Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-03-09T12:24:38Z No. of bitstreams: 1 clebersoaresdasilva.pdf: 15153652 bytes, checksum: 8b296d966d1dcf8469b4d847d99ab3a6 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-09T19:14:20Z (GMT) No. of bitstreams: 1 clebersoaresdasilva.pdf: 15153652 bytes, checksum: 8b296d966d1dcf8469b4d847d99ab3a6 (MD5) / Made available in DSpace on 2018-04-09T19:14:20Z (GMT). No. of bitstreams: 1 clebersoaresdasilva.pdf: 15153652 bytes, checksum: 8b296d966d1dcf8469b4d847d99ab3a6 (MD5) Previous issue date: 2017-08-21 / O mineiro Assis Horta foi um dos mais importantes fotógrafos a prestar serviços ao SPHAN, atual IPHAN, na chamada fase heroica da instituição, quando esta foi dirigida por Rodrigo Melo Franco de Andrade e contava em seu quadro de funcionários com grandes intelectuais ligados ao movimento modernista brasileiro. Os registros fotográficos feitos por Horta contribuíram para o tombamento de Diamantina em 1938 e, mais tarde, em 1999, para o reconhecimento da cidade como Patrimônio da Humanidade, pela Unesco. Em paralelo ao trabalho documental, Horta desenvolveu sua carreira bem-sucedida de retratista com grande produção, como comprovam os mais de cinco mil negativos em vidro que compõem seu acervo. Por seu estúdio fotográfico e sob seu olhar, passou toda a sociedade diamantinense entre as décadas de 1930 a 1980, mas foram os retratos de operários, feitos entre os anos 1930 e 1940, que lhe deram maior projeção a partir de 2008. Foi graças à Consolidação das Leis Trabalhistas (CLT), decretada pelo governo de Getúlio Vargas, em 1943, e à obrigação das fotos 3x4 em carteiras de trabalho que muitos operários tiveram contato com a fotografia pela primeira vez. Os retratos de afro-brasileiros e mestiços pobres, seus familiares e amigos feitos no Photo Assis são herdeiros das tradições da fotografia oitocentista e dos carte de visite. Os cerca de 200 registros visuais divulgados em exposições e mostras até o momento só encontram analogia nos retratos de Militão Augusto de Azevedo, produzidos em fins do século XIX na cidade de São Paulo e na obra do também diamantinense Chichico Alkmim, realizada no começo do século XX. Os retratos aqui destacados são a comprovação da empatia entre o talentoso fotógrafo e sua nova clientela, parcela da população brasileira que, segundo a historiografia, foi tradicionalmente explorada comercialmente em fotografias de cunho pitoresco ou exótico e depois relegada ao esquecimento. Nas belas imagens feitas por Assis Horta analisadas nessa pesquisa, percebe-se que o jogo fotográfico se completa de maneira eficaz e o fotografado, não mais um objeto de cena, se mostra dignamente sujeito do próprio retrato... enfim um cidadão. / Assis Horta, one of the most important photographers of Minas Gerais worked for SPHAN, current IPHAN, in the so-called heroic phase of the institution, when it was directed by Rodrigo Melo Franco de Andrade and had as part of its staff great intellectuals linked to the Brazilian modernist movement. Horta‘s photographic records contributed for the listing of Diamantina in 1938 and later, in 1999, for the recognition of the city as Unesco World Cultural Heritage Site. Together with the documentary work, Horta developed his successful career as a portraitist with great production as evidenced by more than five thousand negative glass plates that are part of his collection. In his photographic studio and under his attentive observation, the whole society of Diamantina passed between the 1930s and the 1980s, but it was the portraits of workers, made between the 1930s and the 1940s, that gave him greater projection since 2008. It was thanks to the Consolidation Of Labor Laws (CLT), decreed by Getulio Vargas' government in 1943, and the obligation of 3x4 photos in work documents that many workers had contact with photographs for the first time ever. The portraits of poor Afro-Brazilians, their relatives and friends made at Photo Assis are heirs to the traditions of the nineteenth-century photography and of the carte de visite. The approximately 200 visual records published in exhibitions and cultural fairs so far are only analogous to the portraits of Militão Augusto de Azevedo, produced at the end of the 19th century in the city of São Paulo and in the work of Chichico Alkmim, also from the city of Diamantina, held at the beginning of the XX century. The photographs highlighted here are a proof of the empathy between the talented photographer and his new clients, a part of the Brazilian population that, according to historiography, was traditionally commercially exploited in picturesque or exotic photographs and then forgotten. In the beautiful images made by Assis Horta that are analyzed in this research we can notice that the photographic game is completed in an effective way and the ones photographed, are no longer an object of scene. They are worthily subjects of their own portrait ... ultimately, citizens.

