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1
Letts, Michael. "Self-portrait." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300475353.
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Jugend, Nurit K. "Self-portrait /." May be available electronically:, 2004. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Foley, Sean Patrick. "A self portrait." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314739094.
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Painter-de, Jonge Mardoe. "A self portrait." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1328122393.
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Leiserson, Emily M. "Self-portrait and autobiography." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397642.
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This creative project is a series of self portraits, records of self and the stamp of culture that is placed on the physical body. In the series of prints and handmade books described in these pages, self-portrait provides a vehicle for examining creativity and humanity, self-image as a reflection on women, and autobiography as a means of cultural storytelling.<br>Department of Art
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Baldissera, Julien. "MIRAGE: A SELF PORTRAIT." Thesis, Sydney College of the Arts, 2019. http://hdl.handle.net/2123/20170.
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Haun, Gregory Cosmo. "The timely self-portrait machine." Thesis, Massachusetts Institute of Technology, 1992. http://hdl.handle.net/1721.1/66744.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1992.<br>Includes bibliographical references (leaves 50-57).<br>This thesis explores the philosophy which underlies the Timely Self-Portrait Machine. The cultural history of the machine, the phenomenon of Television, and the personal history of this project are discussed. Technical information and a functional explanation of The Timely Self-Portrait Machine are provided. A central theme is echoed throughout; essentially, a request is made that the machine be treated by artists and designers as an agent of expression in itself, regardless of superfluous decoration.<br>by Gregory Cosmo Haun.<br>M.S.V.S.
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Palumbo, Fiorella <1994>. "Francesca Woodman: Unfinished self- portrait." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19556.
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In questo elaborato viene letto e interpretato il lavoro della fotografa americana Francesca Woodman. La sua vita, strettamente legata all’amore per la fotografia, è segnata da una morte prematura e volontaria che non diventa qui l’unica chiave di lettura della sua opera.
Al contrario sono i confronti con le opere d’arte che studiò e che amò sin dalla giovane età a diventare un valido supporto per l’interpretazione delle sue fotografie, tanto evocative quanto enigmatiche.
Le sue stesse parole, estratte da alcune lettere personali, facilitano la comprensione circa la sua devozione per l’arte tutta.
Parte del corpus delle sue opere fotografiche, pittoriche, cianografiche e di videoriproduzione vengono in questa sede analizzate operando numerosi confronti tra queste e i lavori di altri artisti. Ciò che ne scaturisce è un elaborato monografico su un’artista affascinante ed emotiva che vive ancora oggi grazie ai suoi autoritratti celati e, per questo, incompleti.
È questo, dunque, il senso di “Unfinished self-portrait”: una ricerca basata su una giovane donna che si servì dell’arte per rispecchiarsi in essa e per comprendere maggiormente il suo Io. Il percorso deduttivo basato sull’arte in quanto strumento di comprensione - dalla fotografa finalizzato all’analisi personale e introspettiva - viene usato qui per definire la genesi dei suoi lavori. Si può quindi affermare che questo elaborato segue i medesimi criteri adoperati da Woodman sia per la realizzazione di bozzetti preparatori che per la messa in atto delle sue opere, se così si possono definire, “compiute”.
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Lobos, Victor Andres. "A Self Portrait: "The Embassy of Chile"." Thesis, Virginia Tech, 2004. http://hdl.handle.net/10919/31118.
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Washington D.C. is a city of multicultural richness difficult to surpass. The huge diversity of languages, cultures, and people found in the city are the bases of its identity. Countless diplomatic missions, international organizations and agencies are a dramatic proof that Washington D.C. is currently the center of the world, the Rome of modern times. To this extent, each country that holds a diplomatic mission strives to make its representation, its presence to the host country, as good as possible. With this in mind, architecture is provided with a great opportunity to showcase the spirit of each country through the buildings that represent them, their embassies.
The desire that sparked the idea of making a thesis about the Embassy of Chile may be traced to the experience of being a foreigner, a Chilean, living in Washington D.C. In the same manner that a person may represent its country, an embassy building gives the opportunity to express and show a lot of what that country is about; it has the potential of becoming a symbol for it. Although this may seem a very straightforward theme, itâ s actually very broad, and may be regarded in a number of ways. How do we represent Chile? What do we show? What donâ t we want to show? How do we express it? And even how can we define Chile. These were questions that had to be addressed before even thinking about designing the embassy.
In order to this, the concept that had to be adopted had to be capable of handling this selective process. Itâ s a process in which the person doing the representation also takes part in it. In other words, itâ s a process by which you are presenting yourself. Through research done at this stage of the thesis, the best way to describe the procedure was by making a Self Portrait. By adopting this concept we were given the possibility to create our own image of what Chile was, and to reveal and conceal whatever we thought was appropriate.<br>Master of Architecture
10
Shininger, Soni. "Portraiture : the self as art." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864932.
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The purpose of this project was to find out what it is about the self that deserves to be depicted in a work of art; what other artists have done in selfportraiture that may help me in my efforts; and what my own contribution to the history of self-portraiture could be. Self-portraiture is significant in its ability to serve as a personal platform to define the artist's life and relationships with society as well as other individuals. Many times selfportraiture becomes a visual self-search to recognize our own characteristics and traits that make us complete individuals. I investigated the history of self-portraiture as well as the life and work of six artists. I concentrated on the symbolism and psychological undercurrents present in many selfportraits. With my research in mind, four images were created based on preliminary sketches of myself and another close friend. The final images are watercolor, oilbar and sgraffito on paper. Two images are grid pieces and the other two are single companion pieces. The finished pieces were framed andexhibited at the Ball State University Museum of Art. The final images fulfilled all the goals at which I had aimed. They are visually exciting, successfully composed and well constructed. During their execution I was able to elevate the quality of my work, bringing it to a greater maturity level. This group of portraits also worked as a tool to put my life and relationships into a new perspective.<br>Department of Art
11
Lynn, Meredith Laura. "One-liners." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1014.
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Pratt, Sarah Jane. "Personal memory and the negotiation of identity : a self portrait." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/26143.
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The first section of this paper surveys the differing characteristics of memory, its fragmentary qualities, its constant negotiation within the present, its personalised form and its links to identity-formation and construction. Concepts of continuity, stabilising identity within the present, and their corresponding memory-related problems are discussed. Photographs are looked at in relation to memory as well as for their ability to inform or influence individual identity. References to the multi-faceted information that is unconsciously assimilated from multi-media sources in today's society, and the resultant identity related complexities introduce a more personal outlook on historically specific factors that appear to have destabilised identity. The Truth and Reconciliation Commission is briefly introduced from the perspective of recreating one collective national memory and the implicit complexities involved on both a personal and collective level. Section two of the paper establishes the importance of place in the formation of identity and then looks specifically at historical incidents that are relevant to my personal self-consciousness. Zimbabwean land reform issues, political racism and economic problems are presented as occurrences powerful enough to trigger the conscious scrutiny of identity and a personal sense of the past. Travel-related experiences are discussed with issues pertaining to the destabilisation felt when the individual is introduced to "other" discourses or cultures. Exposure to these occurrences, and conjecture surrounding their "ripple effect" on the individual provide the starting point from which to understand the motivation behind my body of practical work. The third section of this paper looks closely at the problems, possibilities and variations involved in making a body of work around the concept of personal memory. The history of etching is briefly discussed, and the method of etching is compared to the recollection process. Finally, the panel of work is presented as a "heritage site" to the viewer, and a form of re-evaluation of identity for the maker. A series of narrative texts are sourced as personal springs that triggered the production of each image, and serve to accompany or enrich the artworks themselves.
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Heathcote, Christine. "Betende Hande: Albrecht Durer's Self-Portrait as a Gothic Church." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5694.
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In 1508 Albrecht Dürer, famed German printmaker and Nürnberg citizen, was commission by Jakob Heller of Frankfurt to paint a large altarpiece for a new church. The Heller Altarpiece was the second commission of the printer since his training in Venice, Italy (1504-1507) to paint like an Italian master. In order to prepare for such a commission, Dürer spent over a year creating drawings of black ink and white chalk on blue Venetian paper to serve as inspiration for the large painting. However once the painting was complete, the artist held onto these ink and chalk drawings as part of his personal collection of art. It is from this group of drawings, that the now iconic Betende Hände had its start. Today the image of two praying hands is appropriated for posters, pins, headstones, and even tattoos. The original context as a personal drawing kept by the artist, Albrecht Dürer, is completely divorced from its contemporary use. It is thesis's argument that Betende Hände was not only a very personal drawing for Dürer, but also a moment of self-fashioning, metaphorical experimentation, and abstract self-portraiture. Rather than simply representing prayer, Dürer's Betende Hände captures his desire to become like unto Christ. The composition appears simple, but upon further inspection reveals a unique quality and form borrowed from the Gothic architecture of the German Hallenkirche. The fingers extend vertically like rib vaults from the palms only to touch at the points giving the hands an overall triangular composition. With this drawing, Dürer experimented with his metaphorical self beyond any other point in his career, and becomes like Christ. Only the form of Christ that Dürer choose after which to fashion himself was the architectural form of Christ or the Gothic Church. Therefore this thesis will trace the emergence of Dürer's metaphor of body as architecture via the cultural environment of pre-Reformation Germany and popular religious texts that related the body of the worshipper to the church form. As a result, Betende Hände gives unique insight into the identity of a Catholic Dürer.
