Made available in DSpace on 2017-07-21T14:42:56Z (GMT). No. of bitstreams: 1 Francieli Lunelli Santos.pdf: 9973901 bytes, checksum: 0a6c5b596d9885ddd8a7083e7d6e18da (MD5) Previous issue date: 2009-07-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The picture of family groups, as well as other groups, is one way to spread Imaging speeches and emphasized social relations that were frozen at the moment there portrayed. The practice of families of using the photographer to get group pictures remained for much of the 20th century in the city of Ponta Grossa. It is understood that the families that put a pose for the photographer constructed an idealized image of the group for the picture. Performed thus a representation, a social production, which consolidated the way the family would be recognized. Thus, studying the social representations of family portraits in the period 1915-1940, means building not only possible interpretations for the family, but to social groups in general, in that period. Based on the issues mentioned above, this dissertation aimed to reconstruct meanings and practices in social representations related to the act of photographing families, in Ponta Grossa, in the period cited. This work is divided into three chapters. The first deals with the theoretical concepts that give support to work. They are: family, social representations and social roles. In the second chapter sets up the city, the Bianchi´s family and the installation of their photo studio, where it gave rise to images of families. The final chapter is devoted to the analysis of iconography and iconology pictures, its constituent elements and symbols that pervade the representations of their characters. / A fotografia de grupos familiares, assim como de outros grupos, constitui-se em um meio imagético para se disseminar discursos e ressaltar relações sociais que ali ficaram congeladas no instante retratado. A prática das famílias recorrerem ao fotógrafo para obterem retratos em grupos manteve-se durante boa parte do século XX na cidade de Ponta Grossa. Entende-se que as famílias que se colocavam a posar para o fotógrafo construíam uma imagem idealizada do grupo para o retrato. Realizava, dessa forma, uma representação, uma encenação social, que consolidava a maneira como a família gostaria de ser reconhecida. Assim, estudar as representações sociais nos retratos de família do período compreendido entre 1915-1940 significa construir interpretações possíveis não apenas para a família, mas para os grupos sociais de maneira geral, no referido período. Com base nas questões acima apontadas, a presente dissertação objetivou reconstruir significados e práticas nas representações sociais ligadas ao ato de fotografar famílias, em Ponta Grossa, no período citado. Este trabalho está dividido em três capítulos. No primeiro abordam-se os conceitos teóricos que dão sustentação ao trabalho. São eles: família, representações sociais e papéis sociais. No segundo capítulo apresenta-se a cidade, a família Bianchi e a instalação de seu estúdio fotográfico, onde se deu origem às imagens de famílias. O último capítulo destina-se à análise iconográfica e iconológica dos retratos, seus elementos constitutivos e símbolos que permeiam as representações dos seus personagens.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-12-04T15:16:22Z No. of bitstreams: 1 Magda Rosí Ruschel_.pdf: 6348747 bytes, checksum: e1fe2a31f1f2ec8bb5536dd3710161c9 (MD5) / Made available in DSpace on 2017-12-04T15:16:23Z (GMT). No. of bitstreams: 1 Magda Rosí Ruschel_.pdf: 6348747 bytes, checksum: e1fe2a31f1f2ec8bb5536dd3710161c9 (MD5) Previous issue date: 2017-09-29 / UNISINOS - Universidade do Vale do Rio dos Sinos / A presente tese aborda a invenção de construtos de silêncio em imagens fílmicas. A reflexão dialetiza os imaginários e as tecnologias do silêncio no cinema em perspectiva tecnocultural e das audiovisualidades, inclui os atravessamentos provocados por outros meios de comunicação. A pesquisa investiga e problematiza sobre a técnica e a estética no processo de produção de imagens audiovisuais que ampliam e aprofundam a formalização de um misto composto pelas sonoridades do silêncio como uma virtualidade atualizada em efeitos no desenho de som retratados em três filmes: O silêncio (1963), de Ingmar Bergman, Gravidade (2013), de Alfonso Cuarón, e Aningaaq (2013), de Jonas Cuarón. Os aportes teóricos-metodológicos utilizados associam os procedimentos cartográficos de Benjamin, o método intuitivo de Bergson e a metodologia das molduras de Kilpp. Articula conceitos de autores, tais como, Dubois, Flusser, Didi-huberman, Rancière e Virilio. O objetivo é potencializar os estudos sobre as dimensões sonoras do audiovisual e sobre a voluminosidade do silêncio como lugar da compenetração de estados, trabalhando imagens-memória, como se fossem uma frase-imagem ou forma-imagem. Experimentando por meio do ato de auscultar e de fotografar inscrições em infonográficos extraídos mediante percepções e afecções que emolduram uma experiência sensível e do entendimento de uma legibilidade dos efeitos produzidos em tessituras de tempo e espaço. Essa foi a maneira de autenticar velocidades de leituras rítmicas do som e do silêncio em sucessividade, em simultaneidade e em espessurização. Elege estados que produzem a sensação ou ilusão de presença e sentido considerados como pertencimentos a arquiteturas e instrumentos de medidas gerando operações de apreensão do objeto de estudos formado pelos retratos sonoros: expressões, salões, códigos e espessuras de silêncio. A colocação do problema desta pesquisa, intencionou a autenticação de uma escuta do silêncio como uma imagem sonora e, ou como uma audioperformance. Os resultados alcançados contribuem na compreensão dos processos de imaginação no rearranjo técnico e estético de uma paisagem sonora que engendra o sistema analógico e o digital de codificar imagens em movimento, nos modos de ser e do agir dos efeitos em ambiências audiovisuais, e no projetar formas no desenho de som para criar possibilidades teóricas-metodológicas de uma escuta das materialidades do silêncio na experiência fílmica. / The present dissertation focuses on the invention of silence constructs in filmic images. The reflection dialyzes the imaginary and the technologies of silence in the cinema in a technocultural and audiovisual perspective, and it includes the crossings provoked by other means of communication. The research investigates and problematizes on the technique and the aesthetics in the process of producing audiovisual images that amplify and deepen the formalization of a composite consisting of the sonorities of silence as a virtuality updated in effects in the drawing of sound portrayed in three films: The silence (1963), by Ingmar Bergman, Gravity (2013, by Alfonso Cuarón, and Aningaaq (2013), by Jonas Cuarón. The theoretical-methodological contributions used are associated with Benjamin’s cartographic procedures, Bergson's intuitive method, and Kilpp’s frame methodology. It articulates authors’ concepts such as Dubois, Flusser, Didi-huberman, Rancière and Virilio. The aim is to strengthen the studies on the audio-visual dimensions and the voluminosity of silence as a place for the interpenetration of states, working memory images as if they were a sentence-image or image-form. Experiencing through the act of listening and photographing inscriptions in infonografics extracted by perceptions and affections that frame a sensitive experience and the understanding of a readability of the effects produced in tessituras of time and space. This was the way to authenticate velocities of rhythmic readings of sound and silence in successiveness, simultaneity and thickening. It elects states that produce the sensation or illusion of presence and meaning considered as belonging to architectures and instruments of measures generating operations of apprehension of the object of studies formed by the sonorous portraits: expressions, halls, codes and thickenesses of silence. The placement of this research problem intended the authentication of a listening of silence as a sound image and, or as an audio performance. The results obtained contribute to the understending of the processes of imagination in the technical and aesthetic rearrangement of a soundscape that engenders the analogue and digital system of coding moving images, in the modes of being and acting of effects in audiovisual environments, and in designing forms in the sound design to create theoretical-methodological possibilities of a listening of the materialities of the silence in the filmic experience.