Le respect de l'érosion et de la fuite du temps instaure une recherche concernant l'effacement de l'œuvre et le dessaisissement. Les écrits s'inspirent d'une quarantaine de travaux artistiques personnels, des sculptures pour la plupart, reliés à ceux d'artistes connus pour s'être exprimés dans un registre apparenté. Avec l'infini présent s'ouvre pour l'effacement une double perspective : celle d'un présent permanent, identique à lui-même mais appelé lentement à disparaître comme l'a voulu Roman Opalka, ou celle d'un présent récurrent, s'éclipsant pour réapparaître qu'il s'agisse de la foule, multitude d'hier et demain ou d'une scénographie humaine, une fatalité ubiquitaire, amenée à se perpétuer. L'auto-affirmation du passé, les ruines que l'on garde en l'état, de Jean-Christophe Bailly sont une lecture du temps. « Effigies » et les autoportraits d'Hélène Schjertbeck sont, parmi d'autres, les figures de l'effacement. Le refus du néant s'affiche avec la mémoire des corps disloqués, trophées, transis et gisants, celui de Corps évanoui et des coquilles vides, Sculptures d'ombre de Claude Parmiggiani, les bois calcinés de Franz Krajcberg. Fin et suite : l'ontologie de ce qui est rejeté ou délabré se trouve définie ; et après Jean Tinguely, la volonté de s'investir dans le renouveau des matériaux s'affirme pour une re-création en aménageant ce qui subsiste, ce qui a pu antérieurement interagir avec des mains humaines, et peut être à l'origine d'un nouvel essor, et d'une autre vie. Une nouvelle sémantique des verbes est imaginée, rendant compte des différentes formes temporelles et modales énonciatives des œuvres présentées. Mes travaux se consacrent alors au futur antérieur, à l'anticipe passé, pour promouvoir l'archéologie du futur. / The respect for erosion and the flying of time initiates a research as regards to erasure of an artwork and its loss. These writings stem from about forty persona! artworks, sculptures for the most part, linked to those executed by famous artists known for their works in related fields. The infinite present allows erasure to be considered from two standpoints: on the one hand, the forever present that is identical to itself but doomed to slowly disappear as wanted by Roman Opalka or on the other band, the recurring present fading away to reappear whether it is related to crowd as a past and future multitude or else, referring to a human scenography, as a ubiquitus fate doomed to continue. The self-assertion of the past, ruins kept as such, by Jean­-Christophe Bailly are a reading of the times. "Effigie" and self-portraits by Hélène Schjertbeck are among others, some shapes of erasure. Refusing nothingness can be seen through the memory of dismantled bodies, trophies, numbed and recumbent bodies, and through “Fainted body” and empty shells, Sculptured shadows by Claude Parmiggiani, the charred woods by Franz Krajcberg. The end and later on: the ontology of what is rejected or wrecked is defined and following Jean Tinguely, willing to become involved in the renewal of materials can be considered as a recreation when adjusting what remains, what may interected with human hands before and such can also be the starting point of new development and another life. A new semantics of verbs can be conceived accounting for various tenses and modal forms stating exhibited artworks. So my work is devoted to future perfect and past anterior to promote the archaeology of the future.

