The image of Marcel Duchamp as a brilliant but laconic dilettante has come to dominate the literature surrounding the artist’s life and work. His intellect and strategic brilliance were vaunted by his friends and contemporaries, and served as the basis of the mythology that has been coalescing around the artist and his work since before his death in 1968. Though few would challenge these attributions of intelligence, few have likewise considered the role that Duchamp’s prodigious mind played in bringing about the present state of his career. Many of the signal features of Duchamp’s artistic career: his avoidance of the commercial art market, his cultivation of patrons, his “retirement” from art and the secret creation and posthumous unveiling of his Étant Donnés: 1° la chute d’eau/2° le gaz d’éclairage, all played key roles in the development of the Duchampian mythos. Rather than treating Duchamp’s current art historical position as the fortuitous result of chance, this thesis attempts to examine the many and subtle ways in which Duchamp worked throughout his life to control how he and his work were and are perceived. Such an examination necessarily begins at the start of his relationship with the general and specialist media, through the auspices of his painting Nude Descending a Staircase, No. 2. This is followed by an examination of Duchamp’s decades-long relationship with the press through the interviews given during his life. Duchamp’s concern for his physical legacy is explored next, initially through his relationships with his two dominant patrons, Walter and Louise Arensberg and Katherine Dreier. Not only did he act as advisor and dealer in the development of both prestigious collections, Duchamp had the privileged position of participant in the negotiations surrounding the disposition of the collections he had helped to build. Duchamp’s concern for the preservation of his physical legacy continued after the installation of his own work within major American museums. Thus, next is considered the development and effects of the two large-scale retrospectives of Duchamp’s work held within his lifetime. Finally is considered the role of Duchamp’s posthumous work, the Étant Donnés. Through the combination of secrecy and strategically revealed hints, Duchamp ensured that his final work would engender discussion long after his death.

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio-visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Nous proposons dans ce travail que l’artiste Egon Schiele (1890-1918) a su exprimer l’ambivalence et l’angoisse entourant la question de la sexualité à Vienne au début du XXe siècle, plus spécifiquement à travers ses œuvres érotiques féminines sur papier réalisées en 1910-1911. À cette époque, des discours polarisés essentialisant la femme et sa sexualité se développent, notamment dans les sphères de la psychanalyse et de la philosophie continentale. La liberté sexuelle des jeunes femmes est réprimée et l’accès à l’information sur la sexualité leur est refusé. Pour les hommes, il s’avère ardu de concilier les propos puritains prônant l’abstention et leurs pulsions et curiosité libidinales, qui ne peuvent être assouvies que secrètement auprès de prostituées. Pour plusieurs, une vie sexuelle active devient synonyme de maladies vénériennes et de déchéance sociale. C’est en favorisant une approche théorique psychanalytique et féministe, portant sur le regard confronté au corps sexué, que nous étudions les modes d’adresse s’établissant entre les modèles, le spectateur et l’artiste à travers ce corpus, afin de mieux comprendre les affects particuliers et les bouleversements des traditions phallocentriques mis de l’avant par Schiele. Ce mémoire considère qu'en optant pour une représentation plastique du corps féminin dérangeante et constamment variable, de même qu’en interpellant ses contemporains de façon ambiguë grâce à des dispositifs visuels hybrides, le jeune artiste a su ébranler l'autorité traditionnelle du spectateur/voyeur masculin face à l’objet de désir féminin. Il serait ainsi parvenu à critiquer l'hypocrisie et l'inconfort identitaire et sexuel dominants au tournant du siècle. / In the present work, we argue that the artist Egon Schiele (1890-1918) was able to express the ambivalence and anxiety surrounding the topic of sexuality around 1900 through his erotic drawings of female nudes, especially those produced in 1910-1911. In the early twentieth century, in Vienna, essentialist and polarized concepts about women and female sexuality are developed, especially in the fields of psychoanalysis and continental philosophy. Young women are denied access to any kind of sexual knowledge or experimentation. Meanwhile, men are torn between austere discourses preaching abstention and their sexual urges and curiosity; many must secretly resort to prostitutes in order to satisfy their impulses. For most, an active sex life implies venereal diseases and social decay. While referring to psychoanalytical and feminist theories about the gaze and its encounter with the carnal body, we have studied the spectatorial relationships established between the models, the spectator and the artist across this corpus, in order to better understand the repudiation of the phallocentric traditions as proposed by Schiele. We believe that by representing the female body in disturbing and inconstant esthetic manners, as well as by reaching out to his contemporaries in ambiguous ways through hybrid visual devices, the young artist was able to undermine the traditional authority of the male viewer over the feminine object of desire. In so doing, Schiele managed to criticize the prevailing hypocrisy and discomfort regarding sexual identities and practices at the turn of the century.

