South Africa has not yet become a nation united in its diversity despite the claim made otherwise in the South African constitution. To grapple with the constitution’s unfulfilled promises, many writers and artists from the country have taken up the incongruity between lived experience and nationalist rhetoric in their works. As part of that efforts by artists and writers in South Africa, Ivan Vladislavić’s 2006 book Portrait with Keys: The City of Johannesburg Unlocked describes the difficulties of living in a country that does not perfectly match the rhetoric of a nation “united in [its] diversity.” In order to expand on the theme in Portrait with Keys of incongruity between lived life and the national discourse, as well as between lived life and literary representations, it is imperative to identify the discourse surrounding the current situation in South Africa. In this analysis of Vladislavić’s book, the author will describe and decipher moments where the lived experience of residents in Johannesburg belies the inclusionary discourse of South Africa and the literary representation of other cities. After describing moments that highlight the lack of correspondence between life and word, the author will analyze the various strategies for coping with the incongruity in the book. By taking this route of analysis, the author intends to illuminate the South African phenomenon of incongruent experience (in which lived life, discourse, and representation do not correspond) and arrive at a reading of the incongruity in Vladislavić’s book that leaves room for hope. / text

Literatūrinis portretas, kaip ir bet kuris kitas meninio kūrinio elementas, nėra statiškas, uždaras. Jis yra veikiamas istorinio laiko, kultūrinio konteksto kaitos, neatsiejamos nuo meninių stilių, judėjimų ir krypčių persipynimo. Literatūrinio portreto transformacijos neišvengiamos ir dėl to, kad jis atspindi tiek kuriančiojo, tiek kuriamojo asmens savivokos apsektus, fiksuoja socialinius visuomenės pokyčius, iš kurių ryškiausią vietą šiandieninėje visuomenėje užima informavimo priemonės, neretai išstumiančios etinius ir kultūrinius kanonus. Moterų tekstuose sukurto portreto kaitos procesą įtakojo feministinis judėjimas, suformavęs feministinę literatūrologiją. Joje svarbiausia vieta skiriama moters patirčiai, moteriškam rašymui, moteriškajai tradicijai literatūroje. Svarbu akcentuoti tai, kad lietuvių literatūroje iki XIX a. antrosios pusės moterų portretai iš esmės yra kuriami vyrų: S. Daukantas, M. Valančius, V. Pietaris, J. Basanavičius, Maironis. Šie kūrėjai yra veikiami krikščioniškosios tradicijos, įskiepijusios vaizduojamoms moterims privalomas dorybes: kuklumą, skaistumą, nuolankumą. Minėto amžiaus pabaigoje vyriškąsias gretas papildo moterys rašytojos: Žemaitė, Šatrijos Ragana, Bitė, Lazdynų Pelėda, I Simonaitytė. Šių rašytojų sukurtas moters portretas nepasižymi ryškiu išskirtinumu, tačiau plačiai atskleidžia komplikuotą moters padėtį to meto lietuviškoje visuomenėje. Nuo 1981 – 1986 metų moterų prozoje pasirodo savitesnis bei dinamiškesnis moters portretas... [toliau žr. visą tekstą] / A literary portrait as well as any other element of artistic creation is not static, closed. It is influenced by changes of historical time, cultural context integral with interlacing of artistic styles, movements, trends. Transformations of a literary portrait are unavoidable also because it reflects the aspects of self-perception of both creating and created persons; it records social changes, which include the means of information taking the salient place in nowadays society usually even replacing ethnic and cultural canons. The process of change of portraits created in women’s texts has been influenced by feministic movement, which formed feministic literature. The most significant place there is allocated to woman’s experience, feminine writing and feminine tradition in literature. It is important to emphasise that the portraits of women in Lithuanian literature until the second part of the XIX century had been mostly created by men: S. Daukantas, M. Valančius, V. Pietaris, J. Basanavičius, Maironis. These creators were influenced by Christian tradition, which indoctrinated obligatory virtues to portrayed women: modesty, purity, obedience. At the end of the abovementioned century, the masculine ranks were complemented by women writers: Žemaitė, Šatrijos Ragana, Bitė, Lazdynų Pelėda, I. Simonaitytė. The portraits of women created by these writers were not distinguished for striking oneness, however they widely revealed a complicated women’s situation in Lithuanian... [to full text]

