Cette thèse propose une réflexion sur la représentation de la figure humaine au-delà de la « ressemblance cadavérique » présumée par Maurice Blanchot. Nous interrogeons les appels à figurer la figure humaine dans diverses formulations et configurations iconoplastiques, par les moyens associés de la peinture et de la photographie, à partir d’un corpus de postures plastiques contemporaines. Comment la figure humaine se donne-t-elle à figurer pour déborder la seule figuration ? Il est aussi question de reconvocation puisque les œuvres étudiées procèdent de reprises, transferts, reconductions, revenances.Les êtres blanchis peints par Jean Marc Cerino, les portraits flous et dérobés de Gerhard Richter, un ensemble d’autoportraits photographiques assourdis de Jacques Damez, les Faces grimaçantes et les Masques Mortuaires rehaussés d’Arnulf Rainer, les défunts dévoilés et photographiés en gros plan par Andres Serrano et les faces surfacées peintes par Anthony Vérot ouvrent des analyses poïétiques et esthétiques qui nous amènent à distinguer deux voies de l’effacement : l’affaiblissement et tout autant la surenchère. Visibilités défectives ou exacerbées ? Deux pôles se succèdent et articulent la tension dialectique de la donation et du retrait : « figures affaiblies » / « figures excessives ». Figurer c’est opérer par distanciation, retrait, passage, dissimulation, déplacement. Ce travail de recherche relève des rapports de force qui travaillent les figures résistantes à leurs oblitérations mais aussi à toutes tentatives de dévoilement. Ces détours étudiés signalent les infigurables qui se désistent : le visage, l’être, l’autre, soi-même, la mort. / This thesis reflects on the representation of the human figure, beyond the “cadaveric resemblance” assumed by Maurice Blanchot. It looks at the calls for representing the human figure across a variety of iconoplastic configurations and formulations, by means of a combination of painting and photography, from a body of plastic contemporary approaches. How does the human figure can be represented so as to go beyond the mere figuration?The thesis also explores the question of return, since the works under study are based on revivals, transfers, renewals, virtual resurrections.The bleached out human beings by Jean-Marc Cerino, the blurred and hidden portraits by Gerhard Richter, the series of muted photographic self-portraits by Jacques Damez, the grimacing Faces and Death Masks by Arnulf Rainer, the corpses unveiled and photographed close-up by Andres Serrano, and the flatly painted faces by Anthony Vérot give rise to aesthetic and poietic analyses which lead us to distinguish two ways of erasure: the weakening and, just as much, the exaggeration. Defective or exacerbated visibilities? Two extremes alternate and structure the dialectical tension between giving and staying in the background: “faded figures” / “excessive figures”.Representing involves detachment, removal, transition, concealment, transfer. This research paper highlights balances of power where the figures stand up to their disappearance but, at the same time, to any attempt to unveil them. By analysing these roundabouts, this thesis shows the unfigurable which is stepping aside: the face, the being, the self, death.

The purpose of this study is to look at how the figure is imaged through the photographic medium today. Through this purpose I aim to explore the individual expression of the photographer in his photographic medium; the expression of the figure within the medium and the diverse practises of this medium in society - to build up an awareness and understanding of the diverse representations of the human form. The general aims of study are: 1 - to study how these three photographers choose to photograph the figure, through their technical, compositional and individual approach. 2 - to show how diverse the usage of the photographic figure is in the visual world. 3 - to expose an awareness of the photographic figure as transformation of an expression of self. 4 - to show the relationship between the photographer and the figure, the camera and the photographer, the camera and the figure, and the photographic figure and the viewer. 5 - to study my own photographic imagery in relation to the other imagery discussed. My research information was collected through: observations, discussions, literature and practical exploration. This study will attempt to draw conclusions, from its explorations, that will highlight the importance of the individual eye: that it is the individual eye that becomes the vehicle of transformation.

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The present study explored the possibility of applying Koppitz's developmental scoring techniques of mental maturity to retarded adults. The following hypotheses were tested: 1) that there is a significant correlation between the Koppitz HFD Test scores and the WAIS Full Scale scores; 2) that the correlation between the Koppitz HFD Test scores and the WAIS Performance Scale scores is also significant. Statistical computations did confirm the latter hypothesis but not the former one.

