Uppsatsens ansats är att undersöka hur den kvinnliga karaktären Eleven kan tolkas som en kristusgestalt. Med hjälp av en narrativ analys av utvalda scener i säsong ett av tv-serien Stranger Things där karaktären Eleven figurerar, analyseras både Elevens handlingar och hennes karaktäristiska drag med hjälp av bland annat Tomas Axelsons förståelse av en kristusgestalt och dess rötter, samt Lloyds Baughs åtta kriterier för kristusgestalter. Resultatet visar att Elevens karaktäristiska drag och handlingar är till stor del förenliga med en kristusgestalts, men är inte oproblematiskt. Många av Elevens handlingar, även de som genomförs med ett beskyddande syfte, genomsyras av våld, vilket inte är kristuslikt alls. Tidigare forskning menar att våld är vanligt förekommande bland dagens kristusgestalter, men frågan kan ställas huruvida detta så vitt skiljande drag bör påverka tolkning av karaktärer som kristusgestalter.

Le but de ce travail est de comprendre les différents aspects du processus de figuration dans la philosophie de Descartes, en particulier pour une connaissance des corps de la nature. La notion de figure revêt différentes fonctions, des premières œuvres de Descartes jusqu’aux plus tardives : fonction méthodique de représentation conventionnelle des relations entre nos notions, objet géométrique, mode de l’étendue assigné par la métaphysique à la réalité des corps, délimitation externe de corps sensibles ou de corpuscules invisibles dans la physique. Nous cherchons à rendre compte de ces dimensions dans leur ensemble pour comprendre comment la pensée de Descartes évolue des Regulae aux textes plus tardifs et s’efforce de répondre à un problème nouveau qui ne se posait pas pour la scolastique, celui de la connaissance de la figure de corps déterminés. Ce problème peut se poser parce que la métaphysique à la fois établit la figure comme mode essentiel de l’étendue des corps et refuse a priori de recourir à la sensation pour la connaissance, mais il se pose aussi en termes purement épistémologiques pour la constitution d’une physique. Nous montrons qu’une clé de ce problème réside dans la théorie de la vision présentée dans la Dioptrique, mais que ce texte appelle en partie son propre dépassement en direction d’une physique corpusculaire qui met en jeu un usage spécifique de l’imagination et de l’expérience. Ceci doit nous permettre de repenser, à partir de la notion de figure, ce qu’il a été convenu de considérer comme un aspect de la mathématisation de la nature opérée au XVIIe siècle. / My aim, in this dissertation, is to explore the various aspects of the process of figuration in Descartes’ philosophy, particularly with respect to the knowledge of natural bodies. Moving from Descartes’ early to his more mature works, we find that the notion of figure (or shape) played a variety of roles: it possessed a methodological function, as a conventional representation of the relations between our notions, but also designated, respectively, a geometrical object, a mode of extension assigned by metaphysics to the reality of bodies, and an external delimitation of sensible bodies or of invisible corpuscles in physics. In analyzing these different functions, my aim is to understand how Descartes’ thought evolved from the Regulae to later texts, while trying to answer a new problem that did not exist for the scholastics, namely that of the knowledge of the shape of determined bodies. This problem arose partly because Descartes’ metaphysics had established shape as an essential mode of bodily extension, while at the time refusing a priori to appeal to sensation for knowledge, but it also emerged for purely epistemological reasons in the process of constituting a new physics. In my thesis, I argue that one key to this problem is to be found in the theory of vision, presented in the Dioptrique, a text that moves, however, towards a corpuscular physics that relies on a specific use of imagination and experience. From this analysis of the notion of figure or shape, we are able to shed a different light on what so far has been considered an integral aspect of the 17th century’s mathematisation of nature.

The purpose of this study is to look at how the figure is imaged through the photographic medium today. Through this purpose I aim to explore the individual expression of the photographer in his photographic medium; the expression of the figure within the medium and the diverse practises of this medium in society - to build up an awareness and understanding of the diverse representations of the human form. The general aims of study are: 1 - to study how these three photographers choose to photograph the figure, through their technical, compositional and individual approach. 2 - to show how diverse the usage of the photographic figure is in the visual world. 3 - to expose an awareness of the photographic figure as transformation of an expression of self. 4 - to show the relationship between the photographer and the figure, the camera and the photographer, the camera and the figure, and the photographic figure and the viewer. 5 - to study my own photographic imagery in relation to the other imagery discussed. My research information was collected through: observations, discussions, literature and practical exploration. This study will attempt to draw conclusions, from its explorations, that will highlight the importance of the individual eye: that it is the individual eye that becomes the vehicle of transformation.