Chan, Hau Ying. / "December 2010." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 182-186). / Abstracts in English and Chinese. / Abstract --- p.ii / 摘要 --- p.iii / Acknowledgements --- p.iv / Content --- p.v / Chapter Chapter 1 - --- Introduction --- p.1-38 / Chapter Chapter 2 - --- The body of female life models --- p.39-68 / Chapter Chapter 3 - --- Managing sexuality and maintaining modesty --- p.69-96 / Chapter Chapter 4 - --- Professionalism and passionate work --- p.97-129 / Chapter Chapter 5 - --- The performance of female life models --- p.130-172 / Conclusion --- p.174-181 / Bibliography --- p.182-186 / Chapter Appendix 1- --- A brief introduction of models interviewed --- p.187-189

La recherche de cette thèse s’articule autour de mon travail plastique de la série « Raw Meat » où je me sers exclusivement de l’image publicitaire de viande crue que je détourne pour construire des corps féminins. Elle répond à la question suivante : Pourquoi sommes-nous affectés par la vue, par l’aspect de la matière de la viande crue ; et pourquoi sommes-nous davantage affectés lorsque la viande crue forme – ou fusionne avec – le corps de la femme ? L’origine de la force de cette image est ciblée comme issue de notre passé primitif ; la recherche soulève nos liens les plus profonds avec la chair animale et ses pratiques liées aux sociétés primitives, et démontre comment les mythes, les rites, et les interdits autour du corps animal/humain sont toujours à l’œuvre. Nous soutenons les hypothèses d’une image comestible, de l’œil cannibale, de la pulsion scopique au sein d’une œuvre, du regard pulsionnel, voire criminel de l’artiste, de la cruauté de l’être, du dévoilement, de l’image violente (de la femme) et de sa sublimation. Nous regardons comment les différents mécanismes à l’œuvre dans l’image de la femme, à l’instar de la série « Raw Meat », permettent une multitude d’interprétations de la chair, dont les sens vont de notre passé primitif à notre contemporanéité. Notre plaidoyer pour cette polysémie est celle de la nécessité de cette image « vraie » de femme, à l’image de son émancipation. / The research of this thesis focuses upon a series of my artwork in which I utilizeadvertisement photographs taken from local supermarket flyers that depict raw meat. I use these to construct female figures. The research responds to the inquiry: Why are we affected by the image of raw meat; and why are we even more so affected when the images of raw meat compose – or fuse with – the female figure? The origin of the effect this image has on the spectator is targeted as being found within our primitive past; stemming from our relationship with the animal flesh, and thus with the animal itself. We illustrate our profound ties to the animal, including surrounding acts which were an integral part of daily lives in primitive societies. We show how the myths, rites, and taboos, associated with the animal/human body are still at work today. The research supports different hypotheses: the edible image, the cannibal’s eye, the “scopique” impulse within an artwork (relative to the eye), and the criminality of the artist, a being’s cruelty, the unveiling of the body, violent images (of women) and their sublimation. We plead the necessity of this never-been-seen-before, polysemous, “true” image of the female figure whose significance spans from our primitive past to contemporary societies; as one of her emancipation.

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This dissertation examines two controversies involving paintings of the female nude by artists Debora Arango and Carlos Correa during a period of political crisis in Bogota (Colombia) in order to open the political to cultural analysis and thus shed light on scenarios of change in the 1930s and 1940s. Unpacking the controversies lends insight into the unique ways in which modernity, the body, its representations, sexuality, gender and politics came together in Colombia during this period. Such an approach also shows that modernity in Colombia involved shifts in religious and secular frames of sense-making and morality. This dissertation argues that the controversies and the female nudes provide a window into the Liberal regime's creation of culture as an autonomous sphere as part of its cultural program, which bridged high and popular culture, as well as on aspects of private life concerned with sexuality and gender. It shows how such changes registered in the lives of the artists and how the artists translated the changes they experienced into modes of pictorial expression. This dissertation argues that the demands of the aesthetic and the demands of politics during this period pressed on each other, resulting in the wide-spread perception of moral breach that came to a head in the "scandals of the female nudes." This dissertation thus sheds light on dimensions of both the political and the private during this period. / Because art and politics were thus entangled, this dissertation shows that, in this particular Colombian modernity, society was not polarized, that the private and the private overlapped, that issues of intimacy surfaced in the public realm, and that Catholicism was the idiom shared by men and women who were grappling with change. It shows that the cultural program of the Liberal regime was the immediate referent for criticism in these events and, through it, of the Liberal regime's reforms of education of 1934 and 1936. Finally, it shows that this modernity and its attendant anxieties were played out through the body in the public and the private realms, within, not against, the Catholic tradition, in unprecedented ways. This thesis demonstrates that politics and issues of sexuality and gender were entangled in the public sphere and converged in the female nudes, turning them into a major threat to morality within both religious and secular frameworks. By unpacking the controversies, this dissertation marks a seminal break with historical accounts that describe Colombia's as a failed modernity, its society as polarized, and debates over sexuality and gender as the product of politics. This dissertation also contradicts art historical writings that account for the production of images and the reception of art in this period solely in political terms.

