Th. Etat--Paris 7, 1989.

Originally presented as the author's Thesis (doctoral)--Ludwig-Maximilians-Universität München, 2001. / Includes bibliographical references (p. [317]-354) and indexes.

Thesis (Ph. D.)--University of Chicago, 2003. / Includes bibliographical references (leaves 254-270). Also available on the Internet.

My work focuses on the construction and validation of images assembled from fragments of found photographs, generating new narratives that hover between “reality” and fiction. Archive and Fiction: Construction of the past and the self is the result of two years of artwork exploring my family archives and my relationship to my family through them. I understand the family as a place of identity in continuous change, serving as a container of history and memory. Conceiving of my family albums as material allows me to approach my family history as a visitor. Mediated memory and constructed memory intertwine in the family album, a linear format that also inadvertently reveals gaps, both temporal and contextual. By understanding how photography’s authority constructs personal and family identity, I seek to undermine this authority, using photography’s “realness” against itself to create alternative narratives of within which I can belong.

Anthony Cohen, in The Symbolic Construction of Community, writes: "the symbolic expression of community and its boundaries increases in importance as the actual geo-social boundaries of the community are undermined, blurred or otherwise weakened." As Japanese-Canadians were uprooted from familiar communities throughout British Columbia and overwhelmed with the loss of those closest to them, photography was employed to recentre themselves within a stable, yet somewhat imaginative, network of relations. Looking became an act of imaginative exchange with the subject - conflating the act of seeing with the act of knowing. Photographs became "the most cherished possession" at a time when all else familiar had been lost. It is my contention that domestic photographs and albums produced at this time worked to construct, preserve and contain the visual and imaginative narrative of cohesive family stability and communal belonging, despite divisive political differences, disparate geographical living situations, and elapsed family traditions. While acknowledging that photographs construct and embody a multiplicity of meanings, I am interested in the ways Japanese- Canadian albums were employed during the internment to foster a sense of place while internees existed in a liminal or transitional, marginal space. These representations attempt (and of course sometimes fail) to authenticate a seemingly cohesive biography. Declarations of positive experiences abound throughout the seven family albums I address in this project. Yet there is a double nature to these affirmations. Inscribing "happy times" or "joy" alludes to the silent binary of sadness that is effaced from the images. Representations of state surveillance and poor living conditions are virtually never included but did nonetheless exist. It is not my intention, however, to suggest that photographs are entirely deceptive anymore than they are undeniable truths. Rather, I want to argue that the production, organization and narration of photographs enabled internees to resist being subsumed by fears of persecution and obliteration. The intersection of the photographic image with the viewer constructs a narrative of stability, potentially resulting in a positive experience. Inscribing a positive identity onto images of one's body plays a role in the production of contentment: it is an act which simultaneously elides present troubles and safeguards fond memories for the future, it is a conscious and unconscious maneuver constituting one's personal history. Thus the images not only reinforce a positive experience, but also participate in creating one. It is only when anxieties cannot be contained that representation breaks down. "Intimate Archives" seeks to situate domestic photographs of Japanese-Canadians during the 1942- 1949 exile as intersecting with historical crisis and subjective narrative, tracing the possibilities of meaning for both the depicted subjects and the possessor of the images.

Anthony Cohen, in The Symbolic Construction of Community, writes: "the symbolic expression of community and its boundaries increases in importance as the actual geo-social boundaries of the community are undermined, blurred or otherwise weakened." As Japanese-Canadians were uprooted from familiar communities throughout British Columbia and overwhelmed with the loss of those closest to them, photography was employed to recentre themselves within a stable, yet somewhat imaginative, network of relations. Looking became an act of imaginative exchange with the subject - conflating the act of seeing with the act of knowing. Photographs became "the most cherished possession" at a time when all else familiar had been lost. It is my contention that domestic photographs and albums produced at this time worked to construct, preserve and contain the visual and imaginative narrative of cohesive family stability and communal belonging, despite divisive political differences, disparate geographical living situations, and elapsed family traditions. While acknowledging that photographs construct and embody a multiplicity of meanings, I am interested in the ways Japanese- Canadian albums were employed during the internment to foster a sense of place while internees existed in a liminal or transitional, marginal space. These representations attempt (and of course sometimes fail) to authenticate a seemingly cohesive biography. Declarations of positive experiences abound throughout the seven family albums I address in this project. Yet there is a double nature to these affirmations. Inscribing "happy times" or "joy" alludes to the silent binary of sadness that is effaced from the images. Representations of state surveillance and poor living conditions are virtually never included but did nonetheless exist. It is not my intention, however, to suggest that photographs are entirely deceptive anymore than they are undeniable truths. Rather, I want to argue that the production, organization and narration of photographs enabled internees to resist being subsumed by fears of persecution and obliteration. The intersection of the photographic image with the viewer constructs a narrative of stability, potentially resulting in a positive experience. Inscribing a positive identity onto images of one's body plays a role in the production of contentment: it is an act which simultaneously elides present troubles and safeguards fond memories for the future, it is a conscious and unconscious maneuver constituting one's personal history. Thus the images not only reinforce a positive experience, but also participate in creating one. It is only when anxieties cannot be contained that representation breaks down. "Intimate Archives" seeks to situate domestic photographs of Japanese-Canadians during the 1942- 1949 exile as intersecting with historical crisis and subjective narrative, tracing the possibilities of meaning for both the depicted subjects and the possessor of the images. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Thesis (doctoral)--Ludwig-Maximilians-Universität, München, 1999. / Includes bibliographical references (p. 271-302) and index.