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Mariuzzo, Junior Osvaldo. "Retrato e auto-retrato na obra de Egas Francisco." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284929.
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Orientador: Maria de Fátima Morethy Couto<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T08:02:11Z (GMT). No. of bitstreams: 1
MariuzzoJunior_Osvaldo_M.pdf: 32441693 bytes, checksum: b23ed459f366d99a2b24d80e27dc321c (MD5)
Previous issue date: 2010<br>Resumo: Egas Francisco pinta telas há mais de cinqüenta anos, sustentou-se durante todos esses anos com o dinheiro que recebe pela venda de suas obras e pelo ensino de artes, que por vezes o ajudou a sobreviver. Não é objetivo desse trabalho encaixar todas as peças do enorme quebra-cabeças que é a vida de um artista. Quem já brincou com um jogo assim, dos grandes, sabe que ele tem partes mais coloridas e luminosas, fáceis de montar e outras monocromáticas e escuras, que podem deixar quem está montando quase maluco. A tarefa aqui é apenas de começar a montagem das peças que estão espalhadas sobre a mesa. Começamos pela parte fácil, que salta aos olhos, os retratos e auto-retratos. Faremos reflexões sobre esse gênero de pintura que tanto agrada a Egas Francisco realizar. Não temos a intenção nem a pretensão de esgotar o assunto, apenas trazer alguma luz e gerar novas interrogações e questionamentos<br>Abstract: Egas Francisco is painter for over fifty years. He has held up over the years with the money he receives from the sale of his works and art classes, which sometimes helped him to survive. It is not the purpose of this study fit all the pieces of the huge puzzle that is the life of an artist. Anyone who has played this game knows he has shares more colorful and bright, easy to assemble and other monochromatic and dark parts, which may leave almost crazy those who are mounting. The task here is only to start assembling the parts that are scattered on the table. We began with the easy part: portraits and self portraits. We will make reflections on this genre of painting which pleases both Egas Francisco accomplish. We have neither the intention nor the pretension to exhaust the subject. For now we just want bring some light and generate new questions and challenges about this subject<br>Mestrado<br>Artes Visuais<br>Mestre em Artes
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Timmons, Jeffrey Wayne. "Theory and Poetry: John Ashbery's "Self-portrait in a Convex Mirror"." PDXScholar, 1994. https://pdxscholar.library.pdx.edu/open_access_etds/4898.
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This thesis examines John Ashbery's poem "Self-Portrait in a Convex Mirror" and its revision of the traditional distinction between theory and poetry. Drawing a relationship between the poem's subject and the practices of postmodern theoretical discourse, the thesis posits the poem as an artifact of these changes. Creating a context for the poem, these developments not only inform the climate in which Ashbery's poem takes on significance, but, as well, explain the changing nature of literary study. Historical in its approach to the pressures and impulses within this climate of aesthetic production, the thesis traces the distinction between science and literature and how it has influenced the creation of the literary discipline. Demonstrating that the disciplinary study of literature has always been the subject of debate and discussion, it uses this understanding to place present disagreements about the need or usefulness of theory in the context of historical disagreements over the difference of literature from science or philosophy. Explaining that postmodern theory has largely worked to foreground the arbitrary nature of distinctions such as that between theory and poetry, the thesis elaborates on how poststructuralism undoes these distinctions to show how they are always the result of particular political and ideological views of representation. Using this critical insight, the thesis then reads closely the details of the poem's relationship to postmodern theory, how it works to undo the distinction between theory and poetry. Having undone this traditional distinction, however, leaves the poem in an ambivalent and unstable position. Since it passes between extant categorical definitions its own nature remains undecided and, thus, maintains an engagement with and resistance to tradition. It remains caught between the need for the aesthetic past and the need for a freedom from that past. Chapter four, therefore, explores this ambivalence, particularly as it relates to the inheritance of romanticism and modernism. Finally, in chapter five, the thesis revises the main critical perception of Ashbery as postmodern, making a case for his closer affiliation with a late version of modernism. Because of Ashbery's preoccupation with the aesthetic past, his use of the imagery, insights, and idealism of our aesthetic history, he appears to re-create a distinction between high and popular art that is more consonant with a version of modernism.
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Wilkes, Kerry J. "Itinerary of home." Thesis, Curtin University, 2000. http://hdl.handle.net/20.500.11937/818.
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Embodied in my art practice is the exploration of the relationship between my subjective self as consumer and the material culture of home. As an artist this praxis suggests alternative ways of reconstructing domestic subjectivity (self-portrait) through the formal processes of drawing and cataloguing insignificant collections acquired through 'lived experience'. This analysis utilises Michel de Certeau's concept of bricolage, a 'tactic' of fragmentation that 'makes do with what is at hand' to corrupt the 'proper' space and time of a contemporary productionist society. In the course of developing an art practice, I seek to re-value marginal space and reappropriate time from a modern culture designed for efficiency.Through the introduction of key elements in process drawing, I have adopted a method to subvert modernist representations of the domestic. As Certeau writes 'mak[ing] use of techniques of re-employment in which we can recognise the procedures of everyday practice' is a political deployment, an individual 'tactic' orchestrated against social 'strategy'. A fragmentary tactical operation allows me fleeting moments of visibility to record 'lived experience' through an installation based art practice.
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Vardeman, Christopher E. "Me, My Selfie, and I| Personality Traits' Influence on Online Self-Portrait Sharing." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10690904.
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<p> Millions of selfies are posted on social media every day. Past research has attempted to explain this behavior, though inconsistent results have necessitated further investigation. The present study broadened the scope of selfie research by using electronic survey methods in a sample of active social media users to examine the relationships between narcissism, extraversion, purpose in life, prevalence of posting, and two novel constructs: number of selfie drafts taken before final selection, and immediacy of posting after taking a selfie. Higher prevalence was significantly related to greater number of drafts and belief that selfies facilitate self-expression and self-discovery. Greater number of drafts was also associated with lower feelings of purpose, greater immediacy, and younger age. These findings, together with an absence of strong links between selfies and narcissism or extraversion, suggest that selfie sharing is more nuanced than previous studies have shown. The present data’s correlational nature precludes causal inference, but informs future research on selfies and human behavior on social media.</p><p>
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Rowell, Spencer. "An exploration of pathography within phototherapy : an analysis of the photographic self-portrait." Thesis, London Metropolitan University, 2017. http://repository.londonmet.ac.uk/1264/.
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This thesis presents and develops an advanced method of self-exploration for artists. The method, which incorporates the process of self-representation, enables a more authentic identification of the psyche of the artist to be created. The objective of the research is to develop a restorative and valid therapeutic process that artists can apply to achieve further authenticity in terms of the work that they conduct. The process that is developed as a product of this research is an advancement of ‘pathography’, a term used by Sigmund Freud in 1910 in the final chapter of Leonardo da Vinci and a Memory of His Childhood, to describe the psychoanalytic study of an artist through the works produced by the artist. The specific method employed in the research involved myself as artist creating a photographic self-portrait, sharing this image with two psychoanalytic psychotherapists, who each then responded with their written analysis of the image. This led to the creation of a series of twenty-four images, informed by the written interpretations provided by the analysts, at approximate intervals of once a month over two years. This method allows the interaction of artist, artworks and analysts to develop dynamically. This collaborative process where the written word is generated from the viewing of visual information, allows patterns or themes relevant to the research to be identified. The research findings contribute to the existing body of knowledge by revisiting of ‘pathography’ and developing a new method within phototherapy, and, in doing so, provide a material progression in the context of the artist as a photographer. Recommendations are also made in respect of the implementation of this new method. Guidance is provided for researchers who wish to further investigate this area, particularly in terms of the research processes that can be adopted. I conclude that making photographic self-portraits in this way can be a restorative and valid therapeutic process.
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Lamotte, Clarisse. "Autographie." Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2192.
