Mémoire en recherche-création / Useless Magic mélange des éléments visuels variés allant de la note manuscrite au « doodling », en passant par le collage et la photographie, cohabitation d’éléments hétérogènes en appelle à une étude intermédiale susceptible de rendre justice aux interférences entre l’écrit et le pictural. L’ouvrage repose aussi sur le syncrétisme des sources d’inspiration, de manière à faire coexister une pluralité d’images servant la démarche d’autoreprésentation de Florence Welch. L’analyse thématique des réseaux de symboles visuels et textuels permet de dégager le propos d’un « je » (« I ») énonciateur qui explore des postures d’autoreprésentation au service de la figuration d’un soi sacré. Je veux la sauge le feu et toi se réapproprie la démarche intermédiale et l’idée d’un syncrétisme-hénothéiste pour décliner la figure de la sorcière comme moyen d’autoproclamer un féminin sacré et monstrueux quoique beau, symbole à la fois historique et mythique est synonyme d’empowerment féministe. Trois visages de la sorcière retiendront mon intérêt poétique et visuel : la prêtresse, l’empoisonneuse et l’enchanteresse. Elles seront réinvesties sous forme d’un carnet d’artiste, dispositif inspiré d’Useless Magic (2018) de Florence Welch. Composé de poèmes et d’images (dessins, photos, aquarelles et collages), le carnet me permettra, comme à plusieurs artistes contemporains de réécrire et redessiner la figure de la sorcière selon des enjeux d’émancipation du féminin. Il s’agira pour moi de construire, par le Verbe poétique et diverses formes d’expression visuelles, un lieu de culte propice à accueillir une invocation ensorcelante. / Useless Magic combines multiple visual elements from hand scripted notes to doodling, including collage and photography. This heterogenous combination calls for an intermedial study in order to render well the interference between the text and the visual. This book also relies on syncretism pulling together diverse sources of inspiration. By doing so, it enables the coexistence of a plurality of images which serve Florence Welch’s process of self-representation. The analysis of the themes by the intricate system of symbols will allow the clarification of self-representative postures, which will reveal how the subject expressed here is dedicated to revealing a sacred self. I Want Sage Fire and You follows a similar intermedial and syncretic approach in order to utilize the cultural figure of the witch as a way to self-proclaim a sacred and monstrous yet beautiful feminine subject. This poetry collection paints the witch as a historical and mythical figure of feminist empowerment. This figure is declined in three phases, which will be expressed poetically and visually: the priestess, the poison-mistress and the enchantress. All three will appear in the form of an artist sketchbook inspired by Useless Magic. This sketchbook will allow me to re-write, re-build and re-member the witch according to questions of feminine emancipation. This collection will use poetry and visual expressions as tools to build a temple-like space where a bewitching invocation can resonate.

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Denna uppsats syfte är att analysera och finna mönster på hur användare reflekterar över framställningen av sin profil på Tinder beroende på deras intentioner. Frågeställningarna som besvaras är hur användare reflekterar kring vilka intentioner som driver dem att använda Tinder, samt hur användare motiverar sina självrepresentationer beroende på dess intentioner. Studiens analys utgår från konsumtionsteorin, teorin om onstage/offstage, objektifieringsteorin, The Male Gaze, samt teorin om sociala representationer (Bauman, 2008; Ekström, 2008; Fredrickson & Roberts, 1997; Goffman, 2020; Mulvey, 1975). För att få en djupare förståelse kring människors reflektioner och motiveringar bakom sina val och intentioner, har en kvalitativ metod använts. Undersökningen genomfördes med semistrukturerade intervjuer, som transkriberades och tolkades därefter. Studien följer forskningsetiska principer som Vetenskapsrådets (2002) fyra huvudkrav och etikprövningsmyndighetens (u.å.) riktlinjer. Resultatet visar att användare på Tinder har olika intentioner, och deras självrepresentation anpassas därefter. Vissa framhäver sina bästa sidor samtidigt som de skapar sin profil efter hur de uppfattar sig själva, andra skapar en profil som medvetet ej matchar deras intentioner. Till exempel är det möjligt för användare att ljuga om sin ålder för att nå en annan åldersgrupp. Det finns en generell uppfattning om att män är ute efter tillfälliga sexuella relationer i större utsträckning än kvinnor. Könsnormer lever kvar, men användare jobbar även aktivt mot dem. Analysen av resultatet ger oss en nyanserad bild över hur användare motiverar sin självrepresentation på Tinder beroende på vad de vill få ut av appen. Några slutsatser som drogs är att användare anser att det går att avgöra användares intentioner i appen på första intrycket, innan interaktionen har skett. Användarnas självrepresentation påverkas av appens lättillgängliga system och möjligheten att få bekräftelse genom matchningar. Självrepresentation förklaras även med hjälp av objektifieringsteorin, The Male Gaze, och teorin om sociala representationer (Ekström, 2008; Fredrickson & Roberts, 1997; Mulvey, 1975). Användarna är medvetna om att de blir dömda på första intrycket och att allt måste se perfekt ut. Det går att förklara med hjälp av Baumans teori om konsumtion (Bauman, 2008). Många användare kan känna en press på grund av detta. Teorin om onstage/offstage (Goffman, 2020) hjälper även till att förstå varför användare visar upp sig själva som de gör. Studien förankrar sig ytterligare i tidigare vetenskaplig forskning. Denna studie fyller en lucka i dagens forskning om förståelse för hur användare reflekterar över vad som driver dem till att anpassa presentationen av den egna profilen på dejtingappar baserat på deras intentioner. Denna kunskap är relevant idag eftersom Tinder är ett vanligt sätt att inleda relationer på, och medieplattformen har en betydelsefull del i utvecklingen av dagens dejting. / The purpose of this study is to analyze and find patterns in how users reflect on the representation of themself in their Tinder profile, depending on their intentions. The questions answered in this essay are about how users reflect on what intentions drives them to use Tinder, and how users motivate their self-representation depending on their intentions. The analysis of this study is based on the consumption theory, the theory of onstage/offstage, the objectification theory, The Male Gaze and the theory of social representations (Bauman, 2008; Ekström, 2008; Fredrickson & Roberts, 1997; Goffman, 2020; Mulvey, 1975). To create a deeper understanding of the reflections and motivations behind the choices and intentions, a qualitative method has been used in this essay. The study was conducted with semi-structured interviews, which were transcribed and later interpreted. The study follows research ethics principles such as four main requirements from Vetenskapsrådet (2002) and guidelines from etikprövningsmyndighetens (u.å.). The result shows that people who use Tinder have different intentions, and their self-representation is adapted accordingly. Some users feature their best qualities at the same time as they create their profile according to how they perceive themselves. Others create a profile that deliberately does not match their intentions. For example, it is possible for users to lie about their age to reach another group of age. There is a general perception that men are looking for short-term sexual relationships, while women are searching for something more long-term. Gender roles are noticeable, but users try to make them less significant. The analysis of the study has resulted in a meaningful and extensive picture of how users motivate their self-representation on Tinder depending on what they want to achieve by using the application. A few conclusions that were drawn are that users seem to believe that you can determine someone's intentions with the app based on the first impression of the profile, even before any interaction has taken place. Users self-representation was influenced by the applications user friendly-design and the possibility to obtain confirmation through matches. Self-representation throughout the app is also explained by the objectification theory, The Male Gaze, and the theory of social representations (Ekström, 2008; Fredrickson & Roberts, 1997; Mulvey, 1975). The users are aware that they are being judged on the first impression and that their profiles need to look perfect, which can be explained with the help of the consumption theory (Bauman, 2008). This leads to the feeling of pressure among many of the users, and the theory of onstage/offstage (Goffman, 2020) contributes to the understanding of why users choose to present themself as they do. The study is also based on previous scientific research. This study fills a gap in the research of the understanding of how users reflect on what motivates them to adapt the representation of themselves in their own profiles on Tinder, based on their intentions. Knowledge of this subject is relevant because of the fact that Tinder is a common way to initiate relationships today, and the media platform plays a significant part in the development of present-day dating.

This study examines whether the social media platform BeReal can change user behavior related to self-representation and expectations of oneself linked to social norms. The research is analyzed based on the theory about presentation of self in everyday life founded by sociologist Erving Goffman. A netnographic method combining six qualitative interviews supplemented by diary-notes regarding the same respondents' BeReal usage during seven coherent days constitute the material. The material provided a multilateral representation of these BeReal users’ reflections regarding the manner in which they represent themselves online. The study shows a somewhat consistent narrative aligned with the applied theory based on users presenting themselves in a specific way due to what they think is expected from the audience. Impression management is exercised regardless of what social media platform is used, although BeReal provides a less stigmatized online environment and mitigates the internalized pressure on users. However, the respondents found loopholes in BeReals concept giving the app users authority to create norms of how to perform on the app and thereby reintroduce some of the said pressure.

