Julien Green a avoué avoir recours à l’art pour y enfermer tout ce que le monde lui offrait de déplaisant, voire d’inquiétant. Son équilibre mental dépendait de cette démarche créative et cathartique. Une telle expérience a fait surgir un univers tourmenté, dominé par des forces maléfiques dont l’influence voue les êtres au tragique. Dans une logique tout d’abord conventionnelle, les figures féminines apparaissent comme l’image la plus visible d’influences néfastes. Leur drame provient de l’obsession extrême d’un corps porté à les trahir. Qu’elles soient laides ou belles, l’attachement à leur image mine l’existence des héroïnes et les voue à la déchéance, car elles deviennent le champ de bataille où les forces du bien et du mal s’opposent. Elles sont alors pour Green le support privilégié d’une réflexion qui sonde la profondeur de l’imprégnation tragique des récits de fiction.L’encadrement social et religieux apparaît comme une forme de protection de la femme face au mal auquel elle semble promise. Mais la soumission aux normes bourgeoises s’avère pernicieuse : elle enferme les êtres sur eux-mêmes et nourrit fatalement en eux les caractéristiques propices au développement d’un mal dont l’évolution se révèle incontrôlable. En dépit de la charge négative attribuée à nombreuses de ses héroïnes, Green dépasse la représentation misogyne première. La femme bénéfique, souvent imparfaite mais purifiée par les peines endurées, par son besoin de vivre dans la vérité, devient le signe discret d’une ouverture face au tragique. Par sa présence Green parvient à introduire subtilement dans ses romans l’espérance chrétienne, sans rendre son œuvre édifiante. / Julien Green admitted turning to art to encompass everything in the world he found unpleasant or even worrying. His mental well-being depended on this creative and cathartic practice. It brought to the forefront a tormented universe dominated by malevolent forces, with tragic consequences for those involved.In accordance with conventional logic, female characters are portrayed as bearing the brunt of these harmful influences. Their drama springs from an obsession with their bodies which is destined to betray them. Be they ugly or beautiful, their attachment to their image undermines them as heroines and dooms them to failure, for they become the battlefield on which the forces of good and evil are opposed. For Green they are the preferred medium through which he fathoms the depths of the tragic in his works of fiction. The social and religious setting of the novels may appear to be a form of protection for women in the face of the evil which awaits them. But their compliance to the norms of the bourgeoisie proves to be harmful: it imprisons them within themselves and, fatally, engenders characteristics which lead to the development of an evil which proves to be out of control.In spite of the negative charges against numerous of his heroines, Green rises above simple misogyny. The altruistic woman, often far from perfect, but tempered by hardships endured, becomes, by her need to live the truth, a discreet sign of hope in the face of tragedy. It is through his female characters that Green succeeds in introducing subtly the notion of Christian hope in his novels, without making his work 'edifying'.

JANA BLAHNÍKOVÁ Keywords: texture, matter, art informel, existentialism, time, change, traces, beauty, ugliness, imagination Abstract: The Master Thesis concerns itself with changes of artificial textures as an inspiration for creative work. By artificial textures are meant paints and layers on objects, on which time has left its mark. A part of the Thesis deals briefly with the basic categories of aesthetics with special regard to texture change. The Thesis maps out the Czech and the world art scene of the 1950s and 1960s and focuses on the main artists of that period, whose work relates to the subject. The theoretical base is linked with the artists and art schools of thought, which is presented in the didactic section a part of which I used in my practical work and described in the reflection.

[pt] Este trabalho busca descrever o léxico do belo e do feio, em língua portuguesa, partindo de informações de dicionários para realizar buscas em um grande corpus de textos literários. Especificamente, o trabalho faz uso dos corpora anotados acessíveis pelo projeto AC/DC (Acesso a corpora/ Disponibilização de corpora), para, a partir de padrões que levam em conta itens lexicais do campo da beleza e da feiura, revelar aquilo que, em língua portuguesa, é considerado belo e, também, o que é considerado feio. Realizado em dois momentos distintos, o presente trabalho utilizou um dicionário digital e um físico, em seu primeiro momento, a fim de se levantar o vocabulário da língua portuguesa que circunscrevesse os campos semânticos da beleza e da feiura e o corpus Literateca, no segundo momento, o que permitiu a observação dos contextos recorrentes para os itens lexicais de cada campo. Por fim, além da descrição e análise dos dados encontrados, é elaborado um panorama cultural que tenta explicar tais ocorrências nas circunstâncias em que aparecem. / [en] This work seeks to describe the lexicon of the beautiful and the ugly, in portuguese, using information from dictionaries to search a large corpus of literary texts. Specifically, the work makes use of the annotated corpora accessible by the AC/DC Project (Access to corpora/ Availability of corpora), in order to, from patterns that take into account lexical items in the field of beauty and ugliness, reveal what, in portuguese language, is considered beautiful and, also, what is considered ugly. Carried out in two different moments, the present work used a digital dictionary and a physical dictionary, in its first moment, in order to get the vocabulary of the portuguese language that circumscribes the semantic fields of beauty and ugliness and the Literateca corpus, in the second moment, which allowed the observation of the recurrent contexts for the lexical items of each field. Finally, in addition to the description and analysis of the data found, a cultural panorama is elaborated that tries to explain such occurences in the circumstances in which they appear.

