Kūnas įvairių mokslo šakų tyrinėjimo objektas, sunku apsiriboti ties viena sritimi ar pripaţinti tik vieną sritį kaip teisingiausią kūno suvokimui. Bet kokiu atveju ţmogus savo kūną paţysta bei formuoja per aplinka. Fotografiją taip pat yra įvaizdţio formavimo priemonė. Pati fotografija ne tik formuoja įvaizdį, bet ir formuoją patį ţmogaus poreikį vaizdiniui ir kitokį ţvilgsnį į aplinką. Diplominiame darbe nagrinėju vojerizmą, jo ryšį su fotografija. Stengiuosi surasti momentą kada paprastas ţvilgsnis tampa vojeristiniu ţiūrėjimu, ar tiesiog vojerizmas yra netskiriamas dalykas nuo fotografijos. Analizuoju vojerizmo teoriją, kaip vojerizmas atsiskleidţia fotografijoje. Nagrinėju kūno samprata, nuogą kūną fotografijoje, erotinę fotografiją, akto fotografiją Lietuvoje. Atlikdama savo uţdavinius, analizuodama literatūrą ir prototipus, siekiu uţsibrėţto tikslo, sukurti stereografijų ciklą, kuriame atsispindėtų diplominiame darbe nagrinėjami aspektai. Diplominiame darbe taip nagrinėju stereografijos sąvoka, kuri siejasi su vojerizmo ištakomis fotografijoje ir mano stereografijų ciklu. Stereografija- diplominio darbo, praktinės dalies pateikimo forma. / The body is exploration object in the vorius science discipline, it would be difficult to confine by one discipline or recognize only one discipline as the farest for body knowing. In any case human knows his body and formed whitin the enviroment. The photography as a discipline is also body formating tool. Photography itself is not only shaped the image, but also formating a requirement for the image and different gaze to enviroment. I‘m analyzed voyeur in photography, it‘s connection whit photography. Trying to find a moment when a simple looking bicome voyeuristic gaze or maby voyeurism is the main part in photography. I analyzed voyeur theory, how voyeurism reveals in photography. Describing body as a concept, naked body in photography, erotic photography, nude photography in Lithuania. Doing my tasks, analyzing literature and prototipes, try to achiev the main target, to create a stereography cycle in which reflected dealing aspects. I‘m Analyzed steregraphy concept, which pertain whit voyeurism orgins in photography and my stereography cycle. Stereography is submission form of the practical part.

Yes / Community-Based Learning (CBL) has been more recently introduced into some psychology programmes in the UK than in the USA, where it has existed for a number of decades in the form of ‘service learning’. CBL holds promise as a means of promoting and developing critical community psychology practice, but there are risks involved in its acritical adoption in the psychology curriculum. If associated power dynamics are not considered, CBL has the capacity to serve neoliberal interests and perpetuate, rather than challenge, oppressive social relations. This article examines ways in which CBL can be both conducive and corrosive to critical community psychology practice. Drawing on interdisciplinary literature, it explores ways in which students participating in CBL can be vulnerable to exploitation – both as victims and perpetrators – through collusion and cultural voyeurism. Consideration is given to ways of resisting institutional and other pressures to comply uncritically with the demands of the ‘employability agenda’. These include the importance of facilitated reflective processes in associated modules, to consider aspects of the interactions of people and systems. The article concludes that whilst CBL is inherently risky and involves discomfort for students, this enables development of a more informed consciousness where truly participatory work evolves towards greater social justice.