Masinėje kultūroje vaizduojamas žmogaus kūnas dažniausiai atrodo labai įprastas ir fiziškas. Visuomenėje pastebima, kad tik skirtingos mokslo disciplinos tyrinėja tam tikrus kūno vaizdavimo metodus. Kūnas dažniausiai egzistuoja kaip, fiziologinis, anatominis, etnologinis, religinis ir estetinis. Diplominiame darbe „Žvilgsnis į priekį, žingsnis atgal” analizuojama moters, kaip stebimojo objekto raida tradiciniame mene, kine ir videomene. Pagrindinė, kylanti iš moters kaip žiūrimojo meno objekto sampratos problema yra, kaip galima konceptualizuoti realų žiūrovo žvilgsnio mechanizmą ir žiūrėjimo malonumą, kito¬kį, nei tapatinimasis su vyriškojo žvilgsnio objektu. Diplominiame darbe nagrinėjami moters įvaizdžio kaita mene ir naujas požiūris į moterį, kaip vertinamąjį meninį objektą. Normatyvinėje lyčių sistemoje, kurią sergsti heteroseksualumo imperatyvas, paprastas žiūrėjimo situacijos apvertimas neįvyksta (vyrui tapus stebėjimo objektu, moteris automatiškai netampa stebinčiu subjektu). Todėl, siekiant struktūrinių permainų vaizdinėje lyčių reprezentacijoje, teko nagrinėti patį heteroseksualinį imperatyvą. Skaitmeninės tapybos portretų cikle „Žvilgsnis į priekį, žingsnis atgal” bandyta žiūrintįjį ir žiūrimąjį sukeisti vietomis ir paversti moterį iš vertinamojo objekto į vertintoją. / Human flesh for many it seems very normal and physically. In a society noted that only they are capable of different academic disciplines to engage in some physical exploration. The body exists as physiological, anatomical, ethnological, religious and aesthetic. The paper analyzes the woman as object tracking developments in the traditional arts, cinema and video art. The main problem arising from the woman observed an object of art concepts: how to conceptualise the actual mechanism of sight of viewers and viewing pleasure, other than an identification with the object of male gaze. The work deals with women in the art of image change and a new approach to women, as assessed in an art object. Gender-operative system, which is imperative sergsti heterosexuality, a simple viewing situation inversion takes place (the man has become the object of observation, the woman does not become automatically monitor the subject). Therefore, to structural changes in the image of gender representation, had to consider the most heterosexual imperative. Digital portrait painting series "Looking forward, step backward and watching a visible attempt to reverse and transform a woman into an object of the benchmark estimator.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Renaissance art historians concur that women were characteristically depicted as ideal types in Renaissance portraiture. Nonetheless, the historiography of portraits of women in Renaissance Italy reveals generational shifts between scholars. Male scholars writing in the nineteenth-century to the mid twentieth-century applied formalist and cultural historical methodologies. Recent scholars raise issues that were previously neglected, such as social historical and feminist concerns. Following this rationale, I argue that the changing interests of scholars have altered the interpretations of portraits of Renaissance women. Moreover, this historical difference is split along gender lines in the historiography of Titian's La Bella. A critical review of the literature on this painting shows that male scholars, such as John Pope-Hennessey, Harold E. Wethey, and Charles Hope define the work in formal terms, such as "charming" and "pretty," whereas female scholars such as Elizabeth Cropper, Patricia Simons and Rona Goffen concur the work to be a synecdoche for the beauty of painting itself. A historiography of Titian as a portrait painter confirms that recent scholars have shifted focus from formal studies to an assessment of the social context, conditions of patronage and the feminist issues surrounding the artist's portraits.

Trijų dalių tapybos kolekcija „Šeimos portretas“ – tai tremtį išgyvenusių vyro ir žmonos psichologinis portretas. Kūrybinė interpretacija paremta sovietinio laikotarpio nuotraukomis. Tapybos darbuose keliama problema – skaudžios tremtinių patirties vaizdavimas. Politiniu, istoriniu, teisiniu atžvilgiu svarbi tema lemia archyvuojamų dokumentų saugojimą, žiniasklaidos aktyvumą, asmeninių patirčių pasakojimus, - atvirą galimybę menininkams įvairiai interpretuoti tremties temą – vaizduoti įvykius, procesus, padarinius, abstrahuoti, apibendrinti tikrovę ir individualias patirtis. Kolekcijos „Šeimos portretas“ temai atspirties tašku tapo fotografo V. Stanionio 1947 metų fotosesija, skirta naujų pasų nuotraukoms. To meto įvykiai susiję su masiniu trėmimu. Kūrybinė medžiaga kaupiama įvairiais būdais: skaitmenine spauda, vaizdą perkeliant ant drobės, grafiškų atspaudų kūrimu, tapybos variantų ieškojimu, schemų sudarymu kompiuterinėmis programomis (Photoshop, Corel Draw). Galutinis darbas atliekamas drobėje, aliejiniais dažais. Trijų dalių tapybos kolekcija atliekama 140 x 100 cm formate. Kompozicija artima altorinei, ji yra centrinė, uždara. Koloritas analogiškas nespalvotai fotografijai. Dramatiška šviesokaita, niaurių šešėlių pritvinkusiu fonu, siekiama išryškinti trapią nuotraukų šviesą. Baltais, tuščiais fragmentais kalba nyki tyla. Tremtis – šeimos, žmonijos laikmečio tamsi dėmė, prisiminimų ir vilties šviesoje. / The three-part paintings' collection called "The Family Portrait" is the psychological portrait of the family witch survived the exile. Creative interpretation is based on the Soviet period photographs. The problem posed by paintings is to depict painful experience of persons who survived an exile. Politically, historically, legally important issue determined archived documents storage, information motion, media activity, personal experiences. Stories became the open opportunity for the artists to interpret the theme of exile in different various ways – as the events, the processes or the effections. Abstract and summed up reality becames an individual experience. The starting point for the collection is 1947-th photo session for the new passports organised by photographer V. Stanionis. The recent events related to the mass deportations. The creative material is collected in various ways: by digital printing, an image transphered into the canvas, by graphically print design, by search options for painting plasics, schemes projected by computer software (Photoshop, Corel Draw). The final work is done on canvas using oil paints. Every three-piece collection takes 140 x 100 cm size. Composition close to the altar, it is a central and enclosed. The colours were chosed similar to the blac-white photography. The dramatic change of the concrasts, somber shadows filled up the background highlights the delicate images of the light. White and empty fragments speaks about the... [to full text]