This thesis investigates representations of masculinities and the father figure in the Swedish painter Carl Larsson’s (1864-1919) self-portraits from 1895. The paintings are analysed through the concepts authority, a term closely connected to the father figure, and idyll, a term often used to describe Larsson’s art. Sara Ahmed’s theory to see beyond what is taken for granted, in Queer Phenomenology, is theoretical starting point for the thesis. The analytical method is adopted from Tamar Garb’s Bodies of Modernity. Figures and Flesh in Fin-de-Siécle France. The conclusion is that the masculinities in Larssons’s father figure are coherent with the paterfamilias in the late 1900s, consisting of the provider, the authority figure, and the husband/lover. Furthermore, that the idyll is constructed by those with the authority to construct it, and that the authority thereby is defined by the idyll it constructs. / Uppsatsen undersöker maskuliniteter genom bildanalyser av två självporträtt av Carl Larsson där han framställer sig som både far och konstnär. Bilderna har analyserats med hjälp av begreppen auktoritet, som traditionellt har varit sammankopplat med fadern, och idyll, som har blivit i det närmaste synonymt med Larssons konst. Sara Ahmeds queera fenomenologi har använts som teoretisk utgångspunkt för att undersöka det som kan ses som det förgivettaga, här formulerat som idyllen. Bildanalyserna har gjorts med utgångspunkt i Tamar Garbs metod för bildanalys i Bodies of Modernity. Figures and Flesh in Fin-de-Siécle France. Undersökningen visar att det i Larssons fadersgestalt går att utläsa samtliga aspekter av 1800-talets paterfamiliaskonstruktion, såsom den formuleras av Joseph A Kestner; familjeförsörjaren, auktoritetsfiguren och maken/älskaren. Undersökningen visar också att den idyllen konstrueras av den som har auktoritet att göra det och att auktoriteten därmed definieras av den idyll den konstruerar. Carl Larssons idyllkonstruktion är därigenom resultatet av ett utövande av den auktoritet han har i egenskap av man, make, far och konstnär.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Fundação de Amparo a Pesquisa no Estado do Rio Grande do Sul / The presented dissertation reflects upon artistc proposals wich confronted the artist with his practice, making him think about it over two different perspectives: the practice of the "street artist" and the "artist IN the street". It's about thinking the artistic practice related to the work "Portraits $1" (Retratos $1), made in the public context of the city streets, making portrait-drawings with a sfereographic pen on paper and duplicated-portrait with carbon paper on paper.The street is where the portrait-drawing takes place and is exchanged for R$1,00 (UM Real) while the duplicated-portrait created with the carbon paper is archived by the artist. This artistic project brings up "Key" questions to think about art today: where is the artists place, the production of art and the public? The research focuses on the artistic production wich takes place with the contact of the public, when acting like a street artist, the work blurs the value codes and legitimation towards what is produced, to both art context and street context. / A presente dissertação reflete sobre as propostas artísticas que confrontaram o artista com a sua prática, fazendo-o pensar como essa se dá sob os diferentes enfoques: a prática do artista DE rua e a prática do artista NA rua. Trata-se de pensar a prática artística a partir do trabalho Retratos $1 , realizada no contexto público das ruas da cidade, produzindo retratos desenhos com caneta esferográfica sobre papel e retratos-duplicata de papel carbono sobre papel. A rua é o lugar onde o retrato-desenho é trocado com o transeunte retratado por R$ 1,00 (Um Real) enquanto o retrato-duplicata gerado com o papel carbono é arquivado pelo artista. Este projeto de artista ressalta questões chaves para se pensar a arte hoje: qual o lugar do artista, da produção da arte e do público? A pesquisa foca na produção artística que se dá no contato direto com o público, quando atuando como um artista de rua, o trabalho borra os códigos de valor e legitimação para o que é produzido, tanto no contexto da arte, quanto no contexto das ruas.

