Dissertations / Theses on the topic 'Morisset'

Philosophiae Doctor - PhD<br>This research is a critical ethnography of KM in primary schools. Its purpose is to explore the link between heritage language and identity construction. My central research question is: how does the introduction of KM as an optional language in primary education shape Creole pupils' language identity construction in Mauritius? The research studied the overall impact of KM on two schools which I selected as research sites. Research participants were pupils of Standard I-II-III, head of schools, teachers and parents. I also selected some key informants. The study was placed within the international literature on heritage language and identity construction. The research is significant in the sense that it was conducted at the initial stages of the introduction of KM in schools. It might be of interest for future studies as its findings would serve to understand the place of KM in schools. At the same time looking at KM as a heritage language set against the 'ancestral languages' has not been done before. It contributes to other ways of looking at 'heritage' in a global world. I elaborated a conceptual framework based on classical Marxism, post-structural Marxism, French theories and post-colonial studies. I applied critically the theoretical lens in the Critical Theory Tradition which basically challenges the status quo. This study drew implications for language teaching policy and practice and the teaching of KM as a tool for empowerment and human agency. This research indicated the learners' views as to how their exposure to Kreol Morisien in the classroom shapes their ability to construct new, desired identities within local, national or global communities. The research design was based on a critical ethnographic approach whereby the researcher and the participants find themselves in a reciprocal human experience. Research instruments that were used were ethnographic interviews, class observations, document analysis complemented by the Delphi Method which is a forecast study of future trends. I got five findings. First, Creole consciousness movement underpinned the introduction of KM as an optional language in primary education. Second, parents chose KM on a purely utilitarian basis. Third, the curriculum and syllabus do not reflect and support the Creole identity and culture. Fourth, there was an invisibility and ambiguity about Creole culture in the school textbook. Finally, the pedagogy used to teach KM as an optional language created motivation and self-esteem. This study which was conducted during the first three years of the introduction of KM in two primary schools indicates that the presence of KM did not however, really enhance the identity of the Creole children as the curriculum, syllabus and textbook did not reflect and support the Creole culture and identity. KM was an additional language subject which certainly seduced by its novelty but it did not bring great changes as were expected. But KM does open avenues for adjustments and initiatives for an alternative programme in KM as heritage language and culture which could be implemented outside school. Such initiative would foster KM in its double identity of being both an ethnic and national language plus its future use as medium of instruction.

Ce travail présente la première traduction française, assortie de notes et précédée d’une introduction détaillée, d’un roman à clef néo-latin intitulé Peruviana (1644), qui transpose au Pérou les intrigues politiques et sentimentales du Royaume de France au temps de Louis XIII. Son auteur, Claude-Barthélemy Morisot (12 avril 1592 - 22 octobre 1661), était un parlementaire dijonnais appartenant à un cercle de “libertins érudits” de la République des Lettres de la première moitié du XVIIème siècle, auteur d’ouvrages savants et de cet unique roman.L’étude en trois parties servant d’introduction offre d’abord une contextualisation de cette fiction romanesque et de son auteur, livrant les premières clefs nécessaires à la lecture ; puis une analyse narratologique aborde les enjeux littéraires et l’exploitation des sources, notamment antiques : la confrontation des référents et de la structuration de l’intrigue met en évidence la double portée, stéganographique et politique, de ce roman, que la fin de l’étude tentera d’élucider. Il apparaîtra alors que l’auteur, par le jeu de l’analogie et de la métaphore que permet le principe du roman à clef, a envisagé son œuvre comme une utopie où les mécanismes historiques, entrant en concordance