Tenter de cerner le concept de ‘’personnage poétique’’ dans Les Fleurs du Mal et Le Spleen de Paris et essayer d’en déduire les fonctions et les significations, tels sont les objectifs du présent travail. Un processus de conceptualisation fait l’objet de notre première partie qui s’appuie sur les critiques existantes à ce sujet pour donner les statuts adéquats aux êtres peuplant ces deux œuvres. On s’est proposé de voir à travers des exemples précis le traitement que réserve l’œuvre baudelairienne à ce concept, notamment quand il s’agit de passer du poème en vers au poème en prose. Ainsi, des notions limitrophes ont émergé au fil de notre analyse, comme la notion de “figure allégorique” ou “mythique”. Parler de ‘’personnage poétique’’ est donc fort délicat surtout à l’aune de la variation générique qui impose des nuances contraignantes. Mais le fait est là : nous pensons légitime d’attribuer le statut de personnage à certains des sujets qui traversent Les Fleurs du Mal ou Le Spleen de Paris. En effet, ils sont définissables suivant les critères réservés généralement au personnage à savoir, le faire, le dire, la dimension psychologique. Néanmoins, ce statut n’est pas aussi évident quand on constate que dans ces deux œuvres le même sujet peut parfois conjointement relever du traitement de personnage et de figure. Ce travail étant réalisé, notre tâche était d’étudier les fonctions de ces ‘’personnages’’ et de ces ‘’figures’’ dans le cadre de l’esthétique générale de Baudelaire. Dès lors, on a pu voir un processus de dédoublement et de dialogisme se déclencher entre le poète et ses alter ego, qui incarnent ses revendications et ses convictions esthétiques avant-gardistes. / The objectives of the present work are attempting to define the concept of'' poetic character” in'' Les Fleurs du Mal” and” Le Spleen de Paris” as well as trying to deduce the functions and meanings implied in that concept. A process of conceptualization will be our first part .This part will rely on existing critics on this subject to finally give the appropriate statutes to creatures inhabiting these two works. We suggested to study through specific examples the way the works of Baudelaire treat this concept particularly when it comes to moving from free verse poem to prose poem. Thus, adjacent concepts have emerged in the course of our analysis such as the notion of mythical or allegorical figure. Talking about '' poetic character “is so delicate especially in this generic difference that imposes binding shades of meaning. But the fact is that we were able to grant the status of characters to many creatures whether in ‘Les Fleurs du Mal ‘or in ‘Spleen de Paris’. In fact, they can be defined according to the criteria usually reserved to character i.e., do, say, the psychological dimension… However, this status is not that evident when we notice that in these two works the same creature could sometimes jointly be treated as character and figure. Once this work was done, our task was to study the functions of these'' characters'' and '' figures'' in the context of the overall aesthetics of Baudelaire. Consequently, we could see a process of duplication and dialogism between the poet and his creatures. Tackled as his doubles; these creatures embody the poet’s claims and his avant-gardist aesthetic convictions.

Thesis (M. A.) -- University of Limpopo, 2005 / Refer to document

This project uses the program of a house on Claytor Lake as a vehicle for exploring the role of turning in protecting and uniting adjacent spaces.  Drawing was the primary means for this process of exploration, and can be read wholly and without the support of related text.  Figures at various scales -- from column to tree, resident to house -- both inhabit and articulate the project.  This house celebrates the preeminence of the hallway, and emphasizes its authority with the presence of subordinate figures and an agonistic landscape. / Master of Architecture

Trends in pairs figure skating have shown that increasingly difficult jumps have become an essential aspect of high-level performance, especially in the latter part of a competitive program. We compared a repeated jump power index in a 60 s repeated jump test to determine the relationship of repeated jump test to competitive rank and to measure 2D hip, knee, and ankle angles and angular velocities at 0, 20, 40, and 60 s. Eighteen National Team Pairs Figure Skaters performed a 60 s repeated jump test on a large switch-mat with timing of flight and ground durations and digital video recording. Each 60-s period was divided into 6, 10-s intervals, with power indexes (W/kg) calculated for each 10-s interval. Power index by 10-s interval repeated measures ANOVAs (RMANOVA) showed that males exceeded females at all intervals, and the highest power index interval was during 10 to 20 s for both sexes. RMANOVAs of angles and angular velocities showed main effects for time only. Power index and jumping techniques among figure skaters showed rapid and steady declines over the test duration. Power index can predict approximately 50% of competitive rank variance, and sex differences in jumping technique were rare.

This thesis describes a process of teaching figure drawing to adolescents which places importance on the subjective experiences of the students. Traditional figure drawing methods emphasizing the development of visual perceptual skills are integrated with activities which are designed to secure emotional participation, and develop awareness of art as a means of expression and communication. This approach seems to motivate students and to reduce the anxiety usually experienced by adolescents when they are drawing the figure.

Statue The Lilith is figural sculpture that combines elements of hyperrealism with purely abstract element. Female figure sitting on a throne is wrapped and draped in unrelated elements and their relationships. That make her imaginary clothes. The statue is the result of interest in the topic of mystery and its sculptural representation. The statue is a combination of materials, mostly it consists of fiberglass and polyester.

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