Dissertations / Theses on the topic 'Erotic art'

The increasing importance of pornography since its commercialization at the end of the seventies modified the artistic landscape of sexual representation. What has occurred is a transformation of the horizon of expectations of pornographic images, the definition of eroticism and the relationship between the two notions. In this perspective, the thesis concentrates on the analysis of the appropriation of certain distinct traits of hard core pornography in feminist art. Specifically, it is a qualitative analysis of the interrelations between eroticism and pornography in feminist art during the 1980s. The thesis proceeds to an in-depth analysis of several works by Pipilotti Rist, Annie Sprinkle, and Marlene Dumas as well as adding three earlier works of sexually explicit representation by Carolee Schneemann. The analysis of these works aims to redefine notions of pornography and eroticism, drawing on the work of Linda Williams for the first definition and Georges Bataille for the second. The theoretical context of the thesis, which also turns out to be the historical context of the works, is made up of disciplinary approaches that have most contributed to the debate around eroticism and pornography: art history, philosophy, feminist studies, queer theory, semiology and psychoanalysis.
The thesis makes several conclusions. First, the dynamic between eroticism and pornography does not have to be considered oppositional; the two methods of expression are frequently both represented in the same work. Also, women are no longer uniquely victims of pornography (they are increasingly in the role of pornographic auteure) and the analysis of these works confirms that feminists have appropriated the genre to explore a diversity of female eroticisms and propose a form of feminist, intersubjective pornography. Finally, the use by female artists of syntaxes and features typical of pornography helps to bring about a demand for a more complete and complex female subjectivity which is no longer only political, but also sexual.

First Semester: My thesis project is about showing women’s empowerment through their sexuality and comfort within their bodies own bodies. In our society women’s eroticism is seen as taboo and women are taught to turn away from the exploration of the erotic as a source of power within themselves. The erotic is often confused and misunderstood, it is an emotion and sense of empowerment that has been named by men and used against women. It’s now difficult to recognize that the erotic can even have a sense of empowerment for women, because strong women have been taught through our society to be viewed as dangerous. As Audre Lorde, a feminist writer states, “The erotic is a resource within each of us that lies in a deeply female and spiritual plane, firmly rooted in the power of our unexpressed or unrecognized feeling. In order to perpetuate itself, every oppression must corrupt or distort those various sources of power within the culture of the oppressed that can provide energy for change. For women, this has meant a suppression of the erotic as a considered source of power and information within our lives” (Lorde). A woman’s strength comes from her sexuality. Once women begin to believe in this concept, they will begin to require this deep powerful sensation from all aspects of their lives and will not settle for anything less. Women should embrace their sexuality and use it as a sense of strength, instead of falsely believing that they can only be strong by suppressing this eroticism. My project is based on a collaborative experience with the models about what their sexuality means to them, and how they can show this through a camera. These photographs are meant to be raw and real; they are representations of real women who have chosen to show the viewers their own sexuality in the way in which they see best fits their sexual personality and comfort with their own bodies. The writings from the models on the back of the photographs show their own struggles with their sexuality. It may make the viewers feel uncomfortable, but this is the point. We are working towards being able to live in a society where women can be sexual if they choose to be. This is still a working progress, and having to view photographs that make one uncomfortable, may be the first step in change. Second Semester: Visual Poetic Abstractions: A Close Photographic Rendering of The Female Body: My personal thesis project shifted after first semester ended. Second semester I decided to continue the question of the body, but step away from the cultural views and instead start to dissect the body in it’s natural form. The project is a close examination of the formalist aspects of the body, including a self-evaluation of what the body means to me. This project resulted in a series of close-up photographs that will help the viewer in seeing portions of the body in ways they have not before. Some photographs will even be unrecognizable as to what part of the body the photograph is representing. This is important because it leads the viewer to examine each photograph for what the beauty of the photo entails, and not for their previous cultural understandings of body parts prior to viewing. The idea behind the black and white photographs is so the viewer again dissects the photograph without the context of color – for example skin no longer can be recognized as skin when the color context is taken away from these photographs. Within this project, I have paid specific detail to the poetic formalist view of the body, dissecting different body parts to create awe and wonderment. The photographs are an anatomical view of the body in its most raw and poetic form.

In the mid-nineteenth century, anatomical illustration in England underwent a crisis of representation. Moral authorities were growing increasingly concerned with the proliferation of images of the naked body and the effects they might have on public “decency.” The anatomical profession was sensitive to this hostile climate to nude representations. In the years immediately preceding the Obscene Publications Act of 1857 that defined the category of “pornography,” anatomical illustration was being purged of sexual connotations as part of an attempt to consolidate medicine as a respectable “profession.” In the eyes of this new professional body, there was no space for sexual associations in anatomical texts. Artistic medical anatomy’s rejection was driven by its links to problematic erotic traditions. Specifically, anatomy’s proximity to pseudo-medical pornography, the same-sex eroticism of the Hellenic tradition, and the problem of the male and female nude in “high art” were at issue. In representing the naked body artistically, anatomists brought their illustrations into dangerous proximity with these traditions. By systematically putting the work of one Victorian anatomist, Joseph Maclise, into dialogue with these erotic traditions, it becomes clear that medicine was not isolated from the broader sexual culture. This study demonstrates that viewing publics and viewing practices are historically specific and are brought into being by the interaction of visual phenomena by emphasizing the fluidity between representational fields of art, medicine and sexuality. The effort to excise the sexual meanings contained in anatomy ultimately led to the emergence of a new diagrammatic style of anatomical drawing that became the orthodox style of medical illustration, and that persists to this day.

Nishikawa Sukenobu was a popular artist working in Kyoto in the first half of the eighteenth century. He was principally known as the author of popular 'ehon', or illustrated books. Between 1710 and 1722, he published some fifty erotic works, including a work detailing sexual mores at court which Baba Bunkô, amongst others, believed responsible for prompting the ban on erotica that came with the Kyôhô reform package of 1722. Thereafter, he produced works generally categorized as 'fûzoku ehon': versions of canonical texts, poems and riddles, executed in a contemporary idiom. This thesis focusses on the corpus of illustrated books from the early erotica of the 1710s to the posthumously published work of 1752. It contends that these works were political: that Sukenobu used first the medium of the erotic, then the image-text format of the children's book to articulate anti-bakufu and pro-imperialist sentiment. It explores allusions to the contemporary political landscape by reading the works against Edo and Kyoto 'machibure', contemporary diaries (such as 'Getsudô kenbunshû') and contemporary pamphlets ('rakusho'). It also places the ehon in the context of other contemporary literary production: for example the anti-Confucianist writings of the popular Shinto preacher Masuho Zankô and the 'ukiyozôshi' production of Ejima Kiseki (whose works were illustrated by Sukenobu). It corroborates these findings by citing evidence of the political sympathies of Sukenobu's collaborators: for example, the political writings of the Kyoto educationalist Nakamura Sankinshi; the works of the children's author and Confucian scholar Nakamura Rankin (aka Mizumoto Shinzô); and the fictional and 'kojitsu' writings of the Shinto scholar Tada Nanrei.

Le fonctionnement de la société romaine reposait en partie sur la distinction de genre et de groupe social. Cela était particulièrement prégnant dans le domaine de l’érotisme. Au-dessus de tous les groupes sociaux se situait celui des hommes libres dont le rôle sexuel était celui de dominant-pénétrant. De fait, l’érotisme à la romaine peut être défini comme étant phallocentrique. Par opposition, toutes les autres catégories de personnes formaient le groupe des dominés-pénétrés. Néanmoins, le degré de soumission de chacun était déterminé par sa position sur l’échelle sociale. Les matrones avaient accès à un érotisme restreint qui se voulait procréatif. Les autres femmes, dans une certaine mesure, pouvaient être utilisées par les hommes de qui elles dépendaient comme des instruments de plaisir. Ainsi, la prostitution a toujours eu un rôle important à Rome. Bien qu’infâmes, les prostituées avaient pour mission d’assouvir les besoins charnels des hommes et pratiquaient une sexualité récréative plutôt décomplexée. Toutes les pratiques sexuelles n’étaient cependant pas admises et si, contrairement aux chastes matrones, les prostituées pouvaient s’autoriser des formes de sexualité non fécondantes, les pratiques jugées perverses (scopophilie, exhibitionnisme, agalmatophilie, etc…) étaient, selon la morale, à bannir de tous les lits
The functioning of the Roman society was based partially on the distinction of genre and social group. It was particularly strong in the eroticism. Over all the social groups was situated that of the free men whose sexual role was the one of dominating - penetrating. Actually, the Roman type eroticism can be defined as being phallocentric. By opposition, all other categories of persons formed the group of dominated penetrated. Nevertheless, the degree of submission of each was determined by its position on the social scale. The stout women had access to an eroticism restricts who was procreative. Other women, to a certain extent, could be used by the men as instruments of pleasure. So, the prostitution always had an important role in Rome. The prostitutes had an important mission. But, all the sexual practices were not allowed and if, contrary of the matronae, the prostitutes could adduce forms of sexuality for not being pregnant, the practices considered perverse (scopophilia, exhibitionism, agalmatophilia, etc.) were banished, according to the morality, of all the beds

