Thesis (Ph. D.)--University of Wisconsin--Madison, 1953. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Submitted by Isaac Francisco de Souza Dias (isaac.souzadias@ufpe.br) on 2016-06-13T18:43:21Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Versão Final - Dissertação - MarinaDidier--Copiar.pdf: 5537504 bytes, checksum: 1a62631e1fa6ac438a71f08eba6404cb (MD5) / Made available in DSpace on 2016-06-13T18:43:21Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Versão Final - Dissertação - MarinaDidier--Copiar.pdf: 5537504 bytes, checksum: 1a62631e1fa6ac438a71f08eba6404cb (MD5) Previous issue date: 2015-08-31 / CAPES / A partir da leitura das obras da fotógrafa americana Francesca Woodman, passo a tecer diálogos com a temática das categorizações sociais femininas, da identidade e da singularidade, com o intuito de refletir sobre o modo como a produção de subjetividade encontra, contemporaneamente, seus obstáculos, e como as instituições tendem a dificultar tal produção. Ao percorrer as imagens de Francesca, nas quais ela questiona e confronta padrões femininos estabelecidos dentro do seu contexto histórico, falo da representação fotográfica como meio de construção das identidades e da arte como um dos lugares no qual certas construções naturalizadas podem ser quebradas e confrontadas, e onde a singularidade pode ser expressada. Entre o ensaio, as fotografias e os trechos de diários, meu e dela, reflito sobre as influências desses ordenamentos sociais nas produções das imagens que as mulheres fazem de si mesmas. / By taking as a guideline tread the works of the American photographer Francesca Woodman, I weave dialogues with issues such as women's social categorizations, identity and uniqueness, in order to reflect on how the production of subjectivity faces, nowadays, its obstacles, and how institutions tend to hinder such production. By scrolling through the pictures of Francesca, in which she questions and confronts female standards set within her historical context, I speak of photographic representation as a means to construction of identities and art as one of the places in which certain naturalized constructions can be broken and confronted, and where the uniqueness can be expressed. Among the essay, the photographs and journal entries, hers and mine, I raise considerations regarding the influences of these social standards and stereotyping upon the images produced by female artists.

Syftet med denna uppsats är att jämföra Cindy Shermans och Francesca Woodmans sätt att arbeta med temat identitet och sätta detta i relation till ett didaktiskt perspektiv. Utifrån frågeställningarna: Vad finns det för likheter och skillnader mellan Cindy Shermans och Francesca Woodmans sätt att arbeta med identitet genom fotografi? och Hur kan man utifrån dessa fotografer arbeta med identitet i bildundervisningen? kommer en komparativ analys göras på fyra bilder. Två av Cindy Sherman och två av Francesca Woodman. Resultatet påvisar att Francesca Woodman arbetar med identitet utifrån ett modernistiskt synsätt där inre psykologiska processer och tillstånd uttrycks i fotografiska bilder. Cindy Sherman däremot arbetar med iscensättning av sociala roller och kulturella representationer utifrån ett postmodernistiskt perspektiv.

À partir des autoportraits photographiques de Vivian Maier (1926-2009) et Francesca Woodman (1958-1981), la thèse de ce texte est que la figuration féminine nous transmet un art de disparaître. Si l’on établit que cet art serait présent de manière plus ou moins active dans l’ensemble de l’iconographie du féminin, on montre que c’est un contexte particulier qui en révèle l’existence : celui de l’émancipation des femmes depuis la fin du XVIIIe siècle, de l’invention de la photographie au XIXe siècle et du bouleversement écologique contemporain. En effet, on constate chez Vivian Maier et Francesca Woodman, et plus largement dans l’autoportrait photographique féminin, une écologie poétique déterminée et engendrée par la technique photographique et les mutations modernes dans la vie des femmes, où se rencontrent désormais le destin de la figuration féminine dans l’histoire de l’art et le destin possible de notre espèce. Cette thèse propose de tirer de ces autoportraits un nouveau modèle pour habiter le monde en ce moment de transition historique à l’égard du genre et de la nature. / Drawing from the photographic self-portraits of Vivian Maier (1926-2009) and Francesca Woodman (1958-1981), this thesis argues that feminine figuration conveys an art of disappearing. Establishing that this art is, to a certain extent, at work across the iconography of the feminine, we are showing that it was brought to light within a specific context: the emancipation of women since the end of the 18th century, the invention of photography in the 19th century and the contemporary ecological crisis. Indeed, a poetic ecology emerges through the works of Vivian Maier and Francesca Woodman in particular, and the feminine photographic self-portrait as a whole, determined by the photographic technique and modern changes in women’s lives, where the destiny of feminine figuration in art history converges with the possible destiny of our species. From these self-portraits, this thesis offers to draw a new way of inhabiting the world in this historic moment of transition with regard to gender and nature.