avec ceux du Cosmos, pourraient être appréhendés et harmonisés par l’application d’un art bienveillant, prenant en compte tous les aspects et tous les états de la matière sociale afin de guider celle-ci vers un accomplissement proche de l’idéal. Cette lecture alchimique révèle que tout le roman est une métaphore de l’Œuvre, dont l’artisan serait le Poète, mettant au service de l’humanité à venir ce fruit de sa sagesse<br>This dissertation is the first translation of a Neo-Latin roman à clef entitled Peruviana (1644) which transposes to Peru the political and sentimental intrigues that took place in France under Louis XIII. This edition is accompanied with notes and preceded by a detailed introduction. The author of Peruviana, Claude-Barthélemy Morisot (April 12, 1592 – October 22, 1661), was a native of Dijon and belonged to a group of libertine scholars from the Republic of Letters during the first half of the 17th century. He is the author of several scholarly works, but Peruviana is his only novel.The first part of the introduction provides contextual elements about the narrative and its author, while also giving some of the keys to read the novel. The second part consists of a narratological analysis which deals with its literary issues and the use of sources – especially classical literature ; the confrontation between the referents and the structure of the plot highlights the steganographic and political dimension of this novel, a point on which third part of this study sheds light.It then becomes clear that thanks to the use of analogy and metaphor – which are characteristic devices of romans à clefs – the author conceived his work as a utopia in which the historical mechanisms reflecting those of the Cosmos might be apprehended and harmonized through a benevolent art that would take into account all the aspects and states of the social Materia(l) in order to lead it to an (almost) ideal fulfilment. This alchemical reading reveals that the entire novel is a metaphor of the Magnum Opus, whose architect would be the Poet offering the product of his wisdom to the future of mankind

Y a-t-il un rapport entre l'effet provoqué par une image et sa texture? L'illusionnisme pictural issu de la Renaissance, fondé sur la perspective linéaire, avait cherché à effacer toute trace de la facture en peinture. La présence du corps de l'artiste dans cette facture devenue apparente n'apporte-t-elle pas une émotion plus immédiate? Cette thèse montre que les découvertes des sciences cognitives sur la perception ont été pressenties par des peintres des XIX et XXe siècles, en particulier B. Morisot, V. Van Gogh, et F. Bacon qui ont bouleversé les habitudes du regard. Ces artistes se sont rendus compte qu'une image parcellaire, gardant sa facture visible, ne nuisait pas à la réception de celle-ci, au contraire. Van Gogh et Bacon ont fait remarquer qu'une telle manière de représenter, favorisant les "imperfections", laissant la matière apparente, produisait sur le spectateur un effet plus immédiat et plus fort qu'une autre à l'aspect fini, maîtrisé rationnellement du début à la fin. Sera analysée la démarche de ces peintres qui vont vers une prise de conscience fort intéressante au regard des sciences cognitives. Une étude anatomique et psycho-physiologique de la vision montre d'étonnantes passerelles avec les intuitions de ces peintres. La trace du geste donne des informations motrices que le cerveau peut capter. Le flou, l'inachevé appellent notre perception à combler les vides, car le cerveau ne cesse de scénariser, à l'origine pour sa sauvegarde, à partir de ce qui n'est que probable, incertain. Les surfaces où la texture est très apparente nous font pénétrer au cœur du processus de fabrication de l'œuvre, et aux conditions de possibilité de la créativité<br>Is there a connection between the effect produced by an image and its texture? The pictorial illusionism of the Renaissance, based on linear perspective, attempted to erase all traces of the facture in paintings. But it seems that the presence of the artist’s body in the facture of the work provokes a more immediate emotion drawn from the origins of perception. This thesis will show that discoveries in cognitive sciences on perception were anticipated by painters of the XIX and XXth centuries, especially B. Morisot, V. Van Gogh, and F. Bacon, who contributed to change the habits of seeing. Those artists found out that an incomplete image, which keeps the trace of its facture, doesn’t hinder its understanding, but does quite the contrary. Van Gogh and Bacon