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AUTOGRAPHIE : écriture de soi par soi. Dessin du sujet par le sujet. Mise en oeuvre de ce regard retourné sur lui-même. Enfin, langage graphique sur l'existence jusqu'à l'oubli de soi.L'autoportrait n'est qu'un point de départ pour un questionnement plus universel. C'est littéralement la mise en oeuvre, et de ce fait la mise en acte, de l'être témoignant aux autres de sa propre conscience. Poignante tentative de mise en lien avec soi-même pour rendre possible le lignage avec autrui. Troublante relation au monde qui nous révèle acteur et spectateur de son infinie révolution ombilicale. Soudaine perception de ceux qui réalisent qu'en témoignant de moi, je témoigne d'eux<br>AUTOGRAPHY : The writing about oneself in one's own handwriting. The drawing of the subject by the subject. The realization of this self-focused perspective. Finally, the graphical language about existence up to self-oblivion.Self-portrait is only the starting point for a more universal questioning. lt is literally the realization - and thus the action - of a (human) being conveying his self-awareness toothers. The poignant attempt to relate to oneself so as to relate to others. Our troubling relation to the world leaving us actors and spectators of its endless umbilical revolution. The sudden perception of those who become aware that accounting for oneself is accounting for them
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Webster, Andrew. "The Embedded Self-Portrait in Italian Sacred Art of the Cinquecento and Early Seicento." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13006.
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Cases of Italian embedded self-portraiture appear in the sacred art of some of the most renowned artists of the Cinquecento and early Seicento, artists such as Bronzino, Michelangelo, Titian, Tintoretto, and Caravaggio. This thesis first examines the history of the practice from its origins in Quattrocento Florence and Venice then argues that an important development in the function and presentation of embedded self-portraits can be observed as Cinquecento artists experienced broad shifts in religious and cultural life as a result of the Reformation and Counter-Reformation. It also assesses three works by Caravaggio to suggest that embedding self-portraits in religious art was a variable and meaningful convention that allowed artists to inject both their personal and public emotions. This thesis argues that in the Cinquecento and early Seicento, the very gesture of embedding a self-portrait in sacred artworks provided a window into an artist's individuality, personality, and piety.
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Chernobrov, Dmitry. "The portrait of an other : metaphor, stereotype and the drawing self in international perceptions." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7066.
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Arroyo, Roberto. "Retrato y Autorretrato Literario Indígena: Resistencia y Autonomía en las Américas." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18718.
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This dissertation examines how the indigenous subject has been constructed in the Americas and explores the interests of individuals, power groups, and institutions behind these characterizations. Two notions are proposed: literary portrait and self-portrait, as opposing tendencies configuring the indigenous subject. The portrait starts as a Hispanic colonial creation that kidnaps indigenous memory, pillages natural resources and is the basis of stereotypes that still endure. Next, creoles and mestizos' portrait at the birth of Latin American nations shows the indigenous as barbarians or noble savages, enabling territorial and mental occupation of indigenous spaces and attempting to assimilate the indigenous to the new nations. A portrait of indianism emerges, idealizing and accepting the "indian" under the mestizo category, dissociated from a culture, assumed as dead or a relic of the past. The final representations are the portraits of indigenism, where the indigenous are social subjects without protagonism, and of neo-indigenism, where they are represented with a religious wisdom and power to fight against foreigners that destroy the sacred circle of nature.
In radical contrast, the self-portrait defies all previous representations. Authors Enrique Sam Colop (Maya K'iché), José Luis Ayala (Aymara) and Elicura Chihuailaf (Mapuche) recover indigenous literary autonomy. Vito Apüshana (Wayúu), Briceida Cuevas (Maya Yucateca) and Natalia Toledo (Zapotec) consolidate the self-portrait at the end of the XXth and the beginning of the XXIst centuries. Self-portrait is built from tradition and reinvention of the culture, recovering indigenous agency, burying centuries of the seizure of indigenous memory and witnessing from a plural "I" their historical resistance to old and new colonialisms. This literary self-portrait accompanies the struggles for political, economic, cultural and ecological autonomy; recovers the indigenous languages as a tool for resistance, knowledge and aesthetic; uses the dominant foreign languages to form a multicultural reader; defends the notion that nature possesses a language that can be decoded; emphasizes the power of words; uses poetry as a tool for decolonization, fighting racism, and demanding equality; and values of the concept of Buen Vivir. These concepts proclaim a deep cultural transformation that is now underway.
This dissertation is written in Spanish.
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Wilkes, Kerry J. "Itinerary of home." Curtin University of Technology, School of Art, 2000. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=10139.
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Embodied in my art practice is the exploration of the relationship between my subjective self as consumer and the material culture of home. As an artist this praxis suggests alternative ways of reconstructing domestic subjectivity (self-portrait) through the formal processes of drawing and cataloguing insignificant collections acquired through 'lived experience'. This analysis utilises Michel de Certeau's concept of bricolage, a 'tactic' of fragmentation that 'makes do with what is at hand' to corrupt the 'proper' space and time of a contemporary productionist society. In the course of developing an art practice, I seek to re-value marginal space and reappropriate time from a modern culture designed for efficiency.Through the introduction of key elements in process drawing, I have adopted a method to subvert modernist representations of the domestic. As Certeau writes 'mak[ing] use of techniques of re-employment in which we can recognise the procedures of everyday practice' is a political deployment, an individual 'tactic' orchestrated against social 'strategy'. A fragmentary tactical operation allows me fleeting moments of visibility to record 'lived experience' through an installation based art practice.
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Brett, Susan Mae. "Self-portrait and the discovery of the female voice in the writing of Marguerite Duras." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25355.
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Marguerite Duras' earlier works fit readily into the genre of the traditional novel and, like many early works of fiction, are often autobiographical
in content. Un Barrage contre le Pacifique (l950), for example, tells the story of her difficult childhood in Indochina where she was raised by a widowed mother. However, with Moderato Cantabile (1958) her writing style changes markedly. The author associates this alteration in style with a crisis in her personal life whereby her writing becomes poetic and the narrative content increasingly abstruse. It is with the writer's experimentation in film during the sixties and seventies that a group of works, referred to in this paper as the "India Song" texts, appear. In this group of works, beginning with Le Ravissement de Loi V. Stein (1964), and ending with Aurélia Steiner, Aurélia Steiner, Aurélia Steiner (1979), the same story is told and retold, yet the form of the language, the narration, and the dominant mode of perception alters remarkably from text to text. These texts together are proposed, in this study, to form a unique self-portrait of the author.
The thesis is divided into two parts. In Part I, the transition in writing style is considered as a movement away from an autobiographical mode into a self-portraiture mode. A comparison is made between the characteristics of her writing style in the texts following Moderato Cantabile and the characteristics of the self-portrait as outlined by Michel Beaujour in Miroirs d'encre. To elucidate the situation of the Durassian heroine prior to the self-portrait revealed in the "India Song" texts, the myth of Narcissus and Echo is utilized. This use of myth provides a background Gestalt against which the patterns within the fiction begin to appear.
Part II is a textual analysis of the "India Song" self-portrait works which include Le Ravissement de Loi V. Stein, Le Vice-Consul, L'Amour, La Femme du Gange, India Song, and Aurelia Steiner, Aurelia Steiner, Aurélia Steiner. The ancient Summarian myth of female initiation, the myth of Inanna, when applied to these texts, discloses the transformation
in perspective underlying the arcane surface patterns in which the same "story" reappears from text to text. From a one-dimensional world dominated by the masculine "regard", the reader is pulled, via the auditory,
into a multidimensional kinaesthetic feminine world of the "lower" senses that is referred to in the analysis as "l'écoute". It is this perspective that the female writing voice of Aurelia Steiner, culmination of this unusual self-portrait, offers to the reader.<br>Arts, Faculty of<br>French, Hispanic, and Italian Studies, Department of<br>Graduate
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Mette, Meghan E. "Icon of Heroic “Degeneracy”: The Journey of Ernst Ludwig Kirchner’s Self-Portrait as a Soldier." Oberlin College Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1462967534.
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Scheffels, Erin L. "Everything is Fine: Self-Portrait of a Caregiver with Chronic Depression and Other Preexisting Conditions." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7709.