This paper explores the historical significance and advancements of automatic photobooth portraiture from the late 1800s onwards, focusing specifically on the intention behind the photobooth’s creation and the significance and cultural implications of its introduction into society. As it gradually became a staple of modern society, regularly visited by citizens to have their portraits taken, numerous artists sought out the photobooth as both a studio and a stage in which to document performative self-portraiture. The space and aesthetics of the photobooth have inspired artists to re-envision the confines of the booth and use its automatic function as a point of inspiration. I will also highlight the significance of female self-portraiture and the significance of women performing within and occupying specific spaces. My work is a combination of these histories, providing me with the opportunity to continue the discussion of women’s self-representation and the unique artistic space the photobooth provides between public and private spheres.

Frederic Woodman Root was a vocal pedagogue and writer of the late nineteenth century. He wrote over eighteen books on vocal pedagogy, and numerous articles on singing. Since his death, most of his works have fallen into obscurity. The purpose of this document was to codify the vocal pedagogy of Frederic Woodman Root, discussing his particularly thorough methodology, and to bring his methods back into the public eye. His method is broken down into the various components of basic musicianship, the General Principle, the Three Vowel Forms, registers, breathing, and agility. Examples from Root's exercises are included and discussed.

本論文將用榮格的原型觀念(archetypes)探討瑪格麗特˙愛德伍小說《盲眼刺客》中的人物性格。 本論文由五章組成。第一章將大略介紹《盲眼刺客》的內容以及其評論。第二章將會介紹榮格對集體無意識(the collective unconscious)的概念以及其和原型概念的關連；接著，將會根據兩位新榮格學派的學者，瑪莉恩˙伍德曼(Marion Woodman)和卡蘿˙皮爾森(Carol S. Pearson)對原型理論的闡述，針對兩個原型加以探討──鬥士原型和殉道者原型。在父權社會的影響下，這兩個原型時常會被過度簡化成對兩性的刻板印象，而在這簡化過程裡，原本屬於這兩個原型的能量和複雜性都被忽視或壓抑了。 第三章始於對愛德伍小說人物的辯護，說明其人物並不是一般所說的刻版人物，而是充滿衝突與能量的原型人物。而後，我會把小說中的人物和象徵和神話及童話中的人物作連結。在一方面，我將會對於小說中的現實人物，如艾麗絲和蘿拉(Iris and Laura)，和小說中的象徵角色，盲眼刺客和獻祭少女，做連結且並討論；另一方面，我將會將這兩個象徵角色延伸出去，探討與之相關的神話或童話人物，或是，更上一層的原型人物。在第四章，我則會依據小說人物和其原型的關係加以剖析，檢視他們和其原型的認同狀況，及他們膨脹(Inflation)的程度。 在最後的第五章，將以原型的概念來詮釋小說中各個人物的悲劇做為總結。《盲眼刺客》中的每個人物都傾向於過份認同某個原型，而忽略了讓自我有平衡發展的重要性。 / This thesis is to discover the psychological depths of the characters in Margaret Atwood’s The Blind Assassin and to analyze them according to the Jungian conception of archetypes and the influence of archetypes upon the human psyche. This thesis consists of five chapters. Chapter One is an introduction, including the overview of the novel and its critical backgrounds. And Chapter Two introduces C.G. Jung’s conception of the collective unconscious and its relation with archetypes and follow with specific discussion of certain archetypes—the Warrior and the Martyr—mainly according to the theories of two neo-Jungian scholars, Marion Woodman and Carol S. Pearson. Since these two archetypes are often over-simplified to fit in gender stereotypes under the influence of patriarchal society, the energies and complexity of these archetypes are always neglected or repressed. Chapter Three begins with an argument that Atwood’s characters are not stereotypical but rather archetypal, for they possess the contradictory energies within them that are correspondent with that of archetypes. On the one hand, I discuss how the characters in the memoir are symbolized in the science-fiction allegory, being reflected as the blind assassin and the sacrificial maiden; on the other hand, I make a connection between the symbols of the novel—the blind assassin and sacrificial maiden—and the mythological and fairy-tale allusions, and further, the archetypes behind them. In Chapter Four, I examine the psychic problems of the characters according to their relations with the archetypes—to examine how much they identify unconsciously with the archetypes and the extent of their inflation. Finally, Chapter Five concludes with the archetypal explanation of the tragic life of the characters in the novel. Each of them is trapped in an overwhelming power of a certain archetype instead of having the ego balanced between these multiple archetypes, they turn themselves into mythical figures that are too rigid for humanity.