noticed that such a way to represent things, leaving imperfections and visible matter, produces on the spectator a more immediate and stronger effect than an image rationally mastered from the beginning to the end. The approach of each of those artists will be analysed ; they had very interesting intuitions regarding recent discoveries in cognitive sciences. Recent results from anatomical and psycho-physiological studies on the mechanisms of vision show astonishing links with the intuitions of the artists. The trace of the gesture gives motor information that the brain can grasp. Our perception completes the gaps of unfinished visual information, because our brain, originally develop for our survival, is used to build scenarios from what is only probable, uncertain. Surfaces where the texture is visible allow us to get inside the process of materially manufacturing the work, and to the conditional options of creativity

Y a-t-il un rapport entre l'effet provoqué par une image et sa texture? L'illusionnisme pictural issu de la Renaissance, fondé sur la perspective linéaire, avait cherché à effacer toute trace de la facture en peinture. La présence du corps de l'artiste dans cette facture devenue apparente n'apporte-t-elle pas une émotion plus immédiate? Cette thèse montre que les découvertes des sciences cognitives sur la perception ont été pressenties par des peintres des XIX et XXe siècles, en particulier B. Morisot, V. Van Gogh, et F. Bacon qui ont bouleversé les habitudes du regard. Ces artistes se sont rendus compte qu'une image parcellaire, gardant sa facture visible, ne nuisait pas à la réception de celle-ci, au contraire. Van Gogh et Bacon ont fait remarquer qu'une telle manière de représenter, favorisant les "imperfections", laissant la matière apparente, produisait sur le spectateur un effet plus immédiat et plus fort qu'une autre à l'aspect fini, maîtrisé rationnellement du début à la fin. Sera analysée la démarche de ces peintres qui vont vers une prise de conscience fort intéressante au regard des sciences cognitives. Une étude anatomique et psycho-physiologique de la vision montre d'étonnantes passerelles avec les intuitions de ces peintres. La trace du geste donne des informations motrices que le cerveau peut capter. Le flou, l'inachevé appellent notre perception à combler les vides, car le cerveau ne cesse de scénariser, à l'origine pour sa sauvegarde, à partir de ce qui n'est que probable, incertain. Les surfaces où la texture est très apparente nous font pénétrer au cœur du processus de fabrication de l'œuvre, et aux conditions de possibilité de la créativité<br>Is there a connection between the effect produced by an image and its texture? The pictorial illusionism of the Renaissance, based on linear perspective, attempted to erase all traces of the facture in paintings. But it seems that the presence of the artist’s body in the facture of the work provokes a more immediate emotion drawn from the origins of perception. This thesis will show that discoveries in cognitive sciences on perception were anticipated by painters of the XIX and XXth centuries, especially B. Morisot, V. Van Gogh, and F. Bacon, who contributed to change the habits of seeing. Those artists found out that an incomplete image, which keeps the trace of its facture, doesn’t hinder its understanding, but does quite the contrary. Van Gogh and Bacon noticed that such a way to represent things, leaving imperfections and visible matter, produces on the spectator a more immediate and stronger effect than an image rationally mastered from the beginning to the end. The approach of each of those artists will be analysed ; they had very interesting intuitions regarding recent discoveries in cognitive sciences. Recent results from anatomical and psycho-physiological studies on the mechanisms of vision show astonishing links with the intuitions of the artists. The trace of the gesture gives motor information that the brain can grasp. Our perception completes the gaps of unfinished visual information, because our brain, originally develop for our survival, is used to build scenarios from what is only probable, uncertain. Surfaces where the texture is visible allow us to get inside the process of materially manufacturing the work, and to the conditional options of creativity

