Nicolas Poussin's two Self-Portraits, painted in 1649 and 1650, have been the subject of countless art-historical investigations, but remain only incompletely understood. This study attempts to draw the meanings of the self-images into clearer focus. To this end, the relationships between Poussin and the eventual recipients of the two portraits, Jean Pointel and Paul Freart, Sieur de Chantelou, are examined more probingly and are positioned centrally in the analysis of the works. A careful exploration of the web of associations among the three men reveals that Poussin's caution in dealing with Chantelou, his often jealous and emotional patron, was a factor of great consequence to the development of the Self-Portraits. Bearing this in mind, both Poussin's letters and the scholarly accounts which accept his written statements at face value, may be approached with a more critical eye. This practice, in turn, leads to a broadened range of possibilities for the interpretation of the two Self-Portraits, and to a greater appreciation of the extent to which Poussin's creations were affected by human dynamics.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-18T12:06:15Z No. of bitstreams: 1 Zakiee Castro Mufarrej Hage.pdf: 682922 bytes, checksum: 4dc0c05d18b618af3623577739a0716a (MD5) / Made available in DSpace on 2017-07-18T12:06:15Z (GMT). No. of bitstreams: 1 Zakiee Castro Mufarrej Hage.pdf: 682922 bytes, checksum: 4dc0c05d18b618af3623577739a0716a (MD5) Previous issue date: 2017-06-21 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / In the current technological scenario, social networks are part of the daily lives of young Brazilian adults and stimulate people's exposure. One of the main ways to expose yourself online is photographic posts. Research shows that Brazil is the second country that most accesses the Instagram application and its most connected public are young adults. In this context, the present research adopted a systemic vision and had as objective to identify the styles of use and to understand the meanings attributed by young adults to the photographs of self - portraits posted in Instagram. For this, the mixed sequential explanatory method was used, with a quantitative analysis of 60 profiles and later a qualitative phase, with semi-structured interviews with six collaborators, selected during the first phase of the research. In the quantitative phase, the application styles were identified, which pointed to the categories proposed in the literature and six other categories of images and sub-categories of self-portraits. The total hashtags posted were also counted. From a statistical analysis it was verified that the category of images most posed by men and women corresponds to the self portraits, with a large majority over the other categories: 44% and 43%, respectively. Within the subcategories of self-portraits, the face figures stand out for both sexes: 47% for men and 43% for women. Six interviewees with three men and three women were selected, based on the maximum variability criterion: two higher posters, two medium posters and two minimum posters. The interviews were analyzed through the thematic analysis and indicated that Instagram is an application that offers greater freedom of exposure, compared to other applications, with employees stating that in the application they can be shown in a less contained way, in a context of greater privacy. Participants are influenced by the external look in their posts and have been attentive to the rules of the number of photos that can be posted per day. The meanings attributed to the posts were: privacy, memory, beauty and happiness / No cenário tecnológico vigente as redes sociais fazem parte do cotidiano dos jovens adultos brasileiros e estimulam a exposição das pessoas. Uma das principais formas de se expor online corresponde às postagens fotográficas. Pesquisas evidenciam que o Brasil é o segundo país que mais acessa o aplicativo Instagram e seu público mais conectado são os adultos jovens. Nesse contexto, a presente pesquisa adotou uma visão sistêmica e teve por objetivo identificar os estilos de uso e compreender os significados atribuídos por jovens adultos às fotografias de autorretratos postados no Instagram. Para tanto, foi adotado o método misto sequencial explanatório, com uma fase quantitativa de análise das imagens de 60 perfis e posteriormente uma fase qualitativa, com realização de entrevistas semiestruturadas com seis colaboradores, selecionados durante a primeira fase da pesquisa. Na fase quantitativa foram identificados os estilos de uso do aplicativo, que apontaram para as categorias propostas na literatura e mais seis categorias de imagens e subcategorias de autorretratos. Também foram contabilizados o total de hashtags postadas. A partir de uma análise estatística foi constatado que a categoria de imagens mais postada por homens e mulheres corresponde aos autorretratos, com ampla maioria sobre as demais categorias: 44 % e 43%, respectivamente. Dentro das subcategorias de autorretratos, os de rosto se destacam para ambos os sexos: 47% para os homens e 43% para as mulheres. Foram realizadas seis entrevistadas com três homens e três mulheres, selecionados a partir do critério de variabilidade máxima: dois maiores postadores, dois médios postadores e dois mínimos postadores. As entrevistas foram analisadas por meio da análise temática e indicaram que o Instagram é um aplicativo que oferece maior liberdade de exposição, se comparado a outros aplicativos, com os colaboradores declarando que no aplicativo podem se mostrar de forma menos contida, em contexto de maior privacidade. Os participantes sofrem influência do olhar externo em suas postagens e se mostraram atentos às regras da quantidade de fotos que podem ser postadas por dia. Os significados atribuídos às postagens foram: privacidade, memória, beleza e felicidade

