We pose that there is enough information left to reconstruct Petzval lens design approach, and answer the question of how Joseph Petzval design his famous portrait objective.

The thesis is focused on the imperial propaganda in sculpture, gems and coins. It focuses primarily on the importance of the female element of propaganda, therefore describes how the goddesses are compared to empresses and how it happens. It also deals with portraits of emperors, who use display of female goddesses and personifications or other female elements in their portraits. The thesis rates the frequency of female subjects in different periods and their changes, separates the general set of themes of propaganda used by each emperor and female elements specific to a particular ruler. It follows the gradual portrait emancipation among women close to the emperor. Social changes and their reflection in political propaganda are also seen. Time period begins with the reign of Augustus, continues with Julio-Claudian dynasty, the year of four emperors, Flavian dynasty, Adoptive emperors and Severan dynasty.

Gerald Dworkin's influential account of Personal Autonomy offers the following two conditions for autonomy: (i) Authenticity - the condition that one identify with one's beliefs, desires and values after a process of critical reflection, and (ii) Procedural Independence - the identification in (i) must not be "influenced in ways which make the process of identification in some way alien to the individual" (Dworkin 1989:61). I argue in this thesis that there are cases which fulfil both of Dworkin's conditions, yet are clearly not cases of autonomy. Specifically, I argue that we can best assess the adequacy of Dworkin's account of autonomy through literature, because it provides a unique medium for testing his account on the very terms he sets up for himself - ie. that autonomy apply to, and make sense of, persons leading lives of a certain quality. The examination of two novels - Kazuo Ishiguro's The Remains of the Day and Henry James's The Portrait of a Lady - shows that Dworkin's explanation of identification and critical reflection is inadequate for capturing their role in autonomy and that he does not pay enough attention to the role of external factors in preventing or supporting autonomy. As an alternative, I offer the following two conditions for autonomy: (i) critical reflection of a certain kind - radical reflection, and (ii) the ability to translate the results of (i) into action - competence. The novels demonstrate that both conditions are dependent upon considerations of the content of one's beliefs, desires, values etc. Certain of these will prevent or hinder the achievement of autonomy because of their content, so autonomy must be understood in relation to substantial considerations, rather than in purely formal terms, as Dworkin argues.

Orientador: Mauricius Martins Farina / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T21:17:31Z (GMT). No. of bitstreams: 1 Kuramoto_Emy_M.pdf: 5779177 bytes, checksum: 83672f3af392f0bc1a074f2a36eedb3a (MD5) Previous issue date: 2006 / Resumo: Este trabalho procura investigar a obra da fotógrafa norte-americana Diane Arbus (1923-1971). Primeiramente abordando as principais discussões que se aninharam em torno dela, salientando o componente mítico-alegórico que a percorre, e, depois, divisando e discutindo, na forma de ensaios, alguns motivos e aspectos particulares às suas imagens. Estão em debate sua ruptura com o documentarismo clássico; os pontos de inflexão de sua carreira e de seu estilo representativo; o exercício irônico de sua fotografia; a criação de um universo próprio, a filiação com o carnavalesco; a presença renitente de fantasias e máscaras em seu trabalho ¿tanto no sentido estrito (como referentes) como no sentido metafórico¿; sua faceta paródica; os traços relativos à ambiência de suas imagens; e, por fim, seu percurso biográfico e profissional / Abstract: This work attempts to investigate the oeuvre of the photographer Diane Arbus (1923-1971). Firstly focusing on the main discussions that surrounded her, emphasizing the mythic and allegoric component that traverses her work and, subsequently, descrying and discussing, in the form of essays, some peculiar motifs and aspects of her images. We debate the rupture with the classic documentarism; the points of inflexion of her career and of her representative style; the ironic exercise of her photography; the creation of a particular universe, the filiations with the carnivalesque; the renitent presence of fancy dresses and masks in her work -as much in the strict meaning (as referents) as in the metaphoric sense-; her parodistic facet; the traits relating to her images¿s ambience; and, at last, her biographic and professional journey / Mestrado / Multimeios / Mestre em Multimeios