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This dissertation documents the joys and terrors of caring for my father throughout my twenties and early thirties. The story is autoethnographic and demonstrates the value of narrative research in fostering understandings of self, other, and the world around us. I call this reflexive practice of writing narrative education because as I engaged in it, I learned what it means to care, and how mental health and illness factor into the ways in which care is expressed and provided in my own relationships and beyond. In addition, throughout the story I was a member of the academic community, which makes caring more than an act or behavior, but a concept to unpack, an ideograph. This dissertation begins with the goal to write my story and learn from it so others might learn from it as well. While the narrative portion of my dissertation focuses on story and the craft of creative nonfiction, the final chapters present a discussion of narrative ethics and the writing process. I also delve into concepts of care, family, and community to shed light on the narrative and create a space for reflection.
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Fleischer, Ralph Martin. "CREATING STEPHEN, THE ARTIST : Reinterpreting Joyce's Portrait through Analysis of the Narrator." Thesis, Stockholms universitet, Engelska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-86969.
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A Portrait of the Artist as a Young Man is viewed traditionally by many critics and scholars alike more or less, if not entirely, as Joyce’s autobiographical novel. The identity of the narrator and his relationship to the focalizer and the narrative text are aspects that have thus not been sufficiently examined and explored. An analysis of the passage when Stephen clarifies to himself his relationship to words which makes possible the revelation of his calling as an artist will reveal the intimacy of the narrator and Stephen, indicating they are one and the same. But it will also disclose the structure of the narration of Portrait to be the result of Stephen’s very discovery of the meaning of words to him. And the view of Stephen as a narrator, as well as the main focalizer, turns Portrait into a work of fictional autobiography. His thoughts and contemplations monopolize the narration, granting him exclusive authority over the presentation of his story. Furthermore, the suggestion in the title of the novel that he is also the writer begs the question of reliability. Can Stephen’s story be trusted, or is Portrait a fabrication of his childhood in order to convince the world that he really was born to become an artist? The opening and ending of the novel suggest that the narrative is not “based on a true story” of Stephen’s life but instead that it is composed in the fantasy world which Stephen withdraws into as his meagre output does not meet his expectations. Thus Stephen writes his first novel entitled A Portrait with which he hopes to achieve the fame and receive the recognition he desires. But Stephen is still a struggling artist when the narrative finishes, hence the ambiguous ending as Stephen is the novel itself, its inconclusive narrative. Stephen’s A Portrait is a glorious act of self-creation.
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Pentes, Tatiana. "CRUEL BEAUTY: The articulation of ‘self’, ‘identity’ and the creation of an innovative feminine vocabulary in the self-portrait paintings of Frida Kahlo." Art History & Theory, Arts, University of Sydney, 1999. http://hdl.handle.net/2123/1905.
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Master of Letters (with Merit)<br>The objective of this paper is to examine the self-portrait paintings of Frida Kahlo and to explore the way in which they articulate a ‘self’ and ‘identity’ through creating an innovative feminine vocabulary. The aim of this creative research is to explore the way in which Frida Kahlo represented her sexual subjectivity in the body of self-portraits she produced in her short life time. The self-portraits, some of which were produced in a state of severe physical disability and chronic illness, were also created in the shadow of her famous partner- socialist Mexican muralist/ revolutionary Diego Rivera. An examination of the significant body of self-portrait paintings produced by Frida Kahlo, informed by her personal letters, poems, and photographs, broadens the conventional definitions of subjective self beyond the generic patterns of autobiographical narrative, characteristic of an inherently masculine Western ‘self’. In Kahlo’s self-portraits the representation of the urban Mexican proletarian woman-child draws stylistically from the domain of European self-portraiture, early studio photographic portraiture, and the biographical Mexican Catholic retablo art, with its indebtedness to the ancient Aztec Indian symbology of self.
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Pentes, Tatiana. "CRUEL BEAUTY: The articulation of ‘self’, ‘identity’ and the creation of an innovative feminine vocabulary in the self-portrait paintings of Frida Kahlo." Thesis, The University of Sydney, 1998. http://hdl.handle.net/2123/1905.
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The objective of this paper is to examine the self-portrait paintings of Frida Kahlo and to explore the way in which they articulate a ‘self’ and ‘identity’ through creating an innovative feminine vocabulary. The aim of this creative research is to explore the way in which Frida Kahlo represented her sexual subjectivity in the body of self-portraits she produced in her short life time. The self-portraits, some of which were produced in a state of severe physical disability and chronic illness, were also created in the shadow of her famous partner- socialist Mexican muralist/ revolutionary Diego Rivera. An examination of the significant body of self-portrait paintings produced by Frida Kahlo, informed by her personal letters, poems, and photographs, broadens the conventional definitions of subjective self beyond the generic patterns of autobiographical narrative, characteristic of an inherently masculine Western ‘self’. In Kahlo’s self-portraits the representation of the urban Mexican proletarian woman-child draws stylistically from the domain of European self-portraiture, early studio photographic portraiture, and the biographical Mexican Catholic retablo art, with its indebtedness to the ancient Aztec Indian symbology of self.
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Cailler, Julie. "L'autoportrait en photographie et la mélancolie." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080029.
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Cette recherche s'articule autour de trois pôles : Autoportrait, Photographie et Mélancolie et questionne les enjeux de la mélancolie dans les dispositifs de création des images de soi et de son expression au sein de l'autoreprésentation photographique. La mélancolie est ici pensée comme rapport singulier à l'image de soi, une définition qui prend appui sur des théories de la psychanalyse – bien que notre réflexion demeure esthétique – mais qui s'inscrit aussi dans l'histoire de la mélancolie, une histoire médicale, artistique et philosophique. Le corpus est constitué d'artistes dont le parcours est jalonné d'autoportraits ou bien, dont l'œuvre photographique se compose essentiellement ou exclusivement d'autoportraits. Trois artistes principaux sont ainsi convoqués : Kimiko Yoshida, Marie L. et David Nebreda<br>This research articulates three axes : Selfportrait, Photography and Melancholia. It questions Melancholia's issues under the devices of pictures of the self creation and their expressions within photographic selfrepresentation. Melancholia is here thought as a singular relation to the picture of the self, a definition that is supported on psychanalysis theories – although our reflexion remains aesthetic – but which also fits within history of melancholia, history of medicine, art and philosophy. The corpus is made with artists who deal with selfportraits or else, whose photographic work consists essentially or exclusively of selfportraits. Three mains artists will be summoned : Kimiko Yoshida, Marie L. and David Nebreda
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Santos, Daniela Maura dos. "Um outro." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285142.
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Orientador: Lygia Arcuri Eluf<br>Acompanha desenhos estruturados em séries: Série 1. cerca de 120 desenhos sem titulo em formato A5, reproduzidos sobre papel canson com caneta hidrografica com 31,4 x 21,5cm e 21,5 x 31,4cm - Série 2. 'rolos' seis faixas de desenho realizado com caneta nanquim sobre sulfite sendo quatro deles destacados: Rolo Mora com 31,5 x 517,5 cm; Rolo 3 graças medindo 30,2 x 534cm; Rolo Theda com 31,5 x 700cm; Rolo japones em nanquim sobre papel japones com 20,32 x 609,6cm - Série 3. 'deslivros' cinco livros, um em tamanho original e outro reduzido, duas versões para o fac-simile reproduzido em tamanho original cujos dados são: caneta nanquim sobre papel chines (livro aberto 74,7 x 69cm, livro fechado 25 x 35cm); original reproduzido em tamanho reduzido: caneta nanquim sobre papel japones (livro aberto 95,4 x 63,6cm, livro fechado 19,2 x 26cm) - Série 4. 'sedas' cerca de 300 desenhos sendo reproduzidos 54 deles sobre papel de seda com caneta nanquim com 50,5 x 70,3cm ou 70,3 x 50,5cm, nas ultima imagens são utilizados recortes, além da caneta - Série 5. 'rolo sombra' com tinta sumie sobre papel chines com 69,5 x 1000cm cujos recortes se encontram na caixa; japs, desenhos derivados dos deslivros realizados com caneta nanquim sobre papel japones com 95,4 x 63,6cm; japsombra realizados com tinta sumie e caneta nanquim sobre papel japones com 63,6 x 95,4 ou 95,4 x 63,6cm; fotos, colagem e imagem em oleo sobre tela medindo 100 x 82<br>Dissertação (Mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-09T19:51:52Z (GMT). No. of bitstreams: 1
Santos_DanielaMaurados_M.pdf: 20763221 bytes, checksum: 36bb95ca1af41245fc5e43151a444585 (MD5)
Previous issue date: 2006<br>Resumo: O trabalho apresenta uma investigação da linguagem do desenho fundamentada em dois de seus elementos basicos: a linha e a forma. A figura humana e suas relações são o tema e são os elementos que estruturam a representação do espaço. O volume foi estruturado por séries de imagens que compõem narrativas visuais que evidenciam o processo, a pesquisa e o pensamento. Minha intenção é criar através das imagens e do texto possibilidades de aproximação de um pensamento visual<br>Abstract: In this work I present an investigation of the language of drawing from the perspective of two structural elements: line and form. The construction of the space through the relations between different human figures is the driving force. It is organized as a serie of images which produces visual narratives and put on evidence the process, the research and the visual thinking. My intention is to create means of approximation to the visual thinking throug the drawings and the text<br>Mestrado<br>Mestre em Artes
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Pelser, Monique Myren. "Roles : "I am as intently observed as the people photograph"." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1007647.