Thesis (MFA)--Montana State University--Bozeman, 2008. / Typescript. Chairperson, Graduate Committee: Gesine Janzen.

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1990. / Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme de Maîtrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Bibliogr.: f. 107-111. Document électronique également accessible en format PDF. CaQCU

Made available in DSpace on 2015-09-17T15:26:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-25. Added 1 bitstream(s) on 2015-09-17T15:45:15Z : No. of bitstreams: 1 000847641.pdf: 11062823 bytes, checksum: 2c14766790544180356dca576203b59f (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Resumo Esta pesquisa constitui-se de duas partes complementares: a primeira apresenta um relato do processo de criação das pinturas que desenvolvi entre os anos de 2013 e 2015, as quais são exibidas aqui. Desse relato se originam as ideias-chaves que compõem a trama teórica apresentada nos capítulos seguintes, cujo objetivo consiste em expor as reflexões oriundas da prática, relacionando-as com o pensamento de autores e artistas afins. O eixo central desta dissertação gira em torno da questão do olhar, posto que as pinturas por mim elaboradas utilizam referências visuais para sua criação. Nesse sentido, a observação das coisas que existem ao redor levou à constatação de que não sou visível para mim mesma e, partindo dessa premissa, são analisadas questões como a necessidade da percepção visual de si, por meio da investigação da pintura de autorretrato e da autocontemplação mediante o uso de instrumentos como espelho e fotografia, e a percepção visual do outro, tomando como foco o olhar que se direciona aos objetos que existem no interior da casa. É apresentada, ainda, análise acerca de dois artistas específicos: Jean-Baptiste Siméon Chardin e Giorgio Morandi. As conclusões desta pesquisa,... / This research is constituted by two complimentary parts: the first one reports the creative process of the paintings produced by myself between 2013 and 2015, which are exhibited here. The key-concepts analyzed on the following chapters are originated from the report and aim to expose reflections derived from practice by establishing links with other authors and artists. The dissertation focuses on the act of seeing, since the paintings I produce require direct observation of visual references. In that sense, the act of looking at things around me led to the finding that I'm not visible to myself, and starting from this premise, the research investigates the necessity of visual perception of oneself, by analyzing self-portrait paintings and the usage of instruments that make us visible, such as the mirror and photograph, and the visual perception of others, by examining our relation with the objects that belong to the interior of a home. It is also presented an investigation of two artists: Jean-Baptiste Siméon Chardin and Giorgio Morandi. The research conclusions, in accordance with Silvio Zamboni conceptions, are contained in the produced paintings.