O Transtorno de Déficit de Atenção e Hiperatividade (TDAH) é um distúrbio bastante referido tanto na área da saúde quanto na área da educação, podendo resultar em inúmeros problemas presentes e futuros para seus portadores. A literatura apresenta variados fatores etiológicos para o desenvolvimento do transtorno, havendo certo consenso de que o problema se deve a uma predisposição genéticaque pode seatualizar em função de estímulos docontexto ambiental. O TDAH inclui sintomas de desatenção, agitação e impulsividade que ocorrem em frequência e intensidade inadequadas à faixa etária dos sujeitos, sendo diagnosticado, geralmente,por meio de escalas comportamentais a serem respondidas por familiares e/ou professores, as quais podem ou não ser acompanhadas de testes (neuro)psicológicos, além de observação do comportamento da criança. O teste do Desenho da Figura Humana(DFH)tem sido um dos instrumentos mais utilizados por psicólogos, tanto para analisar aspectos cognitivosquanto elementos da personalidadedo executor do desenho. Dessa forma, por meio de uma comparação do desempenho no referido teste entre crianças diagnosticadas e não diagnosticadas com o transtorno, este trabalho tevecomo objetivo identificar possíveis traços indicadores da presença do TDAH nos desenhos das crianças portadoras do transtorno, visando àobtenção de mais um recurso que possa auxiliar psicólogos na execução de um diagnóstico mais confiável para o TDAH. Participaram do estudo 20crianças, alunas do1º. Ciclo do Ensino Fundamental, divididas em Grupo Clínico, composto por 10crianças diagnosticadas como sendo portadoras de TDAH, e Grupo Controle, composto por 10crianças com idade, sexo, escolaridade e nível socioeconômicoequivalentes, porém que nãoapresentavam o problema. Após ambos os grupos serem submetidos ao DFH, análises comparativas do nível de maturidade cognitiva e dos indicadores emocionais,bem como de aspectos gerais dos desenhos dos participantes (tamanho, traçado), foramefetuadas, de modo a verificar a existência ou não de diferenças significativas entre os grupos.Os resultados obtidos sugerem um desempenho mais baixo dos portadores de TDAHem termos de maturidade cognitiva, bem como maior presença de indicadores emocionaise de problemas de coordenação motora no grupo clínico, embora sem atingir significância estatística. Sugere-se a necessidade de ampliação da amostra a fim de que se possa obter resultados mais conclusivos a respeito da possibilidade de uso do DFH como instrumento auxiliar no diagnóstico do TDAH / Attention Deficit Hyperactivity Disorder (ADHD) is a disorder that is very much referred to in the health area as well as in the area of education, which can result in numerous present and future problems for the subjects. The literature presents a variety of etiological factors for the development of the disorder, with some consensus that the problem is due to a genetic predisposition that can be updated in function of stimuli of the environmental context. ADHD includes symptoms of inattention, agitationand impulsivity that occur in frequency and intensity that are inappropriate for the subject\'s age group and are usually diagnosed through behavioral scales to be answered by family members and / or teachers, which may or may not be followed by(neuro) psychological tests, as well as observation of the child\'s behavior. The Human Figure Drawing test (HFD) has been one of the instruments most used by psychologists, both to analyze cognitive aspects and personality elements of the executor of the drawing. Thus, through a comparison of performance in HFDtest between children diagnosed and undiagnosed with the disorder, this study aimed to identify possible indicative traits of the presence of ADHD in the drawings of children with the disorder, aiming to obtain an additional resource that can help psychologists to execute a more reliable diagnosis for ADHD. The participants of the research were20 children, students from the 1st. Elementary School Cycle, divided into a Clinical Group, composed of 10 children diagnosed as having ADHD, and Control Group, composed of 10 children with age, sex, education and socioeconomic level, but who did not present the problem. After both groups were submitted to HFD, comparative analyzes of the level of cognitive maturity and emotional indicators, as well as general aspects of the participants\' drawings (size, tracing), were performed, in order to verify the existence or not of significant differences between groups. The results suggest a lower performance of the ADHD patients in terms of cognitive maturity, as well as greater presence of emotional indicators and poor manual coordination in the clinical group, although not reaching statistical significance. We suggest the need to expand the sample in order to obtain more conclusive results regarding the possibility of using HFD as an auxiliary tool in the diagnosis of ADHD