Thesis (doctoral)--Ludwig-Maximilians-Universität, München, 1999. / Includes bibliographical references (p. 271-302) and index.

C’est vers l’âge de 4 à 6 ans que l’enfant commence à prendre conscience que chaque individu a des états émotionnels (être heureux, être triste) ainsi que des états mentaux (vouloir, penser, croire) qui influencent ses comportements dans différentes situations vécues au quotidien. Il développe ce que les scientifiques appellent une théorie de l’esprit (Nader-Grosbois, 2011). Grâce à cette capacité cognitive, l’enfant comprend que les personnes ne pensent pas toutes la même chose, qu’elles ne pensent pas toutes de la même manière et que leurs pensées peuvent même être différentes de la réalité (Mélançon, 2015). Le cycle préparatoire constitue une période déterminante pour le développement de la théorie de l’esprit. Plusieurs auteurs (Larzul, 2010 ; Mélançon, 2015) indiquent qu’à leur entrée à l’école, certains enfants comprennent déjà certains états mentaux, tels que la fausse croyance. Cependant, nombreux sont ceux qui n’utilisent pas adéquatement des référents aux états mentaux tels que « je veux », « je pense » et « je suis triste ». Or, les travaux d’Astington et Edward (2010) démontrent que les enfants qui ont une bonne théorie de l’esprit sont de meilleurs communicateurs, qu’ils sont plus compétents socialement et qu’ils sont capables de résoudre des conflits. D’où l’importance de soutenir les jeunes enfants dans le développement de leur théorie de l’esprit dès le cycle préparatoire. La littérature de jeunesse, par la richesse et la diversité de ses contenus et les possibilités d’interactions qu’elle offre, semble être une avenue intéressante pour soutenir le développement de la théorie de l’esprit des enfants. Dans cette recherche, nous avons exploré l’effet du genre d’albums sur le développement de certains éléments de la théorie de l’esprit. Malgré la courte durée de l’expérimentation, nos résultats suggèrent que l’utilisation d’albums mettant en scène des personnages humains paraît plus efficace pour soutenir le développement de la théorie de l’esprit des jeunes enfants, comparativement aux albums avec des personnages animaux anthropomorphisés.

This dissertation is the first study of the complete oeuvre of the nineteenth-century archaeologist, photographer, and academic painter Auguste Salzmann, who created some of the earliest European archaeological photographs in the field. His 1854 photographs of Jerusalem have long been praised for their aesthetic beauty, but they have yet to be fully integrated into his full oeuvre of five photographic albums created between 1854 and 1875—a nearly two-decades-long engagement with the photographic medium and an extensive archaeological praxis rooted in the Bible and developed in Greece and the Middle East. Created by an academically trained painter, exchanged to sell artifacts across international borders, and reproduced to contest archaeological theories, Salzmann’s photographs were active participants in a dense cultural web of religious history, scientific thought, aesthetics, economics, and nationalism. In response to these social forces Salzmann’s photographs adopted various forms—bound and unbound, singular and serial, devotional and documentary, scientific and artistic. By demonstrating how Salzmann’s multivalent work had multiple simultaneous social lives in their original historical contexts, this project creates an interdisciplinary model for the study of photographs and photographic albums. Each chapter focuses on one album to illuminate the trajectory of Salzmann’s pictorial methods. The first chapter traces the genesis of Salzmann’s most famous commercial album, the grande édition of Jérusalem: Étude et reproduction photographique de la ville sainte, to discover the many forms his photographs adopted between his 1854 journey to Jerusalem and the album’s 1856 publication. Through the petite édition of Jérusalem the second chapter reveals how Salzmann channeled French religious history to promote contemporary French nationalist interests in the Holy Land. The third chapter turns to Voyage en Terre Sainte (1863) to demonstrate how Salzmann’s pictorial methods adapted to competing archaeological theories and modes of scientific illustration. The fourth chapter centers upon his posthumous Nécropole de Camiros (1875) of Rhodian antiquities to establish how the rhetoric of archaeological discovery granted photographs a multivalent status as scientific specimens, economic goods, and art objects. Challenging previous scholarship that approaches photographic albums as passive repositories of information, the project formulates them as dynamic, mobile actors that produce new knowledge. / 2024-12-31T00:00:00Z