Thesis (Ph. D.)--Yale University, 1980. / Typescript. Includes abstract. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (v. 1, leaves 327-356).

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

Thesis (M.A.)--Bowling Green State University, 2006. / Document formatted into pages; contains viii, 57 p. : ill. Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago, Department of Art History, June 2003. / Includes bibliographical references. Also available on the Internet.

Esta dissertação objetiva analisar a representação do negro no Brasil no século XIX a partir de retratos produzidos pelos estúdios fotográficos de Alberto Henschel (1827-1882), entre 1866 e 1882. Alemão radicado no Brasil, em 1866, este empresário bem sucedido do campo da fotografia chegou a ser agraciado com o título de fotógrafo da Casa Imperial, tendo produzido um grande número de retratos de negros no formato carte-de-visite. A investigação parte da hipótese de que essas imagens materializam certos estereótipos, característicos da representação da alteridade, além de fazerem uso das convenções pictóricas contemporâneas e, até mesmo, anteriores à própria invenção da fotografia. Para essa análise foram utilizados os conceitos de identidade e diferença, bem como de representação e autorrepresentação. Por intermédio do cotejamento das fotos de brancos com as fotos de negros, produzidas por Henschel, foi possível comprovar que a produção das últimas visava a atender a uma demanda por imagens tipificadoras, adequadas ao colecionismo de caráter etno-antropológico. Tratava-se de uma prática de viés imperialista que teve lugar na Europa. Além da análise das fotografias, propriamente ditas, esta dissertação problematiza a natureza dos arquivos que guardam a produção fotográfica de Alberto Henschel, os critérios que nortearam sua formação e aquilo que, de fato, eles nos permitem conhecer a respeito do fotógrafo, sua obra e sua época. / This dissertation aims to analyse the representation of black people in Brazil during the XXth century based on portraits produced by Alberto Henschel (1827-1882)s photographic studios between 1866 and 1882. This successful German photography businessman settled in Brazil since 1866 was awarded the title of Photographer of the Royal House having produced a large number of portraits of black people in carte-de-visite format. This study starts from the assumption that these images embody certain stereotypes characteristic of the representation of otherness, as well as making use of pictorial conventions both contemporary and previous to the invention of photography itself. The concepts of identity and difference were used for this analysis, as well as those of representation and selfrepresentation. Through mutual comparison of photographs of white and black people produced by Henschel, it could be verified that the production of the latter sought to meet a demand for typifying images adequate for ethno-anthropological collecting (collectionism). This was a practice with a imperial bias which took place Europe. Besides analyses of photographs, this dissertation also raises a discussion on the nature of the files storing Alberto Henschels photographic production, the criteria which guided their formation, and what they actually allow us to know about the photographer, his work and his time.

Esta dissertação objetiva analisar a representação do negro no Brasil no século XIX a partir de retratos produzidos pelos estúdios fotográficos de Alberto Henschel (1827-1882), entre 1866 e 1882. Alemão radicado no Brasil, em 1866, este empresário bem sucedido do campo da fotografia chegou a ser agraciado com o título de fotógrafo da Casa Imperial, tendo produzido um grande número de retratos de negros no formato carte-de-visite. A investigação parte da hipótese de que essas imagens materializam certos estereótipos, característicos da representação da alteridade, além de fazerem uso das convenções pictóricas contemporâneas e, até mesmo, anteriores à própria invenção da fotografia. Para essa análise foram utilizados os conceitos de identidade e diferença, bem como de representação e autorrepresentação. Por intermédio do cotejamento das fotos de brancos com as fotos de negros, produzidas por Henschel, foi possível comprovar que a produção das últimas visava a atender a uma demanda por imagens tipificadoras, adequadas ao colecionismo de caráter etno-antropológico. Tratava-se de uma prática de viés imperialista que teve lugar na Europa. Além da análise das fotografias, propriamente ditas, esta dissertação problematiza a natureza dos arquivos que guardam a produção fotográfica de Alberto Henschel, os critérios que nortearam sua formação e aquilo que, de fato, eles nos permitem conhecer a respeito do fotógrafo, sua obra e sua época. / This dissertation aims to analyse the representation of black people in Brazil during the XXth century based on portraits produced by Alberto Henschel (1827-1882)s photographic studios between 1866 and 1882. This successful German photography businessman settled in Brazil since 1866 was awarded the title of Photographer of the Royal House having produced a large number of portraits of black people in carte-de-visite format. This study starts from the assumption that these images embody certain stereotypes characteristic of the representation of otherness, as well as making use of pictorial conventions both contemporary and previous to the invention of photography itself. The concepts of identity and difference were used for this analysis, as well as those of representation and selfrepresentation. Through mutual comparison of photographs of white and black people produced by Henschel, it could be verified that the production of the latter sought to meet a demand for typifying images adequate for ethno-anthropological collecting (collectionism). This was a practice with a imperial bias which took place Europe. Besides analyses of photographs, this dissertation also raises a discussion on the nature of the files storing Alberto Henschels photographic production, the criteria which guided their formation, and what they actually allow us to know about the photographer, his work and his time.