La connaissance du comportement stratigraphique des systemes fluviatiles constitue un enjeu majeur de la geologie en domaine continental. Les principales difficultes resultent (1) de la diversite des systemes fluviatiles, (2) de la definition du niveau de base et (3) de la caracterisation des sequences de depots dans ces environnements sedimentaires heterogenes. Nous proposons dans cette these une interpretation sedimentologique nouvelle et un premier modele stratigraphique de la formation de morrison (jurassique superieur, utah), formation consideree comme un systeme fluviatile de reference. L'etude sedimentologique de cinq affleurements d'echelle kilometrique, repartis sur 200 km le long du profil de depot, revele des depots atypique tres eloignee des modeles de facies fluviatiles. La description d'elements architecturaux, briques elementaires de l'enregistrement sedimentaire, abouti a la definition d'un systeme de depots majoritairement lacustre et alimente par des systemes fluviatiles ephemeres. Dans un contexte climatique et tectonique tres different de celui que nous connaissons aujourd'hui, l'existence d'un niveau de base geomorphologique lacustre permet une approche relativement classique de la stratigraphie ou la profondeur du lac defini globalement le rapport potentiel d'accommodation / flux sedimentaire. Le taux de preservation que nous definissons et la succession verticale d'elements architecturaux resultent de la variation dans le temps de l'accommodation. L'analyse proposee conduit a un schema de correlation regionale et a la definition de regles predictives de l'architecture stratigraphique. Au-dela de cette etude, il faut peut etre reconsiderer certaines formations geologiques dont l'origine fluviatile a ete attribuee par comparaison aux modeles de facies actuels.

Tese de Doutoramento em Ciências da Literatura - Especialidade em Teoria da Literatura<br>The greener grass: da autorrepresentação em Alanis Morissette constitui um trabalho de investigação centrado nas canções da artista canadiana, com o objetivo de explorar possíveis trajetos hermenêuticos abertos pela autorrepresentação contemporânea (nomeadamente, no domínio difuso da pop culture, ainda razoavelmente marginal aos estudos académicos e à teorização literária e/ou humanística), questionando as linguagens, os contactos transdisciplinares e os subtextos ideológicos em que esse âmago autorrepresentacional se move, se descentra e, simultaneamente, se obscurece e se visibiliza. Sendo as lyrics morissetteanas reconhecidas pela sua exacerbada filiação autobiográfica, importa questionar de que maneiras consegue o self realizar-se minimamente na e pela escrita de caráter íntimo, quando o que melhor caracteriza a intimidade é, em termos agambenianos, a sua pura singularidade como experiência e, portanto, o facto de ser absolutamente intraduzível ou irrepresentável. A tensão intrínseca ao acontecer autobiográfico (entre verdade textual e verdade empírica; o apelo a uma entidade física ou paratextual que assina o texto) diz mais sobre o ruído e a inquietação despertados por um género considerado menor (a autobiografia), num contexto atual cada vez mais dominado por tecnologias de exacerbamento mediático e eretismo narcísico, do que sobre as condições liminares, materiais e imateriais, que desenham e consubstanciam as diferentes realizações sob o signo da autorrepresentação (como o diário e o autorretrato, entre outros). A questão é, assim, não tanto o porquê de se escolher as canções, os vídeos e as performances morissetteanas como foco de atenção académica, mas como é que essas canções, vídeos e performances manejam o seu intuito autorrepresentacional: por outras palavras, como é que a artista recupera uma tradição de longa data (com cânones estabelecidos numa cultura forte, como é a cultura escrita, que inclui autores como Plutarco, Santo Agostinho e Montaigne) e a transforma, singularizando-a, repetindo-a sem cristalizar numa anamnese do mesmo mas, pelo contrário, inscrevendo um sentido e uma fenomenologia reconhecíveis como os da sua voz, do seu estilo técnico-compositivo e da sua presença em palco. Alanis Morissette designa cada um dos seus álbuns como uma snapshot, uma espécie de instantâneo fotográfico. A designação, longe de esgotar a sua heurística num uso meramente circunstancial, determina algumas das condições da própria matéria verbal constitutiva das suas lyrics: por um lado, a interseção entre imagem e música (dado que a promoção comercial depende, em boa parte, dos videoclipes e da medialidade que estes ajudaram a fundar); por outro, a um nível semiótico mais profundo (infra-semiótico ou até trans-semiótico), o instantâneo ilumina certas modalidades expressivas que fazem de Alanis uma artista sui generis no caos mediático das sensologias musicais contemporâneas. A força do instante