Thesis--Göttingen. / Includes selected texts from Tripiṭaka in Pali (romanized) and German. Vita. Includes bibliographical references (p. 235-240) and index.

This thesis examines the notion of a 'third space'. 'Third space' is a way to examine the question of culture in a time marked by large epistemic, political and representational shifts. Recent theorization of 'third space' often locates this as a cultural 'in-between' or field of liminality, beginning with the polarities of hierarchical and binary dualisms. The body, as one half of dualistic thought and practice, remains conspicuously absent from concepts of 'third space' and its activities. A series of dynamic modes of engagement, in which embodiment figures centrally, constitutes 'third space' in this theorization of it. Rather, however, than approach the articulation of a 'third space' solely through academic and literary texts, its primary 'sources' of 'information' to date, photographic imagery is proposed as a means to access 'third space'. The photographic, through its mediation of "vision," provides visual 'clues' by which to approach the "subjects" and "objects" of 'third space'. A trialectical relation of Visuality, Embodied Inter(ob)subjectivity and Space therefore characterizes a feminist approach to, and conceptualization of, 'third space'. An interpretative analysis of the contemporary photographic practices of Genevieve Cadieux, Marlene Creates, and Sylvie Readman contributes to an understanding of the significance of a notion of 'third space'.

Thesis (M.F.A.)--Rochester Institute of Technology, 1994. / Typescript. Includes bibliographical references (leaf 36).

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaf 27).

Thesis (B.A.)--Bryn Mawr College, Dept. of Art, 2005. / Includes bibliographical references.

Thesis (Ph.D.)--University of Waikato, 2010. / Title from PDF cover (viewed 28 July, 2010). Includes bibliographical references (p. 461-507)

Cette thèse propose une réflexion sur la représentation de la figure humaine au-delà de la « ressemblance cadavérique » présumée par Maurice Blanchot. Nous interrogeons les appels à figurer la figure humaine dans diverses formulations et configurations iconoplastiques, par les moyens associés de la peinture et de la photographie, à partir d’un corpus de postures plastiques contemporaines. Comment la figure humaine se donne-t-elle à figurer pour déborder la seule figuration ? Il est aussi question de reconvocation puisque les œuvres étudiées procèdent de reprises, transferts, reconductions, revenances.Les êtres blanchis peints par Jean Marc Cerino, les portraits flous et dérobés de Gerhard Richter, un ensemble d’autoportraits photographiques assourdis de Jacques Damez, les Faces grimaçantes et les Masques Mortuaires rehaussés d’Arnulf Rainer, les défunts dévoilés et photographiés en gros plan par Andres Serrano et les faces surfacées peintes par Anthony Vérot ouvrent des analyses poïétiques et esthétiques qui nous amènent à distinguer deux voies de l’effacement : l’affaiblissement et tout autant la surenchère. Visibilités défectives ou exacerbées ? Deux pôles se succèdent et articulent la tension dialectique de la donation et du retrait : « figures affaiblies » / « figures excessives ». Figurer c’est opérer par distanciation, retrait, passage, dissimulation, déplacement. Ce travail de recherche relève des rapports de force qui travaillent les figures résistantes à leurs oblitérations mais aussi à toutes tentatives de dévoilement. Ces détours étudiés signalent les infigurables qui se désistent : le visage, l’être, l’autre, soi-même, la mort. / This thesis reflects on the representation of the human figure, beyond the “cadaveric resemblance” assumed by Maurice Blanchot. It looks at the calls for representing the human figure across a variety of iconoplastic configurations and formulations, by means of a combination of painting and photography, from a body of plastic contemporary approaches. How does the human figure can be represented so as to go beyond the mere figuration?The thesis also explores the question of return, since the works under study are based on revivals, transfers, renewals, virtual resurrections.The bleached out human beings by Jean-Marc Cerino, the blurred and hidden portraits by Gerhard Richter, the series of muted photographic self-portraits by Jacques Damez, the grimacing Faces and Death Masks by Arnulf Rainer, the corpses unveiled and photographed close-up by Andres Serrano, and the flatly painted faces by Anthony Vérot give rise to aesthetic and poietic analyses which lead us to distinguish two ways of erasure: the weakening and, just as much, the exaggeration. Defective or exacerbated visibilities? Two extremes alternate and structure the dialectical tension between giving and staying in the background: “faded figures” / “excessive figures”.Representing involves detachment, removal, transition, concealment, transfer. This research paper highlights balances of power where the figures stand up to their disappearance but, at the same time, to any attempt to unveil them. By analysing these roundabouts, this thesis shows the unfigurable which is stepping aside: the face, the being, the self, death.

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.

No description available.

The present study explored the possibility of applying Koppitz's developmental scoring techniques of mental maturity to retarded adults. The following hypotheses were tested: 1) that there is a significant correlation between the Koppitz HFD Test scores and the WAIS Full Scale scores; 2) that the correlation between the Koppitz HFD Test scores and the WAIS Performance Scale scores is also significant. Statistical computations did confirm the latter hypothesis but not the former one.