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In the world of Web 2.0, the evolution of the static web towards an interactive, collaborative digital world, we are subjected to many social platforms and applications on which we can represent our-selves. These applications enable us to present ourselves accordingly for an applications’ social con-text. However, the application alone does not determine our entire representation of self. No, rather, in addition to the social setting, our peers on such platforms greatly determine our representation. Adolescents in particular are very vulnerable to meeting the norms of peers and audiences in a specific social setting. They are in the midst of discovering who they are and where they belong. Earlier, ado-lescents would undergo this development in social settings that were part of one of three domains: family, neighbourhood and school. Now, in the era of Web 2.0 and its endless possibilities in discover-ing online social environments and other people with whom adolescents can interact, the internet is considered to be a fourth domain where adolescents develop themselves. Instagram is one of these platforms on Web 2.0 where one can choose to represent oneself. This thesis tried to discover how adolescents represent themselves on Instagram, why and with what consequences according to them. The sample was focused on adolescents between the ages of 15 to 18 in Alphen aan den Rijn, the Netherlands. The Netherlands is a strong individualized culture and its population are heavy users of Web 2.0 applications and Instagram. Since the internet is considered to be such an important domain in self-development in adolescence, it was interesting to discover what behaviours adolescents show on Instagram and what effects these behaviours have. It is not new that adjustments of the self, also referred to as the altered self, take place in different social settings. As far back as 1902, adjustments of the self in a specific social setting have been acknowledged. Throughout the years it has been concluded multiple times that our imagined peers and audiences and their judgements of us, stimulate us to represent ourselves in a way that stimulates posi-tive feedback from others. Web 2.0 social settings, such as Instagram, are still subjected to this point of view where we consider our peers and audiences on Instagram to have ‘power’ over how we should represent ourselves. These interactions are considered to be part of our outer self-esteem, where we feel good or bad about ourselves depending on the engagements we have with our peers. For Instagram specifically, the way we represent ourselves is, as mentioned above, mostly determined by others. Adolescents, who are particularly sensitive to the opinions of their peers, voiced the im-portance of others in this research for their engagement with Instagram. Furthermore, they sometimes try to be popular, but not necessarily, document life events and aim to be creative. They do not tend to share negative feelings on the platform, but solely aim to come across as cool and positive as possible. What both respondents and literature have acknowledged is that there are several consequences of self-representation on Instagram. Respondents in this research mostly saw people presenting them-selves better than they are in offline social settings. It makes the respondents feel insecure and stimu-lates them to also alter their ‘selves’ on Instagram to be able to compete with others. This might be related to social media-driven narcissism, where one becomes increasingly insecure because of all their peers whom appear to be living better lives than they are and in return, urges them to alter their own self on Instagram. This self-made standard of determining whether someone is good enough or not, to my peers, seems to be the biggest danger of self-representations on Instagram. It has also been acknowledged in literature that focusing the self too much on fictional aspects, can cause identity problems which, especially in adolescence, can undermine one’s self-development.