prende-se menos com a captura de um momento (como se a fotografia pudesse, miticamente, preservar um fragmento do tempo) do que com a efervescência de uma intensidade, uma sensação desafetada de uma consciência soberana (um sujeito histórico, delineado por coordenadas personológicas) e, por isso, emergindo na sua qualidade de energia em bruto. Uma parte considerável das canções em estudo gravita em torno desta pulsão préindividual da instantaneidade, que se manifesta no despojamento de uma intenção figurativa-narrativa (que seria a imagem mais prototípica da digressão autobiográfica), ao dispor as letras das canções como listas (o estilo morissetteano): repetindo serialmente padrões rítmicos e construções anafóricas, a lista abre-se a uma dispersão do eu, uma sensação de vertigem, ampliando os seus limites fenomenológicos e fazendo do eu um ser entre outros, uma coisa entre outras coisas, sem rígidos posicionamentos e limites ontológicos (que estariam filiados ao humanismo como ideologia). Alie-se a estas tópicos a implicada performatividade das canções: o facto de constituírem textos deflagrados em palco, com o corpo in actu, realizando gestos e movimentos irrepetíveis inseparáveis da epifania do acontecer musical. A artista em estudo, longe de reivindicar um vedetismo presencial (que seria expectável, em certa medida, por integrar um contexto mainstream), atua segundo um modo próprio de traçar o seu plano de imanência (em sentido deleuziano): um devir-impercetível ou, segundo a própria, uma transparência, inseparavelmente artística e existencial, em nome da qual lyrics e performances se consagram na responsabilidade (poiética e política) de inscrever no real a positividade agenciadora da nossa condição vulnerável. Neste sentido, a partir das suas canções, pretende-se atualizar o conceito de identidade e compreender de que formas esse conceito se pode materializar e imaterializar para se inscrever no mundo, sem sucumbir a uma crescente e radical pulverização esquizofrénica (ao sabor do espírito da globalização) nem a estratégias redutoras de fixação e enquistamento hegemónicos. A autorrepresentação em Alanis Morissette testa os próprios limites da autorrepresentação, no sentido de salvaguardar uma ética do ser, anterior a toda e qualquer forma de modelização artística (ou estética, em geral).<br>The greener grass: on self-representation by Alanis Morissette is a PhD thesis focused on the Canadian artist’s songs, in order to explore possible hermeneutic paths opened up by contemporary self-representation (mainly in the elusive field of pop culture, still reasonably marginal to academic studies and literary or humanistic criticism), questioning the languages, transdisciplinary contacts and ideological subtexts responsible for the ways whereby self-representation de-centers itself, and makes itself simultaneously obscure and visible. Since Alanis Morissette’s lyrics are known for their explicit autobiographical tone, we aim to question how the self can, at least, feel accomplished by writing in an intimate mode, if intimacy, in Giorgio Agamben’s terms, is defined by its pure singularity as a form of experience, thereby being absolutely untranslatable or irrepresentable. The intrinsic tension in the autobiographical happening (between textual truth and empirical truth, calling on a physical or paratextual entity to sign the text) clarifies the hesitation towards a so-called minor genre (autobiography), perceived in the middle of modern-day narcissistic indulgence (which is reinforced by current media technologies), but does not question the basic conditions, both material and immaterial, that shape the form and the content of all different kinds of self-representational modes (including journaling and self-portrait). The main topic, then, is not exactly why we chose Morissette’s songs, videos and performances as a platform for academic scrutiny, but how these materials manage their self-representation purpose: in other words, how the artist restores an old written tradition (established by canonic authors such as Plutarch, Saint Augustine and Montaigne) and transforms it, making it hers, inscribing a new sense and a new phenomenology through her voice, her technical-compositional style and her stage presence. Alanis Morissette perceives her musical writing as an ensemble of snapshots, like candid pictures. This definition points to some of the verbal material of her lyrics: on the one hand, the intertwining between image and music; on the other hand, in a deeper semiotic level (infra-semiotic or even