Purpose – This thesis investigates why archaeological museums tend to have a separate section for erotic and/or sexual objects. The aim is to understand why these rooms are needed and if they are considered outdated in the year 2020. Three case studies will be discussed in this thesis: Museo Archeologico Nazionale di Napoli, Altes Museum, and Museo Arqueológico Rafael Larco Herrera. Analysis – The qualitative data collected through interviews will be analyzed and presented in case studies. I apply two theories: power theory according to Michel Foucault and Clive Grey and queer theory. Method – To answer my questions, I interview museum workers responsible for the erotic display from the three case studies. All museums have a separate exhibition regarding erotic objects, so-called "secret museums". Methods that have been in use is qualitative method together with phenomenology. Findings – The findings show that the phenomenon “secret museum” was born in the mid-1700s when Pompeii and Herculaneum were excavated and several objects with erotic motives were found. Today several archaeological museums exhibit these objects in separate rooms, sometimes with restrictions. When these exhibitions were first formed only educated men were allowed to enter. It was considered that the objects would be misunderstood by the lower class and even hurt the relationship between men and women if women were to be exposed to pornography. The results from the three case studies show that people are still sensitive to objects regarding erotica or sexualities and that the separate area is for the visitors to choose if they want to enter or not. The result also shows that there is a respect for the history around this phenomenon and the rooms are in themselves museology history that needs to be preserved.  Paper type – Two years master's thesis in Museum and Cultural Heritage studies.

Orientador: Stephane Remy Georges Malysse
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O objeto da pesquisa é constituído de vinte e quatro fotografias selecionadas dentro da produção fotográfica de nus femininos no Brasil, a partir do estabelecimento de alguns critérios, tais como a nacionalidade de fotógrafos e modelos, o suporte de publicação e o grau de nudez, entre outros, com o objetivo de criar uma gramática dos signos presentes nessas imagens. Num primeiro momento, foi possível identificar alguns modos recorrentes de apresentação dessas imagens: o "nu editorial" e o "nu artístico", que são os principais modelos temáticos dos fotógrafos brasileiros e um terceiro modo, muito menos expressivo em termos numéricos, mas que apresenta imagens mais densas em termos de conteúdo e questionamento de padrões pré-estabelecidos que é o modo do ?nu como expressão?. As fotografias foram separadas em grupos menores, para atender a projetos analíticos diferenciados, conforme cada capítulo, e foi feita a opção metodológica de análise imanente das mesmas. Ao final é proposta uma forma de classificação da produção de fotografias de nus conforme o conteúdo e sua abordagem, como alternativa para a percepção aparentemente exclusiva de conteúdo erótico e abordagem comercial
Abstract: The object of the research is constituted of twenty-four photographs selected among the photographic output of female nudes in Brazil, from the establishment of some criteria, such as the nationality of photographers and models, the support of publication and the rank of bareness, between others, with the objective of creating a grammar of the present signs in those images. In a first moment, was possible to identify some recurring ways of presentation of those images: the "editorial nude" and the "artistic nude", that are the main thematic models of the Brazilian photographers and a third way, a lot less expressive in quantity, but which presents denser images considering content and questioning of pre-established standards which is "nude as expression". The photographs were separated in smaller groups, to attend an analytic differentiated project, according to each chapter, and the methodological option made was of immanent analysis. To sum up, the purpose was to classify photographs of nudes output according to the content and approach, as an alternative to the apparently exclusive perception of erotic content and commercial approach
Mestrado
Mestre em Multimeios

Thesis (M.A.)--University of Alabama at Birmingham, 2009.
Title from PDF title page (viewed Sept. 2, 2009). Degree earned with the cooperation of additional faculty from the University of Alabama. Includes bibliographical references (p. 88-91).

Orientador: Carolina Cantarino Rodrigues
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A dissertação propõe uma intersecção entre teatro e homossexualidade a partir da produção dramatúrgica do autor Newton Moreno, produzida no começo do século XXI. Peças em que homossexuais masculinos e travestis tiveram suas idiossincrasias reverenciadas através de esquetes permeados por (des)amor, violência e preconceito. A dissertação apresenta-se em ensaios interdependentes, apoiados nos textos de Theodor W. Adorno e Jorge Larossa que arejam o conceito de ensaio, bem como os conceitos de obsceno e pornográfico, defendidos respectivamente por Eliane Robert Moraes e Susan Sontag. Não esquecendo de autores como Michel Foucault, José Antônio Marina, Wilton Garcia, Denilson Lopes e Gilles Deleuze, entre outros, para fomentar a discussão em torno desse suposto "teatro gay". A relação teatro/gay não é comum no meio acadêmico. Por isso, o intuito de que parte da memória teatral gay não se perca com o tempo
Abstract: The dissertation proposes an intersection between theater and homosexuality from the theatrical production of the author Newton Moreno, produced in the early twenty-first century. Texts on homosexuals and transvestites which has its idiosyncrasies revered through skits permeated by disaffection, violence and prejudice. The dissertation is presented in interdependent trials supported in the writings of Theodor W. Adorno and Jorge Larossa airing the concept of study, and the concepts of obscene and pornographic, defended respectively by Eliane Robert Moraes and Susan Sontag . Not forgetting of authors like Michel Foucault, José Antonio Marina, Wilton Garcia , Denilson Lopes and Gilles Deleuze , among others, to encourage discussion around this supposed "gay theater " . The relationship theater / gay is not common in Brazilian academia. Therefore, in order that the gay theater memory is not lost with time. Keywords ¿ Newton Moreno, Gay Theatre, homoeroticism, dramaturgy
Mestrado
Divulgação Científica e Cultural
Mestre em Divulgação Científica e Cultural

L’eau est porteuse d’aspects différents de consciences, tout en étant un espéranto planétaire. Doit-on parler des artistes de l’eau ? ou bien de l’eau des artistes ? Quel que soit le point de vue que l’on considère, il se dégage une synergie de pensées oeuvrant à une réflexion consensuelle et paradigmatique. Cette recherche propose une nouvelle lecture de l’interaction de l’élément naturel avec la place qu’il occupe dans l’art contemporain ; comment l’eau dans l’art contemporain devient, grâce à sa puissance évocatrice, l’Eau de l’Art, une source inépuisable d’adaptabilité transculturelle qui se fait l’écho d’une nécessaire métamorphose. L’eau est devenu un médium parmi tant d’autres. L'eau, matière naturelle par excellence, se retrouve utilisée indifféremment par un peu tous les courants artistiques actuels notamment dans des vidéos, des performances, des sculptures, en architecture ou dans des expériences à la frontière de l’art et des sciences cognitives. On peut examiner trois aspects de la culture de l'eau : en tant que vecteur à la fois d'une culture enracinée, et d'une éthique de l'Universel commun, la force symbolique de l'eau dans l'histoire de l’art, et l'actualité écologique, scientifique et psychologique. L’eau couvre tous les champs du possible, et rend accessible les moindres recoins de la pensée, aussi bien la part d’ombre que la lumière de la psyché humaine. Elle accompagne et interagit sur les non dits des sociétés, car elle contient leurs savoirs ; elle est la matrice de leur philosophie, leur sociabilité, leur géographie (compréhension de l’espace et des milieux de vie), leur communication, leur histoire, leur langage. L’Eau de l’Art dynamise ainsi une esthétique écosophique en puisant dans la poésie du temps
Water is a messenger of various aspects of consciousness, while being a global Esperanto. Should we talk about artists of water? Or the water of artists? Whatever point of view one considers, a synergy of thoughts emerges involving a consensual and paradigmatic vision. This research proposes a new reading of the interaction of the natural element with its role in contemporary art; how water in contemporary art becomes, with its evocative power, Water of Art, an inexhaustible source of crosscultural adaptability that echoes a necessary metamorphosis. Water has become a medium among many others. Water, a natural material par excellence, is used interchangeably by almost all the current artistic trends, including video, performance, sculpture, architecture and experiences on the frontier of art and cognitive science. There are three aspects of the culture of water: as a vector of both an ingrained culture and the Universal ethic; the symbolic force of water in art history; and the ecological, scientific and psychological information. Water covers all possible fields, and allows access to every corner of the mind, the dark side as well as the light of the human psyche. It supports and interacts on the unspoken aspects of society because it contains their knowledge; it is the matrix of their philosophy, their sociability, their geography (understanding of space and living environments), communication, history, language. Therefore, Water of Art adds a dynamic to ecosophical aesthetics in drawing from the poetics of time