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-07-31T12:45:00Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissert_Lucíola-BC.pdf: 4856224 bytes, checksum: c452a301922bc63997f707ccf112fcef (MD5) / Made available in DSpace on 2017-07-31T12:45:00Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissert_Lucíola-BC.pdf: 4856224 bytes, checksum: c452a301922bc63997f707ccf112fcef (MD5) Previous issue date: 2016-05-20 / No contexto da popularização de imagens íntimas em aplicativos de fácil captura e manipulação na atualidade, tal qual o Instagram, é impossível não observar a explosão de perfis imagéticos voltados para a publicização da vida cotidiana. O desejo de ser observado naturaliza o registro e transformação de si e do corpo como vestígios de uma consciência presente no tempo e espaço. Nota-se o surgimento de um novo tipo de fotógrafo que atrai e sente-se atraído por determinadas temáticas que se repetem em aglutinações de fotografias, formando grupos autônomos e comunidades independentes, interligadas por associação de afetos que se entrecruzam. Entretanto, determinados símbolos concebidos dentro desses aplicativos apresentam-se como repetições de elementos que sempre estiveram presentes no imaginário de produção iconográfica compartilhada pelo homem, em períodos anteriores à digitalização, e que transportam uma dinâmica que pensamento que perpassa os séculos em diferentes suportes. A persistência dessas subjetividades como forma de comunicação produz constelações visuais presentes desde a época dos registros de Chauvet-Pont-D’arc, passando pelo Atlas Mnemosine de Aby Warburg, remanescendo na época dos Novos Olimpianos da cultura de massa do século XX e que continuam enquanto materialização do desejo de permanência do “eu”, expresso nos autorretratos do rosto e do próprio corpo, publicados diariamente na contemporaneidade. / In the context of popularization of intimate images in easy photograph capture and manipulation nowadays, using some applications like Instagram, it is impossible not to notice the explosion of profiles that search for the popularization of everyday life in images. The desire to be observed by others naturalizes the registration of self and body as traces of an awareness self presence in time and space. It’s visible the emergence of a new type of photographer that attracts and is attracted by certain themes that are repeated in associated photographs, forming some autonomous groups and independent communities, linked by association affects connected by themselves. However, certain symbols designed within these applications appear as repetitions of elements that have always been present in the shared iconographic and imaginary production made by men, in periods prior to digital era, and carrying a way of think that is always running through the centuries in different types of media. The persistence of these subjectivities as communication produces some sorter of visual constellations, which always have been present, since from the time of Chauvet-Pont-d'Arc paintings, through by Aby Warburg’s Atlas Mnemosyne, having remained until the time of the twentieth-century mass culture’s “New Olympians” and continue as a materialization of the immortality desire, expressed on self-portraits and body pictures, published daily in the contemporary world.

Thesis (M.A.)--Boston University

Since the beginning of the 2010’s, consumers have increasingly picked up the habit of using smartphones to shoot and watch video in portrait mode – vertical video. The format has also spread to professional film making in the form of advertising, fiction film and other genres produced for viewing on vertically oriented screens – especially smartphone screens. This rise of the vertical format can be attributed to digital conversion and new social habits of video communication via social media; in other words, the so called digital – or mobile – revolution. However, neither vertical media nor vertical film is actually new. In this paper, a media archaeological approach is used to show that vertical media is as old as human art, and that audiences have enjoyed vertical moving images at least since the 1830’s. For example, many early optical images and the first television images in the 1920’s were vertical. This paper is an elaboration on an archaeology of vertical video, inspired by the methods of media archaeologists Erkki Huhtamo and Jussi Parikka and the visual arts perspective of Anne Friedberg. Apart from the ancestry of the vertical frame, this paper also includes an analysis of what is inside the tall frame – a study on vertical shot composition. Focusing on eleven short films in competition at the 2016 Vertical Film Festival near Sydney, the analysis focuses especially on camera movement, scale of shot and editing. Using formal style analysis, as well as statistical style analysis, this paper defines characteristics of vertical shot composition; these include a frequent use of both long shots and tilt shots, and a general experimental playfulness in shot composition and in editing. By tracing the ancestry of – and analyzing the artistry of – portrait mode video, the purpose of this paper is to contribute to a deeper understanding of the vertical video format and its renewed popularity in recent years. / <p>Grade on the bachelor's thesis: A</p>

The thesis will consider ways of understanding drawing as an endless process, an experience leading to an intensification and understanding of the world, myself and capabilities of mine. Creation of long-term portrait studies, as a constant reiteration and improvement of the drawing. The theoretical part of the work defines the historical use of drawing as a material and tool for daily rituals in the visual arts, with an emphasis on artists of the 19th and 20th centuries. In the practical part, a series of portrait drawings was made in various techniques, which is listed in the theoretical part. In the didactic part, an artistic cycle on the theme "Endless drawing" / drawing as knowledge of the world was realized. KEYWORDS Drawing, portrait , self-portrait, face, graphics, artistic image, collage

