Les photographies de la série Immediate Family ont suscité une controverse importante dans les années 1990 à 2000. Sally Mann expose dans son œuvre, ses enfants nus, blessés et souillés au regard du public. Malgré le fait qu'elles aient déclenché des menaces et des critiques, les photographies de la série Immediate Family n'ont pas fait l'objet de poursuites judiciaires et ont même valu à son auteur le titre de photographe de l'année 2001 du Time Magazine. Ce constat provoque l'émergence de certaines questions entourant la sensibilité commune. La problématique qui sera étudiée dans ce mémoire est celle-ci : par quel procédé les photographies de la série Immediate Family s'insèrent-elles dans la sensibilité commune? Notre hypothèse est que les photographies de cette série intègrent le sensible commun grâce à leur qualité d'« image pensive ». Nous nous proposons d'utiliser cette notion, développée par le théoricien de l'art Jacques Rancière, comme outil d'analyse de la série Immediate Family. Nous allons étudier le processus de création de l'« image pensive » qui apparaît par l'intermédiaire du mécanisme de la suspension esthétique, terme que nous allons aussi définir. Puis, nous allons étudier le potentiel créateur de la suspension esthétique de la citation et de l'ironie. Finalement, nous allons analyser le fonctionnement de l'ironie et de la citation dans la série Immediate Family pour démontrer le caractère pensif de ces œuvres. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Sally Mann, Image pensive, Suspension esthétique, Controverse, Ironie, Citation, Immediate Family.

This article explores the roles that porcelain portraits on grave markers play in identity construction and performance. Through semi-structured interviews, the biographies of five individuals are examined and then compared to determine norms or differences regarding their views on sepulchral photographs as a form of memorialization. While the decision to display a gravestone portrait could simply be a long-standing cultural practice, this interpretivist study indicates that the role of photo-tombstones is negotiated through a hybridization process involving religious syncretism, cultural convergence, or familial expectations. The role of photography as material culture is also examined, both as a metonymic replacement for the deceased and for its links to memory recall and remembrance.

This thesis examines the structures guiding and informing reading intrinsic to James's "late" style. It seeks to explore James's analogy between reading as an ethical activity and his own and his characters' acts of storytelling. It looks first at the necessities of reading as they are presented through the character of Isabel Archer in The Portrait of a Lady, to find that reading for James is itself a form of storytelling. James's concept of "revision," which replaces the concept of "re-writing," unites the activities of reading and storytelling because both activities, to be free, must be guided by the contingencies of experience. James's emphasis on the determinations of experience, which yields changing apprehensions of the same material, at once makes reading a test of the reader's resources in dealing with unexpected and complex situations, and storytelling an act of improvisation if it is to be faithful to the demands of its subject. The second half of the thesis examines Maggie Verver's command of storytelling in The Golden Bowl. It finds that ethical storytellers must have the same faith in their subject matter as ethical readers must have in the texts they engage. Finally, the thesis unites the study of reading with storytelling by examining the ways in which stories are exemplary performances whose the most significant subject is the audience. It is the forms of judgement that a work of art elicits which are essential to establishing alternative conceptions of the good and new modes of valuation in a community.

The thesis focuses on a variation of James's interest in the "international theme", the effect of transatlantic influences on the development of personality, culture and idea. In the context of this theme it seeks to understand the processes in the development of, and portrayal of change in, the identities of two central characters in the fiction of Henry James, Isabel Archer and Lambert Strether. The two novels analysed, The Portrait of a Lady and The Ambassadors. have a strong contextual relevance to the ''international theme", and compass the span of James's career, providing some degrees of comparison. Beginning with a view of the preliminary vision that James had of the main elements of each central character, the thesis seeks to understand how Isabel Archer and Lambert Strether are subsequently shaped, and developed, by way of the incidents and experiences they meet, and what they make of them. Of primary importance amongst these are the relations they form with the other characters in the novel. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2000.

Cette thèse est le fruit d'une étude comparative de la peinture et de la poésie des XVIe et XVIIe siècles. Dans ce document, la poésie et la peinture se répondent, s'entrecroisent, s'éclairent à tour de rôle, grâce à une analyse comparée des similitudes et différences qu'elles expriment sur le même thème, qui est le portrait satirique baroque. Notre étude est ancrée dans une approche esthétique de l'univers visuel baroque, et met l'accent sur la réception des œuvres d'art par le spectateur. Quant à la poésie, nous nous éloignerons du modèle classique de la satire, pour pénétrer la littérature satirique, riche d'une langue imagée, et bien souvent obscène. Notre thèse est composée de cinq chapitres. Nous donnerons tout d'abord une définition du portrait en poésie et en peinture. Dans un deuxième temps, nous montrerons qu'en représentant un individu, l'artiste dévoile également son âme, et que, dans cette époque tourmentée, l'âme apparaît à travers laideur et difformité dans les portraits sociaux et misogynes. Le troisième chapitre sera consacré à la notion d'esthétique paradoxale, qui montre l'homme et l'univers de façon renversée, comme un écho au monde bouleversé du tournant de XVIème siècle, avec les conséquences que cela implique sur le récepteur de l'œuvre d'art. Nous analyserons ensuite plus particulièrement la poésie misogyne de Sigogne, avant de conclure notre travail sur l'étude du monde fantastique et surnaturel qui s'empare de sa poésie, et de la poésie baroque de manière générale.