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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
This study proposes a reflection on the representations of the imaginary in the work of Tereza Costa R?go, through the images of mythical and symbolic articulations between the sacred and the erotic particularly on the "The Bride", which comprises the step "Pernambucanos Brothels". Interest in the study of the work of Tereza Costa R?go originated from research on women artists and Northeastern have undertaken in 2009 at the School of Fine Arts of the Federal University of Bahia ? UFBA. The analyzes are based on the analytic method about the mitocr?tica proposed by Gilbert Durand, trying to understand how the author makes the intersection (or interrelationship) between the two universes (the erotic and the sacred) from the point of view of visual storytelling. Ride the universe mitocr?tica, which confirms the power of symbolic image and rehabilitates the size of the archetypes and the driving force of myths. Reflect the erotic from the point of view of Georges Bataille and the sacred through studies Mircea Eliade. Therefore, research has characterized the concepts and key elements of the sacred and the erotic imagery. The research approach is qualitative and ethnographic study that investigates the dynamic relationship between the objective world and the subjectivity of the subject. Besides the pictorial work, we use the considerations of the artist to guide the manifestations of mythic images that reveal meanings and answers about the role of imagination in building imagery. The party erotic and sacred in the work, specifically in the "Bride" is the culmination of investigative activity. Tereza Costa R?go does not break with the natural movement of contrasts, it integrates harmoniously.
A presente disserta??o prop?e uma an?lise e reflex?o sobre as representa??es do imagin?rio na obra de Tereza Costa R?go, por meio das imagens m?ticas e das articula??es simb?licas entre o sagrado e o er?tico, particularmente na tela ?A Noiva?, que compreende a fase ?Bord?is Pernambucanos?. O interesse pelo estudo da obra de Tereza Costa R?go originou-se a partir de uma pesquisa sobre artistas mulheres e nordestinas que empreendi em 2009 na Escola de Belas Artes da Universidade Federal da Bahia ? UFBA. As an?lises baseiam-se no m?todo de an?lise da mitocr?tica proposto por Gilbert Durand, buscando compreender como a autora faz a interse??o (ou inter-rela??o) entre os dois universos (o er?tico e o sagrado) do ponto de vista da narrativa visual. Percorremos o universo da mitocr?tica, que ratifica a pot?ncia da imagem simb?lica e reabilita a dimens?o dos arqu?tipos e a for?a diretiva dos mitos. Refletimos o er?tico sob o ponto de vista de Georges Bataille e o sagrado atrav?s dos estudos de Mircea Eliade. Para tanto, a investiga??o caracterizou os conceitos e os principais elementos do sagrado, do er?tico e do imagin?rio. A pesquisa tem abordagem qualitativa e estudo etnogr?fico que investiga a rela??o din?mica entre o mundo objetivo e a subjetividade do sujeito. Al?m da obra pict?rica, utilizamos as considera??es da artista para nortear as manifesta??es das imagens m?ticas que revelam respostas e significados sobre o papel do imagin?rio na sua constru??o imag?tica. A festa er?tica e sagrada na obra, especificamente no quadro ?A Noiva? ? o ?pice da atividade investigativa. Tereza Costa R?go n?o rompe com o movimento natural dos contrastes, ela os integra harmonicamente.

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O corpo é o lugar onde as pesquisas artística e acadêmica se articulam para gerar questões problematizadas. Neste trabalho, os horizontes metodológicos tem como base um pensamento geográfico, espacial, que procura cartografar as noções que vão sendo construídas em processo ao longo da pesquisa. Inspirada pelo pensamento de autores como Nietzsche, Foucault, Susan Sontag, Oswald de Andrade, Cássia Lopes e Suely Rolnik, o corpo emerge não somente como objeto, mas como o próprio agente do estudo. A burla – retirada de dentro da moldura do gênero burlesco (visto principalmente em dicionários etimológico e de termos literários, bem como em O Riso Burlesco, de Georges Minois, e na análise do movimento New Burlesque) – aparece como uma estratégia de criação do corpo, que pretende operar a partir de suas marcas (sendo algumas delas o gênero, visto por Judith Butler, bem como o colonialismo e estereotipização, apontadas por Homi K. Bhabha, entre outras), dando visibilidade e potência a características que estão impedidas de se desenvolver dentro dos discursos da tradição racionalista e colonial. Percebe-se, através da descrição e análise de alguns processos criativos (dos trabalhos Los Juegos Provechosos, 2009; Simpatia Full Time, 2008-2010; Burlescas, 2009; Salmon Nela, 2007; e Technomaravilha, 2010), que pontos de bloqueio e aprisionamento dos estereótipos tornam-se evidentes quando o corpo está em performance. Na burla do corpo, rompe-se com as lógicas e práticas normatizadoras, criando possibilidades de reinvenção. O trabalho problematiza, além disso, certos engessamentos de procedimentos e metodologias de criação no campo das artes cênicas (dança e teatro). Tais pontos de fixidez também corroboram para a manutenção de concepções de corpo que, numa prática artística comprometida politicamente, necessitam ser revistas e modificadas. A pergunta de Espinosa, atualizada por Deleuze e Guattari – o que pode o corpo? – é uma questão norteadora. Das práticas artísticas mencionadas (nas quais participei como performer), emerge o corpo que chacoalha – borrando contornos e inaugurando uma erótica própria ao ato performático (Massimo Canevacci). Esse chacoalhar torna-se um dos caminhos possíveis para iniciar a burla do corpo. O corpo que burla é uma resposta criativa à pergunta de como seria possível descolonizar o corpo, feita por André Lepecki, pois ele se torna um caminho para a leitura crítica de dados culturais.
The body is the local where the artistic and the academic researches are articulated to generate problematized issues in this work. Here, the methodological horizons are based on a geographical thinking, in a spatial point of view, that seeks to drawing up cartographically the concepts that are being built throughout the research process. Inspired by the thought of authors such as Nietzsche, Foucault, Susan Sontag, Oswald de Andrade, Cassia Lopes and Suely Rolnik, the body emerges not only as an object but as the subject in this study. The burla – extracted from the frame of the burlesque genre (studied in etymological dictionary, literary terms dictionary, in Georges Minois's article The Burlesque Laughter, as well on the analysis of the New Burlesque movement) – appears like a strategy to the creation of the body which want to operate from its scars (some of which are the gender, seen by Judith Butler, as well as colonialism and stereotyping, highlighted by Homi K. Bhabha, among others), giving visibility to potency and characteristics that are prevented from developing within the discourses of colonial and rationalist tradition. It's possible to note through the description and analysis of some creative processes (the works Los Juegos Provechosos, 2009; Simpatia Full Time, 2008-2010; Burlescas, 2009; Salmon Nela, 2007; and Technomaravilha, 2010), the blockade and entrapment points from the stereotypes that becomes evident when the body is in performance. In the burla of the body, it breaks up with logical and normalizing practices, creating possibilities for reinvention. This research discusses, in addition, a certain fixity of procedures and methodologies in the field of the performing arts (dance and theater). Such fixed points also supports for the maintenance of body conceptions that a politically engaged art practice needs to review and modify. The question of Spinoza, updated by Deleuze and Guattari – what can a body do? – is a north query. From the mentioned artistic practices (in which I participated as a performer) emerges the shaking body – blurring boundaries and inaugurating a peculiar erotica born in the performative act (Massimo Canevacci). This shake becomes one of the possible ways to start the burla of the body. The body that does the burla is one artistic answer to André Lepecki's issue how to revert the colonization of the body, because it could be a way to read and to criticize cultural data.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Letras/Inglês e Literatura Correspondente
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As representações eróticas são o foco principal deste estudo. Mais especificamente, esta pesquisa tem por interesse a análise de representações eróticas que desafiem imagens patriarcais que advoguem a dominação e a hierarquia como atributos naturais das relações amorosas. Para tanto, este trabalho propõe uma investigação das obras "Calamus," de Walt Whitman, e "Twenty-One Love Poems," de Adrienne Rich, como uma maneira de interrogar as limitações do erotismo dito "mainstream." O corpus desta pesquisa é formado por obras de poetas e filósofos renomados como Platão, Octavio Paz e Georges Bataille - teóricos que discutiram extensivamente a questão do erótico - e por estudiosos de destaque nas áreas de feminismo, "gay and lesbian studies" e "queer studies", tais como Teresa de Lauretis, Ellen Greene, Catherine Belsey, Liz Yorke, Audre Lorde, Robert K. Martin, Jay Grossman e Greg Woods, entre outros. Este estudo demonstra que Whitman e Rich não apenas questionaram todo um sistema de representações eróticas patriarcais e excludentes, mas também propuseram uma estratégia política que é fruto de um erotismo desafiador e democrático.