The present thesis aims to expand and acquire new knowledge on the emergence of portrait mummies during the Roman period in Egypt and their socio-religious status. The emergence and decorative program of these mummies are commonly understood as an artistic expression of Hellenistic Greek and Roman settlers in Egypt. This attestation is often based upon uncontextualized isolated portraits. The study of uncontextualized isolated portraits has also caused an unsatisfactory approach to dating criteria. In response, the present thesis aims to study contextualized portrait mummies – with the image of the deceased still forming part of the mummy and ideally with an attested find spot – in light of a multicultural society consisting of Egyptian, Hellenistic and Roman cultural and religious traditions.  A total of 85 portrait mummies have been collected to provide context for the expressed cultural traditions. Seven group burials have been reconstructed based upon excavation reports for further contextualization. The results of the collected portrait mummies and reconstructed group burials are subsequently studied against a background of Egyptian, Hellenistic and Roman cultural and religious traditions to highlight dominant cultural features. The results of the present thesis illustrate portrait mummies were an expression of a culturally complex society. The treatment of the body and decorative program suggests cultural and religious notions were rooted within Egyptian traditions that were appropriated, re-defined and adapted by a society comprised of Egyptians, Hellenes and Romans. Portrait mummies consequently express multiple cultural layers. Previously established dating criteria were found to remain to be the most valid and reliable. Contextualized portrait mummies, however, have put forward a new dating criterion that ought to be taken into consideration: octagonal framing.

This dissertation examines the portraits of the Ottoman sultan Mahmud II (r. 1808–1839) as part of a campaign launched by the ruler and his propagandists to support sweeping reform efforts in military and civil spheres. The paintings and prints at the center of this study – to which I refer collectively as the “portraiture campaign” – are bound together by their shared use of the sultan’s idealized visage, direct gaze, and modern military uniform. I use the campaign as an acutely focused lens through which to view larger questions of shifting Ottoman imperial identity, legitimation ideology, and the role of visual diplomacy within the dynamic politics of the early nineteenth century. Chapter 1 approaches the campaign through its formal continuities with the established conventions of sultans’ portraiture. In it, I argue that it was in part the coexistence of various forms of Mahmud II’s image – dispersed through readily transportable and reproducible media on paper support – that facilitated the successful adaptation of foreign portrait conventions into the service of the Ottoman court. Chapter 2 discusses the bestowal ceremonies of the taṣvīr-i hümāyūn nişānı, a small-scale, medallion-format imperial portrait awarded in the style of a military decoration. I show how this portrait-object functioned in a manner new to the Ottoman context by evoking the memory of the sultan’s physical and spiritual presence across spectrums of viewing practice, ranging from the prescribed, semi-public setting of the bestowal ceremony itself to more intimate forms of viewing. Chapter 3 examines common programmatic elements and hierarchical protocol frequently repeated in the elaborate portrait-inauguration ceremonies held for the display of the large-format, wall-hanging taṣvīr-i hümāyūn (imperial portrait) in barracks, schools, and government offices. Chapter 4 considers a group of Ottoman-Balkan princely portraits in which the sitters wear the taṣvīr-i hümāyūn nişānı, framing it as an embedded object with the power to associate local, semi-autonomous provincial actors at the courts of Belgrade, Bucharest, and Iași with the sovereign power of the sultan in Istanbul. This dissertation provides the first examination of the component parts of Mahmud II’s portraiture campaign – the medallion-format, large-scale, and printed taṣvīr-i hümāyūn – with attention to their individual material and functional differences. It draws a significant connection between these works and related Ottoman-Balkan princely portraits, which have never before been considered within the context of the centralized campaign. By scrutinizing the archival records of new ceremonial forms in which the sultan’s portrait was bestowed or inaugurated, I show that these portraits were understood by contemporary audiences in their role as imperial propaganda supporting the sultan’s reform program. My methodology integrates the examination of ideologies of power and kingship tied to the Persianate and Ottoman-Islamic courtly traditions with art historical theories of vision popularized in the Western-European context in order to gain greater insight into how different strategies for the reception and use of portraiture were appropriated, adapted, and deployed. This new approach, which considers both established Ottoman and newly-integrated models of the visual representation of power, mirrors the blended strategies used by the sultan and his propagandists in their attempts to recentralize imperial control.