It‘s much more difficult for hearing impaired students to understand the world surrounding them. The problem is that hearing impairment and lack of sounds slows down or suspends normal development and thinking of the deaf, though it doesn’t have a significant influence on their intellect. Hearing impaired students receive support from teachers for the deaf as well as from the other professionals and they are able to study at regular schools or schools for the deaf or hard of hearing successfully. Deaf people receive information mainly in visual way, so visual expression has a very important role in deaf education. During the art classes deaf students may express their emotions, ideas and learn to understand the world. Object of the work is creative activities of deaf students at the art classes. The first part of the Master’s paper reveals problems concerning deafness and ways of communication of the deaf. The second part of the paper presents a history, methods and principles of deaf education. The third part ascertains art abilities of deaf students, compares their achievements in changing techniques of performance, genres, presenting interesting subjects for them. A research study reveals the ways how deaf students meet and learn new concepts. The research corroborated the hypothesis that more diverse means of performance and diversity of techniques stimulate creation of deaf students. The research has also shown poor results of how deaf students remember a rich... [to full text]

Diplominiame darbe „Sociopato portreto vaizdavimas kinematografijoje“ nagrinėjama kaip ir kokiomis priemonėmis kino filmuose vaizduojami sociopatijos paveikti asmenys. Šis reiškinys psichologiškai dar nėra visiškai išnagrinėtas, todėl yra labai sunku visuomenėje nustatyti sociopatus. Pasireiškia tik atskiri atvejai kai jie yra demaskuojami dėl to, kad nusižengė įstatymams ir nepakluso teisėtvarkai. Nemažai įvairaus laikotarpio filmų sukuriama remiantis sociopatijos reiškiniu, kuriuose sukuriami jos paveikti personažai. Nors jie yra visi skirtingi, bet turi nemažai bendrų bruožų, tiek savo išvaizdoje ir elgesyje, tiek vizualiniame portreto vaizdavime. Diplominį darbą sudaro dvi dalys – teorinė ir praktinė. Pirmojoje dalyje remiantis Aleksanrd Mitta, David A. Cook, Béla Balázs, Nerijaus Mileriaus knygomis nagrinėjami ir bendrai aptariami sociopatų portretai kino filmuose, supažindinama su jų vaizdavimo ypatybėmis ir būdo bruožais. Aptariamas sociopatijos reiškinys šiuolaikiniame Lietuvos kino kontekste. Atidžiau įsigilinama į pasirinktus filmus, aprašomos psichologinių portretų vizualinės savybės, taip pat aktoriai, jų būdo bruožai, elgsena, pagalbinės portreto formavimo priemonės. Antrojoje, praktinėje dalyje aprašomas analizuotos medžiagos pritaikymas praktiniam darbui, idėjos, koncepcijos suformavimas ir vizualiniai bei techniniai sprendimai. Diplominio darbo praktinės dalies tikslas – sukurti sociopato psichologinį portretą ir perteikti jį muzikiniame klipe. / The thesis “Representation of the Sociopath Portrait in Cinematography” examines how and by what means the represented people in cinematography are affected by sociopathy. As this phenomenon is not yet fully examined psychologically, it is hard to detect sociopaths in the society. Only special cases are discovered, due to the fact that the law was broken and the person disturbed the law and order. A significant number of films from different periods were created with sociopathy phenomenon as its basis, in which the characters are affected by it. Even though all of them are different, however, a lot of them share similar traits, be it outward appearance and behavior, as well as in representing the visual portrait. The thesis consists of two parts – theoretical and practical. The first part deals with the general examinations and postmortem of the sociopath portraits in cinematography, introduction to the representation qualities and their mannerisms based on books by Aleksanrd Mitta, David A. Cook, Béla Balázs, Nerijus Milerius. The phenomenon of sociopathy in contemporary Lithuanian film context is discussed. A closer investigation of the selected films is conducted, the visual psychological features of the portraits are described, as well as the actors and their traits, behavior, auxiliary portrait-making means. In the second, practical part of the thesis, the application of the analyzed material to the practical part, ideas, concept formation and visual as well as technical... [to full text]