This study evaluated the rape fantasies of a female undergraduate sample (N = 355) using a sexual fantasy checklist, a sexual fantasy log, a rape fantasy scenario presentation, and measures of personality. Results indicated that 62% of women have had a rape fantasy. For these women, the median rape fantasy frequency was about four times per year, with 14% of participants reporting that they had rape fantasies at least once a week. Further, rape fantasies exist on a continuum between erotic and aversive, with 9% completely aversive, 45% completely erotic, and 46% both erotic and aversive. Women who are more erotophilic, open to fantasy, and higher in self-esteem tended to have more frequent and erotic rape fantasies than other women. The major theories that have been proposed to explain why women have rape fantasies were tested. Results indicated that sexual blame avoidance and ovulation theories were not supported. Openness to sexuality, sexual desirability, and sympathetic activation theories received partial support.

Le rapport à l'autre a lieu dans la concrétude de l'éthique et de l'érotique ; par ailleurs, il se réalise à travers des dispositifs techniques. Nous voudrons ici confronter la phénoménologie/éthique lévinassienne à une pensée de la technique comme constitutive et constituante. En particulier, nous chercherons à faire entrer en dialogue les descriptions de la révélation du visage, d'une part, et, d'autre part, une description fonctionnelle de la corporéité allant jusqu'à prendre en considération son déploiement dans l'outil saisi. L'augmentation technique des corps éthiques sera décrite comme l'affirmation d'un écart entre l'appel et les possibilités de la réponse, écart dans la responsabilité même. Finalement, c'est dans une lecture croisée de Lévinas avec l'analytique existentiale heideggerienne, que nous dégagerons une description de la subjectivité comme la réalisation du pour-l'autre par un être-au-monde
The relation to the Other takes place in the concreteness of ethics and erotic relations ; in addition, this relation is quite generally mediated through technological devices. Here, we will confront the phenomenology and ethics of Levinas with a vision of technology as anthropologically constitutive and constituting. In particular, we will seek to set up a dialogue between the revelation of the face, on the one hand, and on the other hand a functional description of embodiment that takes into account its technological augmentation through the use of tools. The technological augmentation of ethical bodies will be described as involving an irreducible gap between the appeal from the other and the possibility of responding, a gap within the very domain of responsibility itself. Finally, by means of a comparative reading of Levinas with the existential analytics of Heidegger, we will arrive at a description of subjectivity as consisting in the accomplishment by a being-in-the-world of existing for-the-other

Sexual arousal is a complex and dynamic element of women’s sexuality. Accounts vary, however most multidimensional models highlight the cognitive, affective and physiological components of the female sexual arousal response. While literature examining the peripheral physiological changes that occur during female sexual arousal abounds, there has been a dearth of literature pertaining to the cognitive and affective components. Thus, while many authors have included cognitive and emotions as independent components of the female sexual arousal response, there has been little empirical research to validate this approach. The aim of the current thesis was to examine the cognitive and affective components of female sexual arousal in more depth, investigating the nature of the relationship between these components under various experimental conditions. In order to do so, two integrated studies were conducted, each highlighting the effects of either external or internal variables on women’s subjective sexual arousal, absorption, positive affect and negative affect. Study One was designed to evaluate women’s emotional and cognitive processing of two elements of erotic film – foreplay and erotic context. 60 women were asked to report their subjective sexual arousal, absorption, positive affect and negative affect in response to one of four erotic film excerpts. The erotic excerpts varied in accordance with the degree of foreplay (low vs. high) depicted and the context in which the sexual activities took place (novel vs. habitual context). Women in the study responded more favourably to the high foreplay erotic film excerpt, subsequently reporting higher degrees of subjective sexual arousal, absorption and positive affect. Women also responded favourably to the erotic excerpt filmed in a novel context, reporting greater subjective sexual arousal as a result. The environment in which the sexual encounters were filmed failed to have an effect however, on women’s absorption or their positive or negative affect. The results of Study One suggest that stimulus specific variables, such as the degree of foreplay depicted, have a significant influence on female cognitive and emotional processing of erotic film. The results also suggest that a relationship exists between absorption, subjective sexual arousal and positive affect, albeit a correlational one. Specifically, there was evidence of parallel processing during sexual arousal, as participant reported sexual arousal, absorption and positive affect all increased and decreased in unison. Based on the results it was suggested that future research attempt to experimentally manipulate one of these variables, to examine its direct effect on the remaining variable. Thus, Study Two aimed to examine the effects of absorption on women’s cognitive and emotional processing of erotica. Study Two manipulated absorption at two levels (high vs. low), examining the impact of these states on participants’ subsequent absorption, subjective sexual arousal and positive and negative affect. 62 women were asked to read one of two sets of test session instructions. The first, participant-oriented instruction set, instructed participants to immerse themselves in the erotic film excerpt, as if they were active participants in the sexual exchange. The second, spectator-oriented instruction set, directed participants to observe and evaluate the erotic film. These instructions were designed to elicit high and low degrees of absorption, respectively. The utility of this approach when manipulating female absorption, was demonstrated by self reported ratings of absorption, given at the conclusion of the film presentation. Participants were also asked to report their subjective sexual arousal and positive and negative affect at the conclusion of the erotic film presentation. The findings of this study suggest that the adoption of a participant-oriented (high absorption) perspective elicits more favourable responses from participants than a spectator-oriented (low absorption) perspective, with participants in the former experimental group reporting greater degrees of subjective sexual arousal and positive affect. Negative affect was equivalent across experimental conditions, with the participants reporting that they experienced little to no aversive feelings during either of the experimental conditions. The results suggest that the degree to which a women immerses and absorbs herself in a sexual stimulus has a significant impact in her subsequent cognitive and affective processing of that stimulus. More specifically, it appears that women respond more favourably when they are highly absorbed and immersed in a stimulus, reporting greater subjective sexual arousal and positive affect. Overall, the results of Studies One and Two highlight the dynamic and complex nature of female sexual arousal. It appears that women have definite cognitive and affective responses to sexual stimuli. The magnitude of these responses may be mediated by a number of factors however, including the intrinsic qualities of the stimulus and the degree to which the woman attends to the stimulus. Both these variables act to either enhance or inhibit the sexual arousal response. There results have important implications for current sexuality literature. While women’s cognitions and emotions in response to erotic film were generally highly correlated, in some instances they differed, warranting their inclusion as separate elements in models of female sexual arousal. Furthermore, it might be suggested that the inclusion of an additional variable – absorption – into current models of female sexual arousal would prove beneficial, aiding researchers to better understand and predict the arousal process. As such, recommendations are made for a revised model of female sexual arousal. In terms of future directions, the results of the present thesis have implications for the treatment of sexual dysfunctions, suggesting that clinicians need to understand the internal and external variables that might contribute to the aetiology and maintenance of their presenting problems.