trans-semiotic), the concept of snapshots involves some expressive details responsible for turning Morissette into a special performer in the current chaotic musical context. The instant’s force is less the capture of a precise moment (as if, with mythical undertones, a picture could restore a fragment of time) and more the intensity’s absolute effervescence, a free sensation without a vigilant conscience (an historical subject, determined by its personal qualities), like a pure energetic rapture. A significant part of Morissette’s songs corroborate a kind of preindividual drive of instantaneity, freeing away from a figurative-narrative intention (which would be more suitable for autobiographical expectations) through lyrics that act as lists (the artist’s style): by repeating serially rhythmic patterns and anaphoric constructions, the list invites the self to a sense of dispersal and vertigo, amplifying its phenomenological limits and turning it into something amid other beings or things, without rigid ontological demarcations (which would be affiliated to a concept of humanism defined by ideological tones). These criteria cannot be insulated from the songs’ inner performativity: songs come to live when performed on stage, with a body in actu, through unrepeatable movements and gestures that permeate musical epiphany as such. Instead of claiming a sort of aural presence as a musical diva or public entertainer, Alanis Morissette acts unpretentiously on stage, following a self-absorbed path that leads to her plane of immanence (in Deleuze’s sense): this relates to the ethics of becoming-imperceptible or, according to Morissette, a transparency, both inextricably artistic and existential, on behalf of which both lyrics and performances act as a medium (poietic and political) to inscribe the positivity of our vulnerable human condition in the realm of real sensibilities. Thus, by paying attention to her songs, we aim to reconfigure the concept of identity and understand how it can be both materialized and immaterialized, in order to conquer a sense of real inscription, escaping from the radical all-encompassing wave of schizophrenic pulverization and displacement (inspired by the spirit of globalization) and the radical reductive strategies of fixation, reification and hegemonic formations. Alanis Morissette’s self-representation tests the limits of self-representation as such, on behalf of an ethics of being, anterior to any form of artistic (or, on the whole, aesthetic) modelization.<br>Esta investigação foi financiada pela Fundação para a Ciência e a Tecnologia através da concessão de uma bolsa de doutoramento (SFRH/BD/63497/2009), no âmbito do POPH, QREN, Tipologia 4.1 - Formação Avançada, comparticipado pelo Fundo Social Europeu e por fundos nacionais do MEC.

碩士<br>國立中央大學<br>藝術學研究所<br>87<br>The works of a woman Impressionist Berthe Morisot（1841-1895）were considered feminine by many critics in Nineteenth-Century, more than this, it was thought that her artistic values consist fully in the revelation of her femininity intuitively. My thesis mainly concern about those critical opinions which focus on the ''femininity''in Morisot''s paintings. In the first chapter, I describe Morisot''s life as a painter as the basis of our following discussion, pointing out her profession and her relationship to the Impressionism movement. The second chapter is the presentation of the content of ''femininity''discourse on Morisot from late 1860s to 1890s: some elements of her paintings such as subjects, unfinished style, superficial touch, transitory instant and light color were viewed as evidence of her womanhood; included is the opinion that Impressionism is a "feminine style" in the criticism of 1890s. In the third chapter, I intend to observe how the formation of these criticism is possible through the scientific and social definition of the feminine. Influenced by the definition of gender, those critics held that woman art was valuable just because it expressed femininity. This kind of criterion was applied not only to Morisot but also to other contemporary women artists. In the last chapter, through the analysis of Morisot''s style and the comparison with other Impressionists, I will examine the propriety of "femininity discourse". In the end, we will come to the conclusion that the so-called "femininity" can only be applied to some stages of her development, but can''t explain and assess her whole works comprehensively and objectively. Moreover, it would be dangerous to use gender as the criterion of the analysis of style.