The aim of this thesis is to describe the conditions of capturing someone's image and of further portrait use under the law of the Czech Republic. Its content reflects recent fundamental changes in Czech civil law through the new Civil Code, effective since 1 January 2014. This thesis begins with an explanation of the constitutional fundamentals of personality protection, followed by a description of personality protection itself. The major part of the thesis focuses on the right to one's own image and to right to portrait. Generally, capturing one's appearance is possible only upon one's prior consent but there exist several exceptions: interest license, official license, scientific license, artistic license and newspaper license. The situation is different with public figures as the level of their privacy protection is lower than the level of privacy protection of "ordinary" people. The judgment of the European Court of Human Rights in the case of von Hannover v. Germany in 2004 was ground-breaking, saying that the public has the right to be informed about facts which intrude into the privacy of public figures, as long as these facts are capable of contributing to a debate on matters of public interest in a democratic society. In the case of a breach of the right to one's own image and to the right to...

The seventeenth century saw a large increase in family-related portrait materials, including group family portraits, family portrait collections, and family memorial albums. In this thesis, I contend with the meanings and functions of family portraits created in the Netherlands in an attempt to illuminate the motives behind the rise in the number of portraits of the family during this period. I focus on the ways in which Dutch families utilised portraiture as a vehicle for constructing personal and national identity. In an age of extraordinary economic success, religious tension, and political upheaval, portraits of the members of the expanding Dutch ‘middle class’, who had the means and the desire to commission them, reveal a conscious inclination to define and substantiate a fashioned identity as the new urban elite of a Republic in the making. My study assesses family portraits as sites where identity and changing notions of selfhood were envisioned and performed. The shifting notions of ‘family’, and the increasing popularity of commissioning portraits seems to signal attempts to configure and imagine their relationship to Dutch society. I propose that the amount of portraits related to the family commissioned alongside an exploration of and struggle with identity is a symptom of the anxiety surrounding politics, religion, and social changes, for which the family often served as a metaphor. New perspectives on portrait theory and identity, especially those of Ann Jensen Adams and Joanna Woodall, contributed to the shaping of this thesis, particularly as a means to comprehend how portraits functioned in the lives of families. There are four chapters that make up the body of this thesis. In each chapter, I focus on specific works of art chosen for their suitability in highlighting certain concepts and anxieties about identity and the family in its cultural context at their extremes.

The main topic of dissertation named "Case Radovan Krejčíř - from reality and newspaper/TV news to book and film cover and film critique" is person of Radovan Krejčíř, one of the biggest Czech criminals in the history of the country. A controversial billionaire was caught up in many criminal cases already in nineties, and not only in Czech Republic. He escaped the country in the spring of 2005 because of the danger of arrest and then he got on with pursuits against the law in the Seychelles (2005 - 2007) and later on also in South Africa (2007 - 2013). In South Africa in 2013, he was arrested and subsequently sentenced to 35 years in prison. However, the case is not yet completely closed, because there are some other Krejčíř's South African cases, that the judge's decisions are still pending. Life story of Radovan Krejčíř inspired investigative journalist and publicist Jaroslav Kmenta to write book trilogy Padrino Krejčíř (African - 2014, Gangster - 2015 and Shark - 2016) and director Jan Pachl to make a two movies (Gangster Ka and Gangster Ka: African - both 2015). The goal of this dissertation was not just to bring the complete picture of the Krejčíř's criminal career as it was portrayed by the media, publicist Jaroslav Kmenta and director Jan Pachl - and how media critics reviewed book and film...