A partire dalla caduta di Costantinopoli (1453) il problema dell’espansionismo ottomano acquisì progressiva importanza negli equilibri politici europei, scandendo con momenti di tregua e ostilità i rapporti tra Ponente e Levante per i successivi due secoli. Le conseguenze di tali tensioni politiche si riversarono sulla ritrattistica dei principi europei, il cui nuovo ruolo di eroi antiturchi trovò espressione, coerentemente con la diffusa lettura del problema ottomano in un’ottica di comparatio temporum, nell’istituzione di parallelismi con figure d’eroi antecedenti, della storia o del mito. Tali immagini allegoriche principesche hanno costituito il soggetto del presente studio e sono state indagate attraverso tre focus su altrettanti contesti cronologici, compresi tra la presa turca della capitale dell’Impero bizantino e la riconquista cristiana di Tunisi (1535). La considerazione di questo arco temporale, meno indagato rispetto a cronologie successive, ha consentito di individuare e rendere ragione di alcune specificità iconografiche delle immagini allegoriche dei principi antiturchi: tra queste in primis è emerso un movimento oscillatorio tra il riuso di iconografie sacrali-cavalleresche, di matrice crociata, e l’impiego di un repertorio di modelli eroici antichi, elaborato ad hoc nel detto frangente storico-culturale, le cui origini sono state rintracciate negli scritti encomiastici ed esortativi degli umanisti italiani attivi nel secondo Quattrocento. I casi di studio presi in esame hanno inoltre conferito alla ricerca un carattere d’interesse anche in rapporto agli studi sulla ritrattistica d’identificazione, annoverando una serie di diverse forme di espressione visiva della comparazione eroica, delle quali il ritratto in veste eroica costituisce la manifestazione più compiuta. Sia sul frangente iconografico sia su quello tipologico, i risultati ottenuti della ricerca sono infine stati verificati, in sede di conclusioni, su un succinto corpus di opere esteso al tardo Cinquecento e al Seicento.
Starting from the fall of Constantinople (1453) the problem of the Ottoman expansion acquired a certain importance in the European political balance, causing the alternation of moments of truce and conflict between East and West for the following two centuries. These political tensions had consequences on the portrayal of the European princes, whose new role of anti-Turkish heroes has been expressed through the creation of parallelisms with antecedent heroic figures, in accordance with the widespread description of the Ottoman problem in comparison with other historical or mythological episodes of conflict. These allegorical images of European princes are the subject of the theses and have been studied through a focus on three different chronological contexts, included between the Turkish conquest of the capital of the Ottoman Empire and the Christian reconquest of Tunis (1535). Considering this early chronology, less studied than later periods of conflict between the Ottoman East and the Christian West, it has been possible to highlight and justify some peculiarities of the allegorical images of the anti-Turkish princes: between them, in particular, is a constant coexistence of the reuse of sacred-chivalric iconographies, related to the crusading ideology, and the employment of ancient heroic models, composing a stable imagery expressly elaborated in that historic-cultural context. Moreover, aim of this paper is also to offer a useful reference for scholars studying the theme of the identification portrait: the case studies analyzed include in fact different forms of expression of the heroic comparison (from indirect ones to the disguised portrait), which have been systematically presented in the theses. From both the iconographic and the typological point of views, the research results have been finally verified through the consideration of a modest corpus of works of art dating from the late XVIth and the XVIIth centuries.

2013 - 2014
This study is specifically concerned with cult activities at Bronze Age tombs. This phenomenon, known as 'tomb cult', is not widespread all over Greece, evidences for definite and intensive worship are meager and some of the materials found in connection with chamber or tholos tombs may also be intrusive. By contrast, cults at Mycenaean tombs have gained attention in the last decades and have been described as an important means of self-definition; hero cult and ancestors cult, also, have been claimed as an interpretation of this kind of worship but no explanation seems to be really exhaustive. The main issue is to investigate the phenomenon with a proper methodology, which is actually lacking. In my research Data have been investigated with a philological and contextual approach, whose main aim was to evaluate the existence of a definite votive character in the depositions at Bronze Age tombs; “cult” and “ritual/sacred” activities have been distinguished from “profane” activities and conclusions have been drawn from both cultual and non-cultual examples. These data did not support the view that Bronze age tombs were object of cult: most often ancient tombs were not worshipped at all or were treated with disrespect. These results suggest the opportunity of a more articulated interpretation of the evidence and a reconsideration of the so-called “tomb cult” at Mycenaean tombs, which seems to be only a modern theoretical model that does not apply to the ancient world. [edited by author]
XIII n.s.

El present treball se centra en l'estudi de la dinàmica de la vegetació en zones fortament erosionades, anomenades serrers o "badlands", a la Conca de la Baells (Berguedà). Són zones on la roca mare ha quedat al descobert i per les seves característiques s'erosiona de forma ràpida. A la Conca de la Baells s'han format àrees extenses de badlands sobre dos tipus de substrats: margues de l'Eocè i argiles de làcies Garumniana. Els objectius que ens hem plantejat es corresponen a 3 nivells successius d'aproximació. En primer lloc s'estudia el tipus de vegetació que colonitza aquestes àrees i la seva dinàmica en relació amb la dels processos erosius. També s'analitza quins són els mecanismes que determinen l'escassa colonització vegetal d'aquestes àrees. Finalment el treball aborda l'estudi de la biologia de poblacions d'una de les poques espècies pioneres en aquestes formacions: “Achnatherum calamogrostes”. Després d'una primera prospecció extensiva a tota la Conca de la Baells, la major part del treball s'ha centrat als badlands argilosos, que representen el cas més extrem. Les parcel.les d'estudi es localitzen a la zona del Carot (1200 m), propera a Vallcebre. El període d'estudi s'estén des de l'abril de 1989 fins al desembre de 1991. Com a característica general la vegetació dels terrers és dispersa i heterogènia. Els processos erosius que porten a la formació d'aquestes àrees degradades generen una successió regressiva des de les comunitats inicials que poblen els vessants, generalment prats de l' “Aphyllanthion” amb un estrat arbori irregular de pi roig (“Pinus sylvestris”), fins a la manca gairebé completa de vegetació. La topografia és un dels principals factors que determina la distribució de la vegetació als badlands. A la part superior dels vessants, on els processos erosius són relativament més recents, la composició florística de la vegetació és força similar a la dels prats circmndants. En la resta del vessant el recobriment vegetal és molt baix: les plantes que s'hi fan són o bé les més resistents de les dels prats o bé algunes de pioneres. Els tàlvegs, on es produeix una certa acumulació de sediments, són els indrets més vegetats i els que tenen una diversitat florística més alta. S'han caracteritzat els tàxons més freqüents als terrers i les dels prats circumdants en base a una sèrie d'atributs fenomorfològics. Posteriorment s'ha realitzat un anàlisi factorial de correspondències de la matriu inventaris/atributs que ens ha permès definir bàsicament dues estratègies per les espècies dels badlands envers a les dels prats. Per una banda hi trobem plantes tolerants a la duresa de les condicions ambientals extremes: llenyoses de creixement lent amb adaptacions diverses a evitar la pèrdua d'aigua, com per exemple “Genista scorpius”, “Lavandula angustlfolia”, “Thymelaea nivalis”, etc. Per altra banda trobem les plantes herbàcies que limiten el seu creixement al curt periode de temps en que les condicions els són mes favorables i després entren en repòs absolut; pertanyen a aquest grup per exemple “Campanula speciosa”, “Ptychotis saxifaga”,” Plantago serpentina”, etc. Pel que fa al segon dels nostres objectius, ens plantejàrem la qüantificació del banc de llavors del sòl a partir de la recollida de 105 mostres (amb una sonda cilíndrica de 5 cm de diàmetre i 10 cm de profunditat). Les mostres prèviament tamisades s'observaren sota lupa binocular (10-40 augments) per a la identificació i quantificació de les llavors. La densitat de llavors mitjana detectada fou de 1403,8 ± 250,5 llavors/m2. La composició especifica d'aquest banc la formen bàsicament les mateixes espècies que colonitzen aquests ambients, Es tracta d'un banc de llavors temporal. format per les granes que han estat dispersades durant l'estiu o la tardor, j que no podran germinar fins a la primavera següent. L'estudi de la germinació natural que es produeix als badlands s'ha dut a terme a partir del seguiment de les emergències en 90 quadrats de 25 cm de costat repartits en dues parcel.les veïnes. El màxim volum de germinacions produeix entre el maig i el juliol. Les variacions microambientals relacionades amb la topografia afecten significativament la densitat de plàntules que apareixen, posant de manifest que només s'expressa una part de la potencialitat regenerativa d'aquestes àrees. La mortalitat de les plàntules es produeix gradualment al llarg de l'any; els individus que sobreviuen es mantenen per força temps en fases juvenils. El seguiment fenològic de 14 de les espècies més abundants en aquestes àrees s'ha realitzat sobre 30 individus marcats de cada tàxon. L'hivern representa un període de repòs generalitzat per a totes les plantes estudiades. El creixement i la renovació foliar es donen sobretot a la primavera; una tercera part de les plantes poden presentar una segona fase de creixement a la tardor. L'estiu és quan la majoria d'espècies entren en el període reproductiu; la resta de tàxons són de floració vernal o primaveral. Com a conclusió d'aquesta segona part del treball, podríem dir que l’exigüitat del mantell vegetal als badlands no es pot atribuir només a un determinat procés (manca de llavors, incapacitat de germinació, mala vitalitat dels adults ...), sinó que aquesta seria més aviat una conseqüència de la combinació de tots ells. L'últim dels objectius d'aquest treball, l'estudi de la biologia de poblacions d'Achnatherum calamagrostis” comprèn dues parts. Per una banda, a partir d'un mostreig extensiu d'individus de diferents poblacions de l'espècie, s'han pogut caracteritzar les diferents fases del seu cicle de vida. Per altra banda s'ha realitzat un estudi demogràfic del creixement dels individus adults, a partir del seguiment de la producció i mortalitat de les tiges que els conformen. L'emergència de les plàntules d' “A. calamagrostis” es produeix cap al juny. Durant el primer any de vida es forma una única tija que passa l'hivern pràcticament inactiva i a la primavera següent esdevé una tija juvenil. La multiplicació vegetativa no s'inicia com a mínim fins a la tardor següent, i de vegades pot retardar-se més d'un any. El creixement dels individus adults es produeix radialment per l'addició iterativa de noves tiges, de manera que es forma el que s'ha anomenat tofa: aquestes poden arribar a tenir fins a 2 m de diàmetre. La multiplicació vegetativa es produeix per 2 tipus de rizomes: els extravaginals, que s'estenen horitzontalment i presenten entrenusos de pocs mil.límetres de llargada í els intravaginals, que es formen a l'axil.la de les fulles basals. Des de que s'inicia la multiplicació vegetativa les tiges esdevenen anuals, de manera que cap al novembre s'assequen completament i només queden a la planta els brots nous, que es desenvoluparan a la primavera següent. La densitat de tiges és variable segons la mida de les tofes. A mesura que augmenta el seu diàmetre es crea una heterogeneïtat espacial, a petita escala, considerable. La reproducció sexual només es produeix a les tofes amb una certa mida. La presència de plàntules d' “A. calamagrostis” als badlands és un fenomen rar, i molt localitzat a l'àrea perifèrica dels individus adults. La mortalitat en aquesta fase no és gaire alta, de manera que la majoria de plàntules assoleixen la fase de tija juvenil. S'ha estudiat el proces de germinació en condicions controlades al laboratori. S'ha constatat l'existència de dormició en les granes, la qual es trenca espontàniament després d'uns quatre mesos de la seva dispersió. Segons les condicions ambientals en el moment de maduració dels fruits s'indueix un segon tipus de dormició, el qual actua a traves de les cobertes del fruit. Experiències de sembra realitzades al camp han permès estimar les pèrdues mínimes que es produeixen entre la producció de llavors d'una planta adulta i la quantitat de plàntules que s'arriben a instal.lar. Aquest valor és molt alt, de manera que només un 9,2 % de les granes arriben a germinar. Aquest valor és variable segons el tipus de substrat, ja que segons les irregularitats de la superfície queden retingudes més fàcilment les llavors. Pel que fa al creixement modular dels individus adults, s'observa que la producció de noves tiges es dóna estacionalment amb un màxim a la tardor, just abans que s'assequin les tiges de l'any, i un altre a la primavera. L'efectiu de tiges reclutades en cada estació varia en funció de les precipitacions del moment. La mortalitat d'aquestes tiges es produeix principalment al novembre, independentment del moment de la seva emergèncla. La regulació de la població neta total de tiges que constitueixen una tofa es produeix a través del control dels naixements, no de les mortalitats. La taxa d'increment anual del nombre de tiges per tofa és només lleugerament superior a 1. L'aplicació dels models de projecció matricials confirma el creixement molt lent de les poblacions d' “A. calamagrostis”. Les primeres fases del cicle de vida són les més determinants en l'expansió de les poblacions. La multiplicació vegetativa serveix fonamentalment per al manteniment de les poblacions, ja que la colonització de l'espai per aquesta via és molt lenta. Petites variacions en les probabilitats d'establiment de les plàntules repercuteixen considerablement en la taxa de creixement de la població. Per altra banda també s'ha observat una certa variabilitat temporal en relació amb la quantitat de precipitacions i la seva distribució al llarg de l'any.
Vegetation dynamics and plant strategies in badlands of the Upper Llobregat Basin (Spain) were studied. The climate is Sub-Mediterranean: mean annual temperature is 9.2ºC and mean annual precipitation is 900 mm. In the area, badlands develop mainly in 2 substrata: Upper Cretaceous clays and Eocene marls. Topographic position and the related dynamics of the erosive processes were the most influential factors in vegetarian distribution. In the upper part of the slope, vegetarian was still fairly related to the initial pasture. Backslopes were the harshest environments and vegetation cover was lower than elsewhere. Downhill, thalwegs were the most favourable places, where a dense herbaceous layer may be observed. A transient seed bank had been detected in the badlands. Moreover, noticeable seedling emergence was found. Seed bank all seeding composition was closely related to current vegetation of the badlands. Erosive processes did not appear to affect directly seeding mortality as they died all around the year. Monthly phenological records of the most relevant species to the badlands were made during two years. All the species presented a winter-dormant habit growth initiation arised in April or May and peaked in June. Flowering occurred in summer, corresponding with maximum temperature period. Biology and population dynamics of “Achnatherum calamagrostis” (L.) Beauv. has been studied. This species is a tussock forming plant with annual tillers that emerge seasonally, mainly in October or in April. Flowering peaks In July and fruit dispersion occurs from August to October. Seeding establishment occurs mainly located near the adult plants. After one year, juvenile plants could start basal tillering and to become adult plants. Population growth rate of “Achnatherum calamagrostis” predicted by a matrix model was relatively low (1’1738). Sexual reproduction was a relevant process in population growth while vegetative multiplication had mainly a conservative function. Variability had been detected in relation to environmental factors. In fact, seeding recruitment was higher in gypsum rich clays, because its rough surface retains better the seeds against soil erosion. On the other hand, it had been obtained a higher growth rate for the period 1989-90 than this of the following period (1990-91). This variabilty may be related with annual precipitation and its distribution through the year.