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With this dissertation I propose an investigation of how the photographic portrait attempts to construct and confirm identity through the representation of types. Drawing from theoretical texts by Roland Barthes and Robert Sobieszek and engaging with my own process of self-portraiture, as a means of troubling the usual power relations involved between the photographer and the sitter, I will demonstrate the dialectical nature of these roles involved in photographic portraiture. Looking at Pieter Hugo's portraits of judges in Botswana permits me to deal with issues of masquerade and how fashions and uniforms mask an individual allowing him/her to perform roles and stereotypes in society. Referring to another set of Hugo's images from his ongoing series Looking Aside, I will explore the paradoxical nature of the portrait through the dialectic of the 'self 'and 'other' subject and object split through an exploration of notions of skin and prosthetic skin and the relationship to the liminal space 'opened' between subject and object, or viewer and image.
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Donnachie, Karen Ann. "The Human Use of the Human Face: The Photographic Self-Portrait in the Age of the Selfie." Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/48541.
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Karen Ann Donnachie's research explores the phenomenon of the selfie as a vehicle for the mass projection of self and the effect it has on contemporary notions of identity, society and photography. During her practice-led research, Donnachie created electronic, algorithmic and Internet artworks including self-made and self-programmed ‘selfie’ cameras. This thesis maps the complex genre of the selfie between performance, narcissism, social tic, intrinsic desire for self-projection and a quest for authenticity and human connection.
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Allred, Melanie Kathleen. "The Light of Descartes in Rembrandts's Mature Self-Portraits." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8109.
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Rembrandt's use of light in his self-portraits has received an abundance of scholarly attention throughout the centuries--and for good reason. His light delights the eye and captivates the mind with its textural quality and dramatic presence. At a time of scientific inquiry and religious reformation that was reshaping the way individuals understood themselves and their relationship to God, Rembrandt's light may carry more intellectual significance than has previously been thought. Looking at Rembrandt's oeuvre of self-portraits chronologically, it is apparent that something happened in his life or in his understanding that caused him to change how he used light. A distinct and consistent shift can be observed in the location and intensity of light to the crown of the forehead. This change indicates that light held particular significance for Rembrandt and that its connection to the head was a signifier with intentional meaning. This meaning could have developed as a result of Rembrandt's exposure to and interest in the contemporary theological and philosophical debates of the seventeenth-century Netherlands, particularly those relating to the physical and eternal nature of the soul stemming from the writings of René Descartes. The relative religious and intellectual freedom of the Dutch Republic provided a safe place for Descartes to publish and defend his metaphysical ideas relating to the nature of the soul and know-ability of God through personal intellectual inquiry. The widespread disturbance to established thought caused by his ideas and methods sped their dissemination into the early seventeenth-century discourse. Rembrandt's associations with the educated elite, particularly Constantijn Huygens and Jan Six, increases the probability that he knew of this new philosophy and had the opportunity to consider its relevance to his own quest for self-knowledge. With his particular emphasis on self-exploration and expression, demonstrated through his prolific oeuvre of self-portraits, and his inclination toward emotive, complex, and interdenominational religious works, it follows that Rembrandt would be eager to embrace Descartes' metaphysics and demonstrate his awareness through his self-portraits. Light on the forehead becomes a metaphor for enlightenment and is the key to reading Rembrandt's late self-portraits through the lens of Cartesian influence.
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Cailler, Julie. "L'autoportrait en photographie et la mélancolie." Electronic Thesis or Diss., Paris 8, 2014. http://www.theses.fr/2014PA080029.
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Cette recherche s'articule autour de trois pôles : Autoportrait, Photographie et Mélancolie et questionne les enjeux de la mélancolie dans les dispositifs de création des images de soi et de son expression au sein de l'autoreprésentation photographique. La mélancolie est ici pensée comme rapport singulier à l'image de soi, une définition qui prend appui sur des théories de la psychanalyse – bien que notre réflexion demeure esthétique – mais qui s'inscrit aussi dans l'histoire de la mélancolie, une histoire médicale, artistique et philosophique. Le corpus est constitué d'artistes dont le parcours est jalonné d'autoportraits ou bien, dont l'œuvre photographique se compose essentiellement ou exclusivement d'autoportraits. Trois artistes principaux sont ainsi convoqués : Kimiko Yoshida, Marie L. et David Nebreda<br>This research articulates three axes : Selfportrait, Photography and Melancholia. It questions Melancholia's issues under the devices of pictures of the self creation and their expressions within photographic selfrepresentation. Melancholia is here thought as a singular relation to the picture of the self, a definition that is supported on psychanalysis theories – although our reflexion remains aesthetic – but which also fits within history of melancholia, history of medicine, art and philosophy. The corpus is made with artists who deal with selfportraits or else, whose photographic work consists essentially or exclusively of selfportraits. Three mains artists will be summoned : Kimiko Yoshida, Marie L. and David Nebreda
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Fleck, Débora. "Brás Cubas e o auto-retrato dalém-túmulo." Universidade do Estado do Rio de Janeiro, 2008. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=577.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Este trabalho pretende examinar como Machado de Assis conseguiu, através da escrita do romance Memórias Póstumas de Brás Cubas, problematizar não apenas este gênero literário, como também o discurso autobiográfico e a própria ficção. Nosso objetivo, portanto, foi analisar o livro dentro do livro, aquele escrito por Brás Cubas, e demonstrar que, através da criação desse artifício, o autor trouxe ao leitor uma discussão relevante sem, no entanto, apresentá-la com ares de tese. Em um primeiro momento, estudamos fundamentalmente os conceitos de autobiografia, romance autobiográfico, memórias e ficção, fundamentando-nos principalmente na teorização desenvolvida por Philippe Lejeune. Apresentamos também um breve panorama histórico do assunto, utilizando para isso, essencialmente, um ensaio de Luiz Costa Lima acerca das origens e dos diversos estágios por que passou o gênero autobiográfico. Em seguida, exploramos detalhadamente as noções de retrato e de auto-retrato, tanto na pintura como na literatura, ora por um viés histórico, ora por um viés conceitual, convocando historiadores da arte, filósofos e críticos literários, na tentativa de chegar a uma compreensão multidisciplinar do assunto. Finalmente, dedicamo-nos ao estudo das Memórias Póstumas de Brás Cubas, retomando os conceitos anteriormente examinados e buscando exemplos no texto que aproximem o livro escrito pelo defunto autor tanto da autobiografia quanto do auto-retrato<br>This work intends to examine how Machado de Assis achieved, through the writing of the novel Memórias Póstumas de Brás Cubas, the discussion of not only this literary genre, but also the autobiographical discourse and fiction in itself. Therefore, our objective was to analyze the book inside the book, the one written by Brás Cubas, and demonstrate that, through the creation of this artifice, the writer has brought to the reader a relevant discussion without, however, presenting that like a thesis. At first, we study mainly the concepts of autobiography, autobiographical novel, memoirs and fiction, using fundamentally the theories developed by Philippe Lejeune. We also introduce a brief historical panorama of the subject, using for that, essentially, an essay by Luiz Costa Lima concerning the origins and the different stages that the autobiographical genre has passed through. In sequence, we explore in detail the notions of portrait and self-portrait, in painting and in literature, through both a historical and a conceptual angle, gathering art historians, philosophers and literary critics, in the pursue of a multidisciplinary comprehension of the subject. Finally, we dedicate ourselves to the study of Memórias Póstumas de Brás Cubas, resuming the previously examined concepts, and searching for examples in the text that approximate the book written by the dead author both to the autobiography and to the self-portrait
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Pinto, Daniel Gomes. "80faces: objeto-Para-outro." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=8807.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>O presente trabalho foi desenvolvido a partir do enlace poético teórico feito a partir da análise e produção da obra 80faces, desenvolvida por aquele que se apresenta aqui tanto como autor da obra como pesquisador da mesma. Tal característica proporcionou uma dupla perspectiva que são apresentadas em partes distintas do trabalho, sendo a primeira um aparato teórico referencial e a segunda as anotações e idéias apropriadas por livre demanda do próprio artista pesquisador. As 80faces corresponde a um estudo das fotografias que o artista retirou de seu próprio rosto em expressões diversas e que foram estampadas em diferentes objetos colocados em circulação. Atráves de percepções filosóficas de mecanismos do contexto da visualidade e da rostidade, foi traçado um caminho que justificou a produção e tentou alcançar a perspectiva do artista frente a produção de sua obra e futura análise distanciada da mesma. Rostidade, metrópole comunicacional e imagem são alguns dos elementos que nortearam esta pesquisa, além da apresentação de uma criação poética independente de crivos teóricos referenciais pré estabelecidos<br>This work was developed from the theoretical poetic link made from the analysis and production of the work 80faces developed by one who is here presented both as author and researcher of the same . This feature provided a dual perspective that appear in different parts of the work, the first being a reference theoretical apparatus and the second notes and demand appropriate ideas for free artist's own search engine . The 80faces corresponds to a study of the photographs that the artist pulled his own face in various expressions which were printed on different objects placed in circulation . Through philosophical perceptions of the mechanisms of visual context and rostidade , was traced a path that justified the production and reached the opposite perspective of the artist producing his work and future analysis out of it. Rostidade , communicational metropolis and image are some of the elements that guided this research, beyond the presentation of poetic creation of an independent pre riddles established theoretical frameworks
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Arnett, Joanne M. "Rogue Gallery." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366636723.