Esta pesquisa atenta-se à importância da representação imagética feminina no período Júlio-claudiano, mais especificamente de Lívia Drusila e/ou Júlia Augusta, identificando as principais características encontradas em seus retratos a cada sucessão imperial. Para tanto, fazse necessário não só o estudo de suas respectivas construções verbais e imagéticas, como também, das funções atribuídas às mulheres, tanto nas relações do poderio romano como nos contextos público e privado. Em suma, o trabalho abrangerá o estudo dos retratos imagéticos femininos romanos; suas histórias; as relações entre a imagem e o poder; os aspectos e as teorizações consideradas relevantes em suas figurações; a intencionalidade inserida nessas construções e em que medida a participação feminina influenciou nos governos de Augusto, Tibério, Calígula, Cláudio e Nero. / This research focuses on the importance of the imagery representation of women on the Julio-Claudian period, more specifically on those about Livia Drusila and / or Julia Augusta, identifying the main characteristics that can be found on their pictures on each imperial succession. Not only the study of their respective verbal and image constructions is necessary, but also the tasks assigned to women, as in relationships of Roman power as in public and private contexts. In short, this work will involve the study about imagetic Roman portraits of women; their respective histories; the relationships between image and power; theories and aspects considered relevant on their imagetic constructions; the intentionality presented on these constructions and how women\'s participation influenced governments of Augustus, Tiberius, Caligula, Claudius and Nero.

