This research investigates the formation of visual as discursive practice. Discourses that celebrate, denigrate and omit visual are examined with a particular focus on discourses of the child and technology in art education. This thesis applies poststructural methodologies of discourse analysis to disrupt traditional accounts of discipline configurations determined in histories of art education. With a particular focus on Michel Foucault???s methods of history, archaeology and genealogy, art education as discipline is mapped through an investigation of visual as concept and practice. This research contends that the emergence of current practices in visual culture, as configured within the constraints of art education amplifies the conditions of visual to define art education as a field. It examines the mobilisation of discourse, verified by discipline formations in art education, and the way in which such formations distribute and categorise knowledge that is sequenced within power structures. Therefore, visual, as a discursive practice is one way through which to trace the conditions of the field, including the structure of discipline as knowledge and subject in art education.

This study provides a qualitative examination of the role of visualization through an understanding of the thought processes that occur during visualization when Grade 9 learners engage in data handling and spatial tasks. Data were gathered in a problem-centred context from learners' written responses in order to determine the students' visuality. Visuality is defined as how often learners used visualization. In addition interviews were conducted with the learners who described the thought processes that they engaged in during visualization while involved in problem solving. The role of visualization was highlighted through the processes that learners described during the interviews. The tasks which provided manipulative materials helped learners create visual images which promoted the process of visualization. Certain recommendations were made. Knowledge of the role of visualization enables the educator to encourage the use of visualization during the teaching of mathematics. / Educational Studies / M.Ed. (Mathematical Education)

A tese discute um conjunto de quatro obras do pintor ituano José Ferraz de Almeida Júnior, produzidas entre 1888 e 1897: Caipiras Negaceando, Caipira picando fumo, Amolação Interrompida e Partida da Monção. Procura compreender as principais características dessas obras, examinando-as no seu contexto de produção e recepção. Esforça-se por situá-las tanto em relação ao debate acerca da arte brasileira travado entre meados da década de 1870 e a década de 1890 no Brasil, bem como à produção europeia. Esse exame identifica um tópico central - a filiação às poéticas do realismo/naturalismo, compreendidas, no contexto brasileiro, como estratégia de configuração de uma arte nacional, mas também como esforço de responder a inquietações relativas aos desdobramentos da pesquisa pictórica de tradição europeia: a renovação da pintura de história através da pintura de costumes. Dos aspectos principais dessa discussão, ressalta o papel atribuído - pela crítica e pelo público, em especial paulista - às obras de Almeida Júnior na construção de novas iconografias nacionais. Desenvolve como tese central a interpretação de que o esforço por constituir essa nova visualidade evidencia uma relação complexa com os anseios de auto-representação de uma determinada parcela da sociedade brasileira, centrada especialmente em São Paulo. / The thesis discusses a set of four works by the Brazilian painter José Ferraz de Almeida Júnior, produced between 1888 and 1897: Caipiras Negaceando, Caipira picando fumo, Amolação Interrompida e Partida da Monção. Its purpose is to comprehend the main characteristics of those works, by an examining them in their context of production and reception. The effort is to observe them in relation to the debate on Brazilian art, between the 1870 and 1890\'s, as well as in its relation to European art. This exam stresses a central topic - their filiation to the poetics of realism and naturalism, interpreted, in the Brazilian context, as strategies for creating a national art. It also observes the aim to respond to the developments of the pictorial practice in the European tradition: the renewal of historical painting through the genre painting. From the central aspects of this discussion, it points to the role attributed to Almeida Júnior\'s works, especially by the \"paulista\" critique and public, in the configuration of a new national iconography. The main thesis is that the effort of creating a new \"visuality\" shows a complex relation to the aims of selfrepresentation of a particular group on Brazilian society, centered especially in São Paulo.

Longtemps, on a reproché à Flaubert l’usage de métaphores médiocres (Proust). Or l’image flaubertienne est bien plus complexe que sa surface ne le laisse supposer. Notre étude cherche à lui rendre toute sa valeur. Mais comment l’image vient-elle dans le langage ? Comment agit-elle sur l’esthétique de la production et de la réception ? Que recouvre l’expression « image littéraire » ? Que signifie « visualité » dans le cadre de l’image poétique ?Ce travail cherche à approfondir l’étude de l’image poétique dans toute sa diversité. Il expose les formes d’images générées par les mots : d’une part les effets des tropes – les processus figuratifs –, d’autre part ceux des techniques descriptives évocatrices – des descriptions détaillées qui font naître des images mentales (« visuelles »). Les deux effets peuvent entrer dans un processus interactif fructueux que nous tentons de dévoiler en examinant le contexte de l’image littéraire : le terme aristotélicien « mettre sous les yeux », le rôle de l’icône dans la métaphore, les termes « quasi-visuel », « voir comme », la question du « moment de l’image », l’aspect de la sensibilité de la métaphore. Nous discutons aussi les notions de « métaphore vive », d’« image associée », d’image « liée », et le sujet de l’énigme en rapport avec la métaphore. Nous nous concentrons sur deux romans : Salammbô et Madame Bovary, et montrons la diversité, l’efficacité et le fonctionnement novateur des images littéraires. Flaubert était connu pour être un véritable iconophobe face aux images matérielles. Son but était de « faire image » et de « faire rêver » grâce aux mots. Nous montrons les techniques qu’il utilisait pour travailler avec l’image. / For a long time, Flaubert was criticized for the use of mediocre metaphors, at the level of his poor characters (Proust). In fact the Flaubert image is far more complex than one may suppose at first sight. This dissertation will try to restore all their value. But how does image arrive into language? In what way does it act upon the aesthetic of production and reception? What does the expression "literary image" embrace? What does "visuality" mean in the poetic image universe?This dissertation's finality is to go into detail in the subject of poetic image. It exposes the different forms of the images produced by words: on the one hand the effect of tropes, which means the figurative processes, and the effects of evocation and descriptive techniques in the other, which produce mental images in the reader's mind. Studying the literary image context, this dissertation will try to unveil the plenteous interactive process both effects may reach: the aristotelian notion "Bringing-Before-The-Eyes", the function of the icon in metaphor, the expressions "quasi-visual" and "to see like", the "image moment" matter, and the sensibility aspect of metaphor. The notions of "alive metaphors" (Ricœur), "associated image" (Le Guern), "linked image", and the enigma subject related to metaphor, will also be approached.Flaubert's novels Salammbô and Madame Bovary will be analyzed in the second part, focussing on the diversity, efficacy and innovating function of literary images. Flaubert was known as being a real "iconophobic" when confronted with material images. His goal was to "create images" and "generate dreaming" only throughout words. We will study the different techniques he used.

