This thesis argues for new theoretical and methodological approaches to the viewing and description of archival photographs. Many archivists continue to focus on photographic subject content, ignoring photographs’ contexts of creation, context of later use and the multiple ways photographs can be viewed. The thesis first charts the implications of postmodernist viewpoints on archival records generally. It then traces, in the context of the Canadian archival community, the gradual spread of a postmodernist regard for photographs specifically. The thesis then draws on the theories and methodologies of a range of other disciplines to suggest fresh approaches to the viewing and description of photographs. It applies these suggestions to a series of photograph albums held by the Archives of Manitoba. These applied suggestions reveal that photographs are richer archival sources when considered as evidence of both creator and viewer intent rather than as transparent windows onto the past.

This thesis argues for new theoretical and methodological approaches to the viewing and description of archival photographs. Many archivists continue to focus on photographic subject content, ignoring photographs’ contexts of creation, context of later use and the multiple ways photographs can be viewed. The thesis first charts the implications of postmodernist viewpoints on archival records generally. It then traces, in the context of the Canadian archival community, the gradual spread of a postmodernist regard for photographs specifically. The thesis then draws on the theories and methodologies of a range of other disciplines to suggest fresh approaches to the viewing and description of photographs. It applies these suggestions to a series of photograph albums held by the Archives of Manitoba. These applied suggestions reveal that photographs are richer archival sources when considered as evidence of both creator and viewer intent rather than as transparent windows onto the past.

The album of Nellie Letitia Mooney McClung (1873-1951) is housed in the British Columbia Archives' Visual Records and is the only photographic album in the McClung Papers. This thesis proposes to contextualize the album within women's photographic history in general, and McClung's photographic practice in particular. The following points will be argued: first, photo albums are complex socio-historical documents which provide insight into gender and class constructions; second, late nineteenth and early twentieth century album-making was considered a female pursuit linked to the domestic sphere; third, the Nellie McClung album dates primarily from 1896-1911, the years McClung lived with her husband, Wesley, and children in Manitou, Manitoba; and fourth, I propose that a number of the album's photos are not only private mementos, but also public documents, having been used or considered as illustrations and advertisements for works written by or about Nellie McClung in these years. / Graduate / 0377 / 0334

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, Department of Art History, June 2003. / Includes bibliographical references. Also available on the Internet.

Cette étude est une analyse des représentations de l’alimentation dans les contes et albums jeunesse destinés aux enfants de moins de 6 ans et leurs utilisations par les adultes à partir de données qualitatives (analyse d’un échantillon de contes et d’albums jeunesse et des entretiens avec des adultes qui, professionnellement ou personnellement, utilisent des albums jeunesse). Equilibre alimentaire, repas gargantuesque, dévoration incontrôlable, ou bien découvertes culinaires, l’alimentation mise en scène permet de cerner les diverses significations de l’aliment. Elles permettent de montrer toutes les facettes d’une prise alimentaire et ses enjeux socioculturels prédominants. L’album jeunesse est un objet social et symbolique signifiant qui participe à une incorporation symbolique particulière et la création d’un espace social de socialisation. De même, les représentations de l’alimentation chez les adultes révèlent la complexité du mangeur pluriel surtout quand il s’agit des enfants. Il y a une réflexivité et un autocontrôle dans les pratiques alimentaires des adultes qui agira sur leurs représentations de l’enfant et son alimentation. / This study is an analysis of representations of food in tales and picture books for children under six years old. Balanced diet, gargantuan meals, unverifiable devoration, or food discoveries, food is staged to define its diverse meanings. Even if food is either a source of pleasure or a risk for health in children books, they allow to show all the faces of food intake and its main sociocultural stakes. As media, the picture book is a social, symbolic and significant object which participates in a particular symbolic incorporation. Also, food representations with adults reveal the complexity of the omnivorous eater, particularly when it is about children. These are perceveid as an oger to be controlled or to be taught moderation, for their well being. There is reflexivity and selfcontrol in adults food practices which will act on their child representation in front of food.