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Harper, Stephen Bryce. "Investigations into Social Game Theory." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/812.
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Investigations into Social Game Theory is a document that describes my two-year exploration of the ritual encapsulated in our societal framework. It discusses the thoughts and processes that accompanied the three bodies of work that led to the creation of my final thesis exhibition.
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Rocco, Patricia. "Performing female artistic identity : Lavinia Fontana, Elisabetta Sirani and the allegorical self-portrait in sixteenth and seventeenth-century Bologna." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99389.
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Artemisia Gentileschi's self-portrait, Allegory of Painting, painted in 1630, has activated a complex discussion of female artistic identity in which performance is tied to concerns with status. This thesis addresses an earlier history of development in allegorical self-portraiture in the work of the sixteenth-century Bolognese artist, Lavinia Fontana, and her seventeenth-century successor, Elisabetta Sirani. I argue that the female artist's negotiation for status was played out in the transformation from a more official mode of self presentation, such as Fontana's Self-Portrait at the Keyboard , to a deliberate performative shift of embodied personification in her self-portrait as Judith with the head of Holofernes and her later self portraits as St. Barbara in the Apparition of the Madonna and Child to the Five Saints. This negotiation of artistic status continues with Sirani's self-portraits in Judith and the Allegory of Painting, and as what I suggest are more ambiguous and ambitious representations of anti-heroines, Cleopatra and Circe. I also discuss the important role that the emerging genre of biography plays in the female artist's struggle for status. The thesis explores the shift in visual conventions in relation to discourses of artistic identity, gender and genre---such as the donnesca mano---that circulated in Renaissance historiography in Italy, and more specifically, in the cultural milieu of Bologna.
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Draper, Jessica Lindiwe. "Being white : Part I: A self-portrait in the third person; Part II: Whiteness in South African visual culture." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:aa3689b2-6d6f-4cc0-8599-9db96a56611d.
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This thesis is concerned with the ways in which whiteness and authenticity are manifested within contemporary visual culture in South Africa. The project begins as an artistic inquiry grounded in autobiography, which becomes an elaborate self-portrait narrated from the distance of the third person. My practice aims to address the trajectories that I am unable to articulate through my theoretical analysis. Through a process of solvent release printing, I explore the dualities of my own identity as African and white in an attempt to counteract the view that one negates the other. Part I attempts to provide an archive-able record of this practice. Part II shows that a long history of dichotomous art-historical practice has resulted in differentiated artistic pressures for black and white South African artists. I discuss the development of platforms that have contributed to the shifting of such classificatory trends without dissolving them completely, namely the first and second Johannesburg Biennales, Africus (1995) and Trade Routes (1997). In doing so, I trace how these events have troubled such stereotypes. Whiteness is identified as the overriding factor which allows the dominant discourse of Western- and Euro-centric ideals to remain prioritised. Brett Murray and Minnette Vári are discussed as examples of white South African artists who problematise whiteness by addressing racial fluidity, belonging, authenticity and identity. The theme of autobiography is reintroduced in the conclusion, where I argue that my own practice could be seen to mirror the strategies that each artist has employed to subvert their whiteness, and to build a case for accessing a multiple identity that is African in its ability to be diverse. I conclude that it is ultimately the artists’ performative use of their own bodies which allows them to discuss issues of representation without falling into the ideological position of the coloniser.
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Tran, Michelle. "Standing in the shadow of the moon : a diaristic encounter with identity through my everyday /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/8531.
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Art and lived experience are the key to my work. Standing in the Shadow of the Moon – A Diaristic Encounter With Identity Through My Everyday is an inquiry into the various possibilities for photography as a diaristic medium that blends the concepts of documentary and tableau photography, whilst exploring my identity. In this mode of expression, my project is an investigation into concepts of self-representation and subjectivity. What does it mean to create an enigmatic series of 'self-portraits' that are focused on those around me, those whom reflect me, but are not me?
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D\'Agostino, Adriana. "A criança e o autorretrato: uma análise da relação da criança de seis anos com o autorretrato." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-24042015-191420/.
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A presente pesquisa deu-se a partir do material de arte da Rede Salesiana de Escolas, Galeria de retratos, para alunos do 1º ano do Ensino Fundamental, no ano de 2012. Tem como objeto de investigação a relação entre autorretratos e crianças de seis anos, inserida numa educação contemporânea em Arte. A partir de uma abordagem autobiográfica, apresentam-se as diferentes situações de investigações vivenciadas nas aulas com os alunos, buscando entender como acontecem seus processos expressivos. O trabalho é desenvolvido em três capítulos: o primeiro trata do autorretrato e a relação com a criança. O segundo apresenta o relato das aulas realizado através de registros. Já no terceiro são apresentadas as questões relacionadas ao processo de identificação e de identidade cultural.<br>This research aims to research the relationship between the self-portraits in the identity formation of students six years, set in contemporary education in Art. The issue occurred after receipt the art material of Rede Salesiana de Escolas in 2007, \"Gallery of portraits,\" for students in the 1st year of elementary school. The object of investigation the relationship between self-portraits and six year olds, set in contemporary art education. From an autobiographical approach, present the different situations experienced investigations in classes with students, seeking to understand how their expressive processes happen. This work is developed in three chapters: the first deals with the self-portrait and the relationship with the child. The second presents an account of lessons conducted through records. In the third the issues relating to identification and cultural identity process.
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Oliveira, Luiz Alberto Pinheiro de. "Lembrar e inventar: o percurso autobiográfico de Lygia Fagundes Telles e Nélida Piñon." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7139.
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Consagradas escritoras brasileiras por suas obras de ficção, na forma de contos, crônicas e romances, Lygia Fagundes Telles e Nélida Piñon se ocuparam também do memorialismo em algum momento de suas carreiras. Lygia Fagundes Telles evitou escrever a sua autobiografia e optou por se autorrepresentar por meio de textos híbridos, em que os gêneros textuais se misturam e a ficção e a memória se amalgamam. Desse modo, a dissertação analisará esses textos que estão presentes nos livros A disciplina do amor (1980), Invenção e memória (2000), Durante aquele estranho chá (2002) e Conspiração de nuvens (2007), nos quais Lygia Fagundes Telles espalhou biografemas, termo cunhado por Roland Barthes, e apenas esboçou um autorretrato. Por sua vez, Nélida Piñon publicou o seu livro de memórias, Coração andarilho (2009), utilizando procedimentos de autorrepresentação característicos de uma autobiografia propriamente dita. O trabalho também examinará a obra referida, na qual a escritora buscou construir uma autoimagem sólida e nítida. Além disso, abordará as diferentes estratégias de autofiguração de ambas as escritoras acionadas nas obras conforme o objetivo perseguido por cada uma delas na construção de seus empreendimentos memorialísticos<br>Brazilian writers exalted for their fictional works in the form of short stories, chronicles and novels, Lygia Fagundes Telles and Nélida Piñon also worked with memorialism at some point in their careers. Lygia Fagundes Telles avoided writing her autobiography, choosing to represent herself by hybrid texts, in which textual genres are mixed and fiction and memory amalgamate. Thereby, this dissertation will analyze the texts that are presented in A disciplina do amor (1980), Invenção e memória (2000), Durante aquele estranho chá (2002) and Conspiração de nuvens (2007). Books in which Lygia Fagundes Telles spread biographemes, a term coined by Roland Barthes, and just draft a self-portrait. In turn, Nélida Piñon published her memoirs, Coração andarilho (2009), using procedures of self-representation characteristic of an autobiography. The work will also examine such oeuvre, by which the writer seeks to construct a clear and solid self-image. Furthermore, this work approaches the different strategies of self-figuration from both writers performed in their works according to the pursued objective by each of them in building their memoirs
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Demirutku, Kursad. "Parenting Styles, Internalization Of Values, And The Self-concept." Phd thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608269/index.pdf.