A dissertation in fulfilment for Master of Arts in Media Studies Faculty of Humanities School of Language, Literature and Media Studies (SLLM) University of the Witwatersrand 2016 / This research study essentially sets out to explore the practices of young, ordinary, South African women who take and post selfies on social media platforms, like Instagram. The general commentary surrounding selfies is typically negative, and tends to frame the selfietaker as a narcissistic, self-absorbed individual. Therefore, this study is interested in understanding what this very particular smartphone-enabled photographic technique means to this group of women, and in doing so, aims to determine whether or not there are underlying significances to such practices. This research study adopts a vast framework of literature in order to conceptualize and contextualize selfies in contemporary culture, by drawing on the rich history of self-portraiture and snapshots as well as concepts of mediation and the representation of the self online; in addition to describing the role that mobile technologies and social media platforms have played in contributing to cementing selfies as a cultural hallmark in today’s society. This study is additionally grounded upon three dominant theoretical themes, namely: narcissism, self-exploration, and self-regulation; and Christopher Lasch, Michel Foucault, Angela McRobbie and Rosalind Gill’s theoretical contributions are predominantly referred to in an attempt to explain such principles adequately. Through the responses that were yielded by interviewing 14 young, ordinary, South African women, this research study essentially established that the practices of selfie-taking do in fact play a significant role in the lives of these young women, from empowering them and teaching them to learn to love and accept themselves again, to inspiring personal growth, capturing special moments and memories, and allowing them to feel accepted and as though they belong and have a fixed placed in society. Therefore, this study argues that selfies are not necessarily only about narcissism and self-obsession, but rather more about the notion of self-love and acceptance (for this group of participants at least). / MT2017

Thesis (M.A.)--Florida State University, 2006. / Advisor: James J. Bloom, Florida State University, College of Visual Arts, Theatre and Dance, Dept. of Art History. Title and description from dissertation home page (viewed Sept. 26, 2006). Document formatted into pages; contains viii, 79 pages. Includes bibliographical references.

Submitted by Haroudo Xavier Filho (haroudo.xavierfo@ufpe.br) on 2016-03-17T17:19:02Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese - Camila Leite de Araújo.pdf: 16397606 bytes, checksum: 48a843023e22845c4a2fb4ec157ca215 (MD5) / Made available in DSpace on 2016-03-17T17:19:02Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese - Camila Leite de Araújo.pdf: 16397606 bytes, checksum: 48a843023e22845c4a2fb4ec157ca215 (MD5) Previous issue date: 2015-03-13 / CAPES / No contexto das comunidades virtuais, torna-se praticamente impossível não perceber a enorme quantidade de imagens dos próprios pés do fotógrafo, suas sombras e reflexos no espelho. Pedaços e detalhes corpóreos fazem parte de experiências estéticas vivenciadas por meio da fotografia a partir da relação dos sujeitos com as imagens que constroem de si e compartilham com seus espectadores, os quais repassam, comentam e respondem a essas imagens, muitas vezes, com outras de si. O ato fotográfico vernacular, assim, parece deixar de lado as datas comemorativas em família e a focar e desfocar, repetidas vezes, o próprio fotógrafo. Compreender as relações entre subjetividade e visualidade que essa prática agencia e o desejo pela auto-imagem é perceber que essas questões se projetam para a própria essência da fotografia e caracterizam esse momento de mudanças advindas com o digital. Essa prática está conectada a algumas concepções de uma produção artística de borda, de forma que para traçar tais reflexões, partiu-se da análise de autorretratos artísticos, como obras de Julia Margaret Cameron, Francesca Woodman e Cindy Sherman. Seguiu-se a análise de algumas ferramentas virtuais, em especial no Flickr, com foco no jogo mútuo, e de comum acordo, entre os participantes que ao se representarem, representam também o outro. Foram eleitas aleatoriamente produções individuais e coletivas percebendo afetos, projetos e subjetividades que se entrecruzam, se copiam, se desejam e se continuam. / In the context of virtual communities, it is almost impossible not to notice the huge amount of pictures of the photographer’s feet, shadows and reflections in the mirror. Pieces of body and its’ details are part of the aesthetic experiences its lived through photography through the relationship that it’s created with the images about oneself that is and shares with others, which pass on, comment and respond to these images, often with another photograph. The vernacular photographic act seems to leave aside the momments in family and to focus and defocus, again and again, on the photographer himself. Understanding the relationship between subjectivity and visuality that this practice agency and the desire for self-image is to realize that these issues are projected to the very essence of photography and characterize this moment of changes of the digital era. This practice is connected to some conceptions of an artistic production edge, so to trace these considerations, we started with the analysis of artistic selfportraits, as the works of Julia Margaret Cameron, Francesca Woodman and Cindy Sherman. This was followed by the analysis of some virtual tools, especially on Flickr, focusing on the interplay, and the mutual agreement between the participants to represent themselves, also representing the “other”. Were randomly chosen individual and collective productions in the attempt to notice affections, projects and subjectivities that cross, copy, desire e continue each other.