Der Band untersucht mit Hilfe textspezifisch ausgewählter Ansätze aus den Bereichen Literaturtheorie, Medienwissenschaft, Psychoanalyse und gender studies die widersprüchliche Bedeutung von Visualität für Fowles` Romanwerk. Im Zentrum der Arbeit stehen unter anderem die Fragen, ob die in den Romanen und Novellen erfolgende kritische Problematisierung von Bildmedien zu einer Bejahung ihrer kreativen Möglichkeiten führt, ob es sich um medienfeindlichen Konservatismus oder um eine literarisch ebenso produktive wie kreative Funktionalisierung von Bildern, Stereotypen und Vorurteilen handelt.

This essay investigates the prospect of confessionalism’s potential resurgence in contemporary poetics through female poets on Instagram and discusses its relevance and likeness to mid 20th century confessional poetry. Two case studies of highly popular Insta- poets Rupi Kaur and Alicia Cook are presented and a close reading of a few of their poems is introduced in order to investigate their adaptation of what I call an over-confessional style that addresses issues such as mental health, family, sexuality, and the perception of the female body. Kaur and Cook employ visual strategies and forms in their poetry in order to achieve an over-confessional style which is not simply individualistic but carries such larger social and public concerns. Studies of Insta-poetry are scarce due to its newness and partly due to the widespread dismissal of the genre by academics and researchers. However, because of the growing popularization of digital media and Insta-poetry as a literary mainstream more studies of the genre are needed and there has been a rising critical interest in the genre. The public nature of Instagram and the autobiographical lyric style of confession have made Insta- poetry very accessible and relatable to readers, resulting in a new relationship between the poet and the reader. I demonstrate that Kaur’s and Cook’s writing displays autobiographical, aesthetic and thematic tendencies commonly associated with confessional poetry, but also pushes the confessional mode to its limits. Apart from broader structural comparison, I attempt a literary analysis of Insta-poetry in order to provide an understanding of the social aspect and the visual strategies of Insta-poets.

This essay was written as an attempt to trace, capture and convey parts of the underlying and intrinsic movement of an ongoing film practice. In a subjective and searching manner the text revolves mainly around the themes of time, film, poetry, nature, memory and the imagination — the pivot being the idea of the continuous splitting of the present as a trait common to both cinema and the human mind.

In this thesis, I explore and analyse narratives around toxic and scarred landscapes. The aim of the thesis is to understand human views and experiences of anthropogenic environments through narratives of contamination and toxicity. Some concepts used throughout the thesis are landscape, heritage, ghost, and trauma. The research is situated in the transdisciplinary field of environmental history and utilises multidisciplinary academic research, art works, and several different media outlets as sources of data. Many brief examples of toxic sites are given along the way to demonstrate discussed themes in practice, but two specific landscapes are explored in detail. These are Bikini Atoll in Marshall Islands, an island remaining radioactive to date due to Cold War era weapon testing, and the town of Teckomatorp in Sweden, a remediated site of a chemical industry scandal. Furthermore, an academic environmental justice project Toxic Bios (KTH, Stockholm) is analysed as a medium of narrative creation and several visual artists’ works are brought up alongside news articles and cinematography. This thesis is an exploratory journey and it aspires to contribute to bridging academic disciplines as well as encouraging expression of individual stories and subjective viewpoints in narrations of scarred landscapes. Findings of the thesis link to previous research on landscapes as experienced and temporal – toxic landscapes are narrated constantly through many perceptions, storylines, and branches of research. Some reoccurring themes are sickness, environmental justice, tensions between local and global levels of narration, fascinating but controversial depictions of toxicity’s aesthetics and individual experiences of dramatic pasts in non-dramatic present. Individual stories, counter-hegemonic narratives, and transdisciplinary practices are needed in order to create deeper understanding of living in the Anthropocene.

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