Universiẗat, Diss., 1975--Düsseldorf.

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / Na tentativa de se aproximar do conceito de pandiabolismo criado por Wolfgan Kayser, este estudo se detÃm sobre a anÃlise da riqueza intertextual que as cinco dÃcadas de trabalho do fotÃgrafo Joel-Peter Witkin, documentadas no livro The Bone House, oferecem como objeto. Como metodologia à anÃlise intertextual das imagens de Witkin, opta-se pela crÃtica de seus processos criativos. Como subsÃdio teÃrico, lanÃa-se mÃo do dialogismo interdisciplinar, este apresentado por Lucy Figueiredo como ferramenta à esta cartografia. / In an attempt to approach the concept of pandiabolism created by Wolfgang Kayser, this study is on hold intertextual analysis of wealth that five decades of work, they documented in the book The Bone House, offering as an object. The research takes as methodology the intertextual analysis of Witkinâs images through criticism of his creative processes. As subsidy theory, it employed the interdisciplinary dialogue, presented by Lucy Figueiredo, as a tool to this cartography.

<p>The purpose of this essay is to examine what can be considered as obscene in the work of Joel</p><p>Peter Witkin and Marc Quinn, what the similarities and differences are. The essay concerns the</p><p>human body, the norms around it and the old vision of the ideal body. To get closer to my</p><p>question I’ve been examine the meaning of anti-ideal, what it means and what kind of history it</p><p>has. The works I’ve been using to reach to my purpose are Marc Quinn’s sculpture Alison Lapper</p><p>(2005) and Joel Peter Witkin’s photography Abundance (1997). Both of the works are taking the</p><p>position that use to belong to the classical beauty. The analysis of these works focuses on the old</p><p>classical symbol interpretation, the character of the work and the doubt in the old ideal norms of</p><p>the classical beauty.</p>

The purpose of this essay is to examine what can be considered as obscene in the work of Joel Peter Witkin and Marc Quinn, what the similarities and differences are. The essay concerns the human body, the norms around it and the old vision of the ideal body. To get closer to my question I’ve been examine the meaning of anti-ideal, what it means and what kind of history it has. The works I’ve been using to reach to my purpose are Marc Quinn’s sculpture Alison Lapper (2005) and Joel Peter Witkin’s photography Abundance (1997). Both of the works are taking the position that use to belong to the classical beauty. The analysis of these works focuses on the old classical symbol interpretation, the character of the work and the doubt in the old ideal norms of the classical beauty.

This dissertation explored visual representations of death in the photographic work of Andres Serrano and Joel-Peter Witkin, as well as the MAFA candidate's (David Buchler) own art practice. It looked at historical overviews of representations of death from the Middle Ages to present, as a means of contextualising and locating the reasons as to how images came to be the way they are in the present. Selected artworks were examined with particular theoretical reference to Phillipe Ariès' investigation into the changing attitudes towards death in Western society and Julia Kristeva's abjection theory. This dissertation focuses on the abjection of death and more specifically the corpse and the treatment of it in the work of Serrano and Witkin. This project explored some of the reasons why the images in this dissertation may be seen as disturbing and confrontational. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.

El presente trabajo pretende demostrar que una parte importante del arte contemporáneo se puede entender mediante el sentimiento de lo ominoso, entendido como un sentimiento de rechazo ante lo psíquico y socialmente reprimido por todo individuo humano y que sin embargo es capaz de volver a la conciencia ante una situación externa. Este sentimiento se definirá, fundamentalmente, como la fusión de Das Unheimliche ensayo realizado por Freud en el año 1919, (lo espantoso que afecta a las cosas conocidas), y lo abjecto (una extrañesa repugnante que alguna vez fue familiar), expuesta en el texto Los Poderes del Horror de Julia Kristeva, (1980). Así también nos referiremos a otros escritos freudianos sobre psicoanálisis que nos parece importante al analizar el tema de lo ominoso.