Nell’ambito delle odierne teorie del cinema e dell’audiovisivo il problema dell’autoritrattistica e dei suoi rapporti con i nuovi mezzi è oramai di acclarato rilievo. Se la teoria contemporanea pare infatti polarizzarsi da un lato intorno alla questione mediologica e dall’altro a quella dell’immagine, l’autoritratto, inteso nel senso più ampio, si colloca, per la sua peculiare e costitutiva metadiscorsività, all’intersezione di questi due ordini di problemi, interrogandone la correlazione. Ne emerge una comune strutturazione del discorso intorno alla questione fondamentale dell’opposizione e reciproca implicazione di sensibile e intelligibile, frastico e ostensivo, dicibile e indicabile. Una simile problematica si imponeva già in linguistica con Benveniste e nel campo dell’immagine, in modi diversi, con Metz e Marin, e trova oggi nuova e feconda formulazione nella riflessione recentemente sviluppata da Rancière intorno al “regime estetico delle arti”. A partire da ciò che, alla luce dell’implicita dimensione “estetica” che risulterebbe allora soggiacente all’orizzonte teorico contemporaneo, abbiamo chiamato “la scena dell’autoritratto”, quest’ultimo sembra allora assumere complessivamente una valenza di traccia, di impronta, manifestante nella presenza sensibile dell’immagine l’assenza di ciò che vi si è impresso. Modalità mediale di ciò che Derrida ha chiamato spettralità. / In the field of contemporary cinema and audiovisual theories, the subject matter of self-portrait and its relations to new media is by now noticeably relevant. If contemporary theories are indeed polarized between media and visual studies, self-portrait, as a whole, appears, because of its peculiar metadiscursivity, as a crossroad between these two main issues, and therefore as a chance to question their correlation. What emerges is a common and fundamental problem, that of the opposition and mutual implication of perceptible and intelligible, discursive and figural: what can be expressed with words and what can be shown, indicated. Such problems had already been discussed by Benveniste in the field of language and by Metz and Marin in that of the image, and finds today a new and fertile formulation in Rancière’s reflection on the “aesthetic regime of the arts”. Starting from what, in the light of what would then be the “aesthetic” dimension implied by the contemporary theoretical horizon, we called “the scene of the self-portrait”, the latter would then take value of track, imprint, displaying in the perceptible presence of the image the absence of what is impressed in it: mediated modality of what Derrida called spectrality.

This thesis uses the photographic portrait as an example of contemporary art practice to examine developments in aesthetic sensibility and constructions of meaning with particular address to ineffable qualities in both the subject and in the photograph. It examines the contribution of practice to a wider cultural debate, predominantly described as poststructural. Thomas Ruff's contention that it is impossible to photographically depict an individual, establishes a methodology that interrogates assumptions and directs examination toward reconfiguring issues of theory and practice. In the photographic portrait, what is `essential' equates with the expectation of visual statements that are definitive and what is 'ineffable' is that which transcends words. The persistent premise of capturing the 'essence' is dependant on the notion of 'presence', the certainty of pure perception or essential meaning, now undermined by poststructuralism in terms of conceptions of meaning and authorship. If essential depiction is problematic, how might a correlative adjustment to conceiving and validating photographic meaning be framed? How are essential or ineffable qualities displaced, formed and manifested? What constitutes the contemporary 'meaningful' portrait? Realigned as 'depictions of people', the 'portrait' serves a complex function, adjusted in the light of psychoanalysis and poststructuralism and visibly manifested as metaphor for contemporary consciousness. With particular reference to texts by Julia Kristeva, Emmanuel Levinas, Jacques Derrida and Jean Baudrillard, this thesis demonstrates photographic practice as a form of discourse that visualises implicit truth-values, and participates in debate. It asserts figural interpretations to photographs over literary systems like narrative, and immanent property over aspirations to 'transcendence' or 'essence' and proposes reconfigurations of psychological, critical or poetic 'fiction' as alternatives. It repositions the ineffable as a conceptual domain of possibility that assimilates the dynamic of differance as its poststructural equivalent and proposes a conceptual aesthetic that celebrates aspects of poststructuralism and is rooted in what the photograph provokes rather than what it depicts.