Rubens' material reality culminates in the tableau which he named Het Pelsken (Flemish for 'The little Fur,' known also as La Pelisse). Of his vast oeuvre it is the most frequently cited work, described by one spectator as an "oil painting of a subject quite unusual...a beautiful woman naked beneath her dark fur." 1 Among art historians the tableau has been the subject of debate as to its 'meaning,' especially since the life-size image does not include narrative paraphernalia that would allow mythological interpretations. But as one scholar wrote, "most are relieved that the work was never meant to be sold."2 / This dissertation's trajectory is different. It points to Rubens' late style tableaux, of which Het Pelsken is one, as items painted in an exquisite technique effecting (bodily) presence, and conceived as commodities destined for circulation. Thus the works are heavily invested by producer(s) and buyer(s). Painted in a sophisticated allegorical language that simultaneously defies easy (narrative) access and yet keeps viewers continuously spellbound, Het Pelsken is being reframed together with some of Rubens' other paintings to establish a dialogue with today's audience. This study analyzes the allegorical paradigm by way of Walter Benjamin's dialectics in order to locate levels of truth---which are of relevance to current viewers---and also probes the forces that generate such an overt and repeated display of the feminine body. In so doing, the study also spotlights neo-allegorists, who in their' more recent art practice reconnect with Rubens and disconnect with some compositional and technical strategies of the Baroque master's paintings. These artists include contemporaries Robert Rauschenberg, Peter Dressler and Jean-Luc Godard. / 1Leopold von Sacher-Masoch, please see Chapter One for more of his commentary. 2Julius Held's research and response is also taken up in Chapter One.