CAMPOS, Israel Souto. Do pandiabolismo intertextual de Joel-Peter Witkin. 2012. 153f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-04-02T13:46:04Z No. of bitstreams: 1 2012-DIS-ISCAMPOS.pdf: 6073680 bytes, checksum: d4572a025d76608261b0e1edf0413966 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-04-02T14:29:51Z (GMT) No. of bitstreams: 1 2012-DIS-ISCAMPOS.pdf: 6073680 bytes, checksum: d4572a025d76608261b0e1edf0413966 (MD5) / Made available in DSpace on 2014-04-02T14:29:51Z (GMT). No. of bitstreams: 1 2012-DIS-ISCAMPOS.pdf: 6073680 bytes, checksum: d4572a025d76608261b0e1edf0413966 (MD5) Previous issue date: 2012 / In an attempt to approach the concept of pandiabolism created by Wolfgang Kayser, this study is on hold intertextual analysis of wealth that five decades of work, they documented in the book The Bone House, offering as an object. The research takes as methodology the intertextual analysis of Witkin’s images through criticism of his creative processes. As subsidy theory, it employed the interdisciplinary dialogue, presented by Lucy Figueiredo, as a tool to this cartography. / Na tentativa de se aproximar do conceito de pandiabolismo criado por Wolfgan Kayser, este estudo se detêm sobre a análise da riqueza intertextual que as cinco décadas de trabalho do fotógrafo Joel-Peter Witkin, documentadas no livro The Bone House, oferecem como objeto. Como metodologia à análise intertextual das imagens de Witkin, opta-se pela crítica de seus processos criativos. Como subsídio teórico, lança-se mão do dialogismo interdisciplinar, este apresentado por Lucy Figueiredo como ferramenta à esta cartografia.

The increasing need to select individuals for tasks suited to their personality make-up, has added to the challenge psychology faces of developing tests which can be applied to subjects from different cultures and environments. Many attempts at such designs litter the history of industrial and cross- cultural personality research. Among those to have survived years of reassessment, is the cognitive style approach developed by Herman Witkin. Intro., p. 1.

The contemporary photographer, Joel-Peter Witkin, has described his remaking of some of the most iconic paintings in the history of art as a “divine revolt”. However, there are no attempts to unravel the meaning of this project nor to analyse the visual changes that Witkin has made. This thesis argues that Witkin's re-creations serve to subvert the negation or diminishment of ugliness in art history's depictions of the mystical, and to present the experience of ugliness as alternatively inherently Godly. Through engaging in the problems in philosophical aesthetics, it contrasts the notions “aesthetically ugly” (a quality that cannot be objectively identified and studied because it ascribes aesthetic non-worth) with the “ugly aesthetic”, which refers to the “perceptive-felt” experience of an object. By integrating descriptions of this experience of the ugly aesthetic with those of the early development stage of the “psychoanalytic pre-symbolic”, it provides heuristics with which to identify perceptual identifiers ugly objects, ugly worlds and the expression of ugly feelings in mystical invocations of paintings of three chosen art historical periods and Witkin's recreations. In his reconstructing of the heavenly realms given Renaissance paintings of Leda and the Swan (1510-1515) and The Birth of Venus (1485), Witkin makes a “pre-symbolic” space with ugly objects to present a contrary vision of an ugly dwelling place for God. In amending the Catholic Baroque's Little Fur (1638) and the Protestant Baroque's Still Life of Game, Fish, Fruit and Kitchen Utensils (1646), the artist replaces mystical feelings that imbue scenes of ugly objects with an expression of ugly feelings themselves, thereby guiding the viewer into a full immersion into these objects the real site of Godly experience instead. This theoretical formulation and its application to the works at hand, evidence that Witkin's work points to the mystical power of the ugly aesthetic to unleash a personal and collective memory of Godly reality as ontologically formless and mysterious, and thereby makes a case for ugliness' value.

The present diploma thesis focuses on the relation of the bilingualism and the cognitive style of field dependence/independence. Its first theoretical chapter deals with the issue of cognitive styles, in particular field dependence/independence, its history, possibilities of testing, namely the Embedded Figures Test and its group and online modifications. The second chapter of the theoretical part provides a characteristics and description of the phenomenon of bilingualism, its classification and a review of selected studies of bilingualism in relation to cognitive abilities and with the concept of field (in)dependence. During the former researches, higher tendency to the field-independence in youth non-adult bilinguals was proved. The purpose of the empirical part of this thesis aims to find, using the Online Group Embedded Figures Test, if the bilinguals still differ in this higher tendency from monolinguals in the adulthood. Based on the sample of 30 adult individual natural bilinguals, whose results in the Online GEFT test were compared to the results of 30 adult monolinguals in the same test, a statistically significant difference was not proved. From this result we can claim, that in adulthood, the difference of the field-independence between bilingual and monolingual population tends to...