Dissertation (Ph.D.)--Auburn University, 2006. / Abstract. Vita. Includes bibliographic references.

1st ed. issued as thesis, Uppsala.

1st ed. issued as thesis, Uppsala.

Inaug.-Diss.--Bonn. / At head of title: Aus der Dr. Hertz'schen kuranstalt, Bonn ... Lebenslauf. "Literatur": p. 26.

Inaug.-Diss.--Erlangen. / Lebenslauf. "Literatur": p. 21.

Inaug.-diss.- Bonn. / At head of title: Aus der Hals-, Nasen- und Ohrenklinik der Universität Bonn ... Lebenslauf. "Literaturverzeichnis": p. 14-16.

Thesis--Tübingen, 1973. / Vita. Includes bibliographical references (p. 144-156).

Thesis (Ph. D.)--University of Hawaii at Manoa, 2002. / Includes bibliographical references (leaves 389-412). Also available on microfiche.

Malgré des différences culturelles, d’importantes similitudes peuvent êtres notées dans plusieurs pays d’Afrique de l’Ouest. En effet, les doubles portraits - photographies de deux figures semblables ou identiques - sont fréquents sur les présentoirs des studios et répandus depuis plusieurs décennies. Semblables, les figures de deux personnes distinctes sont intentionnellement unies par une ressemblance gémellaire. Identiques, elles sont les figures d’une personne unique, reproduite deux fois, comme si elle était à côté de son jumeau. Bien connus des recherches des anthropologues et des historiens sur la photographie, les doubles n’ont pourtant jamais été traités sous l’angle d’une production esthétique spécifique. Plus qu’une mode passagère ou une stratégie commerciale, et suggérant des liens avec des significations culturelles, ils constituent un phénomène artistique que cette thèse se propose d’explorer dans les cadres de l’histoire de l’art. Elle est basée sur un ensemble de trois cents doubles portraits réalisés entre la fin des années 1960 et nos jours, recueillis auprès de cent photographes rencontrés dans quatre pays d’Afrique subsaharienne : Togo, Bénin, Burkina Faso et Mali, et renseignés par des clients des studios, des anonymes et des protagonistes de la vie culturelle. Les doubles portraits sont ainsi analysés dans les contextes de leur production et de leur réception. Il sont étudiés comme des indices et des icônes, soulevant les questions de la représentation, de la ressemblance et des valeurs esthétiques propres à l’art des doubles. Ils sont abordés en fonction des définitions locales de la personne, puis insérés dans une histoire des créations d’Afrique occidentale (des sculptures aux photographies) et situés dans une histoire plus large des doubles portraits gémellaires entre l’Afrique et l’Europe. Ils sont enfin mis en perspective avec un imaginaire - dont ils sont les germes et les fruits - inspiré par les mythes et les pratiques de la gémellité, dans ces pays qui connaissent le taux de naissances gémellaires le plus élevé au monde. / Despite evident cultural differences, we can nevertheless notice great similarities in many West African countries. In studio windows, double portraits - photographs of two similar or identical figures - are often displayed. In the case of the similar figures, an attempt is made to create a twin-like resemblance between two different people. When the figures are identical, one person has been reproduced twice on the same print as if he or she was next to a twin. Though acknowledged to some extent by anthropologists and historians, research on West Africa studio photography has never approached double portraits in photography as a specific aesthetic production. Widespread for several decades, more than mere entertainment, a passing fad or a commercial strategy and suggesting links with cultural meanings, they are an artistic phenomenon worthy of historical art analysis. This thesis explores the subject. It is based on a collection of three hundred photographs dating from the 1970s up to the present day, collected from a hundred photographers in four sub-Saharan countries (Togo, Benin, Burkina Faso and Mali), and informed by studio customers, locals, and people involved in the cultural life. The double portraits are thus analyzed in regard to their contexts of both production and reception. They are also studied as index and icons, raising questions on representation, likeness and aesthetic values, which are the specific issues of the art of the double. They are discussed according to the local definitions of beings, then situated within a history of African sculpture and photography and in a more comprehensive history of double and twin portraits between Europe and Africa. They will finally be contextualized through a collective imagination of “twinness” of which they are the seeds and fruits ; an imagination - as a whole range of visual and conceptual images - inspired by myths and practices related to twinship in these countries where the twin birth rate is the highest in the world.

Thesis (MSD) --Boston University, Henry M. Goldman School of Dental Medicine, 2015 (Department of Orthodontics and Dentofacial Orthopedics). / Includes bibliographic references: leaves 43-50. / Background: Mirror imaging in identical twins has long been noted and suggests that left-right asymmetry may become established early in embryogenesis. However, it is not known whether the clinical reports of “mirroring” in twins are annulled by an equal number of cases lacking mirroring. As left-right patterning is a key component of laterality-based birth defects, it is important to determine whether aspects of left-right asymmetry are in fact set prior to the splitting event that produces monozygotic twins. We aimed to determine whether significant mirror imaging occurs in transverse facial asymmetries in monozygotic and dizygotic twins. Material and Methods: The sample included PA cephalograns from 56 pairs of monozygotic twins and 57 pairs of dizygotic twins from the Forysth/Moorrees Twin Study (females age 14-1 5 and males age 15-16). The films were digitized and anatomical landmarks identified. Using Geometric Morphometric analyses including Procrustes superimposition, the landmark configuration of one individual twin was reflected (mirrored) and superimposed using Procrustes superimposition. Principal components analysis (PCA) and MANOVA tests 1V were performed to determine the differences between monozygotic and dizygotic twins. A secondary Procrustes superimposition was then conducted without reflection. If mirroring asymmetry was present, the average Procrustes distance within reflected twin sets (D1) would be smaller than those superimposed without reflection (D2). T tests were performed to determine the differences between reflected and non-reflected regions in monozygotic and dizygotic twins. Results: After reflection, no statistically significant differences were found for any regions (with the exception of Mandible A Right, p=0.0258) between monozygotic and dizygotic twins. When comparing reflected versus non-reflected regions, Midface D Left and Mandible C Right in dizygotic twins yielded negative values for D1-D2; however permutation tests revealed these values are not significant. T tests showed 15 out of 20 regions had significant smaller mean values for D2 versus Dl in monozygotic twins, while only 7 out of 20 in dizygotic. A Z test comparing these two proportions revealed this difference between twin types is significant (p=0.011), With the monozygotic twins having significantly more regions that fit better when non-reflected than the dizygotic twins. Conclusion: No statistically significant differences in mirroring were found between monozygotic and dizygotic twins in any craniofacial regions except for Mandible A Right, in which dizygotic twins showed a better fit when mirrored. Upon examination of the differences between reflected and non-reflected regions, monozygotic twins showed a statistically significantly greater number of regions that fit better when superimposed versus reflected in comparison to dizygotic twins. From this study we conclude that no significant mirroring occurs in craniofacial asymmetries, perhaps due to the biological stability of neural crest cells that derive the cranial cartilage and skeleton.