Facebook är ett internetbaserat socialt nätverk och tillika en mötesplats för nästan en miljard människor världen över. Nyligen introducerades företaget på den amerikanska Nasdaq-börsen och det skulle komma att bli en av de högst värderade börsnoteringarna någonsin. Förväntningarna på Facebook är enorma, men samtidigt hörs kritiska röster om hur aktieägarnas förväntningar på ekonomisk avkastning kommer tillfredsställas på bekostnad av användarnas integritet detta skulle i förlängningen skapa missnöje. Det är onekligen en imponerande framgångssaga men i takt med ökande närvaro på internet i allmänhet och Facebook i synnerhet framstår det också som ett socialt fenomen värt att studera. Det är en plats där miljontals människor interagerar dagligen, men man kan fråga sig vari lockelsen ligger med Facebook och vilka biverkningar som tillkommer. Det är en intressant fråga att ställa sig huruvida det finns skäl att bryta upp med sin facebookprofil och vad som händer sedan. Den här studien har som ansats att närma sig fenomenet Facebook genom att lyssna till dess avhoppare. Det är en kvalitativ analys av unga vuxna i Sverige som alla vid någon punkt frivilligt lämnat Facebook och det är en studie – helt unik i sitt slag. / Facebook is an Internet based social network as well as a meeting-place for almost a billion people all around the world. Recently the company went public on Nasdaq and it would revile itself to be one of the highest valued introductions the stock market has ever seen. The expectations on Facebook are enormous, yet Facebook is receiving harsh criticism for risking the integrity and satisfaction of its users to please the shareholders demand for return on investment. It is certainly an impressing success story but as we spend an increasing part of our time on the Internet and particularly on Facebook it seems to be a social phenomena worth studying. It is a meeting place where millions of people interact on a daily basis and the question arises of wherein the Facebook lure lies, and whether there might be any side effects to it. Questions regarding whether there could be any reason to break up with ones Facebook are at the centre of this study as well as the question of what happens after dropping out? The aim of this study is to tune in to the stories of young adult users in Sweden who have, at one point or another, chosen to drop out in order to further deepen our understanding of Facebook. It is a study, first of its kind.

Title from first page of PDF document. Includes bibliographical references (p. 20-22).

Thesis (MA)--University of Stellenbosch, 2000. / Blog by Johann de Lange: http://johanndelange.blogspot.com/ / AFRIKAANSE OPSOMMING: Die term voyeurisme hoort normaalweg tuis binne die sielkunde, waar dit dui op 'n seksuele abnormaliteit en afwyking. Hierdie siening stigmatiseer egter die fenomeen voyeurisme as 'n perverse handeling. In die eerste hoofstuk van hierdie studie word 'n poging aangewend om die begrip voyeurisme te verruim. Die voyeurisme wys nie net op 'n seksuele afwyking nie, maar vorm 'n sentrale deel van die eietydse samelewing. Die voyeurisme is dus ook van kardinale belang vir die letterkunde. In hierdie tesis word die voyeuristiese elemente in die poësie van Johann de Lange ondersoek. Aan die hand van tekste uit De Lange se oeuvre word die hipotese getoets dat die voyeurisme 'n voorwaarde vir die letterkunde is. Voorts word daar beweer dat die voyeurisme 'n onmisbare funksie in die skryf-en-lees-proses vervul; dat nie net die digter nie, maar sowel die teks as die leser noodwendig deel in die voyeuristiese handeling. Die letterkunde is dus, volgens hierdie hipotese, te danke aan die perspektiwiese kompleksiteit van die voyeurisme. Om die sprong van die sielkunde na die letterkunde te maak, word daar eerstens aandag bestee aan die werk van die teoretici Jean-Paul Sartre, Jacques Lacan en Michel Foucault en die bydraes wat hulle tot die teoretisering oor persepsie lewer. Voorts word vier gedigte geanaliseer met konsentrasie op aspekte van die voyeurisme soos wat dit in De Lange se oeuvre manifesteer en funksioneer, naamlik: die skilderkuns, die fotografie, die religie en die verhouding tussen vader en seun. Hoewel hierdie tesis uitsluitlik oor die werk van Johann de Lange handel, wil dit 'n gesprek oor die voyeurisme in die Afrikaanse letterkunde tot stand bring. / ENGLISH ABSTRACT: The term voyeurism normally belongs to the field of psychology, where it is used to describe a sexual abnormality and deviation. However, this view stigmatises the phenomenon of voyeurism as a perverse act. In the first chapter of this study the author attempts to broaden the notion of voyeurism. Voyeurism not only indicates sexual deviation, it also forms a central part of contemporary society. Voyeurism is therefore also of the utmost importance in literature. In this thesis the voyeuristic elements in the poetry of Johann de Lange are examined. Using texts from De Lange's oeuvre the hypothesis that voyeurism is a condition for literature is tested. It is further argued that voyeurism fulfils an essential function in the reading and writing process; that, not only the poet, but both the text and the reader inevitably share in the voyeuristic action. Literature according to this hypothesis, has its origins in the perspective complexity of voyeurism. To explain the connection between psychology and literature attention is firstly devoted to the works of the theorists Jean-Paul Sartre, Jacques Lacan and Michel Foucault and the contributions they made on perception. Further four poems are analysed in detail, with emphasis on aspects of voyeurism as they manifest and function in De Lange's oeuvre, namely: the art of painting, photography, religion and the relationship between father and son. Although this thesis deals exclusively with the work of Johann de Lange, it wants to bring about a discussion on voyeurism in the Afrikaans literature.