Thesis (M.A.)--State University of New York at Buffalo, 2008.<br>Title from PDF title page (viewed on Dec. 2, 2008) Available through UMI ProQuest Digital Dissertations. Thesis adviser: Johnson, Lori N. Includes bibliographical references.

碩士<br>國立中央大學<br>法國語文學系<br>98<br>Applying methods by Freud Sigmund and by other psychoanalysts to the private life and the paintings of Berthe Morisot, I propose to study this nineteenth-century painterřs unconsciously projecting his personal feelingsŕenvy, lack, and substitutionŕinto her art works. Painting, as a form of work of art, is least regarded as a way profit making. She thus shuns away from any exhibitions, except for those of impressionists. Paintings are not only the manifestation of personal feelings and a way of healing, but also a picturesque diary that preserves her own life experiences and impressions. Through the combinations of designs, lines, colors, paints, shades, and characters on the canvas, the painter relieves her psychological separation and hidden desires In the first chapter, references are drawn from the painterřs life, the social background, and the contemporary art. It is known that female painters back then are not only sexually discriminated but also professionally challenged, whose art works are severely criticized. Besides, Morisot is closely related to the impressionist movement. Her ambition in painting, which on the one hand makes her a great painter, on the other hand, casts doubts, evokes conflicts, and causes anxieties on her female identity. Even more, can her artistic accomplishment be simply achieved owing to the fact that the position, rather than her works of art per se, of female artists are being promoted? The question is : does sexual consciousness supersede artistic achievement? The second chapter is the study of Morisotřs childhood, in which the painter lacks paternal love. This has thus become Morisotřs original trauma. Can this lead to a shift of her subject of concern into Sister Edma, which integrates and transforms into a double so as to supplement the lack of paternal love. The trauma has created a crack. In confronting the crack, the subject is forced to transfer it into an object. In order to iii differentiate Morisotřs transfer and love from those of Edouard Manet, we find out that the emotional substitution sought by Morisot must not be interpreted random. Those traumatic incidents cause negative reaction from Moriost : the loss of self-esteem, envy and jealousy. The third chapter analyses the role and function of painting in Morisot under external as well as internal pressure. To a nineteenth-century woman, it is not easy to become a professional painter. She must seek support from her family, especially her husbandřs recognition and sacrifice. Painting is not only an artistic product, but also a function of healing. The canvas can be seen as the silhouette for desire. It also alleviates the painterřs traumatic pains. In light of Moriostřs personal letters, I examine the healing effect in Morisotřs case since she has considered painting as a cure.

Thesis (M.A.)--University of Wisconsin--Madison, 1994.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 53-57).

碩士<br>臺北市立教育大學<br>視覺藝術研究所<br>95<br>This study probes into the female family images of Berthe Morisot (1841-1895) and Mary S. Cassatt (1844-1926) in context of impressionism involving the links of sex and power. Firstly, using both of their bibliographies and painting career as base to illustrate the intimate relationship between the situation of a professional female painter and the impressionism movement. Chapter 3 contrasts the time and space of Morisot and Cassatt to the art criticism, male standpoints at that time that stands out the standards to female image characteristics from the society and family; and their feelings and awareness towards situation of female sex through experiences of painting and sex counterpoise. Chapter 4 analyzes the characteristics of female family image including traditional female image characteristics, their resistant strategies towards these characteristics, and their modern female consciousness and the female images presented in the paintings. Lastly, uncover their affirmativeness in female characteristics and the power of motherhood to respond the worship of feminism in motherhood and the negative appraisal toward female characteristics under the overthrowing operation of masculine. Delving into female images and transmutability of experiences they had built to examine the meaning for art practice in female images.