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In the present study, mediating effects of parenting dimensions between parent values and parent-child value similarity were examined along with the relationships
between values, value priorities, parent-child value similarity, and self-evaluations. In the first study, Portrait Values Questionnaire (Schwartz, et al., 2001) was adapted
to Turkish in a university sample, and its construct validity was investigated together with its psychometric qualities. In the second study, in both high-school and university samples, hypothesized relationships and mediation models were tested in, in which the mothers, fathers, and students served as the participants. Results indicated that value priorities of parents were systematically related to parenting dimensions. Parental acceptance mediated the relationship between parents&rsquo<br>Self-
Transcendence values and parent-child value similarity, and parental control mediated the relationship between parents&rsquo<br>Self-Enhancement values and parentchild value similarity in both samples. Moderations effects were obtained in the
university sample. Mothers&rsquo<br>socialization goals moderated the relationship between maternal control and mother-child value similarity in the Conservation domain. In addition, perceived importance of Self-Transcendence and Conservation values
moderated the relationships between fathers&rsquo<br>parenting dimensions and father-child value similarity within the same domains. Value priorities were also found to be systematically related to self-esteem in the university sample per se, whereas relationships between parental congruence on value priorities, self-concept clarity and self-esteem were not significant. Results were discussed with reference to
relevant literature together with implications and the limitations of the study. Contributions to current socialization research were elaborated and future research directions were highlighted.
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SIRI, FRANCESCA. "L’esperienza estetica di ritratti e autoritratti. Uno studio comportamentale, eye-tracking ed EEG." Doctoral thesis, Università degli studi di Modena e Reggio Emilia, 2020. http://hdl.handle.net/11380/1201003.
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Con la svolta bioculturale, sono fioriti i tentativi di coniugare il sapere e i metodi delle discipline scientifiche con quelle umanistiche. Si tratta di un cammino in bilico tra un vero dialogo interdisciplinare e una retorica multidisciplinare che può portare all’eccessiva semplificazione o neuromania. Il presente elaborato si colloca in questo incerto sentiero con l’aspirazione di seguire un percorso basato sulla conoscenza sia dell’estetica sia delle neuroscienze. L’estetica, in quanto scienza della conoscenza sensibile, e le neuroscienze, basate sulla teoria della simulazione incarnata, mostrano che vedere è anche sentire, quindi la fruizione multimodale visiva dell’arte e il sentire incarnato che ne deriva sono interconnessi. L’esperienza estetica è una forma mediata di intersoggettività in cui l’artista e il fruitore si incontrano attraverso la mediazione di un’opera d’arte. Tra gli stimoli rilevanti a livello sociale il volto spicca nel comunicare significati relazionali, tanto che crea un accesso privilegiato all’Altro. La risonanza emotiva con il volto altrui avviene anche nella forma mediata tramite l’osservazione di ritratti e di autoritratti. Diversi studi hanno impiegato queste opere per indagare la tendenza a mostrare di più la parte sinistra del viso (left cheek bias). Questo interesse deriva dall’esistenza di altre tendenze inerenti l’asimmetria e la lateralizzazione nell’elaborazione dei volti e delle emozioni: maggiore espressività della parte sinistra del volto, tendenza a osservare prima e più a lungo la parte sinistra dei volti (left gaze bias) e propensione a focalizzare l’attenzione nell’emicampo visivo sinistro (left visual field advantage). Queste diverse tendenze, tuttavia, sono state raramente studiate insieme. Un mezzo per poterle esplorare contemporaneamente è rappresentato da ritratti e autoritratti. La maggior parte degli artisti, prima dell’avvento della fotografia, dipingeva il proprio autoritratto con l’ausilio dello specchio. In questo modo la parte anatomica sinistra del volto veniva rappresentata nella metà sinistra della tela, contrariamente ai ritratti. Tramite studi comportamentali, di eye-tracking ed EEG è stata indagata la percezione emotiva di ritratti e di autoritratti dipinti tra il XV e il XVIII secolo. Nello studio eye-tracking ai partecipanti venivano mostrati autoritratti e ritratti maschili nel formato canonico e nel formato speculare. Il compito richiedeva di distinguere i ritratti dagli autoritratti e di giudicarne l’intensità emotiva. I partecipanti, pur non distinguendo gli autoritratti dai ritratti, hanno attribuito ai primi un maggiore punteggio di intensità emotiva. Inoltre, i risultati dell’eye-tracking hanno mostrato una latenza della prima fissazione più breve per gli autoritratti. I risultati sulla durata della prima fissazione mostrano il ruolo giocato sia dalla maggiore espressività della parte sinistra del volto sia della tendenza a focalizzare l’attenzione nell’emicampo visivo sinistro. In un ulteriore studio comportamentale la maggiore intensità emotiva attribuita agli autoritratti è stata replicata con modelli femminili. Successivamente, è stato condotto uno studio EEG presentando le stesse opere dello studio eye-tracking. Sono state indagate le componenti ERP legate al processamento dei volti e del contenuto emotivo quali: P1, N170, EPN e LPP. I risultati mostrano una maggiore ampiezza della componente P1 ed EPN per gli autoritratti e una maggiore ampiezza della N170 per i ritratti. Questi studi mostrano che l’incontro con i volti di ritratti e autoritratti è una esperienza sfaccettata. Il suo studio, quindi, trae beneficio dall’impiego di un approccio interdisciplinare, offrendo nuovi spunti di riflessione sul tema dei volti all’estetica e alle neuroscienze.<br>As a result of the biocultural turn, attempts to draw theories and methods from neuroscience and the humanities have been flourishing in the last decade. This process is like a journey poised between a genuine interdisciplinary dialogue and a multidisciplinary rhetoric, potentially reverting to oversimplification or neuromania. The current dissertation stands in this uncertain path, hoping to pursue a route to knowledge grounded both in aesthetics and in neuroscience. Aesthetics, as the science of sensorial knowledge, and neuroscience, as rooted in embodied simulation theory, posit that seeing is also feeling, and in this way the multimodal observation of art and the embodied phenomenological state it evokes are intertwined. Thus, aesthetic experience is a mediated form of intersubjectivity, where artist and beholder meet through the mediation of the work of art. Among social stimuli, the face is unique in conveying relational meanings, as the encounter with the face is a genuine access to the Other. Emotional resonance established with the face also occurs through the mediated form of its encounter, like when beholding a portrait or a self-portrait. Several studies used these paintings in order to investigate the preference to display one’s left cheek (left cheek bias). This empirical interest stems from other biases inherent in asymmetries and lateralization during face and emotion processing: greater expressivity of the left side of the face, preference to direct and to spend more time looking at the left side of faces (left gaze bias), tendency to allocate attention in the left visual field (left visual field advantage). The simultaneous occurrence of these left-sided biases, however, has hardly been studied. Portrait and self-portrait genres have features that render them useful in studying the occurrence of these left-side biases. Indeed, before the advent of photography, most artists relied on mirrors to paint their self-portraits. As a result, the left side of the artist’s face was painted on the left side of the canvas, contrary to portraits. Thus, the emotional perception of portraits and self-portraits painted between the XV and the XVIII century was investigated through behavioural, eye-tracking and EEG studies. The eye-tracking study aimed to investigate participants’ ability to distinguish male portraits from self-portraits and their visual scan-paths and emotional intensity ratings. Portraits and self-portraits were presented in both canonical and mirrored orientation. The results showed that participants, in spite of their impossibility to distinguish self-portraits from portraits, nevertheless assigned greater emotional intensity rating to self-portraits. Furthermore, they showed shorter latency of the first fixation to self-portraits with respect to portraits. In addition, the duration of the first fixation supported both the role played by the greater expressiveness of the left side of the face and the left visual field bias. In a further behavioural study, the greater emotional intensity rating for self-portraits was also replicated with female models. Then, the same paintings showed in the eye-tracking study were used in an EEG study. The ERP components related to the face processing and emotional content such as P1, N170, EPN and LPP were investigated. The results showed a greater amplitude of the P1 and EPN component for self-portraits and a greater amplitude of the N170 for portraits. The current studies show that the encounter with the faces of portraits and self-portraits is a multifaceted experience. Thus, its study greatly benefits from an interdisciplinary approach, offering new clues for both the aesthetic and neuroscientific understanding of face processing.