The apparent ‘invisibility’, or lack of representation of black men in contemporary mainstream gay visual cultures is the primary critical issue that the study engages with. The study presupposes that the frequency with which white men appear in popular representations of ‘gayness’ prevails over that of black men. In order to substantiate this assumption, this study analyses selected issues of the South African queer men’s lifestyle magazine Gay Pages. Gay visual cultures appear to simultaneously conflate ‘whiteness’ and normative homosexuality, while marginalising black gay men by means of positioning ‘blackness’ and ‘gayness’ as irreconcilable identity constructs. Images of the gay male ‘community’ disseminated by queer and mainstream media constantly offer stereotypical, distorted and race-biased notions of gay men, which ingrain the exclusive cultural equation of white men and ideal homomasculinity. The disclosure of racist and selectively homophobic ideologies, which seem to inform gay visual representation, is therefore the chief concern of the dissertation. By investigating selected images that ostensibly embody the complex cultural relationship between race and homomasculinity, the study addresses the following forms of visual representation: colonial representations of ‘blackness’; so-called gay ‘colonial’ representations; black self-representation; gay black self-representation; and contemporary representations of homomasculinity in advertisements and queer men’s lifestyle magazines such as Gay Pages. A genealogy of images is explored in order to illustrate the ways in which ‘blackness’ and ‘whiteness’ are respectively positioned as contradictory to and synonymous with dominant visual representations of homomasculinity in gay visual cultures. The hegemony of ‘whiteness’ in images sourced from colonial systems of representation, queer male art and commercial publicity, for example, are thus critiqued in order to address the various race-based prejudices that appear to be symptomatic of contemporary gay visual cultures. Copyright / Dissertation (MA)--University of Pretoria, 2009. / Visual Arts / unrestricted

According to sociologist Anthony Giddens (1999) the late modernity has brought about changes concerning the identity constructing processes of individuals. Bengtsson and Östberg (2011) emphasize that consumption and brands has increased in importance due to the less static character of social class, occupation and education choices. Based on these theoretical assumptions, this thesis examines self presentation on social media, for the purpose of analyzing if brands are being used as resources in the indentity creation. The study investigates the communication associated with the hashtag #oatly1 on Instagram. We approach the matter by conducting a netnographic study followed by qualitative interwievs in order to gain a deeper understanding of the subject. The theoretical outsets of this thesis are based on Giddens (1999), Bengtsson & Östberg (2011) and Belk (1988) in order to explain the role of brands in the identity creating processes. The examination of Instagram is based on Hogan (2010) to gain understanding of the social interaction online. The study displays that individuals mainly use the hashtag #oatly in purpose of spreading their lifestyle and gain publicity to the own identity. It also shows that the brand is used as an extension of the self. Furthermore the results demonstrate that there are collective aspects of hashtaging the brand, which differ from previous research. Conclusions to be drawn are that theories concerning the identity creating in the late modernity and brands as resources in these processes have validity in an online context.

Este trabalho surgiu a partir da experiência como psicóloga do Instituto de Ortopedia e Traumatologia do Hospital das Clínicas da faculdade de Medicina da Universidade de São Paulo. Mais especificamente ao longo dos anos trabalhando no Grupo de Prótese e Órteses, com pessoas que sofreram amputação de um ou mais membros. A perda de uma parte do corpo implica alterações significativas na vida de um indivíduo, sendo que as amputações decorrentes de acidentes em geral têm a característica de serem súbitas e imprevisíveis, ocasionando mudanças bruscas para as quais não existe preparo possível. A principal questão que norteou este trabalho diz respeito às conseqüências psíquicas que uma perda física pode ocasionar. Procurou-se compreender de que forma, diante de uma ruptura no corpo, há uma interferência na organização psíquica e na maneira pela qual o indivíduo percebe o mundo e se percebe nele; isso, durante o período de reabilitação. Buscou-se refletir sobre um momento de perda da integridade corporal e seus reflexos na unidade psicossomática, a partir de casos clínicos, tendo como referência a psicanálise winnicottiana. Dessa forma, levou-se em conta o percurso do desenvolvimento emocional segundo a teoria do amadurecimento pessoal de D.W.Winnicott para se refletir acerca da possível relação existente entre o estágio alcançado nas tarefas próprias do desenvolvimento normal pelo indivíduo e as conseqüências em termos da continuidade ou não do processo de amadurecimento após a amputação. Para esta investigação utilizou-se o método clínico e o referencial psicanalítico, sendo que para a análise da questão proposta neste trabalho foram apresentados quatro casos clínicos. A perda de uma parte do corpo ocasionou mudanças em todos os indivíduos que fizeram parte deste estudo. Mudou o corpo, a forma de se locomover, o trabalho, o sustento pessoal e familiar, o contato social. Porém a maneira por meio da qual cada um percebeu, significou e vivenciou essa perda e essas mudanças não foi equivalente nem determinada pela qualidade da perda. Assim, concluímos que as conseqüências psíquicas de uma perda física serão aquelas relativas às condições que cada indivíduo tem de elaborar imaginativamente essa perda e transformá-la em vivência, experiência, história pessoal e interpessoal. A articulação da teoria com a análise e discussão do material clínico permitiu perceber que não é