Orientador: Etienne Ghislain Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T21:21:33Z (GMT). No. of bitstreams: 1 Nascimento_GisleineGomes_M.pdf: 5316443 bytes, checksum: 850c77096335ecc49798a7a1a46b7f4d (MD5) Previous issue date: 2014 / Resumo: A presente pesquisa é um trabalho exploratório que inicia uma reflexão sobre a relação da vivência do homem no ciberespaço. Por ser um tema amplo e complexo, focalizamos na plataforma Facebook (seus layouts e arquiteturas de 2011 e 2013), para, com ela, levantar a questão de seus usos identitários por jovens em busca de reconhecimento social. Ao situar essas `identidades digitais¿ no horizonte universal dos autorretratos, tentaremos com Erving Goffman descrever algumas 'formas' dessas apresentações eletrônicas e interrogá-las na perspectiva aberta por Axel Honneth, quando o filósofo da Escola de Frankfurt questiona a sociedade contemporânea, definindo condições e objetivos necessários ao reconhecimento da dignidade tanto social como individual / Abstract: This research is an exploratory work, which aims to reflect about the relationship between human and cyberspace. Since this is a broad and complex topic, we have limited our research to the Facebook platform (its layouts and architectures from 2011 to 2013). With this, we raise the question about the identity used by young people in their search for social recognition. By situating these 'digital identities' in the universe of self-portraits, we will describe the different 'forms' of these electronic presentations, based on Erving Goffman. Then analyze them against the perspective opened by Axel Honneth, when the Frankfurt School philosopher questions the contemporary society, defining conditions and objectives needed for the recognition of both, social and individual dignity / Mestrado / Multimeios / Mestra em Multimeios

In all their various categories, the arts serve as the dominant subject matter of Gesamtkunstwerk and Other Trifles. The title itself begins with a German word-meld—gesamt (total) + kunstwerk (work of art). Thus a primary aim of these poems is to bring as many elements of art together as possible and to use their various forms (self-portraits, nocturnes, odes, etc.) as metaphorical frameworks that inform abstractions such as regret ("How to Draw Regret"), psychological disorders ("Insomnia Nocturnes") and confusion in how one should feel about living realities as opposed to inanimate objects ("Dead Starling"). Most of the poems that are not related in some way to the arts (other than their inseparable relation to the art of poetry itself) deal with death or some other form of loss. Some of them humorous ("Commencement Speech"), others poignant ("In Places Where We Store Our Deaths"), these poems ironically find their place as the "other trifles" of the work. The purpose of this somewhat irreverent categorization of death and tragedy is to create ironic commentaries on the triviality of humankind's grand designs and accomplishments and to show the many similarities shared by comedy and tragedy alike, a project Tony Hoagland took up in his first book of poems, Sweet Ruin. My aim in writing these poems is to better understand how various art forms relate to each other and how aligning those arts in poetry allows the various genres to be "in conversation" one with another. I hope that readers will come away with a better understanding of how art forms are interconnected, but at the same time, I always aim to construct my poems in such a way that multiple readings can occur.