Orientador: Roberto Berton de Angelo / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T18:37:17Z (GMT). No. of bitstreams: 1 Leite_MarceloEduardo_D.pdf: 30582697 bytes, checksum: a7321fbe3467cd0fcf16bc2abf73ad49 (MD5) Previous issue date: 2007 / Resumo: Esta pesquisa objetiva compreender melhor a difusão da fotografia no Brasil do Segundo Império. Em particular, daremos atenção à sistemática do trabalho nos ateliês e as mudanças trazidas após a difusão das fotografias carte de visite. Argumentamos que, sendo o ateliê um espaço importante para a sociedade da época, os fotógrafos tornam-se mediadores de processos de representação e autorepresentação da população, sendo que a análise mais pontual do trabalho privilegiará quatro profissionais que aqui atuaram e que, cada um à sua maneira, indica diferentes formas de fazer o ofício fotográfico / Abstract: This research has as main objective to better understand the spread of photograph in Brazil in the period of the Second Empire. Especially, we will have our focus to the work systematic in the worshops and also to the changes brought after the spréad of the carte de visite photographs. Our argument is that the workshop is an important space for the society of this age, once the photographers became the mediators in the process of representation and self-representation of the population. We will analyze four professional who worked at this age and each one in their one way indicates different ways of the photographic labor / Doutorado / Doutor em Multimeios

No description available.

Apparu vers le milieu du XIXe siècle comme jargon dans les cercles artistiques munichois désignant une image de piètre qualité, bon marché, le mot kitsch s’utilise aujourd’hui non seulement dans le monde de l’art mais aussi dans la vie quotidienne toujours avec un sens fortement péjoratif. Considéré en général comme « mauvais goût », « art sans valeur », « camelote artistique », ou « art vulgaire », le kitsch n’est pourtant pas un concept qui demeure seulement dans une dimension esthétique ou artistique. Les divers phénomènes historiques du kitsch, émergés dans le contexte de la modernité, comme « la bib[e]lotomanie », « le roman-feuilleton », « l’art pompier » en France au XIXe siècle, ou encore « la peinture de salon de coiffure » en Corée au XXe siècle, trahissent tous que le kitsch est en effet une attitude que l’homme adopte vis-à-vis de son existence et du monde dans la réalité. L’essentiel de ce concept réside donc dans sa négation ou mieux dans sa fuite de la réalité. Voilà pourquoi la photographie se présente comme un médium qui mérite d’être étudié en rapport avec le kitsch. Médium qui a un lien spécifique par excellence avec le réel, elle ne cesse de faire ontologiquement le va-et-vient entre le présent et le passé, l’instantanéité et l’éternel, l’ici et l’ailleurs, le sujet et l’objet, la vie et la mort, etc. C’est en effet à cause de cette ontologie paradoxale que la photo peut devenir, selon « l’acte photographique », non seulement de l’art mais aussi du kitsch. Ainsi, l’attitude envers ce dernier que les artistes laissent apercevoir à travers leur œuvre photographique s’avère extrêmement variée, et ambiguë, voire même contradictoire tout comme chez Pierre et Gilles, Vik Muniz, Sebastião Salgado et Oliviero Toscani. / Appeared in the mid-nineteenth century as a jargon in the artistic circles of Munich designating a cheap image of poor quality, the term “kitsch” is used today not only in the art world, but also in everyday life, always with strongly pejorative sense. Generally considered as “bad taste”, “worthless art”, “artistic junk” or “vulgar art”, kitsch, however, is not a concept that remains only in aesthetic or artistic field ?. Various historical phenomena of kitsch which had been all emerged in the context of modernity, such as “bib[e]lotomanie”, “serialized novel”, “academic art” in France in the nineteenth century, or “barbershop’s painting” in Korea in the twentieth century, show that kitsch is indeed an attitude of human being toward his own existence and the world. The essence of this concept lies therefore in his negation of reality, or better in his escape from reality. That’s why photography deserves to be studied in relation with the kitsch. Having a specific link with the reality, the medium oscillate ontologically between the present and the past, the instant and the eternity, the here and the elsewhere, the subject and the object, the life and the death, etc. It is indeed because of this paradoxical ontology that the photography can become, according to the “acte photographique” not just art but also kitsch. Thus, the attitude to the latter the artists let reveal through their photographic work turn out extremely varied and ambiguous, even contradictory such as it does in the work of Pierre et Gilles, Vik Muniz, Sebastião Salgado and Oliviero Toscani.