Diss.--Fachbereich Germanistik--Berlin--Freie Universität, 1990. Titre de soutenance : Die politisch-ständische Begründung der Ehe-Minne in Wolframs "Willehalm", im "Nibelungenlied" und in der "Kudrun.
Résumé en anglais.

Questo studio si propone di indagare la società romana tra il I a. C. e il III d. C., evidenziando le peculiarità che ne fanno una civiltà, attraverso l’analisi dei soggetti iconografici raffigurati su un nucleo di 83 gemme conservato, non esposto, presso il Museo Correr di Venezia. Il catalogo relativo alla collezione “Gemme e cammei del Museo Correr”, redatto nel 1974 dalla dottoressa Attilia Dorigato, sarà il punto di partenza dell’analisi che verrà realizzata con il supporto di amplia bibliografia storica, che consentirà di inserire lo studio archeologico del materiale glittico all’interno di un’analisi etnografica della romanità, dalla tarda repubblica a buona parte dell’età imperiale. Si delineeranno, nella prima parte, le caratteristiche di quest’arte antichissima e i limitati tratti di storia relativi alla collezione glittica in oggetto che sono ascrivibili alla sola provenienza moderna in maggior parte dalle raccolte di Teodoro Correr e di Girolamo Ascanio Molin, illustri protagonisti veneziani del collezionismo d’arte antica ai tempi della Serenissima. Si procederà, nella seconda parte, a un’analisi catalogica dei singoli pezzi, dandone descrizione gemmologica e approfondendo il ruolo e il significato delle classi iconografiche realizzate, a cui i soggetti rappresentati appartengono e che esemplificano la quasi totalità dei motivi decorativi prediletti dagli antichi. Nello studio artistico - iconografico saranno soprattutto approfonditi i significati che le immagini incise veicolano e che fanno di questi oggetti d’arte un medium documentario di una specifica civiltà in un altrettanto preciso momento storico.

This Master of Fine Arts thesis is divided into four main sections:FAITH and DISBELIEF: In which I reckon with the implications of faith versus rationality as a secular nontheistic artist. IDEAS: The central locus of my work is a place of indeterminacy between what is known/familiar and what is just one step outside of that. This has nothing to do with mysticism, science fiction, or anything else unmoored from established fact. Section also touches on the particular vantage of a female artist with working class roots.THE WORK: Selection of work made during graduate school, and the the guiding thoughts behind each.EMPTINESS, STILLNESS, ABSENCE, GHOSTS, DOUBT: A discussion of influential artists and ideas.

La tesi riguarda la particolare forma di comunicazione politica che si esplicò tramite l'utilizzo del mito da parte dei protagonisti della scena pubblica romana nel convulso periodo che iniziò con le Idi di marzo del 44 a.C. e che si concluse con l'instaurazione del principato. Nello specifico, attraverso l'analisi di fonti letterarie, iconografiche, numismatiche ed epigrafiche, la ricerca indaga le identificazioni mitologico-religiose e le pretese di discendenza leggendaria per mezzo delle quali Ottaviano, Antonio, Lepido, e Sesto Pompeo proposero all'immaginario collettivo del tempo suggestioni simboliche funzionali a veicolare le loro istanze politiche in termini sia di propaganda che di contropropaganda.
Through the analysis of literary, iconographic, numismatic and epigraphic sources, the thesis studies the particular form of political communication that the leaders of Rome developed by employing mythical figures, like gods and heroes, between the Ides of March 44 B.C. and the Augustan age. In particular, the research is about mythological assimilations and legendary genealogies used by Octavian, Mark Antony, Lepidus and Sextus Pompeius in order to spread throughout the citizens symbolic and propagandistic suggestions aiming at upholding their political designs.