Examensarbetets syfte är att undersöka hur chick ick representerar skönhet och fulhet. Vi har undersökt och identierat semiotiska tecken och myter i lmerna, samt hur målgruppen upplever att deras självbild inverkas av representationen.  Våra valda metoder för examensarbetet består av semiotiska textanalyser på lmerna The Devil Wears Prada, The Princess Diaries, Clueless, She’s All That och Mean Girls. Vi har även utfört tre intervjuer i fokusgrupper.  Genom vår undersökning och analys kom vi fram till att det nns etablerade tecken som representerar antingen skönhet eller fulhet, och att myter existerar för att understryka ramverk som medföljer ett vackert eller fult utseende. Med hjälp av fokusgrupperna fann vi att även om målgruppen inte upplever att deras självbild direkt inverkas av dessa myter och tecken existerar de som en underliggande tanke när målgruppen reekterar över sitt eget utseende. / This thesis aims to discover how chick icks represent beauty and ugliness. We have examined and identied semiotics signs and mythologies in the movies, and whether the target audience believes their self images have been impacted by the representation.  Our chosen methods for the thesis consists of semiotic analyses of the lms The Devil Wears Prada, The Princess Diaries, Clueless, She’s All That and Mean Girls. Furthermore we have carried out three interviews in focus groups.  Through our discoveries and analysis we concluded that there are established signs representing either beauty or ugliness, and that mythologies exist in order to underline guidelines that follow a beautiful or ugly appearance. With the help of focus groups we found that although the target audience does not believe their self image is directly impacted by these mythologies and signs they often nd themselves keeping them as a constant underlying thought when reecting on their own appearance.

The thesis deals with the impact of orofacial cleft (cleft lip and palate) on family psychosomatics within the psycho-social-ethical framework. It summarises the history, classification and treatment of cleft disorders, followed by an analysis of real-life problems occuring in the process of taking care of a baby with orofacial cleft, specifies terms frequently used when discussing orofacial cleft as a stigma: stigma and stigmatisation, norm and normality, beauty and ugliness.The phenomena of fear and pain, difficulty in communication with the child{\crq}s and the parents{\crq} immediate social surroundings and, the barriers between experts and the parents are dealt with in the thesis. The thesis focuses on orofacial cleft anomalies in connection with Christian ethics. It analyses the relation of abortion and orofacial disorders and the role of hope in the process of taking care and upbringing of a child suffering from this disorder.

For whom do we draw buildings? Why does contemporary architecture look the way it does?Why are certain aesthetics considered more valid than others? With this project, I propose Dirty Geometry: norm-bending design that could challenge conventions within the field of architecture. It is an investigation of concepts such as ugliness, beauty, architecture and the human body, interiority, femininity and ”bad taste”. The purpose is to, with the aid of parametric design processes, make Stockholm less boring and more dirty. Dirty Geometry is both the creative process sprung from one’s personal desires, and the resulting design. It aims to celebrate the weird, playful and colorful in an empowering way. This thesis project draws a lot of inspiration from camp aesthetics and drag culture, because of the way humour is used in a subversive way to question gender identities, power structures and norms.

Alone in a Crowd: Charles Baudelaire and 20th-Century and Contemporary Art The dissertation called Alone in a Crowd explores the influence of the poet Charles Baudelaire's personality and work on 20th-century and contemporary art. Due to the field of study, the main focus is on the visual arts, but literature, music, philosophy, and film are also included to a large extent. This dissertation is divided into four substantive chapters. The first chapter, The Inner Message, introduces the poet's life, his family and acquaintances, as well as Baudelaire's poetry collection The Flowers of Evil. Themes of evil, ugliness, fear, death, and even a relationship to their mother, father and women are common for 20th-century and contemporary artists. This chapter presents Félicien Rops, James Ensor, Edvard Munch, Hans Bellmer, Francis Bacon, Joel-Peter Witkin, Kurt Cobain, members of the Young British Artists group, Lars von Trier, and others. The second chapter pursues the correspondence theory. The character of the Swedish philosopher Emanuel Swedenborg and his successor, William Blake, is followed by Baudelaire's understanding of sensual and spiritual correspondences, as his principles are adopted by modern artists in a distinct manner. The third chapter called "On the Edge of Society" covers the curse...

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