This paper explores the historical significance and advancements of automatic photobooth portraiture from the late 1800s onwards, focusing specifically on the intention behind the photobooth’s creation and the significance and cultural implications of its introduction into society. As it gradually became a staple of modern society, regularly visited by citizens to have their portraits taken, numerous artists sought out the photobooth as both a studio and a stage in which to document performative self-portraiture. The space and aesthetics of the photobooth have inspired artists to re-envision the confines of the booth and use its automatic function as a point of inspiration. I will also highlight the significance of female self-portraiture and the significance of women performing within and occupying specific spaces. My work is a combination of these histories, providing me with the opportunity to continue the discussion of women’s self-representation and the unique artistic space the photobooth provides between public and private spheres.

Thesis (doctoral)--Westfälische Wilhelms-Universität, Münster, 1999.

Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, August 2002. / Includes bibliographical references. Also available on the Internet.

Οι μεγάλης εκτάσεως μεταρρυθμιστικές προσπάθειες που εφαρμόστηκαν στο δυτικό κόσμο τις τελευταίες δεκαετίες δεν κατέληξαν σε θεαματικά αποτελέσματα. Μπορεί να βελτιώθηκαν οι ικανότητες των εκπαιδευτικών και να εμπλουτίστηκαν οι γνώσεις τους, αλλά δεν κατόρθωσαν να ενεργοποιήσουν τη δημιουργικότητα τους. Αντίθετα τα τελευταία χρόνια εκφράζεται η άποψη ότι εστιασμένες παρεμβάσεις στα σχολεία, που το καθένα έχει τη δική του δυναμική ενδεχομένως να λειτουργούν πιο αποτελεσματικά. Για τους λόγους αυτούς στη διατριβή αυτή διερευνώνται διαδικασίες μέσα από τις οποίες ένα σχολείο μπορεί να ενεργοποιηθεί και να προωθήσει βελτιωτικές αλλαγές αξιοποιώντας τις δικές του δυνάμεις. Γίνεται απόπειρα να διαμορφωθεί ένα σύνθετο εργαλείο,το πορτραίτο, που θα μπορούσε να συμβάλλει σε προσπάθειες αυτοβελτίωσης του σχολείου. Στόχο του έχει να παράσχει μία εικόνα του σχολείου ως προς την ηγεσία για τη μάθηση, να δημιουργήσει κουλτούρας ανοιχτής και σοβαρής συζήτησης και να βοηθήσει τα μέλη της σχολικής κοινότητας να εντοπίσουν εστίες ανάπτυξης. Συνδυάζει ποσοτικά και ποιοτικά εργαλεία, που λειτουργούν συμπληρωματικά, στοχεύει στην οικοδόμηση γνώσης και συμβάλλει στη γεφύρωση της επιστημονικής με την εμπειρική γνώση. / The extensive reform efforts in the western world the recent decades didn’t end up to spectacular results. There might be improvements in the skills of teachers and enrichment of their knowledge but they didn’t manage to activate creativity. To the contrary in recent years there is a view that focused interventions in schools, each with a different dynamic, could be more effective. For these reasons this thesis researches processes through which a school can activate and promote improvement utilizing each own capability.There is an effort to format a complex tool, the portrait, which could contribute to self improvement efforts of the school. Its goal is to provide a picture of the school in regard to shared leadership for learning, to create a culture of open and in depth discussion and assist the members of the school community to identify possible focal points of growth.It combines quantitative and qualitative tools with complementary function, aims at knowledge building and bridges scientific and empirical knowledge.

The purpose of this dissertation is to conduct a comprehensive study of Roman women's portrait busts of the third century AD. The free-standing portrait bust forms a discrete historical category through which to trace developments in third-century women's portraiture. The high-status, commemorative tradition of the bust and the durability of this format, which could be displayed and utilised in a large range of different contexts, made this an important portrait genre for women in the third century. These busts consequently offer powerful insight into the ideological function and status of Roman women in the third century. By placing third-century women's busts in the context of their form, history and provenance, I hope to create a methodology that allows me to ascertain the ancient intention of these portraits. My hypothesis is that, while elements of self-styling and bust-format reveal innovation, the moral vocabulary of Empire as presented in women's portrait busts did not change dramatically in the third century. I will argue that these portraits reflect the heightened ideological status of certain forms of Roman femininity in this period. Rather than being expressive of spiritual escapism or emotional turmoil women's portrait busts functioned as a means of re-confirming the Roman rhetoric of feminine virtue in the third century.