本研究嘗試從「家的外部圖像與內部邊界」、「家庭成員與家人關係」與「親職角色」三部份進行提問。研究者藉由回顧相關法律制定與修訂記錄、官方統計資料、政府出版品、當時報章雜誌、學術研究期刊論文的文獻討論等，對照政治、法律、經濟、教育與社會政策制定與家庭型態的變遷，並以內容分析法依據10次修改課程編修內容長時段地考察國小一年級國語教科書。一方面藉此瞭解不同社會時期，勾勒出教科書中家庭圖像的動態變遷；另一方面，預期可作為未來教師教學與國小教科書編輯的參考。 本研究發現國小一年級國語教科書理想家庭圖像在戰後重建的1950年代、加強民族教育並強調「反共復國」的1960年代、經濟起飛的1970-1980年代、社會改革百花齊放的1990年代，以及2000年以後多元價值並存等五個階段有所不同。隨著政治、經濟、教育與社會變遷、人口轉型、性別平權意識抬頭、個體化發展，以及後現代、多元、異質家庭變遷，突顯出教科書理想家庭圖像更新速度並非完全反映台灣婚姻與家庭變遷，而是執政者政策制定與知識生產的機制在不同時期國家階段性任務。即從農村到都市，從家族集體經驗到個體化，從單一到多元，呈現出有所「變」、有所「不變」的變遷基調。最後研究者進一步對於教科書編輯、家庭教育與後續研究提出幾點建議 / This study explored the elementary textbooks from the following three aspects, “the outer portraits and the inner boundary of family”, “the relationships between family members”, and “parenting role”. By means of reviewing the records and processes of law making; officially statistics data, government publications, newspapers and magazines; and academic journals, researches and literatures, researchers compared different aspects of politics, law, economy, education, social policies and family changes. The content analysis, based on the previous process of compilation, was adopted to analyze the first-grade textbooks in the elementary school. By doing so, I illustrated different changes of ideal family portraits during different social periods of time; on the other hand, I aimed to present the analytical result as a reference for the compilation of the elementary school textbooks in the future. This research found that ideal family portraits shift over time. In different periods of time, government has different foci: during 1950s, after World War II, it focused on reconstruction; in 1960s, it emphasized national education and Anti-China Policy; from 1970s to 1980s, it focused on the acceleration of economy; in 1990s, it reflected the springing up of social evolution; and in 2000s, it revealed the existence of multi-values. Owing to the social changes of politics, economy, and education systems, concerning the demographic transition and the awareness of gender equity, reflecting the characteristics of post-modernization: individualization, multi-values and heterogeneous of family structure, the ideal family portraits from textbooks failed to represent the current family and marriage situations in Taiwan. They are compiled with neither the reality of Taiwan’s marriage nor family. They are compiled with the mechanism which the ruling authority legitimatized their periodical policies. In other words, from rural to urban, from family collective experience to individualization, and from singularity to pluralism, the base between changing and unchanging was indicated. Then, the researcher further offered some suggestions for textbook compilation, family education, and future studies.