The Road to Los Angeles, the first novel written by Italian-American author John Fante, is most often recognized as a tale concerned with Italian-American alienation, xenophobia and existence on the periphery of mainstream society. This essay, however, aims to analyze the novel from the viewpoint of fetishism. Fetishism, a motif that constitutes a vast theoretical field in itself, will be analyzed using the lens of Freudian theory and more recent works by critics such as Louise J. Kaplan and Johanna Malt. While fetishism unproblematically can be defined as the misdirection of libidinal energy, and the objectification of a sexual object’s seductive powers, this essay also aims to throw light on the intricate nature and general applicability of fetishism. Fante depicts fetishism as essentially oxymoronic in its presence-absence duality, as instrumental in animating the inanimate and dehumanizing  the sexual object. Fetishism, which in many ways shares an affinity with scopophilia and voyeurism, is essentially semiotic and instrumental in projecting the will onto the external world. Moreover, read through the lens of the inherent death drive, as theorized by Sigmund Freud, manifestations of brutal violence and self-torture are seen as  direct counterparts to fetishism.

Drawing from ongoing revitalization initiatives in Richmond, Virginia, this adaptive reuse project creates a structured dialogue between public and private expression to create a more immersive gallery experience for viewer and practitioner. The gallery experience is twofold; traditional object-based display and nontraditional process-based display. Preservation of the historic fabric of the existing Handcraft building at 1501 Roseneath is integrated with the transformative potential of introducing voyeuristic opportunities in creating a community arts center. Notions of voyeurism will center around ideas of visual connection and physical separation. This project questions if tactics of voyeurism, which inherently create physical barriers, can facilitate interaction and encourage co-creation in a creative setting. Structured moments of intimacy and control are accomplished through presented and found views of movement, object, and process. These moments of intimacy and control create a conceptual reciprocity which guides the design of this project. Ultimately, the redesign creates a dialogue between the process of making and the final product/object by facilitating interaction between the viewer and practitioner through different points of the creative process. The project moves away from exploiting the site’s formal, historical, and contextual components and encourages the audience member to engage with the maker through a corporeal, experiential encounter. The environment becomes a catalyst for cross-disciplinary creativity on an individual, group, and community level. The development of spaces that engage the creative mind and foster collaborative growth will serve the Richmond arts community and can act as an icon for successful urban transformation.

Student Number : 9406610A - MA(FA) dissertation - School of Fine Art - Faculty of Arts / This thesis is a study of the box constructions of New York artist Joseph Cornell from the early 1930s to the late 1960s, and the influence of his work on that of contemporary American jeweller Thomas Mann, as well as my own artistic production. The key areas of focus are the process of assemblage and the implications of the box format, with the following themes being explored: miniature space and time; preciousness; fetishism and voyeurism. These are followed through into the section on my own work, where the additional subjects of the history of collecting, automata and the stop-frame animation of filmmaker Jan Švankmajer are discussed. The conclusion that I reach is about the potential power residing in found objects, which form the basis of Cornell’s, Mann’s and my own work.