The dissertation examines the appearance and meanings of corporeal anomaly in the arts of Postclassic Mexico (AD 900–1521). Drawing specifically upon those categories of the human or divine body that are regularly termed aberrant, grotesque, or otherwise “deformed” by scholars of Mesoamerican art, the images discussed here include dwarfs, hunchbacks, twins, animal-human hybrids, disfigured deities, and disembodied limbs, among others. While similarly distinctive images can be identified among earlier Mesoamerican artistic traditions, the variety of idiosyncratic bodies that pervade the arts of the Postclassic period, in addition to the breadth of available historical sources, make it the ideal lens through which to analyze many of the most fundamental issues of indigenous Mexican visual culture. Relative to Classic Maya art, a tradition of naturalism and linear elegance greatly resembling that of early modern European painting and sculpture, the art of the ancient Mixtecs, Toltecs, and Nahuas (Aztecs) is sometimes perceived as rigid, laconic, and hulking—even brutish—by comparison. Featuring complex figural abstractions and esoteric symbolism, these later traditions are further distinguished by the specificity of their physical deformations, including twisted faces, palsied limbs, contorted spines, extra appendages, and other unnatural anatomies. Consequently, Postclassic art offers an inventory of difference that is unique not only among Mesoamerican art but among Western traditions as well, making it doubly challenging to interpret its motivations and significance. However, by analyzing the role of such extraordinary bodies within the broader anthropocentric worldviews of ancient Mesoamerica, this study offers useful strategies for unpacking the complex religious, political, and formal motivations that govern much of Postclassic visual culture. As I argue, extraordinary bodies share a common identity as transformational characters occupying specifically transitory states. As shape-shifters, gatekeepers, divine conduits, and shepherds, it is in the liminal regions of existence—the “betwixt and between” of reality and myth—where such figures live and serve as the custodians of heaven and earth. With tremendous regularity, their irregular forms indicate and define the various “borderlands” of Mesoamerican ideology, from the hinterlands of the urban center to the margins and gutters of hand-painted books. In short, a distinctly Postclassic notion of physical deformation stands at the threshold between creation and dissolution, center and periphery, life and death.

O corpo no cinema está associado a uma ausência. A imagem apresenta um ser humano filmado em outro espaço, outro tempo. O contraste evidente é com o teatro, a dança e a performance, artes nas quais o espectador geralmente está diante de um corpo físico. Surge, então, um questionamento: seria possível, e em que termos, falar de uma materialidade da figura humana cinematográfica? A tese esboça uma resposta ao investigar os modos de presença do corpo, com ênfase em sua forma plástica, seu desejo e sua dimensão coletiva. O debate tem como eixo filmes de Philippe Grandrieux, Tsai Ming-liang, João Pedro Rodrigues, Claire Denis e Pedro Costa. A obra destes realizadores é discutida em cotejo com um heterogêneo repertório iconográfico, sobretudo fílmico e pictórico. A hipótese defendida é a de que a gênese, o significado e a pregnância da figura humana são dependentes de um tipo de circularidade manifesta na imagem cinematográfica, seja por sua natureza plástica, seja pela rede de interação entre corpos, seres inanimados e espaços. / The body in cinema refers to an absence. The image presents a human being filmed in another time, another place. The difference is remarkable in the face of theater, dance and performance, arts in which the spectator is usually in the presence of a physical body. The question that arises is: how it would be possible to speak of a materiality of the cinematographic human figure? In order to answer this question, the thesis investigates modes of body\'s presence, highlighting its plastic shape, desires and collective dimension. The debate is made from films of Philippe Grandrieux, Tsai Ming-liang, João Pedro Rodrigues, Claire Denis and Pedro Costa. The work of these directors is discussed in comparison with an iconographic repertory, especially film and pictorial. The hypothesis defended is that the genesis, meaning and impregnation of the human figure are dependent on a kind of circularity manifest in the cinematographic image by the plasticity or by the interaction between bodies, inanimate beings and spaces.