Syftet med denna studie har varit att belysa representation av lesbisk åtrå i film. Filmerna jag har tittat på är Carol och Portrait of a Lady on Fire, där jag undersökt huruvida begreppen the male gaze och the female gaze visar sig i filmerna. Detta är gjort genom en filmanalys där jag har utvecklat en tes, delat upp filmen i segment samt antecknat filmtekniker. I min analys har jag utgått från teorier om blick; gaze theory, the male gaze och the female gaze. I båda filmerna representeras åtrå främst genom blicken, men även genom olika symboler, språk och behov. Den skildras inte nödvändigtvis genom nakenhet eller sex – utan kan vara ett grepp på axeln eller en intensiv blick. Genom välarbetat manus, kameravinklar utifrån bådas synpunkter och kostymer som inte förminskar kvinnan tar båda filmerna avstånd från the male gaze. Istället har båda parterna i förhållandet en aktiv roll där kommunikation och samtycke styr, vilket är i linje med the female gaze. / The purpose of this study has been to highlight the representation of lesbian desire in film. The films I have watched are Carol and Portrait of a Lady on Fire, where I investigated whether the concepts of the male gaze and the female gaze appear in the films, and if so, how. I have conducted a filmanalysis where I developed a thesis, segmented the films and took notes of film techniques. I have based my analysis on different theories concerning the gaze; gaze theory, the male gaze and the female gaze. Both films represent desire throughout the gaze, but also through different symbols, languages and needs. It is not necessarily portrayed by nudity or sex – instead by grasping the shoulder or holding an intense gaze. Through well-crafted script, camera angles based on both viewpoints and costumes that do not diminish the woman, both films distance themselves from the male gaze. Instead, both parties in the relationship have an active role where communication and consent govern, which is in line with the female gaze.

I denna undersökning tittar jag närmre på arbetet med självporträtt i skolan, en återkommandeuppgift i alla åldrar, som upprepas efter givna mönster. Det kan uppstå känsliga situationer i arbetetmed självporträtt och i uppvisandet av dem under redovisningar. Kanske för att utövandet avsjälvporträtt innehåller ett specifikt moment då man måste förhålla sig till sig själv som objekt ochsubjekt/konstnär och modell - på en och samma gång. Självporträtts-uppgifter i skolan är ofta starktkopplade till identitet då porträttet förväntas berätta något om en själv. Jag förhåller mig i dettaarbete till subjektet och till lärandet som någonting rörligt och utgår från Gert Biestas teorier omsubjektifiering. På så vis förskjuter jag diskursen kring identitet till diskursen kring subjektetstillblivelse. Min frågeställning har varit: Vilka dolda kunskaper kan uppstå i tecknandet avsjälvporträtt och varför uppstår de?, samt; Vad händer i tecknande-processen då den somtecknar är både subjekt och objekt? Hur påverkar det subjektets tillblivelse?För att söka svar på min frågeställning gör jag fältstudier hos en sjundeklass på en skola iStockholm under deras arbete med en självporträttsuppgift som heter Insida-utsida. Min empiribestår i transkriberat material från en intervju med elevernas lärare, fältanteckningar från deltagandeobservation i klassrummet och material från en workshop som jag själv höll med några av eleverna.Som avstamp till min undersökning har jag utgått från en auto-etnografisk studie, i vilken jag underfyra veckors tid tecknade ett självporträtt om dagen och simultant antecknade tankar som for genommitt huvud. Detta för att få förståelse för vad eleven kan uppleva i sin process.På Konstfacks utställning, som detta år är digital på grund av Covid- 19, gör jag en slutliggestaltning i form av ett filmat performance inspirerat av citat från eleverna som uppkom underderas arbete med självporträtt. Även delar av min auto-etnografiska undersökning och elevexempelfrån workshopen visas. Jag använder mig av ett a/r/togrfiskt förhållningssätt och skiftar självsubjektposition mellan konstnär, forskare och lärare för att se vad som uppkommer i mellanrummenmellan dessa positioner. Genom att undersöka självporträtt i skolan ur ovan nämnda teorier ochperspektiv ämnar jag bidra med nya sätt att se på uppgiften.