O objetivo da tese é estudar, em um primeiro momento, as transformações do triângulo amoroso nos romances de Marguerite Duras que retratam uma crise conjugal: Le Marin de Gibraltar (1952), Les Petits chevaux de Tarquinia (1953), Moderato Cantabile (1958), Dix Heures et demie du soir en été (1960) e Le Ravissement de Lol V. Stein (1964). Esses romances colocam em cena um casal cuja separação é provocada pela chegada de um desconhecido. Essa terceira pessoa forma então um novo par com um dos membros do casal anterior. Em algumas dessas obras, aquele que ficou só se torna a terceira pessoa e passa a olhar o casal recém constituído. A originalidade do triângulo amoroso em Marguerite Duras está no fato de que esta terceira pessoa, contemplando o nascimento de um novo amor, não sofre com a perda do parceiro, nem sente ciúme; ao contrário, sente prazer em ver, ao invés de amar. Assistir a esse encontro lhe proporciona um arrebatamento. Em um segundo momento, veremos que essa estrutura triangular remete aos romances familiares nos quais se encontra o triângulo amoroso original: La Vie tranquille (1944), Un Barrage contre le Pacifique (1950), LAmant (1984), La Pluie dété (1990) e LAmant de la Chine du Nord (1991). Nessas obras, o casal é formado por dois irmãos e a terceira pessoa, pelo amante. Como o coito fraterno é ilícito, a terceira pessoa pode ser um substituto possível do irmão. Outro recurso encontrado é o voyeurismo. Unir-se ao irmão não é lícito, porém a possibilidade de ver o irmão ou a irmã juntar-se a uma terceira pessoa permite ao voyeur viver o amor proibido. Assim, esta tese pretende demonstrar como a cena primitiva, que retrata o amor incestuoso nos romances familiares, reaparece disfarçada em triângulos amorosos nos romances que representam a crise conjugal. / The objective of this thesis is to study, firstly, the transformations of the loving triangle in relationship in Marguerite Duras novels that portrays the marital crisis: Le Marin de Gibraltar (1952), Les Petits chevaux de Tarquinia (1953), Moderato Cantabile (1958), Dix Heures et demie du soir en été (1960) Le Ravissement de Lol V. Stein (1964). These novels show a couple whose separation is caused by the arrival of a stranger. This third person then starts a new couple with one of the members of the first couple. In some of the pieces, the one who is left aside becomes a third person and starts to look the new couple. The originality of the loving triangle, in Marguerite Duras, is in the fact that this third person, by contemplating the birth of a new love, does not suffer with the loss of the partner, or feels jealousy, by the contrary, feels pleasure watching instead of loving. The view of this union makes him feel rapture. In a second moment, we will see that this triangle structure refers to the family novels where the original loving triangle is found: La Vie tranquille (1944), Un Barrage contre le Pacifique (1950), LAmant (1984), La Pluie dété (1990), LAmant de la Chine du Nord (1991). In these pieces the couple consists in brother and sister and the third person is the lover. As fraternal coitus is prohibited, the third person may be a possible substitute for the brother. Another resource found is voyeurism. Fraternal union is not licit; however the possibility of watching the brother or sister with a third person allows the voyeur to live the prohibited love. Therefore, this thesis intends to demonstrate how the primitive scene, that portraits the incestuous love in familiar novels, reappears disguised in loving triangles in the novels that represent marital crisis.

Realityshower och dokusåpor tar allt större plats i våra tv-tablåer och är under ständig debatt. Programmen sänds numera på prime time och finns hela tiden tillgängliga via internet. Just nu är dokusåpan Paradise Hotel mest aktuell och har fått utstå mycket kritik. Detta på grund av de stora mängder alkohol som deltagarna dricker samt programmets inslag av sexuell karaktär.     Genrens namn, reality-tv, ger sken av att det är verkligheten som speglas i programmen, men hur verkligt är egentligen det vi får se? Hur stor makt har produktionsbolaget över deltagarna och hur redigeras det filmade materialet för att locka tittarna? Det är frågor som den här uppsatsen syftar till att försöka besvara. Vi ville, utifrån deltagarnas synvinkel, undersöka hur verklig reality-tv verkligen är.     För att göra detta har vi valt att göra semistrukturerade intervjuer med sex deltagare från dokusåpan Paradise Hotel. Dessa har vi sedan analyserat med hjälp av en hermeneutisk analysmetod. De teoretiska perspektiv vi främst använt oss av är individualism, voyeurism och narcissism.     Det är svårt att ge några exakta svar på de frågeställningar som ligger till grund för studien då deltagarnas åsikter ofta går isär. Vi har dock kunnat konstatera att de flesta av dem vi intervjuat inte sökte till programmet själva, utan blev handplockade av produktionsbolaget. Det är också tydligt att deltagarna tilldelas roller i efterhand när det filmade materialet redigeras. Dessa roller är vissa av deltagarna nöjda med, medan andra är upprörda över hur de framställts i tv. / Realityshows and docusoaps gets more and more space in our TV-guides and are under constant debate. It is more usual nowadays that the shows are being aired on prime time than before, and the shows are constantly available on internet. Right now the show Paradise Hotel is most current and has endured a lot of criticism because of the amount of alcohol and sex it contains.     The name of the genre, reality-TV, makes it sound like it is the reality that is reflected in the shows, but how real is actually reality-TV? How much power does the production company have over the participants and how much is the filmed material edited afterwards to attract the audience? It is questions like this we will try to give answers to in this study. Our purpose is to examine how real reality-TV is, from the participants' point of view.     To do this we have chosen to do semi structured interviews with six participants from the reality show Paradise Hotel. This has been analyzed through a hermeneutic point of view.     It's hard to give any exact answers to the questions that the study is based on because of the different opinions of the participants. Though, we found that most of the persons that we have interviewed did not apply for the show themselves, they got handpicked from the production company. Also, it is obvious that the participants have been assigned characters afterwards when the shot material has been edited. It is also clear that some of the participants are pleased with the character they have been assigned, while others are upset with how they have been changed into someone they are not.