El presente proyecto consiste en realizar ciertas investigaciones con la finalidad de analizar y brindar soluciones hacia un problema, la cual es la falta de accesibilidad y tiempo de las personas para realizar la impresión de sus fotografías. Hoy en día, se ha perdido la costumbre de tener un álbum de manera física con recuerdos especiales, ya que las personas prefieren subir sus fotografías a las redes sociales. Sin embargo, en las investigaciones y entrevistas realizadas se encuentra que la mayoría de personas no adquieren un álbum, porque no existen muchos lugares donde se imprima fotos a un precio razonable. Por ello, nuestro equipo de trabajo de la Universidad Peruana de Ciencias Aplicadas ha determinado que, si hay intención de las personas a adquirir un álbum, pero que sea accesible y original para el cliente, según sus gustos y preferencias, por lo que, para satisfacer a nuestro público objetivo se realizará álbumes personalizados con precios desde los S/50 soles hasta S/80 soles dependiendo de la cantidad de fotos que deseen, el consumidor elegirá la temática para su álbum, las fotografías serán editadas por nosotros y en diferentes tamaños, contaremos con una aplicación móvil donde se contará con una base de datos del usuario, para así escoger y editar las fotos de sus mejores recuerdos, al finalizar el álbum será enviado hasta su hogar. Con este fin, se ha llevado a cabo una serie de investigaciones y experimentos, con la cual se respalda nuestra propuesta con el planteamiento del problema, soluciones y una proyección rentable del negocio. / The present project consists of carrying out certain investigations in order to analyze and provide solutions to a problem, which is the lack of accessibility and time for people to print their photographs. Today, the habit of physically having an album with special memories has been lost, since people prefer to upload their photos to social networks. However, research and interviews found that most people do not buy an album, because there are not many places where photos are printed at a reasonable price. For this reason, our team at the Peruvian University of Applied Sciences has determined that, if there is the intention of people to purchase an album, but that it is accessible and original for the client, according to their tastes and preferences, so, for To satisfy our target audience, personalized albums will be made with prices from S / 50 soles to S / 80 soles depending on the number of photos they want, the consumer will choose the theme for their album, the photographs will be edited by us and in different sizes , we will have a mobile application where there will be a user database, in order to choose and edit the photos of your best memories, at the end of the album it will be sent to your home. To this end, a series of investigations and experiments has been carried out, with which our proposal is supported with the problem statement, solutions and a profitable projection of the business. / Trabajo de investigación

This dissertation traces the arc of Isabella Stewart Gardner's professional development through her photographic and archival practices in the late nineteenth and early twentieth centuries. While Gardner's museum in Boston is well known, she destroyed evidence pertinent to her curatorial agenda. To recover these methods, this project surveys Gardner's involvement with photography through two of her earliest travel albums, all fifteen of her illustrated guest books, and five albums of the evolving galleries in the Isabella Stewart Gardner Museum. The process of photographic album making supported strategies of research, collection, installation, and preservation that Gardner would use as a patron and institutional leader. Gardner's albums illuminate her actions not only as a collector of travel photography by Antonio Beato, Francis Frith, Pascal Sebah, and others, but also as a snapshot photographer and a commissioner of professional architectural photography in Boston. Her multivalent photographic practices reveal the ways in which she used albums and photography to realize her professional ambitions. Collecting, creating, arranging, and displaying photographs were not sentimental pastimes for Gardner, but processes intrinsic to the formation of her identity as a cosmopolitan innovator and civic leader. The first chapter analyzes the handwritten narrative, watercolor paintings, and commercial photography of Egyptian antiquities in Gardner's 1874-1875 "Egypt Diary" to discover the earliest origins for her actions as a collector. The second chapter analyzes the photographic assemblages of Gothic architecture in Gardner's 1879 travel albums of England to show how that journey influenced her design of the galleries and garden at Fenway Court. The third chapter reads Gardner's guest books as socially networked photographic objects to demonstrate their role in cultivating institutional supporters and shaping the cultural mission of her museum. The fourth chapter establishes the importance of reproductive technologies in the assembling of Gardner's collection of art and the pivotal role of architectural photography in the preservation of her civic bequest. The case studies within this dissertation form a comprehensive examination of Gardner's photographic engagements and the importance of photography in the formation and preservation of her institutional legacy. / 2023-12-31T00:00:00Z