Orientador: Milton Terumitsu Sogabe / Banca: José Leonardo do Nascimento / Banca: José Paiani Spaniol / Banca: Jorge Sidney Coli Júnior / Banca: Sérgio Niculitcheff / Resumo: O corpo humano no Ocidente é, sem dúvida alguma, desde as primeiras manifestações expressivas da humanidade, o tema mais recorrente na história das representações, inclusive no campo privilegiado das artes visuais, no lapso que vai da Grécia no século VI a.C. até a Arte Contemporânea, período abordado de modo sincrônico no presente estudo. Nosso objetivo principal foi a analise das relações que se estabelecem entre o corpo da obra (sempre tomada como representação) e o corpo do observador no momento da fruição estética. Essa relação, inerente ao fenômeno artístico, altera-se a cada contexto em função de uma complexa rede de significações, as quais não se restringem às especificidades das linguagens expressivas. Por isso, foi determinante considerar o fato de que o espaço entre o corpo da obra e o corpo do observador - assim como o espaço que separa o leitor (observador) e o presente texto (obra) nesse momento - também é preenchido virtualmente por suas experiências pessoais e pelas diversas representações que se fazem do corpo no complexo cenário sociocultural. Em outras palavras, além das representações específicas ao campo das artes visuais, foi necessário considerar e abordar algumas das múltiplas dimensões da cultura expressas nas representação sociais, políticas, religiosas, jurídicas, médicas, científicas e sexuais do corpo. Essa decisão se deve ao fato de considerarmos que entre o observador e qualquer obra há um espaço virtual povoado por suas experiências pessoais e pelas demais representações produzidas no universo da cultura. O corpo através de seus sentidos, a obra em sua autonomia e esse espaço carregado de significações deslizantes formam uma orgânica e complexa rede, como se estivéssemos no centro de uma cidade onde interações locais podem levar a uma ordem global mais complexa / Abstract: Since the first expressive demonstrations of humanity, the human body is certainly the most recurrent subject in the history of representations in the West, from the 6th century B.C in Greece to Contemporary Art, period approached of synchronous mode in this study. Our main objective was to analyze the relations established between the body of the work (always taken as a representation) and the body of the observer at the time of the aesthetic fruition. This relationship inherent to the artistic phenomenon, changes in each context, depending of a complex network of meanings, which are not restricted to the specificities of expressive languages. Therefore, it was important to consider the fact that the space between the body of the work and the body of the observer - as well as the space that separate the reader (observer) and this text (work) at the moment - is also virtually filled by their personal experiences and the several representations, which make the body in the complex sociocultural setting. In other words, more than specific representations of visual arts field, it was necessary to consider and to approach some of the multiple dimensions of culture, expressed in social, political, religious, legal, medical, scientific and sexual representation of the body. This decision is due to our consideration that there is a virtual space inhabited by their personal experiences and by other representations produced in the cultural universe between the observer and any work. The body through its feelings, the work on its autonomy and the space, full of sliding meaning, form an organic and complex network, as if we were the center of a city where local interactions can lead to a more complex global order / Doutor

The purpose of this study was to see if the Koppitz objective scoring method for interpreting children's human figure drawings could be used as a valid assessment instrument with elementary school children. Human figure drawings were obtained from two matched groups of elementary school students, a normal and an emotionally disturbed group. The results of the comparison of human figure drawings of the two groups did not support Koppitz's findings. The Koppitz objective scoring method was found to be invalid as an assessment instrument with elementary school children and of doubtful use in diagnosing emotionally disturbed children. Possible explanations for the differences in results and areas for further research were discussed.

Believing that ideas about evolution and genetics are playing an increasing role in popular conceptions of who we are and what it means to be human, I sought ways to express this through my art. In particular I tried to articulate these notions through figurative sculpture. As the role of figurative sculpture in expressing current ideas about being human has declined in the West, I saw this as a challenge. It was the intent of my Masters program to reposition the sculpted body back within contemporary western cultural contexts. For an understanding of those contexts I relied heavily on my own culturally embedded experience and observations. I took as background my readings of evolutionary inspired literature and linked it with my interpretations of the genetic mythologies so prevalent in recent movies. The result was an image of contemporary humans as multifaceted, yet subservient to their genes. These genes appear to be easily manipulated and the product of technological intervention as much as, if not more than, inherited characteristics. As part of developing a sculptural form able to manifest this, I investigated some non-western traditions. I used field trips and residencies to research Buddhist and Hindu sculptures of the body and developed an interest in the spatial and conceptual relationships between those bodies. Through making figurative work in the studio, I came to realise the figures' inadequacy in expressing temporal relationships. As temporal change is a fundamental element of evolution and genetics, I needed to explore this element. The result was a number of series; groups of works that create their own context of relationships. Not all these groups use sculptures of the body but they evoke the notion of bodies, naturally or technologically hybridised, mutating, transforming, evolving and related to each other generationaly through time.