Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 151-161). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 151-161). Also available on the Internet.

Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Typescript. Includes bibliographical references.

Thesis (Ph. D.)--University of Missouri-Columbia, 2008. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on July 27, 2009) Includes bibliographical references.

Thesis (M.A.)--University of Wyoming, 2008. / Title from PDF title page (viewed on Nov. 19, 2009). Includes bibliographical references (p. 148-154).

Thesis--Syracuse University. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 612-628).

Thesis--Syracuse University. / Vita. Includes bibliographical references (leaves 612-628).

While the origin of the Arab Spring is well documented in Tunisia, Egypt, Libya and Syria, the role of press photography in presenting these conflicts is not. Images taken during a conflict often follow a particular narrative that comes to define how we remember a conflict. Considering that Syria is composed of a heterogeneous, ethno-religious mix located at the center of intense regional and international rivalries, understanding the cause of the uprising and the trajectory of the conflict require a careful study of the socio-political history of Syria as well as her regional and international relations. The aim of this study is to demonstrate how photographs taken of the Syrian Civil War that earned critical acclaim from photographic institutions mythologize the war. Semiotics provides a template for the interpretation of images that may be related to the underlying cultural forces shaping the conflict. Myth provides the forms in the presentation of archetypes in the images that we are able to readily identify so rendering the images relevant and recognizable to the viewer. The mythologizing of images of war has been used since Frank Capa created an “aesthetic ideal” during the Spanish Civil War and been re-appropriated during subsequent conflicts of the 20th and 21st centuries especially the Gulf Wars of 1991 and 2003. This study uses a semiotic and mythological approach to analyze the winning photographs as selected by the National Press Photographers Association, World Press Photographers Association and Pulitzer Prize awarded during the course of the Syrian conflict. The myths of the “victim” and “underdog” were the two most commonly applied myths to the civilians and the Syrian rebels, who were portrayed as the “lovable losers” in the conflict. These narratives differ from previous depictions of the two previous Gulf Wars in their empathetic depiction of the civilian population and of the rebels. If maintaining the status quo is one of the enduring functions of myth then the underdog myth perpetuates voyeuristic participation in the conflict without requiring the discomfort of the removal of the Assad regime.

This dissertation explores a vital moment in the history of Japanese photography through a sustained monographic analysis of Kawada Kikuji’s 1965 photobook Chizu (The Map). Through this first full-length English-language study on Kawada’s early work, I argue that Chizu is a palimpsest, where Kawada mobilizes both the malleability and medium-specificity of photography to create a temporal atlas of postwar Japan. Chizu is not legible cartography, but instead is an archival universe where the atomic bomb and its victims, Japan’s past military aggressions, and national narratives of ruin and growth are interwoven in a state of temporal confusion and perpetual haunting. Chizu is also wedged chronologically and theoretically between two periods in the history of Japanese photography: the early 1950s hegemony of postwar “realism” and the avant-garde project of Provoke in the late 1960s and 1970s. My dissertation intersects a sociopolitical and psychological history of postwar Japan with visual and iconographic analysis, accompanied by comparative frameworks of contemporaneous publications that also dealt with the subjects of the atomic bomb, the Second World War, and the political unrest of the early 1960s. By structuring the dissertation around the three major thematic categories that I have identified within the visual language of the photobook—the “stains” of the Atomic Bomb Dome, the “memorial goods” of the Second World War, and the “signs of the present”—I dissect and contextualize the temporal layering and theoretical stakes at work within Chizu’s complex network of traces. Chizu’s enormous significance lies in its refusal to settle on a firm aesthetic or theoretical language of photography, preferring instead to alternatively mobilize and refute indexicality, to put forward a multisensory experience of the photograph, and to cast assumptions about photography’s legibility into deep suspicion. I argue that this is a singular gesture of the period, one born not from individual subjectivity as dogmatic artistic ideology, but instead from an existential state of questioning the foundations of photography's relationship to time, to index, and to legible narrative. Finally, I argue that Chizu stands as an important artistic illumination of the concept of a longue durée violence: In this case, a violence continuously and insidiously enacted on a body of citizenry well before and well after the zero hour event of the atomic bomb.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-05T13:17:47Z No. of bitstreams: 1 Leão Pinto Serva.pdf: 8064382 bytes, checksum: d00f2189fa468bbe9388bd17152b07c9 (MD5) / Made available in DSpace on 2017-12-05T13:17:47Z (GMT). No. of bitstreams: 1 Leão Pinto Serva.pdf: 8064382 bytes, checksum: d00f2189fa468bbe9388bd17152b07c9 (MD5) Previous issue date: 2017-11-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research seeks to identify the element responsible for the attractiveness of war photography, considering that conflict scenes are responsible for increasing audience of the media. The hypothesis of the research is that they contain Pathosformeln ("pathos formulas" or "passion formulas", concept created by the German critic Aby Warburg, 1866-1929), which cause impact by the immediate recognition of the emotions of the characters portrayed. Warburg pointed to the presence of ancient images from Pagan (Greek or Roman) culture appropriated by Renaissance artists and used as precoined forms for elements of expression of sentiment in paintings and sculptures from after the Middle Ages on. Since his death, the disciples of the German thinker have kept him as a reference to the study of ancient or Renaissance cultural manifestations, with rare exceptions (such as Carlo Ginzburg and Pablo Schneider, who use their concepts in analyzes of contemporary images). This research, which is linked to studies and reflections on Norval Baitello Jr.'s "Image Theory", applies to the War Photography, as a method, Warburg's analyzes of classical works, breaking his containment on ancient subjects. The chosen corpus is formed by photographs that obtained repercussion and recognition, participants of anthologies of this genre. The work, innovative as to the composition of the applied method and its object, detected in the analysis of the images several “formulas of emotion” used as paradigms in photos of conflicts / Este trabalho busca identificar o elemento responsável pela atratividade da fotografia de guerra, considerando que as cenas de conflito são responsáveis pelo aumento da audiência dos meios de comunicação. A pesquisa tem a hipótese de que tais imagens contêm Pathosformeln (“fórmulas de páthos” ou “fórmulas de paixão”) – segundo o conceito criado pelo crítico alemão Aby Warburg (1866-1929) –, que provocam impacto pelo reconhecimento imediato das emoções dos personagens retratados. Warburg apontou a presença de imagens antigas, oriundas da cultura pagã (como grega ou romana), apropriadas pelos artistas do Renascimento e usadas como “fôrmas” pré-moldadas para elementos de expressão de sentimentos em pinturas e esculturas posteriores à Idade Média. Desde sua morte, os discípulos do pensador alemão o mantêm como a principal referência para ao estudo de manifestações culturais antigas ou renascentistas, com raras exceções (como Carlo Ginzburg e Pablo Schneider, que usam os conceitos também nas análises de imagens contemporâneas). Esta pesquisa – que se vincula aos estudos e às reflexões da Teoria da Imagem de Norval Baitello Jr. – aplica à fotografia de guerra, como método, as análises de Warburg sobre obras clássicas, rompendo sua contenção a objetos antigos. O corpus escolhido para o estudo é formado por fotografias que obtiveram repercussão e reconhecimento, tendo sido incluídas em antologias do gênero. O trabalho, inédito quanto ao método aplicado e a seu objeto, detectou nas imagens analisadas diversas “fórmulas de emoção” usadas como paradigmas em fotos de conflitos