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Middleton, Margaret Landa. "I Am the Luchadora: Countering Exotification through Printed Installation." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1497018912616689.
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Nishioka, Sayaka. "Sel-f(DESIRES SN#2)100MG." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/155.
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In this Thesis Sel-f (DESIRES SN#2) 100MG' I will talk about my origin and how my life of living in the United States for 13 years made me become who I am and my concerns. It helped to make me realized why I make and why I have become an artist. While living in the US I realized I was like a frog that's in a well. I began to realized and appreciate my country and its histories and so on. Encountering many people from different walks of life, being able to connect with them and share made me grow a lot and appreciate what I do as an Artist.
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Björsell, Frida. "Teoribildning och bildtolkning som metod för nytänkande : en studie av heteronormativa diskurser med utgångspunkt i konstnären Chaterine Opies fotografi Self-Portrait/Cutting." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-506.
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Syftet med mitt examensarbete är att belysa resonemang rörande normalt respektive onormalt, maktstrukturer, genusfrågor och kommunikationsprocesser, med utgångspunkt i konstnären Catherine Opies fotografi Self-Portrait/Cutting från 1993. Verket rymmer en komplexitet eftersom brottet mot våra heteronormativa föreställningar utrycks så explicit. Det finns en ambivalens och direkthet i verket som fascinerar. De motstridiga läsningarna väcker ett behov av att förstå bilden på ett mer nyanserat sätt. Jag har medvetet valt att studera Self-Portrait utifrån teorier som ligger till grund för många konstnärer som väljer att röra sig i gränslandet för det samhället satt upp som norm. Teoribildningar som behandlar dikotomier som normalt och onormalt samt synen på den Andre, ligger även till grund för min gestaltning, där jag i praktiken undersökt hur man kan arbeta med gestaltning som metod för ett ifrågasättande av invanda föreställningar. Sammantaget har jag frågat mig på vilket sätt examensarbetets gestaltande del och tolkningsprocessen av Self-Portrait, kan bredda min förståelse av heteronormativa diskurser, samt på vilket sätt växelspelet mellan konstnärlig gestaltning, teoribildning och bildtolkning kan fungera som metod för ett ifrågasättande av normer och nytänkande inom bildpedagogiken. Min uppfattning är att slentrianmässiga värderingar oftast grundar sig i okunskap, men också genom medias påtvingade ideologier. Det är språket som möjliggör att vi kan reflektera över våra handlingar och därmed över oss själva. När vi omsätter våra tankar i språk – tal, skrift och gestaltande – omstruktureras och förändras tanken. Bildundervisningen öppnar för möjligheten att lyfta fram olika former av språksystem som inte strävar mot enhetliga svar. Insikten att det ofta finns flera ”sanningar” och att det är viktigt att ifrågasätta sitt eget och andras tänkande, kan i bästa fall motverka stereotypa föreställningar samt förtryck av individer. Jag menar att den kritiska kommunikationen, där eleverna själva skapar mening kring egna och andras bilder, kan uppmuntra eleverna till självständigt reflekterande. Att tolka verk utifrån disparata teorier, som jag valt att göra i mitt examensarbete, kan vara ett led i den riktningen. Genom att använda den egna kroppen som medium i min gestaltning har jag undersökt hur iscensättningen kan möjliggöra en djupare förståelse för hur vi antar och växlar mellan olika roller och identiteter. Gestaltningen har även medfört en bredare diskussion kring maktstrukturer och en insikt i att synen på den Andre ytterst handlar om synen på oss själva. Min tolkning av Self- Portrait/Cutting och mitt gestaltningsarbete har varit en inkörsport till ökad förståelse och i förlängningen verktyg för hur jag som bildpedagog kan arbeta växelvis med teoribildning och bildtolkning som metod för ifrågasättande och nytänkande.<br><p>BI/Konst</p>
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Katanosaka, Vitor Yugo. "Autorretrato: Fotografia: Reflexão." Universidade Presbiteriana Mackenzie, 2015. http://tede.mackenzie.br/jspui/handle/tede/1927.
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Previous issue date: 2015-02-24<br>The self-image is a common practice in the history of visual arts, is a search that has always been fascinating to humans. Photograph, a language that does not end, is technique of communication and expression, space for imagination and meaning in materialized picutre. Photography is an image mediation technology, support either for appearance as existence. Photography has an important role in the relationship between self-image with humans. Kept forever fixed on paper and stored in memory, the self-portrait is part of people's lives. The research is located in reflection and critical production on self-portrait as surface for selfrepresentation and invention of subjectivity space. To think the relationship experience with self-image is to have the clarity of the self-portrait as a light and shape manufacture, a reflection of our pose, that makes up the self-image production process. The objective of this work is through images and texts, address the self-portrait in its multiple and double configuration, investigating the limits of contemporary existence concepts. There is a visual essay done as a reflection and action of this research, in which the artist-researcher himself stands in self-portrait production process and development of an artistic work. Work to rebuild the world. My world: the world on photography. Be photographe, shed light on the reality, looking at the picture revealing the time required to the image be formed. The selfportrait towards our own being is a method in order to self-knowledge, self-recognition that one can not live only for themselves, bonded in the mirrored image, it is a working of autorretratamento , language production and action of thought. Facing a society that has so much to see, became blind, photograph as that which reveals, is a reappropriation way for our image, invention of significance through self-reflexive gesture: auto-re-tratamento . It was observed that the art of self-portrait fulfilling one of the image functions, is a place of writing that allows the world find its interpretation, move back into yourself and be elaborated. The photograph, which no longer is a machine but becoming a well delicate organ, goes toward others as it reveals and takes the subject beyond itself. The self-portrait as a self-creation and expression for being, is a language with the aim of seeing. The self-image goes beyond our desire for own image. The self-portrait is knowledge production towards our existence, space to be and invent, act and have our reflection. We produce images to see, we need to see more.<br>A autoimagem é prática comum na história das artes visuais, é uma busca que desde sempre foi fascinante ao ser humano. A fotografia, linguagem que não se esgota, é técnica de comunicação e expressão, espaço de imaginação e de significação em imagem materializada. A fotografia é tecnologia de mediação da própria imagem, suporte tanto do parecer quando do ser. A fotografia tem um importante papel na relação da autoimagem com o ser humano. Guardadas para sempre, fixadas em papel e armazenadas na memória, o autorretrato faz arte da vida das pessoas. A pesquisa situa-se na reflexão e produção crítica sobre o autorretrato como superfície e espaço de autocriação da subjetividade. Pensar a relação da experiência com a imagem de si é possuir a clareza de que o autorretrato é um fabricado de luz e forma, que como reflexo de nossa pose, compõe o processo de produção da autoimagem. O objetivo deste trabalho é por meio de imagens e textos, abordar o autorretrato em sua conformação múltipla e dupla, investigando os limites da concepção de ser contemporânea. Há um ensaio visual feito como reflexo e ação desta pesquisa, em que o próprio artista-pesquisador se coloca em autorretrato num processo de produção e revelação de uma obra artística. Trabalho para reconstruir o mundo; meu mundo: o mundo em fotografia. Ser fotografado, lançar luz sobre a própria realidade, olhar para a imagem, revelar descobrindo o tempo necessário para que a imagem se forme. O autorretrato em direção ao nosso próprio ser é obra com objetivo de autoconhecimento, do auto-reconhecimento de que não se pode viver somente em si, preso à imagem de um espelho, é trabalho de autorretratamento, produção de linguagem como ação do pensamento. Em meio a uma sociedade que de tanto ver, encegueceu, a fotografia como sendo aquilo que revela, é caminho de reapropriação da nossa imagem, de invenção de sentido por meio do auto-re-tratamento. Foi observado que a arte do autorretrato cumprindo uma das funções da imagem é lugar de escrita que permite ao mundo encontrar a sua interpretação, voltar para dentro de si e se elaborar. A fotografia, que deixando de ser uma máquina e se transformando num órgão bem delicado, vai em direção aos outros à medida que se revela e leva o sujeito para além dele mesmo. O autorretrato como autocriação e expressão para o ser, é linguagem com intenção a fazer ver. A autoimagem vai muito além de nosso desejo pela própria imagem. O autorretrato é expressão artística e produção de conhecimento em direção à nossa existência, espaço para sermos e nos inventarmos, agirmos e termos nossa reflexão. Produzimos imagens para vermos, precisamos ver mais.