Les Albums de la Pléiade sont une collection visant à promouvoir la prestigieuse Bibliothèque de la Pléiade, publiée par Gallimard. Les Albums arborent une apparence identique à leur collection-mère, mais, plutôt que de proposer des textes canoniques, ils contiennent des recueils d’iconographie portant sur les vies d’écrivains, accompagnés de courts récits biographiques. Les Albums sont offerts aux lecteurs par les libraires à l’achat de trois volumes de la Bibliothèque à l’occasion de la Quinzaine de la Pléiade. Leur rareté et leur impossibilité d’achat en font des objets convoités par les collectionneurs. Cette analyse vise à observer les configurations génériques des Albums, qui s’articulent entre elles en vertu de la structure médiatique de ces livres qui emprunte la scénographie de l’album photo familial, afin de déterminer quelle image d’auteurs et de la littérature est mise sur pied par cette collection. Alors que les auteurs des Albums prétendent donner à voir des écrivains dans une lumière intime et « jamais vue », l’image d’auteurs résultant de ces représentations les montre réellement en tant que « génies » dont la vie est inséparable de la création littéraire. Ces représentations contribuent à une fétichisation des figures d’écrivains. Enfin, cette étude se penche sur la façon dont ces images d’auteurs sont utilisées comme produits d’appel de la campagne publicitaire qui constitue la fonction première des Albums. A travers cette thèse, nous cherchons à montrer comment, parallèlement à son rôle publicitaire, cette collection opère une fonction patrimonialisante par le biais de pratiques relativement inhabituelles au sein du champ littéraire. / The Albums de la Pléiade are a French series of books born to promote the prestigious Bibliothèque de la Pléiade, published by Gallimard. The Albums display an identical appearance to the main series, but instead of containing canonical literature, they offer rich iconographic collections relating to writers, accompanied by short biographies. The Albums are given by booksellers as a gift for the purchase of three volumes from the Bibliothèque series during a specific two-week event occurring every year in bookstores in the francophone world, the Quinzaine de la Pléiade. Their rarity and the fact they cannot be bought separately make those books sought-after collection items. The aim of this analysis is to observe the generic makeup of the Albums de la Pléiade, which deploys itself by means of a mediatic structure that borrows from the family album, in order to establish what kind of image of authors and literature is projected by the series and its specific means of representation. Indeed, while the Albums’ authors claim to portray writers in a “never before seen” workaday light, the authors’ image construed by these books actually shows them as “geniuses” whose lives are inseparable from their literary creation. This representation contributes to the fetishization of the authors’ figures. Finally, this study will examine the way those writers’ images are being used as an advertising quality, seeing that the main function of these books is to advertise for the Bibliothèque de la Pléiade. Throughout this analysis, we hope to show how literary heritage is constructed in the francophone world by means of practices that seem rather unusual within the literary field.

Cette thèse s’intéresse à la manière dont l’enfant est représenté dans la littérature pour la jeunesse britannique contemporaine. L’étude porte sur des œuvres publiées entre 1995 et 2005 par des auteurs britanniques : Philip Pullman, His Dark Materials ; Eoin Colfer, Artemis Fowl ; Jonathan Stroud, The Amulet of Samarkand ; J.K. Rowling, Harry Potter and the Philosopher’s Stone ; Kate Thompson, The New Policeman ; Alex Shearer, The Hunted ; Hilary McKay, Saffy’s Angel ; Anthony Browne, Into the Forest ; Lauren Child, Hubert Horatio Bartle Bobton-Trent ; Oliver Jeffers, Lost and Found. En nous appuyant à la fois sur l’examen des portraits d’enfants personnages et sur les représentations de l’espace et du temps, nous pouvons dégager une image de l’enfant contemporain tel que les auteurs britanniques pour la jeunesse le dépeignent. La représentation de l’enfant a souvent été analysée dans les livres pour adultes, mais son étude dans les œuvres qui lui sont destinées permet un éclairage différent, révélateur à la fois de la réalité de l’enfant telle qu’elle est perçue par l’auteur, et de l’enfant idéal sur lequel il aimerait que son jeune lecteur se modèle. L’analyse du lecteur modèle par le biais des théories de la réception dévoile l’enfant qui se cache entre les lignes et permet de souligner l’autonomie accrue dont l’enfant bénéficie dans la littérature, qu’il soit personnage ou lecteur. / This dissertation deals with the way in which the child is pictured in contemporary British children’s literature. This study analyses the image of the child in the following works of fiction published between 1995 and 2005 by British authors : Philip Pullman, His Dark Materials ; Eoin Colfer, Artemis Fowl ; Jonathan Stroud, The Amulet of Samarkand ; J.K. Rowling, Harry Potter and the Philosopher’s Stone ; Kate Thompson, The New Policeman ; Alex Shearer, The Hunted ; Hilary McKay, Saffy’s Angel ; Anthony Browne, Into the Forest ; Lauren Child, Hubert Horatio Bartle Bobton-Trent ; Oliver Jeffers, Lost and Found. The analysis of the portraits of child characters and of the representations of their environment (both spatial and temporal) enables us to create a picture of the contemporary child as British children’s authors imagine him. The image of the child in adult literature has often been examined, but its analysis in the works that are meant to be read by children offers a different perspective, which illustrates both the reality of the child as it is perceived by the writers, and the ideal child which the author would like his young reader to emulate. Theories of reception enable us to investigate the child reader who is hiding between the lines of the text and to demonstrate the increasing autonomy granted to the child in literature, be it the child character or the child reader.