les séries représentent en effet près de 63% de la programmation en prime time dans les années 2013-2014.Notre recherche est centrée sur le travail du Genre à l’œuvre dans les séries feuilletonnantes. Nous considérons en effet que la question des rapports sociaux de sexes est moins « particulière » que « révélatrice » d’un état de la société. Pour ce faire, nous avons privilégié l’étude de la série Poyraz Karayel, pour des raisons de notoriété: En 2015, la série figure en seconde position des émissions les plus regardées. Notre approche, focalisée sur les pratiques de réception, laisse cependant une large place au discours des producteur.rice.s de la série, rencontré.e.s dans le cadre d’entretiens individuels. Des entretiens compréhensifs ont ensuite été menés auprès de spectateurs et de spectatrices, rencontré.e.s dans leur lieu de vie, pendant la diffusion de la série. Ces entretiens ont donné lieu à des portraits, révélateurs d’une façon d’être au monde et singulièrement « d’être au Genre ». Enfin, reprenant les points saillants des portraits, une analyse transversale  traite d’un certain nombre de thématiques comme le corps, l’amour, la famille, etc. Ce zoom sur des pratiques singulières entend contribuer au travail de réflexion sur les relations entre le Genre et les productions culturelles que sont les séries feuilletonnantes, dans le cadre de la Turquie contemporaine. / TV series occupies today (even more than yesterday) a dominant place in Turkish broadcasting consumption. It is at the intersection of various dynamics through political, socio-cultural and economic orders. Regarding production, it is a significant component of national soft power, with Turkey being the second largest exporter of series (particularly in the Middle East) after the United States. On the domestic front, the production of series obeys the imperatives of the competition that is regulated by the government, each of the 553 television channels (national, regional and local) being in search of a maximum audience. The daily listening time of the Turkish people being 5h 50min., well above the European average, the series represents an essential part of the television consumption. As we will see on this work, the series accounted for almost 63% of prime time programming in 2013-2014.Our research focuses on the work of gender at work on the series. We consider that the question of social gender relations is less "special" than "revealing" of a state of society. To do this, we opted for the study of the series Poyraz Karayel, for reasons of good notoriety: In 2015, this series appears in second position of the most watched television broadcasts. Our approach focuses on the reception practices, however leaves ample room for the speeches of the producers of the series through the individual interviews. Comprehensive interviews were then conducted with spectators by meeting them in their place of life, during the broadcast of the series. These interviews gave rise to portraits revealing a way of being in the world and singularly "to be gender". Finally, taking up the highlights of the portraits, a "transverse analysis" took place, which dealt with a certain number of themes such as the body, love, family, etc. This zoom on singular practices aims to contribute to the work of reflection on the relations between the Genre and the cultural productions that are series, within the framework of contemporary Turkey.

This dissertation offers a new interpretation of Anthony van Dyck’s art and career, taking as its point of departure a body of contemporary anecdotes, poems, and art theoretical texts that all responded to Van Dyck’s portrait sittings. It makes a decisive break with previous scholarship that explained Van Dyck’s focus on portraiture in terms of an intellectual deficit or a pathological fixation on status. Instead, I argue that throughout his career, Van Dyck consciously made the interaction between painter and sitter a central theme of his art. Offering an alternate account of Van Dyck’s relationship to Rubens as a young painter, the opening chapter examines Van Dyck’s initial decision to place portraiture at the heart of his production. I trace that decision to Van Dyck’s work on a series of history paintings that depict the binding of St. Sebastian, interpreted here as a programmatic statement on the part of a young artist with a deep commitment to life study and little interest in an emerging hierarchy of genres that deprecated portraiture. The second chapter surveys the portrait copies of both Rubens and Van Dyck, demonstrating that imitative and historicist investigations link their approaches to portraiture. Van Dyck drew upon his copies of Titian and Raphael in paintings such as his epochal portrait of Cardinal Guido Bentivoglio, which awakened an ambivalent response on the part of Italian artists and critics. But Van Dyck’s practice of imitation also extended to his comportment and self-presentation in public, as exemplified by his emulation of Sofonisba Anguissola. A discussion of Van Dyck’s encounter with Anguissola leads to the contention that Van Dyck saw himself as participating in an alternate genealogy of art that placed court portraiture at the heart of an ambitious career and offered a rare opening to female practitioners. Van Dyck’s reception by one such painter, the English portraitist Mary Beale, provides a Leitmotiv throughout the dissertation. The third chapter situates Rubens’s and Van Dyck’s contrasting approaches to female portraiture within a larger shift in the status of portraits of women in the early seventeenth century, as embodied by the pan-European phenomenon of the “Gallery of Beauties.” This chapter also offers readings of the two artists’ contrasting depictions of Maria de’ Medici, who visited both of their homes during her exile in the Southern Netherlands. Such visits to Van Dyck’s studio provide the subject of the fourth and final chapter, which reexamines early biographers’ accounts of Van Dyck’s sittings and surveys his legacy for English painting and art theory over the course of the long seventeenth century. Whereas in their own writings, artists emphasized the opportunities for courtly self-assertion afforded by the sitting, poets and playwrights were more likely to depict sittings as threats to the sexual and moral order. Both attitudes represent important aspects of Van Dyck’s critical reception. The conclusion looks ahead to the tenacious hold of the portrait sitting on modern imaginings of the studio. Examining the portrait practices of such artists as Lucian Freud, Andy Warhol, and Alice Neel, the conclusion reveals the persistence of a fascination with the sitting that had its origin with Van Dyck.

Aussagen über "die Jugend" werden der Vielfältigkeit und Differenziertheit jugendlicher Lebensstile nicht gerecht. Denn Jugend ist nur im Plural zu verstehen: was herkömmlich als "die Jugend" bezeichnet wird, umfaßt vielmehr vier deutlich voneinander zu unterscheidende Handlungstypen. Dieses Buch stellt in den Porträts von acht Jugendlichen, je vier Mädchen und Jungen, diese jugendlichen Handlungstypen anschaulich dar: den familienorientierten, den hedonistisch-orientierten, den maskulin-orientierten (den es auch bei Mädchen gibt) und den subjekt-orientierten Typus. Eine kurzweilige Lektüre garantiert die Darstellungsweise: die Jugendlichen kommen selbst ausführlich zu Wort.

This thesis explores autobiographical practices and their relationship to autofiction, by focusing on practices of identity construction and artistic performance, as well as identity construction through performance. Emphasis is given to the ways gender and sexuality enter into, and shape, these practices by examining, in particular, the way they are expressed in Diana Thorneycroft's photographic performances. Chapter 1 discusses the history and key debates in autobiography theory, the ways gender has been introduced into the analysis of autobiography, and non-literary forms of autobiography. Chapter 1 also briefly discusses the (Western) history of art by women. Chapter 2 examines Thorneycroft's oeuvre and selected responses to it. Chapter 3 presents an analysis of autofictional practices through an examination of Thorneycroft's photographic self-portraits, thereby questioning the distinctions between autobiography and autofiction and suggesting that there is considerable overlap in their definition. The Conclusion briefly discusses agency in relation to autofictional (self-making) practices.

Texte de: Th. 3e cycle--Litt. comparée--Paris 4, 1980. / Bibliogr. pp. 184-194. Index.

Thesis (Ph. D.)--UCLA, 2008. / Vita. Illustrations not reproduced. Includes bibliographical references (leaves 403-430).

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