possível caracterizar uma clínica dos amputados. Isso porque o que temos são tantas clínicas quanto nos for possível conhecer os indivíduos amputados em seu processo de amadurecimento pessoal anteriormente à amputação. Ou seja, uma amputação não direciona incondicionalmente o modo de um indivíduo estar no mundo, mas implica alterações significativas em sua existência, o que remete à necessidade de reformulações em sua identidade para incluir essa nova dimensão de experiência. A dificuldade em realizar a elaboração imaginativa dessa perda, pode tornar a amputação um acontecimento não integrado na vida de uma pessoa, com conseqüências prejudiciais à sua saúde e ao seu desenvolvimento. / This work arose from the experience as a psychologist in the Institute of Orthopedist and Traumatology of the Hospital das Clinicas of the faculty of Medicine of the University of São Paulo. More specifically along the years working on the Group of Prothesis and Orthesis, with people that suffered amputation of one or more members. The loss of a part of the body involves significant changes in the life of a person. The amputations originated from accidents in general have a characteristic of being sudden and unpredictable causing abrupt alterations in which no preparation is made possible. The main subject which directed this work concerns the psychic consequences that a physical loss causes. We intend to understand in what way, from a rupture of the body, there is the interference of the psychic organization and in what way the person notices the world and perceives himself in it; this, during the period of rehabilitation. We wanted to reflect about the moment of the loss of the integrity of the body and its reflexes on the psychosomatic unit, from clinical cases, with the theoretical reference of maturing of D. W. Winnicott. In this way, we took into account the course of the emotional development according to the theory of personal maturing to reflect about the possible relation existing between the stages reached on the proper tasks of the normal development of the person and the consequences in terms of continuity or not of the process of maturing after the amputation. For this investigation we used the clinical method and the psychoanalysis reference. For the analysis of the subject proposed in this work we presented four clinical cases. The loss of a part of the body caused changes in all of the persons which were part of this study. Changed the body, the way to move, the job, the personal and family maintenance, the social contact. In the other hand the way through which each one perceives, signifies and lives this loss and these changes was not equivalent nor determined by the quality of the loss. This way, we conclude that the psychic consequences of a physical loss are those related to the conditions that each person has to elaborate imaginatively the loss and transform it in a way of life, experience, personal and interpersonal story. The articulation of the theory with the analysis and discussion of the clinical material permitted to notice that it is not possible to characterize a clinic of the amputated. This because what we have are as many clinics as we are able to know the amputated persons in their process of personal maturing previous to the amputation. Or else, an amputation does not direct unconditionally the way that a person exists in the world, but implies in significant alteration of his existence, what refers to a need of reformulations in his identity to include this new dimension of experience. The difficulty in accomplishing the imaginative elaboration of this loss, can transform the amputation in a non integrated occurence in the life of a person, with bad consequences to his health and to his development.

Muitas vezes o leitor das narrativas de Guimarães Rosa depara-se com um narrador ou personagem que podem ser lidos como uma figuração do escritor graças à associação entre aspectos textuais (temas, personagens, narradores) e informações acerca do autor. A identificação ocorre também pelo ajuste do texto ao repertório de imagens e posturas autorais que dialogam com as escolhas da obra lida repertório também acessado pelo escritor para a construção de sua figura autoral. Esta tese discute como o escritor criou figurações autorais, procurando entender a dinâmica de vinculação entre presença autoral e campo literário, além da construção da autorrepresentação em enunciações públicas (entrevistas e depoimentos) e privadas (diários e outros manuscritos), nas quais se observa o escritor produzindo figurações de si e afirmando posturas que sugerem um modo de interpretação de seus textos. Quanto às narrativas rosianas, a análise concentra-se em textos divulgados em periódicos e posteriormente reunidos em Tutaméia Terceiras Estórias (1967), Estas Estórias (1969) e Ave, Palavra (1970). / During the reading of many of Guimarães Rosas narratives, the reader can sometimes encounter a character or a narrator that can be seen as the self-representation of the writer himself due to the association between textual aspects (themes, characters, narrators) and the readers information about the author. This identification can also be the result of the adjusting of the text to the repertoire of images and authorial postures which then interact with aspects of the work in question the writer himself can tap into this repertoire in order to construct his image as an author. This thesis discusses how Guimarães Rosa created these authorial images, aiming to understand the dynamics that sustain the relationship between the authorial figuration and the literary field; we also analyze the process of self-representation through public (interviews and testimonies) and private (journals and other manuscripts) interactions during which we can observe the writer producing images of himself and affirming authorial postures that suggest modes of interpretation of his works. In relation to Rosas texts, we analyze articles first published in magazines and then organized in Tutaméia Terceiras Estórias (1967), Estas Estórias (1969) e Ave, Palavra (1970).