Based on the author's Thesis (Ph. D.--University of Keele), 1993.
Spine title: Seduction and repetition in Ovid's Ars amatoria II. Includes bibliographical references (p. [297]-310) and indexes. Also issued online.

Aquesta investigació suposa una contribució al desenvolupament de metodologies que
amplien l'aplicabilitat dels sistemes d'informació geogràfica (SIG), la teledetecció i les
bases de dades en l'anàlisi del territori. En concret, la investigació es centra en l'anàlisi de
les relacions sòl-paisatge, de les propietats dels sòls y dels processos d'erosió hídrica,
particularment els processos d'erosió per xaragalls i barrancs. La investigació se porta a
terme en les comarques de l'Alt Penedès y l'Anoia (Catalunya), una àrea on la vinya per a
la producció de vins d'alta qualitat i caves és el principal cultiu, però on la forma actual de
l'ús i maneig del sòl, amb escasses mesures de conservació, condiciona la sostenibilitat
futura dels usos agrícolas presents.
Un dels resultats principals de la investigació és el sistema d'informació de sòls (SIS),
desenvolupat a una escala semidetallada a nivell de tota l'àrea d'estudi. Aquest SIS ha
permès analitzar la distribució espacial dels principals tipus de sòl, les seves propietats i el
seu comportament davant l'acció dels processos erosius i de les actuacions antròpiques.
També constitueix l'estructura sobre la qual es poden desenvolupar bases de dades
espacials de sòls més detallades.
Una altra aportació és el conjunt de metodologies basades en l'anàlisi multitemporal de
fotografies aèries, de models digitals d'elevacions (MDE), i també en la classificació
multiespectral d'imatges de satèl·lit i en les operacions d'anàlisi espacial mitjançant SIG,
que conduexen a l'anàlisi de processos d'erosió per xaragalls i barrancs. L'aplicació
d'aquestes metodologies a l'àrea de l'Alt Penedès - Anoia confirma la important influència
de l'acció antròpica en l'acceleració dels processos d'erosió actual. Aquesta acceleració
dels processos erosius es reflecteix principalment en:
a) les propietats dels sòls, amb la posada en superfície de materials d'horitzonts
subjacents, rics en carbonat càlcic, calcilutites o arenisques,
b) 1' anàlisi morfomètric i morfogràfic de les geoformes, que mostra un modelat del
paisatge amb vessants complexes i barrancs, i una alta densitat de xaragalls
incipients,
c) l'anàlisi de les taxes d'erosió per xaragalls i barrancs, que han estat particularment
elevades des de la deforestació generalitzada amb roturació de terres per a la
plantació de vinya, a partir del segle XVI, sobretot, a partir de la mecanització dels
cultius.
La investigació realitzada confirma la importancia de combinar tècniques de camp i
laboratori amb tècniques de teledetecció per a l'adquisició de dades i coneixement dels
processos d'erosió, i amb tècniques de SIG amb finalitat de modelització.
La presente investigación supone una contribución al desarrollo de metodologías que
amplíen la aplicabilidad de los sistemas de información geográfica (SIG), la teledetección
y las bases de datos al análisis del territorio. En concreto, la investigación se centra en el
análisis de las relaciones suelo-paisaje, de las propiedades de los suelos y de los procesos
de erosión hídrica, particularmente los procesos de erosión por cárcavas y barrancos. La
investigación se desarrolla en las comarcas de l'Alt Penedès y l'Anoia (Cataluña), un área
donde la viña para producción de vinos de alta calidad y cavas es el principal cultivo, pero
donde la forma actual de los usos y manejo del suelo, con escasas medidas de
conservación, condiciona la sostenibilidad futura de los presentes usos agrícolas.
Uno de los resultados principales de la investigación es el sistema de información de suelos
(SIS), desarrollado a una escala semidetallada a nivel de toda el área de estudio. Este SIS
ha permitido analizar la distribución espacial de los principales tipos de suelo, sus
propiedades y su comportamiento frente a la acción de los procesos erosivos y actuaciones
antrópicas. También, constituye la estructura sobre la cual poder desarrollar bases de datos
espaciales de suelos más detalladas.
Otra de las aportaciones es el conjunto de metodologías, basadas en el análisis
multitemporal de fotografías aéreas y de modelos digitales de elevaciones (MDE), en la
clasificación multiespectral de imágenes de satélite y en operaciones de análisis espacial
mediante SIG, conducentes al análisis de procesos de erosión por cárcavas y barrancos. La
aplicación de estas metodologías al área del Alt Penedès - Anoia ha permitido confirmar la
importante influencia de la acción antrópica en la aceleración de los procesos de erosión
actual, que se ve reflejada principalmente en:
a) las propiedades de los suelos, con la puesta en superficie de materiales de
horizontes subyacentes ricos en carbonato calcico, calcilutitas o areniscas,
b) el análisis morfométrico y morfográfico de las geoformas, que muestra un
modelado del paisaje con vertientes complejas y barrancos, y una alta densidad de
cárcavas,
c) el análisis de las tasas de erosión por cárcavas y barrancos, que han sido
particularmente elevadas a partir de la deforestación generalizada con roturación de
tierras para la plantación de viña a partir del siglo XVI, y sobre todo a partir de la
mecanización de los cultivos.
La investigación realizada confirma la importancia de combinar técnicas de campo y
laboratorio con las técnicas de teledetección para la adquisición de datos y conocimiento
de los procesos de erosión, y con las técnicas de SIG con fines de modelización.
This research represents a contribution to the development of methodologies to extend the
applicability of geographical information systems (GIS), remote sensing and spatial
databases to terrain analysis, particularly soil-landscape relationships, soil properties and
hydric erosion processes, and more specifically gully erosion processes. The research is
carried out in the l'Alt Penedès y l'Anoia (Catalonia), an area where vineyards for high
quality and "cava" production are the main crop, but where the present manner of soil use
and management, with few control measures, determines the future sustainability of the
present agricultural uses.
One of the main results of the present research is the soil information system (SIS), that
contains semi-detailed scale information about the soils of the study area. It allowed the
analysis of the spatial distribution of the main soil types, their properties and their
behaviour in front of the actuation of erosion processes and anthropic transformations.
Also, it constitutes the basic structure from which more detailed soil spatial databases can
be developed.
Another contribution is the set of methodologies, based on the multitemporal analysis of
aerial photographs and digital elevation models (DEM), multispectral classification of
satellite images and GIS spatial analysis, that is addressed to the analysis of gully erosion
processes. The application of those methodologies to the Alt Penedès - Anoia area
revealed the important influence of the anthropic factor in the acceleration of the present
erosion processes, that is observed through:
a) the soil properties, with the presence on surface of materials that are rich in calcium
carbonate, calcilutites or sandstones from subsurface layers,
b) the morphometric and morphographic analysis of the geoforms, which shows a
shape of the landscape with complex slopes and large gullies, and a high density of
gullies,
c) the analysis of the rates of gully erosion, that have been particularly high since the
generalised deforestation to plant vineyards in the XVI Century and, above all,
since the advent of mechanisation.
This research confirms the importance of combining field and laboratory techniques with
remote sensing techniques for data acquisition and knowledge concerning the occuring
erosion processes, and with GIS techniques for modelling.

Urbanová, Zdeňka: A Woman in Art. /Diploma Thesis/ Prague 2011 - Charles University in Prague, Faculty of Education, Department of Art, 100 standard pages focus of the thesis: theoretical and research study with an art project subject: interception of gender stereotypes and use of women art in an artistic production aim: to find out if pupils use gender stereotypes during their perception and to try to information them with this issue contribution, knowledge: an evocation of the interest in this issue in the context of art key words: women art, feminism, gender, gender stereotypes, identity, sexuality, erotic, plastic sur- geries, doll, art education

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal
Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