The thesis and exhibition, Interaction: Portraiture in a Digital World, seeks to analyze digital portraiture today. I choose to depict concepts and ideas, as they relate to digital portraiture, through four distinct series of work, which encompass similar ideas and themes, but come at them from different perspectives. The work within the exhibition is comprised of several portraits of personal friends, family, and acquaintances, which have all been appropriated from online sources such as Facebook, and online dating sites. Because the portraits consist of people that I know on a personal level, are a collection of portraits that are derived from my personal social media profile, and represent individuals with whom I have frequently interacted with online, one could assess that in addition to being a collection of unique individual portraits, the exhibition is also a self-portrait of me, the artist. The exhibition includes Facebook Text Portraits, Nightclub Portraits, Online Dating HTML Portraits, and a Crying Girl Portrait, all of which strive to blur the lines between art and digital design, while addressing the function and meaning of digital portraiture today.

As a word, glamour is hard to define, but is instantly recognizable. Its association with Hollywood movie stars fully emerged in the 1930s in the close-up celebrity portraits by photographers like George Hurrell. The aesthetic properties in these images that help create glamour are characterized by the Modernist style, known for sharp focus, high contrast, seductive poses, and the close-up (tight framing). My essay will explore the origins of the visual aesthetics of glamour, arguing that their roots can be found in the still life photographs of the 1910s, produced by fine art photographers such as Edward Steichen. This essay will primarily focus on the photography of Edward Steichen because he used these same techniques found in his still life portraits on Hollywood celebrities when he began working for Condé Nast’s Vanity Fair and Vogue in 1923. Steichen changed the conversation on how to photograph celebrities and his practices eventually led to the creation of glamour portrait photography. This thesis documents the ways in which Steichen established the precedent for glamour photography when he applied the close-up and Modernist style on Hollywood stars. The result of Steichen’s application was photography that provided visually identifiable and mechanically reproducible glamour.

The thesis and exhibition, Interaction: Portraiture in a Digital World, seeks to analyze digital portraiture today. I choose to depict concepts and ideas, as they relate to digital portraiture, through four distinct series of work, which encompass similar ideas and themes, but come at them from different perspectives. The work within the exhibition is comprised of several portraits of personal friends, family, and acquaintances, which have all been appropriated from online sources such as Facebook, and online dating sites. Because the portraits consist of people that I know on a personal level, are a collection of portraits that are derived from my personal social media profile, and represent individuals with whom I have frequently interacted with online, one could assess that in addition to being a collection of unique individual portraits, the exhibition is also a self-portrait of me, the artist. The exhibition includes Facebook Text Portraits, Nightclub Portraits, Online Dating HTML Portraits, and a Crying Girl Portrait, all of which strive to blur the lines between art and digital design, while addressing the function and meaning of digital portraiture today.

Artemisia Gentileschi's self-portrait, Allegory of Painting, painted in 1630, has activated a complex discussion of female artistic identity in which performance is tied to concerns with status. This thesis addresses an earlier history of development in allegorical self-portraiture in the work of the sixteenth-century Bolognese artist, Lavinia Fontana, and her seventeenth-century successor, Elisabetta Sirani. I argue that the female artist's negotiation for status was played out in the transformation from a more official mode of self presentation, such as Fontana's Self-Portrait at the Keyboard , to a deliberate performative shift of embodied personification in her self-portrait as Judith with the head of Holofernes and her later self portraits as St. Barbara in the Apparition of the Madonna and Child to the Five Saints. This negotiation of artistic status continues with Sirani's self-portraits in Judith and the Allegory of Painting, and as what I suggest are more ambiguous and ambitious representations of anti-heroines, Cleopatra and Circe. I also discuss the important role that the emerging genre of biography plays in the female artist's struggle for status. The thesis explores the shift in visual conventions in relation to discourses of artistic identity, gender and genre---such as the donnesca mano---that circulated in Renaissance historiography in Italy, and more specifically, in the cultural milieu of Bologna.

Zugl.: Wien, Univ., Diss.

Thesis (Ph. D.)--University of Melbourne, 1985. / Includes bibliographical references (vol. 2, leaves [2]-26).