Die Entwicklung innovativer Therapiekonzepte für die Knochenregeneration erfordert validierte segmentale Knochendefekt-Tiermodelle. Dabei ist das Mausmodell für die präklinische Testung von zentraler Bedeutung, jedoch fehlen in der wissenschaftlichen Literatur bislang Angaben zu validierten, extern stabilisierenden kritischen segmentalen Knochendefektmodellen an der immundefizienten Maus. Das Ziel dieser Arbeit war daher die Entwicklung und in vivo Evaluierung eines zuverlässigen und einfach zu handhabenden Modells für extern stabilisierte kritische Knochendefekte an der immundefizienten Maus. Dreißig männliche nu/nu-Mäuse (40,7±2,8 g, 95±2,6 d) wurden mittels Isofluraninhalation narkotisiert und anschließend ein externer Fixateur (MouseExFix, RISystem, AO Research Institute Davos, Schweiz) am rechten Femur angebracht. Femorale Knochendefekte der Länge 1 mm (n=10), 2 mm (n=10) und 3 mm (n=10) wurden erzeugt. Der Wundverschluss erfolgte mit Einzelknopfnähten. Röntgenaufnahmen wurden unmittelbar postoperativ und im Folgenden alle zwei Wochen innerhalb des Beobachtungszeitraums von zwölf Wochen angefertigt und im Hinblick auf Knochenregeneration und –fusion ausgewertet. Weiterhin wurden histomorphologische, histomorphometrische, immunhistochemische und µCT-Analysen zur dreidimensionalen und zellulären Beurteilung der Knochenheilung angefertigt. Alle Tiere überlebten die Operation. Sechs Tiere starben innerhalb des Beobachtungszeitraums als Folge von starkem Blutverlust (n=1), Infektion (n=1), Pinlockerung, welche die Euthanasie erforderlich machte (n=2) und durch Komplikationen bei der Anästhesie (n=2). Die µCT-Analyse nach zwölf Wochen zeigte, dass 3/8 der 1 mm-Defekte, 5/8 der 2 mm-Defekte und 8/8 der 3 mm-Defekte eine Pseudarthrose aufwiesen. Das mittlere Defektvolumen stieg signifikant (p<0,001) mit der Größe des Defektes und betrug 0,36±0,42 mm³ (1 mm-Gruppe), 1,4±0,88 mm³ (2 mm-Gruppe), bzw. 2,88±0,28 mm³ (3 mm-Gruppe). Die mittlere Defektgröße verringerte sich entsprechend um 77,6% (1 mm-Gruppe), 56,8% (2 mm-Gruppe), bzw. 28,6% (3 mm-Gruppe). Die histomorphologischen, histomorphometrischen und immunhistochemischen Analysen zeigten keine statistisch signifikanten Unterschiede zwischen den drei experimentellen Gruppen. Das verwendete MouseExFix-System ist ein zuverlässiges und einfach zu handhabendes Verfahren zur Stabilisierung eines kritischen segmentalen Knochendefekts an der immundefizienten Maus, wenn ein 3 mm-Defekt erzeugt wird. Das im Rahmen der Studie entwickelte und validierte murine extern stabilisierte, segmentale kritische Knochendefektmodell ermöglicht die präklinische Evaluierung von Konzepten zur lokalen Knochenregeneration inklusive der Verwendung allo- und xenogener Zellen. / The development of innovative therapies for bone regeneration requires the use of advanced site-specific bone defect small animal models. In this context, murine models are of major importance as they allow for sufficient sample sizes prior to preclinical testing using larger animals. Owing to the small dimensions of the murine femur only a few custom fabricated fixation devices have been described in the literature so far. The aim of this investigation was to develop and validate a new, externally fixated critical size bone defect model for immunodeficient mice. Thirty male nu/nu mice (40.7 ± 2.8 g, 95 ± 2.6 days old) were anesthetized by isoflurane inhalation and an external fixation device (MouseExFix, RISystem, AO Research Institute Davos, Switzerland) was attached to the right femur. Femoral bone defects of 1 mm (n=10), 2 mm (n=10) and 3 mm (n=10) were created. Wounds were closed without any additional treatment. X-ray films obtained immediately after surgery and every 2 weeks postoperatively during the 12 week postoperative observation period were evaluated for bony regeneration and fusion. Furthermore, histomorphology, histomorphometry, immunohistochemistry and µCT analysis were performed. All of the animals survived the operation. Twenty four out of 30 animals reached the twelfth postoperative week. µCT analyses after twelve weeks showed that 3/8 of the 1 mm defects, 5/8 of the 2 mm defects and 8/8 of the 3 mm defects remained as nonunions. The defect volume was 0.36 ± 0.42 mm³ (1 mm group), 1.40 ± 0.88 mm³ (2 mm group), and 2.88 ± 0.28 mm³ (3 mm group) (p<0.001, between all groups). The defect size decreased by 77.6% (1-mm group), 56.8% (2-mm group) and 28.6% (3-mm group) (p=0.152, between all groups). Our method using the MouseExFix device has proven to be a reliable and easy-to-handle external fixation system for the stabilization of critical-size segmental bone defects in immundeficient mice when 3 mm defects are generated. This mouse model allows for high-throughput translational evaluation of concepts for site-specific bone regeneration including strategies using allogenic and xenogenic cell types.

Thesis (M.A.)--University of Alabama at Birmingham, 2009. / Title from PDF title page (viewed Sept. 2, 2009). Degree earned with the cooperation of additional faculty from the University of Alabama. Includes bibliographical references (p. 88-91).

Nous avons aspiré à mettre à lumière à travers ces travaux la façon dont la figure de Bethsabée fut appréhendée, interprétée et représentée dans la littérature et les arts, de la Bible à nos jours, à travers un choix d’œuvres varié. À la fois diachronique et comparatiste, la perspective que nous avons suivie repose sur la mise en regard du texte et de l’image ; elle est également fondée sur le rapprochement d’œuvres littéraires d’époques et de langues diverses, de façon à dévoiler les chaînes interprétatives qui se sont élaborées et répondues au fil des siècles autour de celle qui fut successivement la femme d’Urie, l’amante de David, la mère de Salomon et l’ancêtre du Messie. / This thesis of French and comparative Literature aims at highlighting the way the biblical figure of Bathsheba was perceived, interpreted and depicted in Literature and Arts, from the biblical backgrounds to our days, throughout a selection of various works. Both diachronic and comparatist, our analysis is mainly based on the parallel view of texts and images. It also lies on the simultaneous analysis of literary works belonging to different times and languages, in order to enhance the traditions which progressively emerged and responded to one another throughout the centuries about a woman who, in a single lifetime, was the wife of Uriah, the lover and spouse of king David, the mother of his son Solomon and one of the most subversive ancestors of Jesus Christ.