At no point in the apocryphal text does Judith, a wise and beautiful Jewish widow, sit on Holofernes, the Assyrian general laying siege to her city. Yet, in 1525, Barthel Beham, a young artist from Nuremberg, created Judith Seated on the Body of Holofernes, an engraving in which a voluptuous nude Judith sits atop Holofernes’s nude torso. Neither the textual nor the visual traditions explain Beham’s choice to perch the chaste woman on top of her slain enemy, so what sources inspired the printmaker? What is the meaning of Judith’s provocative position? The tiny printed image depicts the relationship between a male figure and a female figure. Thus, in order to appreciate the complexity of that relationship, I begin this thesis by reviewing what it meant to be a man and what it meant to be a woman in early sixteenth-century Germany. Because gender roles and the dynamics between the sexes were so complex, I encourage scholars to reevaluate Weibermacht (Power of Women) imagery. The nudity of Beham’s Judith and her intimate proximity to Holofernes suggest that Judith Seated on the Body of Holofernes is a Weibermacht print. In fact, Judith’s pose specifically echoes that of Phyllis riding Aristotle, a popular Weibermacht narrative. The combined eroticism of Judith’s exposed body and her compromising position would have appealed broadly to male viewers, but Beham likely targeted an erudite audience of well-educated, affluent men when he designed the multivalent print. Through close visual analysis and careful consideration of which prints circulated in early sixteenth-century Nuremberg, I argue that Beham’s Judith resembles witches riding backwards on goats, crouching Venuses, and a woman in the “reverse-cowgirl” sex position. Admittedly, it is impossible to know which sources Beham studied in preparation for Judith Seated on the Body of Holofernes, but I am inclined to believe that he wanted each of those jocular references to enrich the meaning of his work, providing a witty commentary on the power of women. But regardless of the artist’s intentionality, I think visually literate viewers would have recognized and enjoyed decoding the layers of meaning in Beham’s odd engraving.
text

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio-visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
Nous proposons dans ce travail que l’artiste Egon Schiele (1890-1918) a su exprimer l’ambivalence et l’angoisse entourant la question de la sexualité à Vienne au début du XXe siècle, plus spécifiquement à travers ses œuvres érotiques féminines sur papier réalisées en 1910-1911. À cette époque, des discours polarisés essentialisant la femme et sa sexualité se développent, notamment dans les sphères de la psychanalyse et de la philosophie continentale. La liberté sexuelle des jeunes femmes est réprimée et l’accès à l’information sur la sexualité leur est refusé. Pour les hommes, il s’avère ardu de concilier les propos puritains prônant l’abstention et leurs pulsions et curiosité libidinales, qui ne peuvent être assouvies que secrètement auprès de prostituées. Pour plusieurs, une vie sexuelle active devient synonyme de maladies vénériennes et de déchéance sociale. C’est en favorisant une approche théorique psychanalytique et féministe, portant sur le regard confronté au corps sexué, que nous étudions les modes d’adresse s’établissant entre les modèles, le spectateur et l’artiste à travers ce corpus, afin de mieux comprendre les affects particuliers et les bouleversements des traditions phallocentriques mis de l’avant par Schiele. Ce mémoire considère qu'en optant pour une représentation plastique du corps féminin dérangeante et constamment variable, de même qu’en interpellant ses contemporains de façon ambiguë grâce à des dispositifs visuels hybrides, le jeune artiste a su ébranler l'autorité traditionnelle du spectateur/voyeur masculin face à l’objet de désir féminin. Il serait ainsi parvenu à critiquer l'hypocrisie et l'inconfort identitaire et sexuel dominants au tournant du siècle.
In the present work, we argue that the artist Egon Schiele (1890-1918) was able to express the ambivalence and anxiety surrounding the topic of sexuality around 1900 through his erotic drawings of female nudes, especially those produced in 1910-1911. In the early twentieth century, in Vienna, essentialist and polarized concepts about women and female sexuality are developed, especially in the fields of psychoanalysis and continental philosophy. Young women are denied access to any kind of sexual knowledge or experimentation. Meanwhile, men are torn between austere discourses preaching abstention and their sexual urges and curiosity; many must secretly resort to prostitutes in order to satisfy their impulses. For most, an active sex life implies venereal diseases and social decay. While referring to psychoanalytical and feminist theories about the gaze and its encounter with the carnal body, we have studied the spectatorial relationships established between the models, the spectator and the artist across this corpus, in order to better understand the repudiation of the phallocentric traditions as proposed by Schiele. We believe that by representing the female body in disturbing and inconstant esthetic manners, as well as by reaching out to his contemporaries in ambiguous ways through hybrid visual devices, the young artist was able to undermine the traditional authority of the male viewer over the feminine object of desire. In so doing, Schiele managed to criticize the prevailing hypocrisy and discomfort regarding sexual identities and practices at the turn of the century.

Böhmová, Z.; Adam and Eve - nudity in Art and what to do with it in art education. [Diploma thesis] Prague 2015 - Charles University, Faculty of education, 106 pages. This thesis is analysing nudity by comparing religious, moral and political documents with perception of everyday reality and artistic portrayal. It follows the changes of paradigm of nudity in European culture since the start of Christianity. The objective of this thesis is to find the roots of connection between nudity and abashment. It finds the origins of finding nudity erotic and its connection with pornography. In the didactic part it tries to introduce this topic into visual arts education, defining this idea throughout artistic activities and comprehension of the changes in perception of naked body in modern painting. With the use of the medium of painting the semiotic character of nudity is being researched as well as the signs that reference nudity.

Indiana University-Purdue University Indianapolis (IUPUI)
For women in patriarchal societies, life is stitched with silence and violence. This is especially true for women of color. In a world that has cast women as invisible and voiceless, to create from the margins is to demand to be seen and heard. Thus, women’s art has never had the privilege of being art for art’s sake and instead is necessarily involved in the work of articulating and (re)writing female experience. When women seek, through their work and art, to feel deeply and connect with other women, they tap into what Audre Lorde has famously termed “the power of the erotic.” Lorde suggests that to acknowledge and trust those deepest feelings within our bodies is a subversive power that spurs social change. In the following work, novels by Kate Chopin, Gayl Jones, and Edwidge Danticat are linked by their female characters who seek the erotic via their art of choice and, in doing so, resist disempowerment and explore the life-giving nature of female connection. Furthermore, because the authors themselves are engaged in rendering the female experience visible, the novels discussed actively converse with their respective waves of feminism and propel social activism and feminist discourse. Hence, this project provides both a close reading of The Awakening, Corregidora, and The Dew Breaker, and a broader contention on the role of women’s literature in social justice.

This thesis is based on the belief that representations of women in contemporary Ugandan art serve cultural and political purposes. The premise is that the autonomous woman (seen as the new woman in this study), emerging in Uganda in the mid-1980s, agitated for the social, economic and political emancipation of women in Uganda. It has been demonstrated that the patriarchy attempted to subordinate, confine and regulate this new woman. The press, drama, music and film became powerful tools to force her into silence. This study posits that contemporary Ugandan art was part of this cultural discourse. Adopting a feminist art historical stance, it examines and assesses the gendered content of Uganda’s contemporary art masked as aesthetics. On the one hand, the study exposes the view that some men artists in Uganda use their works to construct men’s power and superiority as the necessary ingredients of gender difference. I demonstrate that some artists have engaged themes through which they have constructed women as being materialistic, gold-diggers, erotic and domesticated. I argue that this has been a strategy to tame Uganda’s new woman. On the other hand, the thesis attempts to show that some women artists have used visual discourse to challenge their marginalisation and to reclaim their ‘agency’ while revising some negative stereotypes about the new woman. This study makes an interdisciplinary contribution to Uganda’s art history, cultural studies and gender studies.
Art History, Visual Arts & Musicology
D. Litt. et Phil. (Art History)

The thesis titled "The body of the other. The erotics as learning content in Art education." have character of an exploration probe. It focuses on erotism in environment of educational institutions. This work deals with the body and its erotic contents in art education. It seeks to clarify the concept of erotica. This work seeks various overhangs of erotica into philosophy, advertising, school, personal and public life. This thesis is linked to the teaching of erotic theme and with the issues of integration of eroticism in lessons of art education. The aim is to determine how are the children / students on this topic sensitive. All the text is supplemented by authentic testimonies of students, teachers and parents related to the topic of erotica in school.

This dissertation concerns the socio-cultural politics expressed in the performances of Matthew Barney, Steven Cohen, Marina Abramovic, and the ‘Pop’ artist Madonna. The contention is that these artists mirror and dramatize marginalization and seem to reflect a desire to resolve conflicts experienced between social and psychological identities in contemporary society. The premise of this study is that these performers engage in a ‘dialogue’ with viewers as a form of self-preservation and self-healing. The Performance artists’ measure of socio-cultural tensions suggests the merging of mass media entertainment, theatrical devices and other cultural practices such as fetishism and rituals involving altered states of consciousness, props and allusions to shamanism. An ancient modality of healing, such as shamanism, when appropriated by artists, seems to reflect an urgent phenomenological need of the individual within Western society for overcoming feelings of powerlessness as a type of therapeutic practice. The Performance artists’ Othering is acted out as a survival mechanism addressing and questioning the ‘degradation’ imposed on marginalized individuals who challenge the traditional notion of authentic identity and the ‘classic’ body.
Art History, Visual Arts and Musicology
M.A. (Visual Arts)